The Greatest Showmen (and Women)
Travelling Shows in 19th Century Manchester
Overview
Visitors to Manchester’s Theatre Royal and other venues during the 19th century would be familiar with ‘Country stars’, actors brought in from other companies, for a short run, to attract patrons and boost profits. Similarly, shows, small and large, originating in London, or even overseas, often travelled to population centres such as Manchester, as proprietors sought new audiences for their exhibits.
The American Giant
From ‘giants’ and ‘dwarfs’ to bearded ladies and albinos, people with physical differences were often exploited as curiosities in the 19th century, exhibited in circuses or sideshows as ‘freaks of nature’.
James Henry Lambier (b. 1783), an ‘American giant’ around seven feet tall, arrived in London in August 1819 seeking employment with the Horse Guards. When this proved unsuccessful, finding himself in a “distressed situation”, Lambier embarked on a tour of Great Britain, exhibiting himself while selling patent medicines. Lambier signed this copy of his life story, while visiting Manchester in September 1830.
Franconi’s Cirque National de France
Regarded as the founders of French circus, the Franconi family were talented equestrians, who brought their show to Manchester’s Free Trade Hall from 26 July to 22 September 1849. Under the proprietorship of Bastien Franconi, the troupe offered a range of morning, afternoon and evening performances. Prices ranged from sixpence to two shillings, with some half price seats available for children under ten.
Aimed at “admirers of equestrianism”, the show focussed on “a splendid stud of forty-six highly-trained horses and ponies”, which performed in a spacious circle, forty feet (12 metres) in diameter, which was erected in the centre of the building. Other entertainers included clowns, jugglers and acrobats. The programme changed regularly to encourage repeat attendance. The star of the final week was the ‘Young Hernandez’, a 17-year-old American equestrian.
The Infant Marie
Popular with 19th-century audiences, child performers, such as the Infant Marie, were celebrated for their precocity and versatility. A proficient vocalist (in both English and Italian), pianist, dancer, and mimic, the multi-talented Sarah Maria James (1839–90) performed under this stage-name from 1849 to 1852, often appearing alongside her elder sister, Miss Eliza James.
Billed as “only seven years of age”, when she performed to an audience of around 2,000 at Manchester’s Free Trade Hall in 1850, Marie was repeatedly portrayed as younger than her actual years. She returned to Manchester for one night only on 7 February 1852 “previous to her departure for America” — another marketing ploy?
Buffalo Bill
Following successful appearances in London and Birmingham, Buffalo Bill’s Wild West Exhibition set up camp at New Barns racecourse in Salford in December 1887. Led by the legendary American showman, William Frederick Cody (1846–1917), the exhibition combined elements of circus and theatre to represent pioneer and frontier life in America’s Wild West. Vast canvases, representing prairies and forests, provided backdrops to skilful horsemanship, sharp-shooting displays and dramatic battles between cowboys and Native Americans. Authentic costumes and spectacular effects, including a fifty-mile-an-hour tornado, added to the experience:
“The spacious building resounds daily and nightly to the plaudits of thousands who come from places near and far to see the novel, exciting and interesting entertainment.”
‘Manchester Courier and Lancashire General Advertiser’( 5 January 1888)
Afternoon and evening performances were held for crowds of around 10,000 people, who were accommodated in a vast, purpose-built, 80 foot (24 metre) high auditorium, measuring 400 x 250 feet (122 x 76 metres). The racecourse stables housed 250 horses, and the camp was also home to the show’s wild animals, including buffalos, bears and deer. Indoor public performances were held between 17 December 1887 and 30 April 1888. (In common with Victorian practice, there were no shows on Sundays.) Around 20,000 people attended a final outdoor show on 1 May, before the troupe returned to America, via Hull.
Legacy
Today, the exploitation of physical differences is widely condemned. However, arguably, the public appetite for entertainment based on ‘otherness’ survives in the popular culture of reality television.
While England’s Philip Astley (1742–1814) is regarded as the founder of the modern circus, families such as the Franconis helped to popularise the artform around the world. As a visual performing art, circus transcends language barriers, and performances by touring companies remain popular today.
The Infant Marie emigrated to Australia in 1858, where she continued to perform as a singer and a pianist, even after marriage and motherhood.
Buffalo Bill completed further tours of Britain in 1892 and 1902/03. A member of his troupe remained in the city in 1903, becoming Manchester’s first resident native American. Charging Thunder changed his name to George Edward Williams, and still has descendants in the area today. The Wild West’s visits are also remembered in various street names, including Cody Court, Buffalo Court and Dakota Avenue.
Discussion Points
What are the benefits and drawbacks to the lifestyle of a travelling performer?
What role did children play in the formation of performance culture in the 19th century?
Additional Resources
An image of the the American Giant can be seen in the Wellcome Collection.
Ann Hurley’s online biography of the Infant Marie: ‘The Musical Wonder’ Sarah Maria Welchman (nee James) 1839–1890’.
Gareth Lloyd’s blogs: Buffalo Bill Scrap Book — A Hidden Treasure of the John Rylands Library and A curator’s pick: My favourite Rylands collection.
The National Fairground and Circus Archive (University of Sheffield) offers a range of articles on travelling shows and performers.
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