GV 1838 
 .B8 
 Copy 1 
 
 HijENKS' 
 
 GREAT AMERICAN 
 
 CIRCUS 
 
 THE WILLIS N. BUGBEE CO, 
 
 SYRACUSE. N. Y. 
 
Hi Jenks' 
 
 GREAT AMERICAN CIRCUS 
 
 A Performance for Amateurs 
 
 ...BY... 
 
 WILLIS N.'bUGBEE 
 
 Author of *'Jolly Christmas Book" 
 *'Amt Sophronia at College" "The 
 Deacon's Honeymoon" "Daddy and 
 the Co'Eds" Etc. 
 
 Copyright 1920 by Willis N. Bugbee 
 
 THE WILLIS N. BUGBEE CO. 
 SYRACUSE. N. Y. 
 
the people and the desire he creates in them to witness this 
 ''marvelous" performance. He attends to the newspaper adver- 
 tising, the posters, the show cards, programs, if any, the tickets, 
 etc. 
 
 The property man looks after the articles and accessories 
 used by the performers and sees to it that they are in their places 
 and ready whenever needed. A whole act may be spoiled by the 
 carelessness of the property man. 
 
 The wardrobe woman takes care of the costumes and may at 
 times assist in the performers' "get-ready." 
 
 The carpenter builds the ring, the seats, attends to arrang- 
 ing of curtains, etc. 
 
 There will also need to be ticket sellers, attendants, etc., 
 whose duties are too obvious to need special mention. 
 
 Right here we might say that the Director will be surprised 
 to find that he can obtain so much assistance from the people in 
 the community in the way of material, talent, trained animals, 
 etc., and the fact that people are called upon to assist in various 
 ways only helps to advertise the show. 
 
 THE LOCATION 
 
 The circus may be held in a gymnasium, large public hall, a 
 large barn, a stadium, in an open field with or without tents, or 
 it may be presented upon a public stage. In the latter case, the 
 ring and some of the ring performances may have to be omitted 
 but otherwise there will be no difficulty. In fact, some stunts are 
 presented to better advantage from a stage than from the ring. 
 The seats may be arranged semi-circularly upon an incline. The 
 dressing rooms should be at the sides, curtained off, or in adjoin- 
 ing rooms. 
 
 THE RING, TRAPEZES, ETC. 
 
 In making the ring, first determine the center of the space. 
 By means of a stout cord fastened at center and a piece of crayon 
 tied to the other end, describe the circle. On this circle set blocks 
 of wood ten or twelve inches high at a distance of five or six feet 
 apart. Nail strips of wood to the tops of these post$, leaving two 
 exits opposite the dressing rooms. This ring may be painted or 
 whitewashed if desired. If ponies are to be used within doors it 
 may be desirable to tack heavy burlap or matting around the 
 ring to prevent slipping. Sawdust may be sprinkled about to 
 give a circusy appearance. 
 
 For the use of acrobats there should be two trapezes at 
 opposite sides of ring fastened from overhead if possible. A bar 
 may be fixed on poles at another side of ring. A movable dais 
 about six inches high should be provided for use in various acts. 
 This need not be more than four or five feet square. 
 
THE ACTING PERSONNEL 
 
 The characters, for the most part, and the costumes required 
 will be described under eacK department. However, there are a 
 few whom we might mention at this time. 
 
 First among these is old Hi Jenks himself in all his glory. 
 He wears a long coat, brown hat with wide brim and high crown, 
 a long flowing mustache and long hair. He carries a walking 
 stick. 
 
 Next comes the Ringmaster. He wears a stiff white shirt, 
 full dress suit and tall hat. He may also assume the role of 
 "Master of the Pageant." He carries a whip during the ring 
 performances and a large flag during the pageant. 
 
 There are three clowns whom we will call "Diogenes," 
 "Fatty" and "Rube." 
 
 Diogenes wears very full one-piece suit made of white mus- 
 lin and gathered at neck, wrists and ankles, leaving wide frills. 
 He also wears pointed white cap without rim and with tiny bell 
 at top. Face and hands are painted white and a scalp wig worn. 
 
 "Fatty" should be rather short and be padded to appear very 
 fleshy. He wears a red costume after much the same style as 
 that of Diogenes. His cheeks are painted red and he wears a red 
 cap. 
 
 "Rube" wears bright figured suit much too small for him, 
 a low-crowned derby hat and short red chin whiskers and red 
 wig. 
 
 There are two other characters who are apparently a part 
 of the audience but who really are a part of the show. They are 
 Sally Smith and Si Perkins, two rustic lovers, both togged out in 
 their holiday attire. They are a typical backwoods couple, as 
 fond of peanuts and lemonade as a fish is fond of water. 
 
 THE MUSIC 
 
 The greater part of the music is, of course, furnished by a 
 brass band. The members of this band are dressed in as gor- 
 geous uniforms as possible. A band-master beats the time in a 
 very pompous manner. 
 
 Other musical features may be introduced if desired, such 
 as a group of old-time fiddlers, a geisha girls' orchestra, 
 Hawaiian players, or any odd instrument upon which some one 
 in the community is proficient. 
 
 THE PROGRAM 
 
 We have outlined here suggestive programs for both ring 
 and stage performances. New stunts may be added or substi- 
 tuted for those here given if so desired. 
 
FOR THE RING 
 
 Band Concert 
 
 "Sally and Si at the Circus" (Song) 
 
 Hi Jenks' Introductory Speech 
 
 Uncle Sam's Welcome to the Nations (a Pageant) 
 
 Riding Feats and the World Promenade 
 
 Acrobatic and Aerial Stunts 
 
 "In Pioneer Days" (a Wild West Feature) 
 
 Trained Animal Features 
 
 Punch and Judy Up-to-date 
 
 Marble Statues, Living Portraits, etc. 
 
 Ensemble. 
 
 FOR THE STAGE 
 
 Orchestra or Band 
 
 "Sally and Si at the Circus" 
 
 Hi Jenks' Speech 
 
 Uncle Sam's Welcome to the Nations 
 
 Hobby Horse or Tricycle Stunts (including the famous 
 
 bare back rider) 
 -Calisthenic Drills 
 Tight Rope Dancing, "Strong Man" Performances and 
 
 "The Slide of Death" 
 "In Pioneer Days" (including Indian Drill and Sham 
 
 Battle) 
 Trained Animals 
 Punch and Judy Show (also fairy tales performed by 
 
 puppets) 
 Marble Statues, etc. 
 Ensemble, with closing song. 
 
 The side shows are open to the public before and after the 
 circus upon payment of a specified fee. The menagerie is free. 
 
 THE PARADE 
 
 A parade may help to draw attention to the show. There 
 should be plenty of music, the elephant and some of the other 
 characteristic features but do not show the leading attractions 
 at this time. Banners should be used to announce the marvelous 
 features that await the audience. 
 
 THE MENAGERIE 
 
 If there is to be a menagerie in addition to the regular 
 circus, the neighborhood should be scoured for anything in the 
 way of animals. A big Dane or Newfoundland dog, an Angora 
 cat, a parrot, a macaw, a squirrel in cage, a tame crow, fox, 
 ferret or any tame bird or animal, even to common farm animals, 
 may be utilized. Decorate the latter with bright ribbons. Here, 
 too, is a burlesque suggestion. For a deer (dear) exhibit a 
 pretty little girl ; pony, a literal translation ; coon, a little darky ; 
 horse, a saw horse, etc. Each one of these should be labeled. 
 
Hi Jenks' Great Americ an Circus 
 
 THE circus opens with a band concert. Just before the last 
 selection is played Sally and Si enter and stroll around 
 looking for seats. They stop within the ring, or if upon 
 stage, turn to audience and sing the following. (See elsewhere 
 regarding tune) : 
 
 SALLY AND SI 
 
 We've just come from the country, 
 My sweetheart j g^ r and me — 
 
 (Pointing with thumb to each other) 
 Oh my, but we're so happy 
 
 With all these sights to see. 
 We're goin' to see the monkeys. 
 
 The elephant and bear. 
 And all them pretty ladies 
 
 A swingin' in the air. 
 
 Chorus 
 
 We've come to see the circus — 
 
 Oh me, oh my, what fun ! 
 You bet we're goin' to stay here 
 Until this show is done. 
 Si. Now aint we, Sally? 
 Sally. Umphm! 
 Both. Oh, Johnny, get your gun ! 
 
 There's nothin' like a circus 
 When you are out for fun. 
 
 We're goin' to see the Injuns, 
 
 An' hear 'em whoop an' yell. 
 An' then'll come the cowboys 
 
 To drive 'em off pell mell. 
 I bet we'll die a laffin' 
 
 To see the funny clown — 
 My goodness, ain't it jolly! 
 
 So much a goin' on. 
 
 Sally. Oh, Silas, where are we goin' to sit? The seats are 
 most all full. 
 
 Si. Gosh, I dunno (looks around) 'less we set right here. 
 (Motions to two chairs on dais.) 
 
 Sally. Oh yes, let's. We can see lots better'n we could up 
 there (pointing to seats,) 
 
 Si. You betcha, an' all by our lonesome, too. 
 
 (They sit dovm and proceed to eat peanuts. The hand 
 plays another selection.) 
 
(Enter Hi Jenks and addresses the audience as follows:) 
 
 Ladies and Gents: 
 
 I am Hi Jenks, Esquire, the sole owner and proprietor of 
 this Great American Circus — (with a sweep of the arm) the 
 greatest aggr^egation of wonders from all parts of the world that 
 was ever brought together for the amusement and enlightenment 
 of the American public. Here you will see the most daring and 
 hair-raising acrobatic and aerial performances, the rarest and 
 most marvelous trained animals, beautiful and costly pageants, 
 the funniest clowns and jesters, the most beautiful ladies clothed 
 in superb gowns made by the famous designers of Paris and 
 Cork — I mean London. But I'll be frank with you and tell you 
 that these gowns are all humbugs — there ain't nothin* to 'em. 
 But after all, there's lots of humbugs in the world — especially 
 America. As one feller said — I forgot whether 'twas Shakes- 
 peare or (name any local character or comic actor, 
 
 such as Charlie Chaplin) the American people enjoy being hum- 
 bugged. And it was "Honest Abe" Lincoln that said *'you can 
 fool some of the people all the time, and all the people some of the 
 time, but you can't fool all the people all of the time." And that's 
 true — all too true. Strange, though, that when I think of hum- 
 bugs that my thoughts revert to my old friend Phineas — 
 Phineas T. Barnum. Poor old Phineas! He's dead and gone 
 but his show goes on forever. Then there was Buffalo Bill. He 
 was another old-time friend. That's where I got the idee of the 
 Wild In j ins and cowboys. The ones I've got now were trained 
 by him. And the Ringlings — why, we were old cronies together. 
 What I know of circusing I learned from all those old humbugs 
 — I mean those old-timers, all honor to them. And that's the 
 reason that "Hi Jenks' Great American Circus" is the greatest 
 show on earth. However, you don't need to take my word for it. 
 Wait till we get through with the ordeal and if you don't agree 
 with me I'll — why I'll have your money — that's all — and you'll 
 have a wee bit more experience. I thank you. (Exits.) 
 
 (Si and Sally clap hands loudly,) 
 
 Hi Jenks returns and makes a sweeping how to audience. 
 The hand strikes up and plays a very short selection. Hi and an 
 attendant are seen conversing at side. As the music ceases the 
 Attendant enters ring and advances to the dais.) 
 
 Attendant. Here you! What are you doing in the ring 
 (or in these chairs) ? 
 
 Si. Jest settin'. 
 
 Attendant. Well, you can't set here nor hatch, either. 
 These chairs are for Uncle Sam and Columbia. 
 
 Sally. But there ain't no other seats. Mister. 
 
 Attendant. Can't help it. You'll have to move on. 
 
 Si. Come on, Sally, here's a seat over here. 
 
 Sally. Ain't he horrid. We wasn't doin' no hurt. (They 
 find seats on front row.) 
 
 8 
 
UNCLE SAM'S WELCOME to the NATIONS 
 
 RINGMASTER (itsing megaphone) , 
 Ladies and Gentlemen : The Great American Circus is 
 about to begin. You are now to witness the beautiful 
 spectacle of Uncle Sam and Columbia welcoming the people of 
 the various nations to America's shores. They bid the oppressed 
 and the downtrodden of other lands to come and live in peace 
 and happiness beneath the folds of the glorious stars and stripes. 
 
 THE PAGEANT 
 
 The band plays a march. Uncle Sam and Columbia enter 
 and march in stately manner into and around ring, at last taking 
 seats on the dais. 
 
 A group of Irish girls, boys, or boys and girls together, enter 
 and circle about the dais and stopping at the front to perform an 
 Irish folk dance or to sing an Irish song. Uncle Sam and 
 Columbia extend hands in welcome. They take position at right 
 of dais. 
 
 A Scotch group enters, dances and takes position at left. 
 
 Polish, Italian and perhaps other nationalities enter and 
 dance their native dances. 
 
 The Master steps within the semi-circle and holds the flag aloft 
 while all sing "America, the Beautiful", or any good flag song. 
 
 As the band plays all circle and march from ring. 
 
 The dancers should be dressed in the costumes of their native 
 lands. 
 
 The following are suggested dances : The Irish Jig or Irish 
 Lilt; the Highland Fling or Highland Schottische; Italian Peas- 
 ant Dance or the Tarantella ; and Polish Krakoviak. 
 
 (Enter Clowns, tumbling, turning handsprings, etc) 
 
 All. Well, here we are again — Glad to see you all looking 
 so well and happy. 
 
 Diogenes. We're pretty, too; thank you. I mean we're 
 pretty well. 
 
 Rube. Gosh! Ain't there lots of purty gals. Look at the 
 one up there on the top (or back) seat (pointing) — the one with 
 a box of Wrigley's in her mouth. Oh, but she's a peach. 
 
 Fatty. Nothing doing ! She's a lemon beside the one over 
 here — that one with the young man's arm around her waist. 
 Some girl, I say. (Throws kiss.) 
 
Diogenes. They're all beauties. As the poet says : 
 "Beauty with a bloodless conquest finds 
 A welcome sovereignty in rudest minds." 
 
 (Fatty suddenly bursts out laughing. Others gaze at him 
 wonderingly. One slaps him on back as if he were choking, the 
 other holds bottle of smelling salts to his nose. He continues to 
 laugh.) 
 
 Fatty. Haw! Haw! Look at 'em, Rube! There's your 
 long-lost cousins from Squashville. 
 
 Rube (stepping up to Si). Why, howdy, cousins! (Holds 
 hand.) How's your ma, an' all the folks to hum? 
 
 Si. I ain't your cousin. 
 
 Sally. Nor we ain't from Squashville, neither. 
 
 Rube. Hain't, eh? Wal, that's too bad. I mistook ye for 
 my fourth cousin — Josh Higgins, from over Squashville way. 
 
 (Ringmaster is seen approaching.) 
 
 Diogenes. Everybody clear the ring for the races. 
 
 All. So long, ladies, we're going to leave you now. (They 
 exit throwing kisses to audience.) 
 
 T 
 
 RACES and RIDING FEATS 
 
 HE Ringmaster stands at center of ring ready to spur the 
 riders on. 
 
 The act may start off with trick riding on bicycles and 
 tricycles, and with fancy roller skating. 
 
 Girls in dainty riding costumes may ride around the ring 
 on ponies, carrying gaily-colored parasols, hoops, festoons of 
 flowers, or colored scarfs held in various attractive positions. 
 
 Do not attempt any dangerous tricks. 
 
 Diogenes suddenly appears in ring wheeling Fatty in 
 wheelbarrow. Rube may ride around ring sitting on hobby 
 horse backward and pushing it with his feet. The "horse" 
 should be on rollers. The Ringmaster espies them, becomes 
 angry, snaps whip at them and finally exclaims: *'Well, go on! 
 Clowns will be clowns." 
 
 THE GREAT BAREBACK RIDER 
 
 The Ringmaster announces: 
 
 "Ladies and Gentlemen, here we have Mademoiselle De 
 Bluff, the world-famous bare-back rider in her most daring acts. 
 She has a whole trunk full of prizes won in equestrian contests 
 
 10 
 
in European capitals. We are proud to be able to present her 
 to you." 
 
 Mademoiselle proves to be a boy wearing a bright-colored 
 and fancy dress which exposes most of the back. "She" rides on 
 a pony, donkey, or large hobby horse, and circles once or twice 
 about the ring performing simple tricks if desired. 
 
 THE CHARIOTS 
 
 The chariots may be made of stout wooden boxes without 
 backs, the sides being rounded and gilded or covered with gilt 
 paper. Fasten these boxes upon axles of two-wheel carts. They 
 may be drawn by ponies or large dogs and driven by little girls 
 clothed in gay apparel. 
 
 THE WORLD PROMENADE 
 
 Ringmaster. 
 
 Come now with me — ^forget your cares ; 
 
 Let's take a holiday 
 And watch the people promenade 
 
 Adown the world's highway. 
 
 They come in various sorts of rigs, 
 
 From lands both far and near, 
 And you may see them passing by — 
 
 Their revels now we hear. 
 
 The band plays and the conveyances enter one at a time, 
 circle about ring and exit at opposite side. 
 
 1. Eskimo Dog Team. A low cart is fixed with sides shaped 
 like runners of a sled and which conceal the wheels. Two dogs 
 hitched one before the other draw the vehicle. Eskimo wears 
 fur coat and hood. 
 
 2. Irish Jaunting Car. A two-wheel cart with square box 
 and low seat. Drawn by pony, if possible. An Irish boy and girl 
 in costume sit within. 
 
 3. Japanese Jinrikisha. A two-wheeled conveyance with 
 canopied seat and drawn by a coolie. A Jap girl sits within 
 holding fan. 
 
 4. A Chinese Sedan Chair. A tall straight-backed chair 
 with canopy built over it and two long poles on each side. A 
 Chinese nobleman sits within and two coolies carry it. 
 
 5. The Elephant of India. A dummy in Hindu costume is 
 perched upon elephant's back. A Hindu boy leads it by rope. 
 (Both dummy and elephant will be described later,) 
 
 11 
 
6. The Arabian Camel. If the show is to be quite elaborate, 
 then the camel may be made along the same lines as the elephant. 
 
 A dummy in Arabian costume is seated upon it. 
 
 7. The American Automobile. A large toy automobile is 
 driven by an American boy or girl. The name *TORD" appears 
 on side. 
 
 Other modes of travel or kinds of conveyance, such as the 
 donkey (if available), goat cart, etc., may be included. 
 
 Enter Fatty and Rube riding on broomsticks. Diogenes 
 assumes the role of Ringmaster and a broomstick race is per- 
 formed, ending in a collision in which Fatty falls to ground and 
 rolls over several times. When he fails to arise the other clowns 
 go through ludicrous business of examining heart, trying to 
 prop him up, etc. Diogenes turns to audience saying: "Some- 
 one call the ambulance." They put hankerchiefs to eyes, crying 
 "Poor old Fatty, he's done for." At last they pick him up by 
 legs and shoulders and attempt to carry him off, drop him and 
 end by rolling him out. 
 
 ACROBATIC and AERIAL STUNTS 
 
 'HE acrobatic part of the circus gives great opportunity for 
 the employment of local talent. If you have a boy or girl, 
 or in fact a number of them who are adept at swinging the 
 Indian clubs, put them on for a pleasing act. 
 
 A short, snappy physical culture drill by either boys or girls 
 works in very nicely. 
 
 Usually there are boys or young men in the community who 
 boast of their ability to perform pleasing stunts on the bar or 
 trapeze, who can turn excellent handsprings, do high jumping 
 or high kicking, etc. Others may be clever jugglers, tumblers, 
 clog-dancers, sleight-of-hand performers, ventriloquists, etc. 
 Use any or all in short, quick acts. 
 
 Everyone who takes part may wear the regular gymnasium 
 suits, trimmed in gay colors. 
 
 THE TIGKT-ROPE WALKER 
 
 A rope is stretched tightly across ring close to the ground. 
 A dark-haired girl is announced as "Senorita Valesco, the famous 
 Spanish tight-rope walker, in her thrilling feats." She slides, 
 dances, stands on one foot, etc., meanwhile holding balancing rod 
 or parasol. At the end she bows to the audience. 
 
 12 
 
THE MODERN SAMSON 
 
 He is supposed to lift and toss very heavy articles, such as 
 weights, globes, boxes, barrels — all of which are hollow, of 
 course, but labeled to indicate immense weight. He may hang 
 from the trapeze head downward and lift these "heavy weights" 
 by his teeth; he may lie on his back and hold them aloft on his 
 hands and feet, etc. 
 
 DAREDEVIL STUNTS 
 
 These are performed by *'Rex Flynn and wife." 
 
 Two dummies should be made of stout burlap, well stuffed 
 and with wigs and false faces (not too comic) sewed on. One 
 should be dressed as a lady and the other as a gentleman per- 
 former. The costumes and masks worn by Rex and his wife 
 should be duplicates of those worn by the dummies. 
 
 A low curtain, about five or six feet high, should be stretched 
 across center of stage. A trapeze or large ring attached to the 
 end of a rope is arranged to raise or lower by means of a pulley 
 overhead. 
 
 Rex and his wife enter, perform some minor stunts, then 
 retreat behind screen. The male dummy is fastened to trapeze 
 by its toes. One end of a double hook is placed in the male 
 dummy's mouth and the other end in the female dummy's mouth. 
 In this position they are drawn high above the screen. A small 
 dark cord may be used to swing them back and forth. They 
 are lowered and pulled up again in other hazardous positions. 
 
 Then comes the "Slide of Death." A wire is stretched from 
 a high position in the scenery to a lower position on the opposite 
 side. Rex and his wife ascend to the higher point where, unob- 
 served by the audience, an attendant has carried the dummies. 
 The male dummy is fastened to wire by a hook in mouth; the 
 female dummy by hair. As the band strikes up, the first dummy 
 is allowed to slide down the wire across the stage and behind the 
 screen. The second dummy follows shortly after. Meanwhile 
 Rex and wife slip down back of scenes. They step to front and 
 bow to audience. 
 
 These same dummies may be used in other trapeze perform- 
 ances, etc. 
 
 The clowns enter the ring playing a game of leap frog. They 
 try their hand at various acrobatic stunts. Fatty makes stren- 
 uous efforts to lift the "huge" weights, tumbling over in the act. 
 Rube tries the Indian clubs with disastrous results. Diogenes 
 takes a turn on the trapeze. If he has the ability to perform on 
 the trapeze or bar it might be a surprise to the audience to have 
 him turn out a skilled acrobat. 
 
 13 
 
IN PIONEER DAYS 
 
 The Indian and cowboy acts always please the 
 boys and incidentally please the audience. 
 
 The Indians should be in full war dress with 
 paint and feathers. They carry bows and arrows. 
 
 The Cowboys wear blue flannel shirts, rough 
 trousers tucked in boots, cartridge belts, bandanna 
 handkerchiefs about neck, broad brimmed hats. 
 They carry muskets and lariats. 
 
 "Boulders" may be made by throwing gray canvas over 
 boxes, etc. 
 
 THE INDLA.N DANCE OR DRILL 
 
 Music— Any good music with four part time. 
 
 Enter Indians, giving war whoop. 
 
 They circle twice about ring or stage, with running step and 
 holding bow and arrow in front of body. Rest during eight 
 counts. 
 
 All face center. Odd numbers advance two steps toward 
 center, then turn to right as even numbers turn to left. March 
 twice around (running step). In this way the inner circle will 
 be revolving in opposite direction from outer circle. 
 
 Even numbers face center; odd numbers turn with back to 
 center. Partners 1-2, 3-4, etc., swing or march twice around 
 each other. All advance two steps. Thus the odd numbers and 
 even numbers change places. Rest eight counts. 
 
 Even numbers turn to right, odd numbers to left. March 
 twice around as before. All face center. Odd numbers advance 
 to inner circle. Rest eight counts. 
 
 All right face. Run twice about circle. Rest. 
 
 Right about face. Run twice about circle as before, the last 
 time around all run from ring, giving war whoops. 
 
 THE SHAM BATTLE 
 
 Enter Cowboys, either afoot or on ponies. A short drill may 
 be presented or an exhibition of lariat throwing, etc. 
 
 Suddenly one of them spys the Indians in the distance. He 
 points them out to others and all gaze intently for a moment, 
 then hide behind "boulders" with muskets aimed ready to fire. 
 The band plays softly. Next a shot is fired (blank cartridge), 
 then another. The Indians rush in, giving war whoops. They 
 take refuge on opposite side of ring from cowboys. Shots are 
 
 14 
 
fired and the Indians reply with shafts from their bows. This 
 continues for a few moments, one or two on each side being 
 wounded. Meanwhile music ranges from very soft and low to 
 loud and noisy. Imitation guns may be used and **shots" pro- 
 duced outside if desired. 
 
 After a time an Indian rises, holds hand for quarter, runs 
 forward and lays his bow and arrow on the ground. A cowboy 
 lays his musket on the ground beside it. They advance and clasp 
 hands. The other Indians and Cowboys advance. A pipe is 
 produced and all squat in circle and smoke the pipe of peace. 
 This is done by passing the pipe from one to the other and each 
 taking a whiff from it. Soft music. Finally all rise, bow low 
 and pass off in opposite directions. 
 
 Enter Fatty and Rube, arm in arm. Fatty is dressed up as 
 a woman wearing bright-colored gown with large figures, a 
 flowery hat and carrying parasol. Rube wears high silk hat 
 and dress suit of rather odd design and fit. A cord with tin cans 
 and old shoes is tied to his coat tails and a card across the back 
 with words "JUST MARRIED." They promenade around ring, 
 bowing and waving hands to various ones in audience. 
 
 Diogenes enters from opposite side and advances to meet 
 them. 
 
 Diogenes. Well, well, well, I hear you're married. 
 
 Fatty (in falsetto voice) . Yes, and isn't it just lovely that 
 we should be united in the holy bonds of padlock. 
 
 Rube. Wedlock you mean, Dovie — we are one now. 
 
 Diogenes. Glad to hear it. I sympathize with you. 
 
 Fatty. You what? 
 
 Diogenes. I mean I congratulate you. (Holds hand to 
 each.) 
 
 Rube. Gosh, hadn't you better wait a spell an' see? You 
 might waste 'em. 
 
 Fatty. Now, Ducky dear, you know we're going to get 
 along together perfectly lovely. 
 
 Diogenes. Well, anyway I'm going to invite you to a swell 
 wedding supper over to 's (local name). 
 
 Fatty. Won't that be grand ! 
 
 Rube. You bet! 
 
 Diogenes. And I shall buy an angel cake with sixty candles 
 on it in honor of the bride. 
 
 Fatty. Sixty? 
 
 Diogenes. Did I say sixty? I meant sixteen. 
 
 15 
 
Fatty. Thank you, that will be awfully nice of you. And 
 what will you order in honor of the groom. 
 
 Diogenes. Fried lobster. 
 
 {The band strikes up a wedding march and all march from 
 stage. Diogenes is at L and Rube at R, both locking arms with 
 Fatty,) 
 
 THE TRAINED ANIMALS 
 
 If there is a trick dog, pony or other animal in the community, 
 right here is the time and place for it. 
 
 THE PERFORMING BEAR 
 
 If you want a dancing and performing bear and should not 
 be able to procure a regular outfit from the costumer, you may 
 use a bear or **buffalo'' robe. A boy draws the robe around him 
 from the back and fastens the sides at front. The lower end 
 should be shirred up about a foot between the legs and also 
 drawn about the arms. Long fur gloves should be worn. In 
 this way only the head will be needed from the costumer. 
 
 The bear enters on all fours. At a signal from the keeper he 
 rises upon hind legs and dances by lifting legs alternately. In 
 similar manner he may dance on all fours. He may put a sol- 
 dier's cap on head and with cane or gun go through a military 
 drill, following the commands of the keeper. The keeper may 
 hold a flag and repeat the words of flag salute while the bear per- 
 forms the motions. 
 
 THE TRAINED ELEPHANT 
 
 The elephant may be made by using barrel hoops or coarse 
 wire netting to form the framework of the body. Cover this 
 with burlap and over this sew gray cloth of any kind. A tail 
 may be made of a piece of rope covered with cheese cloth. The 
 ears should be made of same kind of cloth, stiffened with buck- 
 ram or pasteboard. The trunk is made by using large rubber 
 tubing, padded and covered with cloth. Use glass marbles for 
 eyes and wooden tusks painted white. It might be better to 
 purchase the head from a costumer if possible. One boy stands 
 at front and another at rear with bodies within. Both boys wear 
 gray trousers. Fancy head pieces, tassels and robes may be used 
 to cover defects in handiwork. 
 
 The elephant may stand on two chairs, forward boy stepping 
 first; dance awkwardly; march about carrying flag; perform 
 calisthenic exercises by raising right legs on eight counts, then 
 left legs, and alternately, etc. It may place trunk in pail and 
 throw water causing those in ring to dodge. This is done by boy 
 inside using squirt gun. A keeper, with whip, gives the com- 
 mands. 
 
 16 
 
THE AMERICANUS HYPORONKUS 
 
 This animal is made as follows : 
 
 With very light strips of wood build a framework 2 14 feet 
 wide, 31/^ feet high and 4 feet long. This is covered with thick* 
 wrapping or building paper and then with brown cloth. A tail 
 is made of twisted cloth with a bunch of flax at the end. A stick 
 extends from the tail into the box so that it may be operated 
 from within. A head from an old hobby horse or a stuffed head 
 of any animal may be fastened by straps so as to be operated by 
 boy within. One boy stands at front and another at rear, bodies 
 inside the box. 
 
 Hi Jenks takes personal charge of this rare specimen. He 
 announces it as follows : 
 
 Ladies and Gentlemen: Here we have the rarest of all 
 animals — the Hyporonkus. In Africa it lives in the jungles and 
 is extremely wild and ferocious. The American species is known 
 as the "Americanus Hyporonkus" and is very lazy and harmless. 
 This particular specimen is the only one known in captivity and 
 
 was captured in {neighboring town) . The animal 
 
 has been trained to answer any questions that may be put to it, 
 and strange to say its answers are quite sure to be correct. A 
 bowing of the head means yes and a wagging of the tail mean 
 no. Now if any of you wish to ask it questions, don't be afraid to 
 speak up. Who's the first to ask a question of the great Ameri- 
 canus Hyporonkus? (Si motiofts to Hi and whispers in his ear.) 
 This young man wants to know if he and his honeylove will be 
 married this year. (Head bows several times.) The answer is 
 yes. You may go home and get the wedding finery ready. Who's 
 next? This young man wants to know if his mother-in-law will 
 leave him a legacy when she dies. (Tail wags. Other questions 
 and local hits may be introduced ad libitum.) In closing I've got 
 one question to ask. Did you ever behold such an intelligent- 
 looking audience as the one now before you. (Tail wags.) We 
 thank you. (Both Hi and the animal bow and ^exeunt.) 
 
 THE WHANG DOODLE BIRD 
 
 The body of this "bird" is of a spherical shape, made of bar- 
 rel hoops covered with heavy paper and green or yellow cloth. 
 A boy stands inside so that the framework reaches just below his 
 hips. A smaller sphere for head is attached at an angle of 45 
 degrees from the top. This head has a beak and eyes (buttons) 
 and a red comb. It has small wings with tufts of feathers and a 
 bushy tail (feather duster). 
 
 The announcement is as follows : 
 
 Ladies and Gentlemen. This is the famous Whang 
 Doodle Bird, the only one in existence so far as we know. It can 
 crow like a rooster, quack like a duck, squeal like a peacock, 
 
 17 
 
warble like a canary and whistle like a boy. You are fortunate 
 in having this opportunity of witnessing the feats of this won- 
 derful bird. 
 
 At a command from the keeper it flaps wings and crows, 
 quacks, squeals, warbles and whistles. 
 
 THE OWL AND THE PUSSY CAT 
 
 Boys or girls dressed up as owl and cat and seated in small 
 green boat may be drawn upon stage. They may sing "The 
 Owl and the Pussy Cat." 
 
 Enter Fatty with rooster under his arm and with cord tied 
 to its leg. He strokes the rooster's back and talks to it. 
 
 Fatty. Now, Belshazzer, you must be a good old scout 
 and do your prettiest for these people. They've paid their good 
 money to see this show and they mustn't be disappointed. (Sets 
 it on ground as Rube appears carrying band box.) 
 
 Rube. Who you talkin' to? 
 
 Fatty. Belshazzer. 
 
 Rube. Belshazzer ? 
 
 Fatty, Yes, my trained rooster. He's a wonder, Bel- 
 shazzer is. 
 
 Rube. I'll bet a nickel with a hole in it he can't come up to 
 my trained pig. 
 
 Fatty. I'll take your bet. What can your pig do? 
 
 Rube. Gosh, I dunno all the things he can't do. 
 
 Fatty. Let's see that wonderful pig of yours. Where is he? 
 
 Rube. In this box. (Opens box.) See him? 
 
 Fatty (examining box) . Humph! Stuffed! 
 
 Rube. So's your rooster stuffed. I fed him a pint of buck- 
 shot this noon. 
 
 Fatty, No wonder he wouldn't perform. And I thought 
 he was afraid of the ladies. 
 
 (Diogenes enters ivith lantern and appears to be searching 
 the audience.) 
 
 Rube. Here comes Diogenes. Hey! What you lookin' for? 
 
 Diogenes. Looking for an honest man. 
 
 Fatty. How honest? 
 
 18 
 
Diogenes. Strictly honest. 
 
 Fatty. One that won't lie to his wife when he's been out 
 late? 
 
 Rube. One that always tells the truth in a hoss trade? 
 
 Diogenes. That's the kind. 
 
 Fatty. Impossible ! That creature doesn't exist. 
 
 Diogenes. I am one. When I went to school I was told 
 that I should grow up to be an honest man. And so I did. 
 
 Rube. Ho! Ho! So you went to school, eh? 
 
 Diogenes. Certainly I did. That's where I got my educa- 
 tion. 
 
 Fatty. So did I. That's where I got two lickings a day, 
 regular. 
 
 Diogenes. Speaking of school, suppose I was teacher and 
 you were my pupils. 
 
 Fatty. You needn't think you're going to give me two 
 lickings — not by a long shot. 
 
 Diogenes. I don't mean that. I have a question to ask you. 
 
 Both. Proceed then. {They line up.) 
 
 Diogenes. Reuben may tell me what is the axis of the 
 earth. 
 
 Rube. An axle is what a wheel turns on. 
 
 Diogenes. I said "axis of the earth." Next. 
 
 Fatty. The axis of the earth is the imaginary line on 
 which the earth turns. 
 
 Diogenes. Correct. I wonder if you know what imagin- 
 ary means. Could you hang clothes on an imaginary line? 
 
 Fatty. Sure thing. 
 
 Diogenes. What kind of clothes? 
 
 Fatty. Same kind as them actresses wear — imaginary 
 ones. 
 
 Rube. Haw! Haw! (FAnry lets rooster go but holds to 
 string.) Look out! There goes your rooster. 
 
 (All start after it. Fatty falls and Rube goes sprawling 
 over him. The band strikes up as they leave the ring.) 
 
 19 
 
PUNCH and JUDY Up-to-Date 
 
 ALIGHT box framework about five feet high and just long 
 enough and wide enough for five boys to stand in and 
 operate the puppets is required. This is covered with 
 heavy paper. The corner posts may extend two feet above the 
 box so that wires may be stretched across the tops and light 
 cambric curtains arranged for closing the scene. If on a stage 
 only one small front curtain is required. The puppets may be 
 made of large jointed dolls with masks if desired. 
 
 Punch has a long hooked nose and a humped back. He 
 wears figured clownish suit with scalloped frilled collar and a 
 peaked cap with turned up brim and a tassel at top. He "talks" 
 in a shrill voice. 
 
 Judy wears light figured dress, very full, and a white bou- 
 doir cap and white apron. 
 
 The Baby wears very full dress and white cap. 
 
 The Dog may be made of pasteboard or cloth. 
 
 Doctor wears high hat and baggy suit. 
 
 Fireman and Policeman wear uniforms. 
 
 Neighbors, similar to Judy's costume. 
 
 Boys within the box raise the puppets above edge of screen 
 as the time comes for each character to enter. The hand may be 
 concealed beneath the dress and movements manipulated in that 
 way or the puppets may be attached to sticks. The boys do the 
 talking. 
 
 (The curtain rises on an empty stage. Enter Punch.) 
 
 Punch. Fm Mr. Punchin — Mr. Nello — I'm Mr. Punchin- 
 ello. (Looks below.) Hi, Judy! 
 
 JVDY (below). Yes, Punch. 
 
 Punch. Come up. I want to see you. 
 
 Judy. Fm coming. 
 
 Punch. It does take that woman the longest time to do 
 anything. 
 
 (Judy appears.) 
 
 Judy. Here I am. (To audience) Vm Judy, the wife of 
 Mr. Punchin, of Mr. Nello. Fm Mrs. Punchinello. 
 
 Punch. Why didn't you come sooner? 
 
 Judy. I've been rocking the baby to sleep. 
 
 20 
 
Punch. A likely story. You've been reading a novel. 
 
 Judy. Indeed, I haven't. And what if I were? 
 
 Punch. My name is Punch and I can punch. I'm Mr. 
 Punchinello. 
 
 Judy. Well, I'm Mrs. Punch and I can do my share of 
 punching. I'm Mrs. Punchinello. 
 
 Punch. Be careful how you speak, wife. 
 
 Judy. I speak as I wish since women have their rights, sir. 
 
 Punch. Have a care. I am the master of the house. 
 
 Judy, And I am the mistress. We go half and half. 
 
 Punch. But I am the bigger half, I'd have you know. 
 
 Judy. Not if I know myself. And if you don't keep quiet 
 I'll pull your nose. 
 
 Pnch. Bah! 
 
 Judy {pulling his nose). There, I did it. Now be still. 
 
 Punch. Who says be still ? 
 
 Judy. I do, or I'll pull your nose again. 
 
 Punch. Bah! 
 
 Judy (pulls his nose again) , There ! 
 
 Punch. 0-oh! 0-ohl (hand at nose) , 
 
 (Enter dog.) 
 
 Dog. Bow-wow- wow! , 
 
 Judy. Now you've stirred up the dog. 
 
 Baby. Boo-hoo-hoo ! 
 
 Judy. And woke up the baby. 
 
 Punch. And what if I have? 'Twas you, not I. 
 
 Judy. I see you are not subdued yet. I'll have to exercise 
 my rights again. 
 
 Baby. Boo-hoo-hoo! (Enters.) Boo-hoo-hoo! 
 
 Judy. Come here, darling ! Come to mother, Baby Punch- 
 inello. 
 
 Baby. I'm Baby Punchin, Baby Nello — I'm Baby Punch- 
 inello. 
 
 (Enter Neighbors.) ^ 
 
 First N. We heard a racket here just now. 
 Second N. What's the rumpus? 
 
 Third N. What's the row? • . 
 
 21 
 
 / 
 
Judy. It's that hump-backed husband of mine. I have 
 to teach him a lesson occasionally. 
 
 Women. That is quite right. 
 
 Punch (groans). Um-m! 
 
 (Enter Policeman.) 
 
 Women. Oh, the Policeman ! 
 
 Dog. Bow-wow- wow ! 
 
 Baby. Boo-hoo-hoo ! 
 
 Policeman. I've come to see that's all this fuss. You 
 folks have raised a pretty muss. 
 
 Judy. 'Twas he. 
 
 Punch. Twas she. 
 
 Judy. I was but exercising the rights of a woman. He 
 threatened me and I pulled his nose. 
 
 Women. And we would have done the same. 
 
 Third N. And we're not afraid of a policeman, either. 
 
 Policeman. Do you hear that, Mr. Punch? They're not 
 afraid of a policeman. 
 
 Women. We're not ! We're not I 
 
 Punch. Didn't I tell you it was she? Arrest her, Mr. Po- 
 liceman. 
 
 Women. Arrest us if you dare? 
 
 Policeman. I give it up. 
 
 Judy. Ha ! Ha ! Another man subdued. 
 
 (Enter Fireman.) 
 
 Dog. Bow-wow- wow ! 
 
 Baby. Boo-hoo-hoo ! 
 
 Fireman. What's the trouble here? Where's the fire? 
 
 All. Fire? There's no fire here. 
 
 Fireman. Somebody was going by and heard the cry of 
 fire. 
 
 Punch. There's no fire except it be in my wife's eye. She's 
 got her spirits up. 
 
 Fireman. Then I'll call my men and we'll turn the water 
 on and put them down. 
 
 Judy. Indeed you won't! 
 
 Second N. We'd like to see you do it, sir. 
 
 Women. Yes, we'd like to see you try it. 
 
 Fireman. I give it up. 
 
 Judy. Hear that? Another man subdued. 
 
 (Enter DOCTOR.) 
 Dog. Bow- wow- wow ! 
 Baby. Boo-hoo-hoo! 
 Doctor. Who's sick here? 
 
 22 
 
Punch, Nobody's sick, sir. 
 
 Doctor. Somebody was passing and heard cries of pain. 
 
 Judy. Twas he ! He was in pain, but not sick. 
 
 Punch. There's nobody sick unless it be that my wife has 
 a diseased mind. 
 
 Judy. Punch, be stilL 
 
 Doctor. I'll fix her up some pills, 
 
 Some epicac and squills; 
 
 That will cure her of her ills. 
 
 First N. If you do — 
 
 Second N. If you do — 
 
 Third N. If you do — 
 
 Doctor. What will you do? 
 
 All. We will make you take them yourself — all in one dose. 
 
 Doctor. Then I give it up. They're too much for me, 
 Punch. 
 
 Policeman. And for me. 
 
 Fireman. And me, too. 
 
 Women. Do you hear that? We have subdued them all. 
 
 Third N. We have really asserted ourselves for once. 
 
 Dog. Bow-wow-wow! 
 
 Baby. Boo-hoo-hoo! 
 
 Punch. Who comes now? 
 
 Judy. Oh, see ! It's a mouse ! 
 
 Women. Oh dear! Oh dear! A mouse! A mouse! A 
 mouse! {They run wildly about,) 
 
 Punch. Ho! ho! ho!. 
 
 Women. Somebody kill it! There it goes! {Still rushing 
 about.) 
 
 First N. Hit it with your club, Policeman ! 
 
 Second N. Turn the water on, Fireman ! 
 
 Third N. Give it some pills. Doctor! 
 
 Judy. Why don't you do something. Punch? 
 
 Dog. Bow-wow- wow! 
 
 Baby. Boo-hoo-hoo! 
 
 {The Policeman strikes floor with club.) 
 
 Judy. Oh good ! The Policeman has killed it ! 
 
 Policeman. Yes, ladies, I have subdued the creature. You 
 are safe once more. 
 
 First N. Thank you ! You are a brave man. 
 
 Second N. But you will admit that we women have assert- 
 ed our rights, won't you? 
 
 Men. Yes, yes, we'll have to admit it, even though you are 
 afraid of a mouse. 
 
 X 23 
 
Punch. Then let's have a merry dance to celebrate the 
 occasion. 
 
 All. Yes, yes, so we will 
 
 {All join in dance,) 
 Curtain. 
 If further entertainment of this kind is desired, let the 
 puppets present a dramatization of some fairy tale, such as "Cin- 
 derella." 
 
 If the puppet play is not desired, then substitute an old plan- 
 tation act with darky songs and a short minstrel sketch. This 
 whole act may be entitled '*Way Down in Dixie." 
 
 Another feature act might be the appearance of three mu- 
 sical quartettes — Negro, Hawaiian (with ukuleles), and the 
 Geisha Girls. Each occupies a different part of ring and alter- 
 nate in rendering songs or musical selections. All should be in 
 costume and made up to represent the different nationalities. 
 
 Enter clowns as burlesque orchestra. One plays mouth 
 organ, another the jewsharp and the other one plays the bones. 
 They march about the stage playing. 
 
 Diogenes. 
 
 Ladies and Gentlemen and Other: We've had a most 
 enjoyable time here this evening and hope youVe had the same. 
 
 Others. Amen ! 
 
 Diogenes. We want to thank you for the way youVe tol- 
 erated us and the appreciation you've shown us. 
 
 All. Amen ! 
 
 Diogenes. And so we're going to sing a little song for your 
 benefit and may you always have a warm spot in your hearts for 
 Hi Jenks' clowns. 
 
 (All sing to tune of **The Miller of the Dee*') 
 We wonder if you think our jokes 
 
 Are really crisp and new ? 
 But that's just where you fool yourselves — 
 
 We've got the laugh on you. 
 For we've been springing these old stunts 
 
 In every town we go ; 
 They've got so old and weazened up 
 
 Their beards begin to grow. 
 
 An interlifde with music during which the clowns make 
 comic grimaces and gestures. 
 
 We wonder if you think it's fun 
 
 To be a painted clown 
 And spend our days — or rather, nights — 
 
 In traveling up and down? 
 We wonder if you think it's fun 
 
 To do the tricks we do — 
 But listen, folks — the fun we get 
 
 Is just a watching you. 
 {Repeat last two lines then all bow very low and leave stage.) 
 
 24 
 
STATUES and LIVING PORTRAITS 
 
 THE statuary should be presented on a dais, or platform and 
 arranged so that curtains may be drawn. They may take 
 place near one of the entrances or at both sides, alternating 
 the presentations. 
 
 The costumes for statuary are as follows : 
 
 A woman wears a simple gown of white cheesecloth hanging 
 loosely from the low neck except for a cord which draws it in a 
 bit at waist. She wears white shoes and stockings. 
 
 A man wears the Roman toga, white tights and buckskins. 
 The face, neck, arms and hands should be whitened. A white 
 wig may be worn or hair whitened. 
 
 The following are subjects suggested: 
 
 Faith. A wooden cross, whitewashed, to which a woman 
 clings at its base. 
 
 Hope. Young woman standing with anchor resting on 
 ground, the other hand slightly raised. She looks heavenward 
 with a joyful expression as if she had discerned the star of hope. 
 
 Charity. A young woman bending over and extending 
 alms to a poor child. 
 
 Other subjects, such as Despair, Mirth, Anxiety, Justice 
 (blindfolded and with scales) ^ Romeo and Juliet, Paul and Vir- 
 ginia, Apollo, Ceres, Cleopatra, etc., may be exhibited. 
 
 "Living Portraits" are presented behind a large gilt frame, 
 and should be announced as rare old paintings for which im- 
 mense sums have been paid. Such characters as Washington, 
 Martha Washington, Maud Muller, Joan of Arc, Minuteman, 
 Lincoln, or any characters from history, legend, literature or 
 song may be presented. 
 
 If burlesque pictures or statues are desired, they may be 
 selected from cartoons, humorous literature, the movies, etc. 
 They might include Jiggs (from "Bringing Up Father"), Mutt 
 and Jeff, comic movie stars, etc. 
 
 Santa Claus and Mother Goose characters may please the 
 children, as would also tableaux from fairy tales. 
 
 ENSEMBLE 
 
 Let the various participants in their various costumes 
 march into ring to music and group themselves for final song or 
 tableaux. 
 
 "Just Smile and Say Good-Bye" is suggested as a closing 
 song. 
 
 25 
 
THE SIDE SHOWS 
 
 THESE should be held in small tents (if out of doors), or in 
 adjoining rooms (if indoors). Each "exhibit is upon a 
 slight elevation. A small admission fee may be charged 
 for each, or a general fee to cover all side exhibits. 
 
 Following are some of the exhibits suggested: 
 
 Fat Woman. Boy padded and dressed as a woman. 
 
 Dwarfs. Small boy and girl dressed as man and woman. 
 Boy wears dress suit, white collar and mustache or beard. The 
 girl wears long dress and has hair done up. They are known as 
 Major and Mrs. Stubbs. 
 
 Bearded Woman. Girl with false beard. 
 
 Wild Man from Madagascar. A boy with disheveled hair 
 and false beard. He is in a large cage and appears quite fero- 
 cious. The face and hands should be painted dark. 
 
 SiNGALESE Twins. Two boys in East Indian costume 
 bound together by rope and clothing fitted to cover the same. 
 Their movements should be uniform. 
 
 Glass Eater. Rock candy may be used for glass. 
 
 Sleeping Beauty. Girl who has slept for ten years and 
 still sleeping. 
 
 A Native Hawaiian Home, with the ukulele players. This 
 idea could be followed out with other strange homes. 
 
 A Hindu Magician. Young man in Hindu costume per- 
 forms feats of amateur magic. 
 
 The palmist and perhaps the phrenologist may be in evidence 
 as well as other freaks and fakers. 
 
 "Barkers" may be employed to announce the attractions of 
 the exhibits in the most extravagant terms, as ; 
 
 "Step right this way, ladies and gentlemen, and see the fat- 
 test woman in the world, tipping the scales at 895 pounds in her 
 bare feet. Eats two loaves of bread, five pounds of steak and 
 a peck of potatoes at one meal. Step right this way !*' 
 
 VENDERS 
 
 If the circus is gotten up for financial purposes, the venders 
 must not be overlooked. They sell popcorn, lemonade, peanuts, 
 etc., before and after the show and even pass among the audience 
 during the performance selling their wares. 
 
 TUNES SUGGESTED HEREIN 
 
 Tune for Sally and Si 35 cents 
 
 "America, the Beautiful" and "MQler of the Dee". 
 
 in "Golden Book of Favorite Songs" 15 cents 
 
 "Just Smile and Say Good-Bye" 35 cents 
 
 Appropriate folk dances for the opening pageant may be found in Hofer's 
 "Folk Games and Dances." $1.00. 
 
 26 
 
A Sample Poster 
 
 Coming! Coming! Coming! 
 
 HI JENKS' 
 
 Great American Circus 
 
 The largest aggregation of skilled performers and trained animals ever 
 brought together for the amusement and enlightenment of the American 
 public. 
 
 The most thrilling and daring acrobatic and aerial performances, the 
 most marvelous trained animals, the most skilled riders, Wild Indians and 
 typical Cowboys from the western plains, in fact you will find here the 
 greatest attractions from all parts of the world. 
 
 Among these world-famous entertainers are: 
 
 MADEMOISELLE DE BLUFF 
 the great BYench bare-back rider, in her thrilling, hair-raising feats 
 
 SENORITA VESLESCO 
 
 the great Spanish tight-rope walker 
 
 AMO MITZU 
 
 the modem Samson from Japan, who plays with immense weights as children 
 
 play with toys 
 
 REX FLYNN AND WIFE 
 
 the American daredevils in their most thrilling escapade 
 
 "The Slide of Death" 
 
 and other unparalleled stunts 
 
 3 — MIRTH PROVOKING CLOWNS — 3 
 
 In addition to these we have the fattest woman in the world, tipping the 
 scales at 895 pounds in her bare feet; Major and Mrs. Stubbs, the smallest 
 adults in the world; Beela Koo, the wild and hairy man from Madagascar; 
 also the rarest and strangest animal known to exist 
 
 The Annericanus Hyporonkus 
 This animal will answer accurately any question put to It by the audience. 
 
 Come ! - - Everybody - - Come ! 
 
 Come and witness for yourself these marvelous wonders, the beautiful 
 pageants, the gorgeous gowns. Bring the whole family with you for an 
 evening of fun and laughter; of thrills and wonderment; of continuous 
 enjoyment and satisfaction. 
 
 Doors Open at Begins 
 
 Admission — — -, Children 
 
 (Give place and date here) 
 27 
 

 
 LIBRARY OF CONGRESS 
 
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