HANDY CIRCUS FAMILY - HANDY CIRCUS TROUPE

Astley's Amphitheatre was destroyed by fire in 1794,
to the serious loss of the proprietor, who was not insured; but such was his indomitable energy and enterprise that it was rebuilt in time
to be opened on Easter Monday, in the following year. In the mean while, in order to keep his company and stud employed,
he had converted the Lyceum into a circus, in conjunction with a partner named Handy, (Benjamin Thomas Handy aka Ben Handy)
(see next post for more info on him)
The Royal Circus was far from prosperous. The load of debt upon it kept the lessees in a position of constant difficulty and embarrassment,
and in 1795 Mrs West levied an execution on the premises. It was then opened by Jones and Cross, the latter a writer of spectacles
and pantomimes for Covent Garden; and in their hands it remained until it was destroyed by fire in 1805.

(Benjamin Thomas aka Ben)Handy was still Astley's partner in 1796, when the advertisements announce 'thirty-five new acts by Astley's and Handy's riders,
and two surprising females,’ in addition to pony races, the performances of a clever little pony, only thirty inches in height,
a performance on two ropes, and a novel act by a performer named Carr, who stood on his head in the centre of a globe,
and ascended thirty feet 'turning round in a most surprising manner, like a boy's top.'
Later advertisements of this year describe the Amphitheatre as 'under the patronage of the Duke of York,'
and announce the special engagement of two Catawba Indians - both chiefs, of course, as American Indians and Arabs
who appear in the arena always are represented to be.
These copper-coloured gentlemen gave their war dance and tomahawk exercise, and performed feats of dexterity with bows and arrows.
The only mention of equestrianism at this time is, that 'various equestrian and other exercises' will be given 'by pupils of both the Astleys.'
Benjamin Handy was baptized in St Mary, Hampton, Middlesex (just west of London) on 4 July 1766 to Anthony and Jane Handy;

the earliest traces of him after that is in the 1780s as an ostler in Hughes equestrian company based in London.

A later account of his circus work describes his early occupation as ostler.

The same source suggests that in the late 1780s he opened a riding school in Bath.

Certainly, his work with trick riding became his main pursuit in the early 1790s,

and he was involved in circuses both as performer and owner throughout the 1790s.

His first ventures as owner were in Bristol, and then at the Lyceum in London from 1794 on, where for some time at least his partner was the famous Philip Astley, who was the most significant figure in the early development of the circus in England
(he had also begun as a horse-trainer).

It seems from one play-bill that the circus performed as part of the celebration of the marriage of the Prince of Wales in April 1795.

In the remaining years of the decade Handy's circuses were also to perform in Manchester, Bristol, Dublin and Liverpool.

Handy's first wife, who performed with Handy in the late 1780s under the name “Signora Riccardini”, died in 1789.

Also of great renown was their daughter Mary Ann (born ca. 1784), who performed from about the age of five under the stage name “The Wonderful Child of Promise”,
first in equestrian stunts, and then as a tight-rope dancer.

Her name is prominent on most of the surviving Handy circus bills of the 1790s.

However, she drowned in 1797 with other members of Handy's troupe traveling from Liverpool to Dublin on the ship Viceroy.

Benjamin's second wife, Mary Huntley (Grant), The widow of Grant, Daughter of Chief Neil Huntley of The Catawba Tribe,
seems also to have been an equestrian performer.

We know her name as mother - Mary Huntley from the baptism record of Jane Elizabeth Mary Anne Handy in 1799, daughter of Benjamin Handy & Mary Huntley.

A number of broadsheets from the 1790s (including a Apr. 20, 1795 one) describing performance by Handy's circus at the Lyceum list a “Miss Huntley” among the principal performers.

Mary and Benjamin lived as husband and wife from the mid-1790s,but were not legally married until 1818;

he writes in his will that she “for several years previously to our marriage [she] lived
and cohabited with me by and under the name of Mary Handy”;
all the named children in the will are described as “natural” (that is, illegitimate).
Given that her name in the will (and in the marriage record of 1818) is given as “Mary Grant”,
information that she may have married one Francis Grant on 17 January 1788,
at Saint Martin's Church, Birmingham,Warwick, England is NOT correct.
On 7 June 1818, Benjamin and Mary were finally wed; she died in Feb. 1857.

Benjamin Handy married Mary Huntley (the Widow of Grant) in 1818.
(in the marriage records - she is recorded as 'savage' )
Children of Benjamin Handy - and, Mary Huntley-Grant
- Daughter of Catawba Chief, Neil Huntley where:

Jane Elizabeth Mary Ann Handy-Rowland (wife of George) b Liverpool, UK b 27 Feb 1799

Charles Handy b. 5 Aug 1801 St. Peters, Dublin, Ireland who married Mary Gibbons from Wales
(1st born of the twins)
Henry Handy b. 5 Aug 1801 St. Peters, Dublin, Ireland (2nd born of the twins)
Catawba Chief, Neil Huntley & his brother were the two native chiefs along with daughter Mary Huntley-Grant were taken to from The USA to the circus in england.
Susan Lynne Schwenger says: " When, i was a little girl, i knew i had 'circus' blood - and, i also knew i had 'native' blood
- i did know that i came from a family that had significant ties to the circus
- however, try to search for it, with a last name of 'handy
' - sure wasn't easy !!! shouldn't he be mentioned on wiki - under the astley entry ???"
***************************************************************************************************
http://www.circushistory.org/Frost/Frost2.htm

Frost, Circus Life and Circus Celebrities II
www.circushistory.org
Circus Historical Society website provides information on an organization dedicated to recording the history of the American circus.
HANDY who, is mentioned in this book as parter of Philip Astley of Astley's Circus is: Benjamin Thomas aka Ben Handy
(kind of sad, that the money that rescued Astley -- doesn't get much of a mention)
- http://www.geni.com/people/Benjamin-Thomas-aka-Ben-Handy/6000000019147981973
Benjamin Thomas aka Ben Handy
**********************************************************************************************************************************
i found this on daughter mary ann handy - the original child of promise - http://books.google.ca/books?id=xE2...gBA&ved=0CCwQ6AEwAA#v=onepage&q=handy&f=false
it says: The Original "Child of Promise" was Mary Ann Handy.
*************************************************************************
Found this too:
http://books.google.ca/books?id=Rd-...QBQ&ved=0CD4Q6AEwAg#v=onepage&q=handy&f=false
Celebrity, Performance, Reception: British Georgian Theatre as Social Assemblage

By David Worrall
page 215
"even circus-goers at James Handy's equestrian exhibitions in Leicester Square,
at the height of the autumn of 1794 treason trials, witnessed a boy playing "god save the king"
on a violin while riding on horseback."
from: http://books.google.ca/books?id=Rd-...ed=0CD4Q6AEwAg#v=snippet&q=riccardini&f=false
-which may indicate a young-start, and Ben was the son of james on horseback mentioned above - i know he was an equestriene and ostler and partner with Astey & others ?

********************************************************************************************************************************************************************************************************
james is a common first name of many of this lineage - and, we have heard stories of him doing crazy things on the back of a horse
since benjamin was born circa 1784? he'd be 10 in 1794 - or, this might be the date his career started...
geni estimates james anthony handy as being born between 1701-1761 ?
i know, there was a benjamin handy troupe - and, maybe there was also a James Handy Equestrian Exhibition
- not easy to find things - this far back, with such a 'handy' name - almost everything on the internet is 'handy' this, or 'handy' that
i''ll search things like Handy's or Handys' etc.,
- susan lynne schwenger
MORE LUCK....(found this)
http://books.google.ca/books?id=HNe...CC4Q6AEwAA#v=onepage&q=benjamin handy&f=false on page 95
Habgood to Houbert, Volume 7

By Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans
Susan Lynne Schwenger wow; i'm amazed i found something special there
that's a huge article with a lot of important information
about all 4 of them; plus catauba; should be spelled catawba (from east coast USA regions)
page 95, 96, 97 (scroll up and down - to find all the columns) - typed in below:
page 95, 96 and 97 from : http://boards.ancestrylibrary.com/t...om/thread.aspx?mv=flat&m=924&p=surnames.handy
Handy, Benjamin
1784-1824
equestrian, clown, manager
Benjamin Handy serve as an ostler in Hughes's Equestrian company in London before striking out on his own. The earliest theatrical notice we have found of Handy's activity dates from 26 April 1788, in a yard behind The Angel in Borough Walls, Bristol.
The bill claimed that audiences would be entertained by "The Unparelleled Vaulting Horseman Mr. Handy."
page 95, 96 and 07 from :http://boards.ancestrylibrary.com/thread.aspx?mv=flat...
Message Boards Search - AncestryLibrary.com
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Centralized collection of family history & genealogy message boards hosted by Ancestry.com. Forums include specialized topics such as surnames, locales, and organizations
The troupe was made up of selected performers from Astley's and Hughes's riding school
Also, on the bill was "The Child of Promise" (Handy's daughter Mary Ann, who was born about 1784) and Signora Riccardini, Handy's wife.
The three Handy 's were at Stourbridge Fair near Cambridge in 1788.
Also at The Fair was Hughes and his company from The Royal Circus in London.
Hughes challenged Handy to ride for 500 lbs sterling in notes;
if he equaled “Robinson” or "Ciles" of The Hughes troupe,
Handy was to receive a 20 lbs sterling note in the presence of the audience.
Giles Sutton, an apprentice to Hughes (and perhaps "Ciles" mentioned above),
challenged Handy to ride at 20 guineas to 10.
A third challenge to Handy dared him to produce an equestrienne who could match
Miss Huntley or Miss Crofts, riding on one or two horses, for a 20 lbs sterling note.
We do NOT know how the challenges came out, but Handy in his bill claimed
he had the best horsemen in England,
especially The "Wondeful CHILD of PROMISE", (MARY ANN HANDY)
only 40 months old.
In addition to performing at Cambridge, The Handy ‘s
(Benjamin Handy, Signora Riccardini aka Mrs. Benjamin Handy,
Mary Ann Handy-The (original) Wonderful Child of Promise)
appeared at Norwich in 1788.
Astley's troupe appeared in Bristol in September 1789
and the papers there noted that Astley had offered 365 guineas a year
to Benjamin Handy for his little child, but Benjamin Handy, of course, refused.
Signora Riccardini aka Mrs. Benjamin Handy died in Bristol on 15 September 1789,
but Benjamin Handy and his daughter,
Mary Ann Handy- The (original) Wonderful Child of Promise carried on.
About 1790 or 1791 Handy used The Lyceum in London
for "Feats of Horsemanship",
and 1790 also found him again at Bristol,
advertised in March as from The Riding School at Bath.
Benjamin Handy and Franklin were partners in a venture to erect
"a very commodious Amphitheatre, in the Back Field,
adjoining Full Moon, North-Street, St. Pauls near stoke's Croft,"
in Bristol, similiar to The Astley's Riding School in London.
They originally planned to open on 8 March 1790, but delays in construction,
the Bristol papers said, forced postponement until 22 March 1790.
Meanwhile Handy and Franklin offered riding lessons to ladies and gentlemen.
When their new arena opened, Handy served as a clown to the horsemanship.
On 10 May 1790 at Bristol, Benjamin Handy and Franklin advertised a subscription
for 1000 guineas to enable them to build a new riding school.
They continued at Bristol until November 1791,
then on 06 March 1792 they were there again,
at a new amphitheatre in Limekiln Lane.
But at the end of May 1792 they dissolved their partnership
and headed individual equestrian troupes.
Handy's group was at Limekiln Lane again in 1793,
but in mid-April 1793 he left the field to Franklin's company.
Benjamin Handy then spent the summer of 1793 performing in Manchester,
offering in addition to horsemanship,
the typical fare of equestrian troupes; acrobatics, rope dancing, and pantomimes.
After Astley's Amphitheatre in London burned,
Astley and Handy formed a partnership
and converted The Lyceum into a circus, according to Frost's Circus Life,
but most of the contemporary records concerning The Lyceum,
link Handy NOT with Astley but with Mr. Lingham, a breeches-maker
in The Strand who had been involved in performances at The Lyceum since 1790.
In Februrary and March 1795 in The Drury Lane Theatre accounts
Benjamin Handy and Lingham were named as receiving money for horses
(which they doubtless had rented to the patent house for spectacle production).
On 10 February 1795 at Handy's New Circus at The Lyceum
-the manager presented an equilibrist, slack wire dancers,
horsemanship (with Benjamin Handy as one of the equestrians),
unnamed feats of activity by "The Famous African - tightrope dancers "
(including the ever-popular Mary Ann Handy
aka The (original) Wonderful Child of Promise,
who had developed a new specialty)
Tumblers, including "The Little Devil"),
"Handy's Little Poney" that could
"do more than any horse in the kingdom ever did"
and, The Taylor Riding to Brentford
(a pantomime, one supposes) with Mr. Sanderson leading the band.
As usual, Benjamin Handy was offering riding lessons on the side.
At Astley's on 27 July 1795 Benjamin Handy served as a clown horseman
then he and his company appeared at
The New Circus in Manchester from August to October 1795.
After that he took his group to Ireland, whence Handy was hailed.
(Therefore, Handy was Irish NOT english,
his 2nd daughter was baptized or christened in The UK,
however, his 3rd &4th children, a set of male twins,
were baptized at St. Peter's, Dublin, Ireland.)
When he set up again at Limekiln Lane, Bristol, in February 1796.
By then he had added to his company some Catawba
(misspelled as Catauba) Indians, who displayed their native abilities.
(Chief Neil Huntley & his daughter – Mary Huntley –The widow of Grant
& his brother)
Benjamin Handy remained in Bristol through March 1796,
and was again at Bristol in early 1797.
His benefit bill of 25 March 1797 noted that he was living at:
No 2, Lower College Street, Bristol.
Benjamin Handy and Troupe were engaged in June 1797
by The Elder, Astley for performances in London.
Benjamin Handy and William Davis took over The Dublin Amphitheatre Royal,
But at the end of 1797, a huge disaster hit.
The wife of William Davis and his child,
the child Mary Ann Handy of Benjamin Handy,
and twenty (20) horses were drowned,
where amongst the losses that were suffered
when The Packet known as The Viceroy Ship
went down on a water crossing trip from Liverpool to Dublin.
In 1804, Benjamin Handy and William Davis
joined with Crossman, Smith and Parker to form a new company in London.
They bought a half share (50%) of the management of Astley's Amphitheatre,
with John Astley holding (50%) the other half.
At some point after that Benjamin Handy retired.
De Castro in his Memoirs in 1824 said,
"Benjamin Handy lives as an independant gentleman, and a magistrate
for The County of Somerset, very near the famed city of Bath...
Perhaps the following entry in the registers
of St. Paul, Covent Garden,
concerned our subject: Benjamin Handy of that parish,
widower, married Mary Huntley - Grant, widow on 7 June 1818,
daughter of Chief Neil Huntley of Catauba which is misspelled,and, should be The Catawba Tribe
HANDY, MRS. BENJAMIN,
STAGE NAME: SIGNORA RICCARDINI D. 1789, Equestrienne –
The equestrienne Signora Riccardini was the wife of Benjamin Thomas
aka Ben Handy and performed with him on 26 April 1788
in the yard behind The Stone Angel in Borough Walls, Bristol,
and, at Stour-bridge Fair and Norwich the same year.
Perhaps Mrs. Handy's stage name was her maiden name,
for a rope dancer named Miss Riccardini performed in London
and Bristol a few years later, and, could have been a sister.
No record of the marriage of The Handy's has been found,
but their daughter, Mary Ann, was born 1784
and began performing in 1788.
Little is known about Signora Riccardini's performances,
though the bill for 3 May 178 in Bristol said she would
“perform on One and Two Horses in a capital Manner."
The Bath Chronicle on 17 September 1789 reported that Mrs. Handy
had died two days before in Bristol. (15 Sep 1789)
Though we have found no records of specific performances
by Mrs. Handy in London, when Handy's troupe arrived in Bristol
in the spring of 1788, they were hailed as from London.
She probably performed at Atsley's Ampitheatre or at The Royal Circus,
where her husband had worked.
Handy, Mary Ann,
Stage Names: "The Child of Promise", "The Original Child of Promise",
“The Wonderful Child of Promise”, "The Original Wonderful Child of Promise",
Miss Mary Ann, Miss Marianne, Miss Little Handy,
"the NEVER to be equalled Little Child of Promise"
c.1784 - 1797, equestrienne, rope dancer.
Born about 1784, Mary Ann Handy was the daughter of the equestrians
Mr. and Mrs. Benjamin Handy, (Mrs. Handy was called Signora Riccardini,
which may have been her maiden name).
Little Miss Handy, advertised as "The Child of Promise",
was an equestrienne in a troupe of performers from
The Astley (Astley's) and Hughes (Hughes's) companies in London
on 27 April 1788 in Bristol.
The group performed "In a large commodious yard at the back of
The Angel, in The Borough Walls, leading from Redcliff-street
to Thomas-street in Bristol, with Miss Handy, "only fourty months old"
- (3 years, 4 months), exhibiting her horsemanship.
In the company were her father and mother and Franklin,
who soon became Benjamin Handy's partner.
The Bill at Bristol for 3 May boasted that "The Child of Promise",
“will, for this evening, ride on Mr. Franklin's Shoulders,
without the assistance of Hand or Rein,
having nothing to keep her up but her perpendicular Balance,
and which is allowed to be the greatest balance ever attempted."
Philip Astley was so impressed by Miss Handy that,
according to The Bristol Papers in September 1789,
he offered to pay Handy 365 guineas a year, for her services,
but Handy refused.
She was with The Handy-Franklin Company at Bristol in March 1790,
performing in a new, covered riding school behind The Full Molon,
Stoke's Croft, hailed as "the NEVER to be equalled Little Child of Promise".
At the new amphitheatre and riding school in Limekiln Lane, Bristol,
on 06 March 1792 she was again performing with
The Handy and The Franklin Troupe.
Frost's Circus Life places her at The Royal Circus in London in 1793,
performing with Franklin, and The Bristol Bills (examined by Kathleen Barker
and communicated to us) show that Mary Ann was again with the circus there
11 March 1794.
The following October 1794, "The Child of Promise" was advertised
as performing dances on the tightrope with an Italian company
at a booth in St. Jame's churchyard, Bristol, and although Benjamin Handy
was NOT connected with that venture, the child in question
was evidently Mary Ann Handy.
She performed with her father, Benjamin Handy at The Lyceum in London
in 1795, offering tightrope dancing and equestrienne feats.
By 1796 Miss Handy was advertised sometimes as Miss Mary Ann
or Miss Marianne, as when she rope-danced in Bristol in Februrary and March.(1796)
Indeed, her benefit bill in March 1796 called her "Miss Mary Ann,
The Original Child of Promise".
The bills no longer mentioned her as an equestrienne, and she seems
to have developed instead her rope-dancing ability.
She was at Limekiln Lane on 6 February 1797,
and subsequent dates, taking a benefit on 14 March 1997.
She was one of the company lost in December 1797,
when the packet Viceroy, bound for Ireland out of Liverpool,
went down in St. George's Channel, (and she drown along with 20 horses.)
She and others were on their way to Dublin, Ireland.
http://books.google.ca/books?id=HNe...CC4Q6AEwAA#v=onepage&q=benjamin handy&f=false on page 95
from the book:

Habgood to Houbert, Volume 7

By Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans
another article is here: http://books.google.ca/books?id=5A4...tors"+handy&q=handy#v=snippet&q=handy&f=false
A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers ...

By Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans
page 33 White, Mr. 1795-1803 - equestrian Says..."When Benjamin Handy took over The Lysceum in The Stand
and established his New Circus in the late winter and spring of 1795, one White was among the ridesr offering "Horsemanship Unrivaled",
along with the other feautures of a mixed bill. Performers in the circuses sometimes assumed several specialties, and,
he may have been the White numbered among the Banditti in The Black Forest, or; "The Natural Child"
a "grand serious spectacle" playing at The Royal circus in mid-November 1803.
- (the natural child - was likely his daughter - Mary Ann Handy - The Original Child of Promise"
page 150 ...had personally performed during the 1793 winter season. Kemble's petition failed,
but Williamson left Edinburgh. In the summer of 1973 he was acting in pantomimes with Benjamin Handy's troupe in Mancester.
The Haymarket bills confirm...
151 -- pantomimes with Benjamin Handy's troupe in Mancestor. The Haymarket bills confirm Williamson's constant attendance
at the theatre every summer from 1784 through 1792.
page 228 -- "wonderful child of promise" - See Handy, Mary Ann
The bill claimed that audiences would be entertained by "The Unparelleled Vaulting Horseman Mr. Handy."




from the book:
A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers ...

By Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans
another article is here: http://books.google.ca/books?id=5A4...tors"+handy&q=handy#v=snippet&q=handy&f=false

Frost, Circus Life and Circus Celebrities II
www.circushistory.org
Circus Historical Society website provides information on an organization dedicated to recording the history of the American circus.

 

http://www.circushistory.org/History/Sturtevant1724.htm

1829	Handy & Welch's

1838	Macomber and Handy with Giraffe Higham Mass 9-15-1838

1830	Handy & Welch's Circus

 

Sidney. A monody, occasioned by the loss of the Viceroy Packet, on her passage from Liverpool to Dublin,
in the month of December, 1797

• Paperback: 36 pages
• Publisher: Gale ECCO, Print Editions (June 10, 2010)
• Language: English
• ISBN-10: 1170881920
• ISBN-13: 978-1170881927

 

http://www.circushistory.org/History/Sturtevant1724.htm
1829 Handy & Welch's
1830 Handy & Welch's Circus
1838 Macomber and Handy with Giraffe Higham Mass 9-15-1838
from 1724 to 1849
http://www.circushistory.org/History/Sturtevant1724.htm

 

Astley's Amphitheatre was destroyed by fire in 1794, to the serious loss of the proprietor, who was not insured;
but such was his indomitable energy and enterprise that it was rebuilt in time to be opened on Easter Monday,
in the following year. In the mean while, in order to keep his company and stud employed,
he had converted the Lyceum into a circus, in conjunction with a partner named Benjamin aka Ben Handy.
The Royal Circus was far from prosperous. The load of debt upon it kept the lessees in a position of constant difficulty and embarrassment,
and in 1795 Mrs West levied an execution on the premises. It was then opened by Jones and Cross,
the latter a writer of spectacles and pantomimes for Covent Garden; and in their hands it remained until it was destroyed by fire in 1805.
Benjamin aka Ben Handy was still Astley's partner in 1796, when the advertisements announce 'thirty-five new acts by Astley's and Handy's riders
, and two surprising females, (Mary Ann Handy aka Miss Mariane aka Miss Mary Ann aka The Original "Wonderful" Child of Promise & Mary Huntley - Grant - Handy (daughter of Chief Neil Huntley of The Catawba Tribe)
’ in addition to pony races, the performances of a clever little pony, only thirty inches in height, a performance on two ropes,

and a novel act by a performer named Carr, who stood on his head in the centre of a globe, and ascended thirty feet 'turning round in a most surprising manner,
like a boy's top.' Later advertisements of this year describe the Amphitheatre as 'under the patronage of the Duke of York,'
and announce the special engagement of two Catawba Indians - both chiefs,Chief Neil Huntley and, his brother) - of course, as American Indians
and Arabs who appear in the arena always are represented to be.
These copper-coloured gentlemen gave their war dance and tomahawk exercise,
and performed feats of dexterity with bows and arrows.
The only mention of equestrianism at this time is, that 'various equestrian and other exercises' will be given 'by pupils of both the Astleys.'
http://www.circushistory.org/Frost/Frost2.htm
Catawba (was written in a few books as Catauba, which is the incorrect spelling of Catawba)

• 
  
  Susan Lynne Schwenger i knew i came from a circus family from the UK, and, Catawba indians that went from usa to UK to be in the circus with Benjamin Handy - as, a young kid i was very athletic, but, i could never find out how to join a circus !!!
  January 13 at 10:06pm · Like
• 
  
  John Strong Susan, do you still have desires to join a circus?
  January 13 at 10:08pm · Like
• 
  
  Susan Lynne Schwenger i wonder how many people have unrealized dreams of walking tight wires and tight rope dancing etc.,
  January 13 at 10:09pm · Like
• 
  
  Susan Lynne Schwenger at 55 ? well, i guess since i have The Wonderful Child of Promise - Mary Ann Handy as, one of my great great aunt...my great great...grandfather's child - daughter of Benjamin Handy & signora riccardini - hmmm, i might be a good side show had i known i had this connection earlier in my life !!! she drown off ireland with 20 horses, and, a bunch of circus equipment when she was 12-13, and, she'd been in the business since she was about 40 months old- as an acrobat, tightrope walker -rope dancer -equestrian== yeah, i used to have profound dreams as a kid - i remember going to the circus in downtown toronto - and,i was very good on a horse
  January 13 at 10:17pm · Like
• 
  
  Susan Lynne Schwenger i certainly had the body - face, etc., to likely have been very good at it - what would life be, without our unrealized dreams ?
  January 13 at 10:19pm · Like
• 
  
  Susan Lynne Schwenger still trying to find out who Signora Riccardini was - she was in the circus in the UK - london, etc., long time ago
  January 13 at 10:20pm · Like
• 
  
  Susan Lynne Schwenger very likely italian ? or maybe gypsy ?
  January 13 at 10:20pm · Like
• 
  
  John Strong Susan, my first wife was a Wallenda, her grandfather was Carl Wallenda, he and many of his family fell to their deaths following or falling their dreams. Sometimes your dreams become your worst nightmares...
  January 13 at 10:24pm · Like
• 
  
  Susan Lynne Schwenger never had any falls in my dreams, but, yes, there is no doubt, sometimes it takes a tight-wire to take us, or, a tight-wire to make us realize the good stuff we are actually made of - i'm at a point in my life - i'm having an identity crisis - i guess; i'd be best to focus on my abilities as a seer
  January 13 at 10:28pm · Like
• 
  
  Susan Lynne Schwenger i still would like to find copies of these circus bills from the UK
  January 13 at 10:29pm · Like
• 
  
  Susan Lynne Schwenger Family tradition suggests that Charles Handy (son of benjamin handy) had been involved in the circus, with particular skills in equestrian tricks. early in his life, and this seems to be confirmed by the resources in the field of circus history.
  Charles' birth, based upon Canadian census records, must have been in or about 1801, and we find a Charles Handy born to a Benjamin and Mary Handy in Dublin on Aug 5, 1801 and baptized (along with a twin brother Henry) in St Peter's Church.This Irish birth-place might seem a problem given that in the Canadian censuses Charles gave his place of birth as England; however, as will be discussed below, Benjamin Handy and his circus were working in both England and Ireland at the time of Charles' birth, and Charles was to grow up largely in England. It is also likely that a person of English extraction in nineteenth-century Ontario would be reluctant to identify himself as Irish. This same couple had a daughter, Jane Elizabeth Mary Ann, who was baptized in Liverpool on 30 May 1799 . Benjamin Handy was baptized in St Mary, Hampton, Middlesex (just west of London) on 4 July 1766 to Anthony and Jane Handy; the earliest traces of him after that is in the 1780s as an ostler in Hughes equestrian company based in London. A later account of his circus work describes his early occupation as ostler. The same source suggests that in the late 1780s he opened a riding school in Bath. Certainly, his work with trick riding became his main pursuit in the early 1790s, and he was involved in circuses both as performer and owner throughout the 1790s. His first ventures as owner were in Bristol, and then at the Lyceum in London from 1794 on, where for some time at least his partner was the famous Philip Astley, who was the most significant figure in the early development of the circus in England (he had also begun as a horse-trainer). It seems from one play-bill that the circus performed as part of the celebration of the marriage of the Prince of Wales in April 1795. In the remaining years of the decade Handy's circuses were also to perform in Manchester, Bristol, Dublin and Liverpool. Handy's first wife, who performed with Handy in the late 1780s under the name “Signora Riccardini”, died in 1789.Also of great renown was their daughter Mary Ann (born ca. 1784), who performed from about the age of five under the stage name “The Child of Promise”, first in equestrian stunts, and then as a tight-rope dancer. Her name is prominent on most of the surviving Handy circus bills of the 1790s. However, she drowned in 1797 with other members of Handy's troupe traveling from Liverpool to Dublin on the ship Viceroy.
  Benjamin's second wife, Mary Huntley (Grant), seems also to have been an equestrian performer - and, she was the daughter of Chief Neil Huntley of the Catawba (catauba - misspelled) in a book written about the circus
  January 13 at 10:31pm · Like
• 
  
  Susan Lynne Schwenger you know, even at my age, i'd love to try it

 

[Philip Astley]
Philip Astley (1742-1814)
The origins of the modern circus can be dated quite accurately. In 1769 Philip Astley bought a piece of property near Westminster bridge, London, England,
and constructed upon it the very first circus building called The New British School or Amphitheater Riding Ring.
He presented the first performance in 1770 (see "A Bone of Contention" at the end of this page)
. It was so successful that by 1779 he had a roof constructed over the performing area; the modern circus was born, albeit not called as such.
That came later, in 1782.

ROMAN ERA
MEDIEVAL ERA
16th CENTURY
17th CENTURY
18th CENTURY
19th CENTURY
[Circu Maximus]
The Circus Maximus in Rome - built about 600 B.C., seated 200,000
ROMAN ERA

[Chariot] The term "circus", meaning a large public entertainment featuring performing animals, clowns, feats of skill and daring, pageantry, etc.
(according to Random House College Dictionary) has its roots in the Roman word, circus, meaning a ring or circle.
The Roman circus, however, was not so much of a fun place to perform. Often the star performers were eaten by lions, or killed in bloody combat.
Originally designed as a sporting event where Roman soldiers could match their skills and prowess against one another in an olympian fashion it quickly evolved into pure carnage.
The bloodier the spectacle the more popular it became. People killing people, animals killing animals, animals killing people. It reached its gruesome height under the Emperor Nero.
With the final decline of the Roman Empire the event disappeared, but some of its terminology and legacy survived.
Modern blood sports can trace their origins back to the Roman arena - bull fighting and cock fighting, for example.
Words like circus, arena, and colosseum are Roman terms to describe a place of mass entertainment.
MEDIEVAL ERA
[Jongleur] With the decline of the Roman Empire many of its former vassal states, like Britain, were left defenseless and unable to protect themselves
from invasions from aggressive peoples such as the Saxons, Jutes, Angles, and, later, the Vikings. Communications broke down and left small communities isolated
- a period in European history known as the Dark Ages. Groups of traveling entertainers began appearing - going from village to village bringing news, singing songs, and telling stories,
after the Saxon fashion. For many these travelers were the only source of information and became very popular.
In England these performers were called "gleemen"; eventually known as minstrels.
Later in the Middle Ages, after the 1066 invasion by the Normans, a new entertainer appeared - the jugglour or jongleur.
They supplanted the minstrels in popularity, but, like the rest of the country, the Saxon and Norman performers soon combined their skills and language.

16th CENTURY
[The fool] By the time of Queen Elizabeth I most of the earlier problems of invasion, turmoil, and isolation had been resolved and the country settled down
to a more secure and prosperous life. Wandering vagabonds were seen as a threat and laws were passed to curtail their gypsy life.
Minstrels and other traveling entertainers no longer had a place in Tudor society. They were equated with "Rogues, Vagabonds, and Sturdy Beggars".
All were subject to punishment, but performers quickly adapted to this statute and the ever changing needs of developing communities.
Instead of performing on street corners and village greens, they began working in new more permanent locations designed specifically for such events.

17th CENTURY
In the seventeenth century country fairs were a popular event with the English populace. They became the major venue for performers to show off their skills.
These fairs were not the well organized, smooth running operations we know today. They tended to be riotous and noisy events, and it took a rough and strong individual
to be successful at them, but they provided the perfect forum for acrobats, jugglers, rope dancers, and bear trainers.
Also, riding exhibitions became a regular feature.
At this time more permanent facilities became available for the performer.
Many of these were adjacent to established enterprises such as Sadler's Wells - named for a Mr.Sadler who, in 1683, discovered a "medical" spring in his garden outside of London
by the New River. Performers were encouraged to entertain his patrons in the garden and it is recorded that a well known rider, William Stokes,
introduced performing horses to Sadler's Wells in the late 17th century.
Today, of course, Sadler's Wells is a world famous Opera House. There were others but the first accredited circus building, and organized circus, had to wait until 1769.

18th CENTURY
Although by the middle of the 18th Century much of what is considered important to a circus was already in place,
it took one man to put it all together in the correct environment to invent the modern circus. That man, as we mentioned above, was one Philip Astley.
Astley was not born into a performing family. His father was a cabinet maker from Newcastle-Under-Lyme, England, and, from the time Philip was born, on January 8th, 1742,
his future seemed to be assured - master cabinet maker and carpenter. However, he was not particularly interested in wood but was in love with horses.
At the age of seventeen he borrowed a horse and joined the Fifteenth Dragoons as a rough rider and horse breaker.
Two years later his regiment was sent overseas to serve under the King of Prussia where he proved his daring and bravery.
At Hamburg he saved a horse that had fallen overboard from their ship; at Emsdorf he captured the enemy standard; at Warburg he saved the life of the wounded Duke of Brunswick.
By 1766 he was Sergeant Major Astley, stood over 6 feet tall with a huge frame and booming voice that, along with his extrovert nature and daredevil reputation, made him a celebrity.
About this time he decided that he wanted to start a riding school to teach the nobility art d'equitation.
Unfortunately he lacked the funding but heard of an innkeeper who had financed the purchase of his business with the proceeds of trick riding exhibitions.
A perfect solution for a perfect equestrian. Thus, accompanied by his regimental commanders white charger, Gibraltar, which he had been presented with upon his discharge,
he sort out an appropriate location to begin plying his vocation.
Islington, on the north side of London, was a large area dedicated to recreation and many riding masters, down on their luck, entertained there,
demonstrating their skills to attract clients for their riding schools.
When Astley arrived there he discovered he needed to learn the art of presenting a show, so he hired on as a horse breaker.
During this period he purchased two more horses and got married to a horsewoman named "Petsy".
In 1768 he moved to the south side of the Thames and set up his riding school - opening it with a demonstration of both his and his wife's riding skills.
Shortly after he was charging 6 pence admission.
With the profits made from this simple beginning he was able to purchase some land near Westminster bridge,
and built the first circus building. Originally it was more an open field surrounded by a kind of covered grandstand. Later he covered the whole area with a roof.

Astley's greatest contribution to the modern circus was not so much combining his riding act with other performers (clowns, for example) but for the circus ring itself.
Prior to Astley most riding exhibitions were presented in a linear fashion - the performer riding past his aud- ience as he performed a trick, then having to turn around,
or ride back around the other side, before presenting the next trick.
When Astley decided that a covered grandstand was needed he realized it would be more advantageous to both performer and audience if the rider worked in a circle.
The rider could move from trick to trick without interruption and the people could see everything going on and a larger audience could attend
as they sat all around the perform- ance arena. Also, as Astley discovered, by riding in a circle he could use the centrifugal force to aid his performance.
With experimentation he discovered the optimum size of the ring to be 42 feet.
Charles Hughes, a former rider at Astleys, opened a competing company in 1782 - not too far from Astley's booming enterprise - much to the chagrin of Astley.
Hughes needed a name for his company. Why he chose the name he did is open to debate - perhaps he was a scholar of ancient history, or, more likely,
after the large circular track used for exercising horses in Hyde Park. Whatever the case, he called his company (drum roll!), "The Royal Circus".
Astley was responsible for introducing the circus into many European countries, and several cities established permanent circus buildings.
The first circus in Russia was presented in 1793 at the royal palace in Saint Petersburg.
This new form of entertainment finally crossed the Atlantic when, on April 3rd, 1793, the first complete circus program
was presented in a building on the southwest corner of 12th and Market streets,
Philadelphia, by John Bill Ricketts. Ricketts, a British equestrian, went on to present circuses in New York and Boston,
and the show continued, under varying names,
through the first decade of the 19th century. George Washington saw a Ricketts show in 1797 and sold them a horse.
The early traveling shows were very simple - in contrast to the flashy city shows. Usually a simple musical accompaniment of a violin, or two, with a juggler,
www.hanneford.8m.com/history/early_history.htm

 

History of the Modern Circus

​

In ancient Roman times circuses featured a variety of athletic displays, chariot races, and animal shows. The withdrawal of the Romans from Britain meant no more circuses but by the Middle Ages there were travelling entertainers who performed historical stories or newsworthy events. With time, wandering minstrels or gypsies would perform juggling, horse tricks, magic, puppetry and acrobatics on street corners.

​

Soon performances were more formal and called ‘feats of activity’ played before town officials or the mayor for a fee. By the 16^th century rope dancing (balancing tricks on a slack rope) was popular and equestrian trick-acts were more common and varied. In the Elizabethan period theatres became popular not just for theatrical performances but entertainments involving animal shows and acrobats. However, the Civil War of the following century saw performances prohibited and theatres closed. The Restoration of 1660 re-opened entertainment venues but these were slow in picking up their former popularity.

​

Gradually the popularity of these equestrian shows gained momentum culminating in the advent of what is known as the 'modern circus' in 1768. Philip Astley from Newcastle-Under-Lyme had a childhood love of horses and joined the 15th Dragoons as a horse-breaker. He became Sergeant-Major and, on discharge from the army, began travelling around England performing equestrian trick and fancy acts before settling with his wife (recorded simply as a 'horse-woman') in London. At Islington there was a riding school which demonstrated acts to attract clients. This inspired Astley to establish a formal show and in 1768 he set up his own Amphitheatre Riding School near Westminster Bridge. Astley gave riding lessons in the morning then he and his wife conducted shows in the afternoon. He perfected the idea of performing in what he termed 'the ring', a circular arena (hence 'circus' from the Roman word meaning a ring or circle). Before this development athletic equestrian displays, such as those hosted by gypsy wanderers, were performed in a straight line through an open field making it hard for the audience to see the entire show. Astley discovered the advantages of centrifugal force within a ring which helped riders keep their balance while performing feats on horseback (although it has been argued that rings had been used prior to Astley). He designed the ring at 42 feet in diameter which remains the international standard to this day.
Within two years Astley's shows were extremely popular with the London public. Somersaulting on a cantering horse was a common display then Astley introduced novelty acrobats, clowns, strong-man feats, tight-rope dancers and jugglers to fill in between the equestrian acts. With this blend of comedy, athletic feats and equestrian acts in a permanent establishment, the modern circus was born with Astley named 'Father of the Circus'.

​

It would have required great skill and agility to perform these feats so as well as training his performers Astley hired people who were already 'in the business'. Chief amongst these ready-made performers were Jewish people who had been with travelling fairs for decades. This group became known, in a derogatory sense, as Astley's Jews. Abraham Saunders, the younger brother of rope dancer Samuel, was one of Astley's Jews.
In 1782 Astley opened the Amphitheatre Anglois as Paris' first circus. In the same year Charles Hughes, who had been with Astley in London, opened his own London amphitheatre and riding school in competition to Astley. It was called The Royal Circus and Equestrian Philharmonic Academy, a somewhat majestic name although 'Royal Circus' was later to become a popular title for many companies as we shall see with the Samwells. (Note that Astley did not call his original establishment a 'circus' - that fame lies with Hughes). Charles Hughes also opened sites in Russia. Soon, almost every major city on the Continent housed a ring for use by permanent or visiting circuses. A rider with Hughes, John Bill Rickets, set up his own riding school in Philadelphia in 1793 and so began the first American circus.
It was during these early years that circus shows took to the road in Britain often appearing in annual fairs. At first they were small with perhaps only a clown, juggler, rope dancer, and a couple of equestrians performing to the accompaniment of a violinist. These were not unlike the earlier travelling minstrels except their shows offered a wider variety of entertainments. They would quickly erect small wooden structures in a field or market place, charge an admission fee, perform their acts, then move on to the next village a day or so later. Entertainments were often conducted in riding schools or in the many circus amphitheatres that were emerging in the late 1700s. The first Saunders and Samwell circuses began their companies in this way.
Unlike the British and European wooden structures the Americans housed their shows under tents which were found to be more suitable for travelling shows. The Americans also tended to hold performances in the major cities and not small towns as in Britain. They also used railways to great advantage in being able to quickly transport their companies and thus host more shows (and so make more money). During the 19th century their shows were much bigger with more circus rings and more 'big tops'. In time, the American shows became extravagant events often with performing elephants, hippopotamuses, and freak shows. Some well-known names were Phineas Barnum and James Bailey (Barnum and Bailey's Greatest Show on Earth - a massive three-ring circus) and the Ringling Brothers. In the continual effort to outdo other companies soon it became common for shows to combine such as the Ringling Brothers and Barnum and Bailey's Combined Greatest Show on Earth (whew!) which employed 1,200 people and used 100 double-length rail cars for railway transport.
Back in England, by 1830 permanent circus amphitheatres had been established in almost every major city.

​

Tents were first introduced by the equestrian Thomas Cooke in the 1820s although canvas had been used on occasion by the earlest circuses (some historians claim Samwell's Circus was amongst the first to perform under canvas). This 'big top' paved the way for circus troupes to be more mobile in their circuits and circuses boomed. Some of these tents were quite large, sometimes up to 40 metres in diameter. By the late 1800s some tent shows were seating about 7,000 people. As a reflection of Britain's trade routes across the globe, there was diversity amongst acts with Chinese acrobats and their plate-spinning antics, German hoop-diving equestrians, French, Italian, and African performers. Unlike their American cousins, British and European shows remained small using a single ring with only a handful of performers, and using horse-drawn carriages to visit villages. Circus and theatrical circuits were traversed year in and out, with companies following the annual fairs and markets.
The arrival of the circus in town was a much

​

awaited and promoted event and no doubt almost every resident would have attended. Most performers moved amongst different shows, hence 'benefit shows' and 'at liberty' notices in the local theatrical and circus newspaper The Era. It would be impossible to ascertain how many circus companies existed in Britain during the 1800s as some shows could last a mere week whilst others continued for some years under the same name. Often performers would start their own show then close down to take up work with another company. It was typical for a circus to appear in a season lasting several weeks but the performers would often vary every week as they moved amongst the companies. The Saunders and Samwell circus performers moved through many companies and often set up their own shows.
By the mid-1800s acrobatic stars were gaining

​

more attention although equestrians remained the key attraction. Clowns were becoming more adept and included equestrian feats in their acts along with the usual juggling, balancing and parody acts. Somersaulting on horseback was a popular feat - the children of William Samwell were noted for backwardsomersaults! Delicate manoeuvres on a slack-wire were demonstrated by men and women. Rope dancing had been common as an act on a single swinging rope - this was Samuel Saunders' expertise - until the mid-1800s when a bar was added on two ropes making a trapeze and a whole new way of performing tricks. Animal shows with dogs and goats also became popular with British audiences.
The mid to late 1800s was the peak of the British circus.

​

Famous names included Charles Hengler, Lord George Sanger, Pablo Fanque, Thomas Cooke, and George Ginnett (who was nephew to Charlotte Samwells, once again revealing the close-knit relationships within show business families). Many families remained in the business for generations, as happened with the Samwells. The Ginnetts are still circus proprietors to this day.
The advent of film in the early 20th century provided audiences with alternative entertainment and the popularity of circuses began to decline after WWI. In more recent times, the criticism from animal protection societies has seen circuses abandon animal acts in favour of human feats of endurance and agility. Nevertheless, the colour, magic, and excitement of the modern circus lives on!

© Caroline Cavanagh 2013
http://samwellcircus.com/index.php/history

 

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History of the Modern Circus

​

In ancient Roman times circuses featured a variety of athletic displays, chariot races, and animal shows. The withdrawal of the Romans from Britain meant no more circuses but by the Middle Ages there were travelling entertainers who performed historical stories or newsworthy events. With time, wandering minstrels or gypsies would perform juggling, horse tricks, magic, puppetry and acrobatics on street corners.

​

Soon performances were more formal and called ‘feats of activity’ played before town officials or the mayor for a fee. By the 16^th century rope dancing (balancing tricks on a slack rope) was popular and equestrian trick-acts were more common and varied. In the Elizabethan period theatres became popular not just for theatrical performances but entertainments involving animal shows and acrobats. However, the Civil War of the following century saw performances prohibited and theatres closed. The Restoration of 1660 re-opened entertainment venues but these were slow in picking up their former popularity.

​

Gradually the popularity of these equestrian shows gained momentum culminating in the advent of what is known as the 'modern circus' in 1768. Philip Astley from Newcastle-Under-Lyme had a childhood love of horses and joined the 15th Dragoons as a horse-breaker. He became Sergeant-Major and, on discharge from the army, began travelling around England performing equestrian trick and fancy acts before settling with his wife (recorded simply as a 'horse-woman') in London. At Islington there was a riding school which demonstrated acts to attract clients. This inspired Astley to establish a formal show and in 1768 he set up his own Amphitheatre Riding School near Westminster Bridge. Astley gave riding lessons in the morning then he and his wife conducted shows in the afternoon. He perfected the idea of performing in what he termed 'the ring', a circular arena (hence 'circus' from the Roman word meaning a ring or circle). Before this development athletic equestrian displays, such as those hosted by gypsy wanderers, were performed in a straight line through an open field making it hard for the audience to see the entire show. Astley discovered the advantages of centrifugal force within a ring which helped riders keep their balance while performing feats on horseback (although it has been argued that rings had been used prior to Astley). He designed the ring at 42 feet in diameter which remains the international standard to this day.
Within two years Astley's shows were extremely popular with the London public. Somersaulting on a cantering horse was a common display then Astley introduced novelty acrobats, clowns, strong-man feats, tight-rope dancers and jugglers to fill in between the equestrian acts. With this blend of comedy, athletic feats and equestrian acts in a permanent establishment, the modern circus was born with Astley named 'Father of the Circus'.

​

It would have required great skill and agility to perform these feats so as well as training his performers Astley hired people who were already 'in the business'. Chief amongst these ready-made performers were Jewish people who had been with travelling fairs for decades. This group became known, in a derogatory sense, as Astley's Jews. Abraham Saunders, the younger brother of rope dancer Samuel, was one of Astley's Jews.
In 1782 Astley opened the Amphitheatre Anglois as Paris' first circus. In the same year Charles Hughes, who had been with Astley in London, opened his own London amphitheatre and riding school in competition to Astley. It was called The Royal Circus and Equestrian Philharmonic Academy, a somewhat majestic name although 'Royal Circus' was later to become a popular title for many companies as we shall see with the Samwells. (Note that Astley did not call his original establishment a 'circus' - that fame lies with Hughes). Charles Hughes also opened sites in Russia. Soon, almost every major city on the Continent housed a ring for use by permanent or visiting circuses. A rider with Hughes, John Bill Rickets, set up his own riding school in Philadelphia in 1793 and so began the first American circus.
It was during these early years that circus shows took to the road in Britain often appearing in annual fairs. At first they were small with perhaps only a clown, juggler, rope dancer, and a couple of equestrians performing to the accompaniment of a violinist. These were not unlike the earlier travelling minstrels except their shows offered a wider variety of entertainments. They would quickly erect small wooden structures in a field or market place, charge an admission fee, perform their acts, then move on to the next village a day or so later. Entertainments were often conducted in riding schools or in the many circus amphitheatres that were emerging in the late 1700s. The first Saunders and Samwell circuses began their companies in this way.
Unlike the British and European wooden structures the Americans housed their shows under tents which were found to be more suitable for travelling shows. The Americans also tended to hold performances in the major cities and not small towns as in Britain. They also used railways to great advantage in being able to quickly transport their companies and thus host more shows (and so make more money). During the 19th century their shows were much bigger with more circus rings and more 'big tops'. In time, the American shows became extravagant events often with performing elephants, hippopotamuses, and freak shows. Some well-known names were Phineas Barnum and James Bailey (Barnum and Bailey's Greatest Show on Earth - a massive three-ring circus) and the Ringling Brothers. In the continual effort to outdo other companies soon it became common for shows to combine such as the Ringling Brothers and Barnum and Bailey's Combined Greatest Show on Earth (whew!) which employed 1,200 people and used 100 double-length rail cars for railway transport.
Back in England, by 1830 permanent circus amphitheatres had been established in almost every major city.

​

Tents were first introduced by the equestrian Thomas Cooke in the 1820s although canvas had been used on occasion by the earlest circuses (some historians claim Samwell's Circus was amongst the first to perform under canvas). This 'big top' paved the way for circus troupes to be more mobile in their circuits and circuses boomed. Some of these tents were quite large, sometimes up to 40 metres in diameter. By the late 1800s some tent shows were seating about 7,000 people. As a reflection of Britain's trade routes across the globe, there was diversity amongst acts with Chinese acrobats and their plate-spinning antics, German hoop-diving equestrians, French, Italian, and African performers. Unlike their American cousins, British and European shows remained small using a single ring with only a handful of performers, and using horse-drawn carriages to visit villages. Circus and theatrical circuits were traversed year in and out, with companies following the annual fairs and markets.
The arrival of the circus in town was a much

​

awaited and promoted event and no doubt almost every resident would have attended. Most performers moved amongst different shows, hence 'benefit shows' and 'at liberty' notices in the local theatrical and circus newspaper The Era. It would be impossible to ascertain how many circus companies existed in Britain during the 1800s as some shows could last a mere week whilst others continued for some years under the same name. Often performers would start their own show then close down to take up work with another company. It was typical for a circus to appear in a season lasting several weeks but the performers would often vary every week as they moved amongst the companies. The Saunders and Samwell circus performers moved through many companies and often set up their own shows.
By the mid-1800s acrobatic stars were gaining

​

more attention although equestrians remained the key attraction. Clowns were becoming more adept and included equestrian feats in their acts along with the usual juggling, balancing and parody acts. Somersaulting on horseback was a popular feat - the children of William Samwell were noted for backwardsomersaults! Delicate manoeuvres on a slack-wire were demonstrated by men and women. Rope dancing had been common as an act on a single swinging rope - this was Samuel Saunders' expertise - until the mid-1800s when a bar was added on two ropes making a trapeze and a whole new way of performing tricks. Animal shows with dogs and goats also became popular with British audiences.
The mid to late 1800s was the peak of the British circus.

​

Famous names included Charles Hengler, Lord George Sanger, Pablo Fanque, Thomas Cooke, and George Ginnett (who was nephew to Charlotte Samwells, once again revealing the close-knit relationships within show business families). Many families remained in the business for generations, as happened with the Samwells. The Ginnetts are still circus proprietors to this day.
The advent of film in the early 20th century provided audiences with alternative entertainment and the popularity of circuses began to decline after WWI. In more recent times, the criticism from animal protection societies has seen circuses abandon animal acts in favour of human feats of endurance and agility. Nevertheless, the colour, magic, and excitement of the modern circus lives on!

© Caroline Cavanagh 2013
http://samwellcircus.com/index.php/history

 

'Entrance to Astley's theatre, in 1820 '

LORD SANGER'S CIRCUS 1893

 

ASTLEY'S