Part 3

Stage the Big Show in the center of the floor and have the audience stand or sit around this ring. Use the barker who stood at the entrance as the ringmaster. In the most extravagant professional lingo he should announce each act, pointing out its marvels. There should be a band to help create the circus atmosphere. If a real band cannot be had, a kazoo or a vocophone jazz band makes an excellent substitute. Vocophones are papier-mâché instruments the size and shape of regular band instruments but made in such a way that by blowing or humming through the mouthpiece a most melodious and voluminous sound comes forth. They may be purchased from A. Schoenhut Company, Hagert and Sepviva Streets, Philadelphia, Pennsylvania, eight instruments for twelve dollars. Kazoos, small musical mouthpieces, are only a few cents apiece. Dress the musicians themselves in regular brass-buttoned uniforms such as bandmen usually wear, or dress them as a colored minstrel group with white duck suits, huge bright-colored ties and blackened faces. They should lead the parade and play the piano whenever such type of music is needed.

PROGRAM

The Parade.

All the performers used in the circus should enter, headed by the ringmaster, who leads his group around the ring several times and out through the opposite exit. First comes a jazz band followed by the clowns, who prance from side to side tormenting the other performers and doing all sorts of queer antics for the crowds. The freaks should follow them, and then the wild animals, led by their animal trainer, the acrobats, the jugglers, bareback riders and the rest of the circus outfit. After the parade the ringmaster may detain the freaks in the ring to display the peculiarities of each.

Animals.

If you can rent or make any animal costumes, be sure to have an animal act. It always amuses the audience if it is cleverly and realistically done. Have the ringmaster, who acts as animal trainer, put the animals through all sorts of stunts. He should have a long whip which he snaps vigorously as he shouts his orders. The lion and the tiger may play ball with each other, keeping up a constant roar as they toss the ball back and forth. The polar bear may ride a bicycle, the monkeys may have a boxing match. The act may be ended by having all the animals dance around on their hind legs to some lively fox-trot music.

Clowns.

Be sure to have a clown stunt. Use all sorts of clowns, tall and short, fat and thin. Have some of them do some tumbling or pyramid stunts, familiar to any gym instructors, and have others mimic them in a ridiculous fashion. They may end the act with a dance.[E]

The other numbers on the program can be any special stunts that lend themselves to circus burlesque. Two others from “A Circus” have been included below to show the type of thing which is always popular at a circus and which will not take any special time or work in preparation.

JATO, THE JAPANESE JUGGLER

Judged to Have the Jump on All Jugglers.

The act should be performed by two people who are able to put a lot of burlesque into it and play it successfully to the gallery. Jato, the juggler, dressed in Japanese kimono, balances his Japanese wife on his upturned feet. Of course she merely sits on his feet, balancing herself with the tips of her toes safely on the floor, but bowing and smiling as though it were a most difficult stunt. Then, with the aid of an invisible wire suspended from the ceiling, Jato balances such articles as chairs and tables on his nose. He must hook them cleverly to the loop end of the wire, as he arranges them in place, so that for a time the audience is in ignorance of how he does the trick. Finally, Jato carelessly leaves an object hanging in midair and thus discloses his secret. His wife quickly snatches it away as he bows to the amused audience. The old trick of lifting a supposedly heavy weight, which is finally allowed to bounce on the floor, may be included in this act.

DAISY, THE DARING AND DAZZLING TIGHT ROPE WALKER

Displaying Unrivaled Skill and Recklessness.

A tight rope stunt can be worked out by one, or even two girls, dressed in fluffy tarlatan costumes with tight bodices and short full skirts. Stretch a rope tightly across the floor. On it the performer makes her way across the ring, going through all the gestures and balancing movements of a real rope walker while the orchestra plays very melodramatic music. When she reaches the center, have the music stop while she makes a daring turn, presumably in midair. The orchestra starts up again with a bang. Of course there is much applause from the audience. She may even dance along the rope, finishing her stunt with a quick pirouette turn and a dainty jump to the floor. With many elaborate bows to the audience and to the ringmaster she leaves the ring.

As a finale have all the performers prance around the ring several times to lively music, throwing confetti and serpentine at the audience. This procession will make a very gay and appropriate ending for the Big Show.

Be sure that everything pertaining to your evening’s entertainment is gay, colorful and circus-like. Try to have the audience and performers catch the spirit of fun and jollity that makes a circus party go.

FOOTNOTES:

[D] “A Circus,” The Womans Press. Price 50 cents.

[E] “Ten Timely Dances,” The Womans Press. Price 50 cents.

AN ITALIAN STREET SCENE

_Note_: This is a side show or interlude in a larger entertainment rather than a party in the usual sense of the word.

The setting is a gay, sunny Italian street or corner in the market place. Across the center-back is a fruit stand piled high with vegetables and fruits and bunches of hanging bananas. At one side is a two-wheeled pushcart; at the other, a wooden bench. When the curtain goes up everything suggests the happy, lazy activity of an Italian street on a bright summer day. The fat, good-natured looking fruit dealer, in gay peasant costume, is selling vegetables to a chattering peasant woman who carries a huge basket on her arm. A handsome Italian youth lounging on the bench is being persuaded by a pretty Italian flower girl to buy her flowers. “Fiori, belli fiori, un soldo al’uno” (Flowers, flowers, one cent apiece), she urges. He feigns amused indifference and goes on smoking his cigarette. An Italian boy, sitting on the floor against the wheel of the pushcart, is playing a harmonica, utterly oblivious to his surroundings. An old bent-over vender, pushing his cart across the back of the stage, cries, “Tomati, potati, e pepperone freschi” (Tomatoes, potatoes and fresh peppers). Two pretty Italian girls stroll by.

This action goes on in pantomime until way in the distance “O Sole Mio” can be heard. The boy with his harmonica stops his playing and runs in the direction from which the music comes. The music grows nearer and a group of strolling Italian street musicians enter. They are dressed in the bright costumes of the troubadour type. Some of them are playing stringed instruments. The singers carry tambourines. One of the girls in the group, who is evidently a dancer, catches sight of the handsome Italian youth and goes over toward him. Two peasant girls who chance to be passing by stop and watch her. The fruit dealer, his customer and several other passers-by stop and listen to the music. From “O Sole Mio” it changes into the well-known solo from “Il Trovatore,” “Oh, I Have Sighed to Rest Me,” sung by one of the men in the group. Without a pause, two others, a man and a woman, sing the duet from the same opera, “Home to Our Mountains.”

The crowd applauds with great enthusiasm, and the music begins again in a gayer strain. “Fickle Is Woman,” from “Rigoletto,” is sung with spirit. The men sing the first line, the women the next, and so on, alternating, until the last refrain, “Borne on the Breezes,” which is sung together. From that they swing into “Finiculi, Funicula,” which pleases the crowd immensely. The music changes to a lively Italian dance rhythm. The dancer who has been trying to attract the attention of the Italian youth strikes her tambourine and dances a wild, spirited dance, without taking her eyes off him. She ends the dance with several fast turns down-stage, stopping directly in front of him. The crowds applaud, the youth rises and together they dance the Tarantella to gay Tarantella music. Some of the singers and several of the onlookers join them, dancing and singing “La Peppinetta.” They dance round and round in a glad carefree fashion, laughing and throwing flowers at each other.

The music swings back into “Finiculi, Funicula,” which everyone sings and applauds wildly. The musicians collect their pennies from the crowd and start off, singing “O Sole Mio,” the song with which they entered. Some of the crowd follow, others wander off. The Italian youth watches the dancer for a minute and then resumes his lazy pose on the bench. The music grows fainter and fainter in the distance. The peasant woman continues her bargaining with the fruit dealer. The boy takes his place by the pushcart and goes on playing his harmonica. Gradually the street resumes its accustomed lazy atmosphere, which had been interrupted for a moment by a group of strolling players.

LA PEPPINETTA

From “Songs of Italy,” collected by Marzo, published by Schirmer, New York.

Milan (Lombardy). Sung by the group or by the dancers.

Italian: Che bel moffin la Peppinetta! English: What a sweet face has Peppinetta!

Corpa de dia, vui fagh l’amor! Body o’ me, if she were only mine!

La la lie-ra la la la lie-ra la la la la la la la la la la! la la lie-ra la la la lie-ra la la la la la la la la la la!

Che cara tosa allegra, scetta, She is a dear, I cannot forget her,

L’eona bellezza, l’èon ver te-sor! Lively, and lovely, truly divine!

La la lie-ra la la la lie-ra la la la la la la la la la la! la la lie-ra la la la lie-ra la la la la la la la la la la!

Se o-na quei volta su quel moffin, If any time I dare to do it,

Podess mo fagh quel che vui mi, What I would like to, on her face,

Mi ghe faria on bel basin, With a warm kiss I’ll venture to woo it,

Che no desideri de pu d’insci! And I shall wish no more and no less!

(Repeat last two lines twice.)

D’insci, d’insci, d’insci, d’insci! No less, no less, no less, no less!

La la lie-ra la la la lie-ra la la la la la la la la la la la la la lie-ra la la la lie-ra la la la la la la la la la la la la la la la la la la la!

GYPSY DANCE

This dance is arranged for four or more couples, a solo dancer and her partner. To be effective it must be staged with the proper Gypsy atmosphere and the larger the group the better. Have the Gypsies seated and lying around the stage in a rough circle. When the curtain rises they are talking, laughing and humming songs. Almost instantly a Gypsy man enters, dragging after him a Gypsy maid, whom he throws into the center of the circle. The captive gradually raises her head and, seeing the curious gaze of the group around her, decides to win them by her dancing. As the music starts and she begins to dance, some of the Gypsies in the group take up tambourines and play them in time to the music; others sway back and forth or hum snatches of the tune.

Music. Danse de la Gipsy, by C. Saint-Saëns, from the Opera “Henry VIII.”

Introduction. Rise to standing position with hands on hips. 2 measures.

Steps.

_Figure 1_--16 measures.

{Starting with R foot, run 5 steps toward one group { of Gypsies. 1 measure. (a) {Step forward on L foot, step backward on R foot and { drag L foot back to R toe. 1 measure. {Turn and repeat whole toward another group of Gypsies. 2 measures.

{Step with R foot and make half-turn toward R, count 1. {Step with L foot and make half-turn toward R, count 2. (b) {Step with R foot and make half-turn toward R, count 3. {Step with L foot and make half-turn toward R, count 4. {Hold position, standing on L foot with R foot extended { at side and head flung back, looking over { R shoulder, counts 5 and 6. 1 measure.

Repeat (b) twice. 2 measures.

Hold final position and swing R arm in arch in front of body and out to R at shoulder height. 1 measure.

Repeat (a) and (b), bringing feet together at end of final measure.

_Figure 2_--18 measures.

Progress around circle, keeping back to center, with following step, hands on hips.

{Step L foot diagonally across R, bending both knees. (a) {Step R foot back and to the side, step L foot behind { R, step R to the side.

Repeat 8 times. 3 measures. (b) Step to R and pirouette with arms circling overhead. 1 measure. (c) Repeat (a). 3 measures.

{Run 5 steps, starting L, toward one of the groups of { Gypsies. Step forward on R foot and hold R hand (d) { out as though in supplication. 1 measure. {Repeat 3 times, advancing toward a different group { each time. 3 measures.

Repeat (a) for one measure. 1 measure.

{Step L foot across R, bend L knee and extend R foot { at side, then sweeping R arm across body in circle, (e) { raise body to standing position with feet together. { 1 measure.

Repeat (e). 1 measure. Repeat (a) in double time. 3 measures. Pirouette in center of stage with arms circling overhead and pose with feet together, arms stretched out overhead and head flung back. 1 measure.

_Figure 3_--34 measures.

{Step R foot to side, bring L foot to R heel, change {weight to L foot, change weight to R foot. (This (a) {should be done on the toes with a slight bend in the {knees.) 1 measure. {Repeat to L. 1 measure.

{4 mazurkas, starting R. 2 measures. { Mazurka: Slide R foot diagonally forward R; { bring L foot up to R heel and step on it, raising { R knee high with R foot pointing down at L (b) { knee. {Step forward R and hold with L foot at R heel, { counts 1 and 2. {Step back on L foot, count 3. Drag L foot back to { position in front of R toe and then place weight on { L foot, counts 4, 5, 6. 1 measure.

Step back L, dragging R foot to position. { 1 measure. Step back L, dragging R foot to position. {

{Pirouette L, hands circling over head, and hold pose, { standing with weight on L foot, L hand on hip and { R arm extended over head. 1 measure. { (An experienced dancer may substitute a leap-turn (c) { for the pirouette.) {Pirouette R and pose. 1 measure. {Pirouette L and pose, swinging R arm across body { and back to position over head. 2 measures. {Repeat (b) through (c) three times. 24 measures.

_Figure 4_--12 measures.

{Hold final position of Figure 3 for 2 counts, then drop { on R knee, with body and head turned toward R and { bent over R knee and L leg extended straight out (a) { behind. L arm swung back following line of L leg, { count 3. Rise to standing position through 3 counts { of music, swinging R arm forward and over head. 1 measure. {Repeat to L. 1 measure.

{Hold 2 counts in standing position, replacing hand on { hip. {With 5 two-steps forward, starting R, progress in a (b) { small circle around stage. { Note: The two-steps should be done with the knees { slightly bent and a swaying motion from side to { side. 2 measures.

Repeat (a) and (b). 4 measures.

{Step R and pirouette, 2 counts. {With 20 large steps, starting R, run around circle, (c) { keeping back to center. {Step R in center of stage and pirouette, ending with { arms stretched out over head, and head flung back, 4 measures.

_Figure 5_--22 measures.

Four couples jump up from the group and take places in four corners of a square around the solo dancer. Man joins solo dancer as her partner for this step. This action must be spontaneous, as though the solo dancer had excited the rest so that they could no longer keep still.

The girls stand with their backs to the center of the circle. The weight is on the L foot and the R foot is extended toward partner. The R hand clasps partner’s R hand, the L arm is flung straight up over head.

The men stand facing the center of the circle in the same position as the girls.

The solo dancer and her partner take the same position as the rest of the group, standing in the center of the stage.

Hold position for 2 counts, then, swinging L arm down at side and keeping R hands joined, exchange places with partner with 4 running steps, starting R. 1 measure.

Repeat back to place. 1 measure.

Hold original position for 2 counts, then, placing hands on hips, with 5 two-steps, starting R, each girl advances toward the man in the couple on her L, each man advances toward girl in the couple on his L, while the central dancers dance around each other. 2 measures.

Take both hands of new partner and with feet together and bodies stretched away from partner, heads flung back, swing partner around in place. 4 measures.

Repeat whole, using two-steps to return to original partner. 8 measures.

Men stand in place facing center of stage, with arms folded and held high, watching the girls dancing around them.

Girls with hands on hips dance around partners with 11 waltz steps, starting R, and a pirouette L in front of partner. 4 measures.

Girl pirouettes R in front of man, who holds position, then man takes girl’s L hand in his L hand and lets her fall back over his R arm, while she supports herself with her R foot on the ground, her R knee bent and her L leg extended in the air. 2 measures.

As music ends, all exeunt laughing, singing and striking tambourines.

COSTUMES

Girls: Short, bright-colored skirts and blouses; bare legs; scarfs tied over the head; beads, earrings, bracelets, etc.

Men: Long dark trousers, bright-colored shirts, and scarfs tied around the hips.

A CHRISTMAS SERVICE

Time. Christmas Eve.

Place. A dimly lighted hall or church.

Persons in the Tableau.

The Three Wise Men A Shepherd An Angel Mary, Joseph and the Child A group of singers in choir robes

The Setting. A dark curtain background.

The audience is seated in a dimly lighted hall, at the windows of which long Christmas tapers are burning. When everything is still, far outside in the distance “Adeste Fideles” is heard. The song comes nearer. A group of singers dressed in choir robes enter and pass up the center aisle, singing in a glad, spirited fashion.

O come, all ye faithful, joyful and triumphant, O come ye, O come ye to Bethlehem; Come and behold Him born the King of Angels; O come, let us adore Him, O come, let us adore Him, O come, let us adore Him, Christ the Lord.

They group themselves in a semicircle in front of the stage, kneeling as they sing the “Amen.” The lighted tapers which they carry throw a lively, warm light on their young faces.

The curtains part, revealing the tableau of the Three Wise Men, their gifts of gold, frankincense and myrrh. They enter from the right and slowly move across the stage toward a great light, singing.

_Tune: Traditional Melody_

We three Kings of Orient are, Bearing gifts, we wander afar Field and fountain, moor and mountain, Following yonder star.

The singers down in front sing the chorus:

O star of wonder, star of might, Star with royal beauty bright, Westward leading, still proceeding, Guide us to thy perfect light.

The King bearing gold sings:

Born a King on Bethlehem plain, Gold I bring to crown Him again, King for ever, ceasing never Over us all to reign.

The chorus chants:

“O star of wonder” etc.

The King bearing frankincense, sings:

Frankincense to offer have I; Incense owns a Deity nigh; Prayer and praising all men raising, Worship Him, God on high.

Chorus chants the refrain:

“O star of wonder” etc.

The King bearing myrrh sings:

Myrrh is mine; its bitter perfume Breathes a life of gathering gloom: Sorrowing, sighing, bleeding, dying, Sealed in the stone-cold tomb.

The chorus chants:

“O star of wonder” etc.

All three Kings sing:

Glorious now behold Him arise, King and God and Sacrifice; Heaven sings Alleluia; Alleluia, the earth replies.

The chorus chants the refrain and the Three Wise Men go off to the left in the direction from which the light came. The curtains close and choir sings:

_Tune: Carol, by R. S. Willis_

It came upon the midnight clear, That glorious song of old, From angels bending near the earth To touch their harps of gold. “Peace on the earth, good-will to men, From heaven’s all-gracious King,” The world in solemn stillness lay, To hear the angels sing.

They swing from the “Amen” of this hymn to another old familiar one, “While Shepherds Watched Their Flocks by Night.” The curtain rises, revealing the tableau of the Shepherds. The persons in the picture pantomime the action as the chorus sings the words.

While shepherds watched their flocks by night, All seated on the ground, An angel of the Lord came down And glory shone around. And glory shone around.

Fear not, said he, for trembling dread Had seized their troubled minds, Good tidings of great joy I bring To you and all mankind. To you and all mankind.

To you in David’s town this day Is born of David’s line, A Savior who is Christ the Lord And this shall be the sign. And this shall be the sign.

The curtains close on the “Amen.” The chorus sings:

_Tune: Old Traditional German Melody._

Silent night, holy night, Darkness flies, all is light, Shepherds hear the angels sing Alleluia, hail the King, Christ, the Saviour is here, Jesus, the Saviour is here!

Silent night, holy night, Guiding star, lend thy light! With the angels let us sing Alleluia to our King, Christ, the Saviour is here, Jesus, the Saviour is here!

After the “Amen” the chorus sings “Sleep, Holy Child,” as the curtain rises on the tableau of the Nativity.

_English version by Frederick H. Martens; tune: Old French Noël, arranged by Herbert Tones._

Lying around the oxen mild, Sleep, sleep, sleep, O Holy Child! Round Thee as they wing, Guardian angels sing, Homage pay to Thee, To infant love’s sweet King. Sleep, sleep, sleep, O Holy Child!

2nd. Roses and lilies round Thee piled, etc.

3rd. Dreams by the shepherds’ song beguiled.

The curtain closes as the chorus chants with bowed head the “Amen.” The singers rise and turning toward the audience sing “Joy to the World.”

_Tune: Antioch._