Having saved some money out of the proceeds of these performances, Astley erected the Amphitheatre, which, in its early years, resembled the present circus in Holborn more than the building subsequently identified with the equestrian triumphs of Ducrow. Chinese shadows were still found attractive, it seems, for they constitute the first item in one of the programmes of 1780, in which year the Amphitheatre was opened. Then came feats of horsemanship by Griffin, Jones, and Miller, the clown to the ring being Burt. Tumbling—‘acrobatics’ had not been extracted from the Greek dictionary in those days—by Nevit, Porter, Dawson, and Garmon followed; and it is worthy of remark that none of the circus performers of the last century seem to have deemed it expedient to Italianize their names, or to assume fanciful appellations, such as the Olympian Brothers, or the Marvels of Peru. After the tumbling, the feat of riding two and three horses at the same time was exhibited, the performer modestly concealing his name, which was probably Philip Astley. Next came ‘slack-rope vaulting in full swing, in different attitudes,’ tricks on chairs and ladders, a burlesque equestrian act by the clown, and, lastly, ‘the amazing performance of men piled upon men, or the Egyptian pyramid.’
About the same time that the Amphitheatre was opened, the Royal Circus, which afterwards became the Surrey Theatre, was erected in Blackfriar’s Road by the elder Dibdin and an equestrian named Hughes, who is described as a man of fine appearance and immense strength. The place being unlicensed, the lessees had to close it in the midst of success; but a license was obtained, and it was re-opened in March, 1783. Burlettas were here combined with equestrian performances, and for some time a spirited competition with Astley’s was maintained. The advertisements of the Circus are as curious for their grammar and strange sprinkling of capitals as for their personal allusions. A few specimens culled from the newspapers of the period are subjoined:—
No. 1.—‘The celebrated Sobieska Clementina and Mr Hughes on Horseback will end on Monday next, the 4th of October; until then they will display the whole of their Performances, which are allowed, by those who know best, to be the completest of the kind in Europe. Hughes humbly thanks the Nobility, &c., for the honour of their support, and also acquaints them his Antagonist has catched a bad cold so near to Westminster bridge, and for his recovery is gone to a warmer Climate, which is Bath in Somersetshire. He boasts, poor Fellow, no more of activity, and is now turned Conjuror, in the character of ‘Sieur the Great.’ Therefore Hughes is unrivalled, and will perform his surprising feats accordingly at his Horse Academy, until the above Day. The Doors to be opened at Four o’clock, and Mounts at half-past precisely. H. has a commodious Room, eighty feet long. N. B. Sobieska rides on one, two, and three horses, being the only one of her Sex that ever performed on one, two, and three.’
No. 2.—‘Hughes has the honour to inform the Nobility, &c., that he has no intention of setting out every day to France for three following Seasons, his Ambition being fully satisfied by the applause he has received from Foreign Gentlemen who come over the Sea to See him. Clementina and Miss Huntly ride one, two, and three horses at full speed, and takes Leaps surprising. A little Lady, only Eight Years old, rides Two Horses at full gallop by herself, without the assistance of any one to hold her on. Enough to put any one in fits to see her. H. will engage to ride in Twenty Attitudes that never were before attempted; in particular, he will introduce his Horse of Knowledge, being the only wise animal in the Metropolis. A Sailor in full gallop to Portsmouth, without a bit of Bridle or Saddle. The Maccaroni Tailor riding to Paris for new Fashions. This being Mr Pottinger’s night, he will speak a Prologue adapted to the noble art of Riding, and an Epilogue also suited to Extraordinary Leaps. Tickets (2s.) to be had of Mr Wheble, bookseller, Paternoster-row, and at H.’s Riding School. Mounts half-past four.’
No. 3.—‘Hughes, with the celebrated Sobieska Clementina, the famous Miss Huntly, and an astonishing Young Gentleman (son of a Person of Quality), will exhibit at Blackfriars-road more Extraordinary things than ever yet witnessed, such as leaping over a Horse forty times without stopping between the springs—Leaps the Bar standing on the Saddle with his Back to the Horse’s Tail, and, Vice-Versa, Rides at full speed with his right Foot on the Saddle, and his left Toe in his Mouth, two surprising Feet. Mrs Hughes takes a fly and fires a Pistol—rides at full speed standing on Pint Pots—mounts pot by pot, higher still, to the terror of all who see her. H. carries a lady at full speed over his head—surprising! The young gentleman will recite verses of his own making, and act Mark Antony, between the leaps. Clementina every night—a commodious room for the nobility.’
The excitement of apparent danger was evidently as much an element of the popular interest in circus performances a century ago as at the present day.
Colonel West, to whom the ground on which the circus was erected belonged, became a partner in the enterprise, and invested a large amount in it. On his death the concern became very much embarrassed, and struggled for several years with a load of debt. Hughes was succeeded as manager by Grimaldi, a Portuguese, the grandfather of the famous clown whom some of us remember at Covent Garden; and Grimaldi, in 1780, by Delpini, an Italian buffo singer, under whose management the novel spectacle of a stag-hunt was introduced in the arena.
Sadler’s Wells continued to give the usual entertainment, the advertisements of 1780 announcing ‘a great variety of singing, dancing, tumbling, posturing, rope-dancing,’ &c., by the usual very capital performers, and others, more particularly tumbling by Rayner, Tully, Huntley, Garmon, and Grainger, ‘pleasing and surprising feats of strength and agility’ by Richer and Baptiste, and their pupils, and tight-rope dancing by Richer, Baptiste, and Signora Mariana, varied during a portion of the season by the last-named artiste’s ‘new and extraordinary performance on the slack wire, particularly a curious display of two flags, and a pleasing trick with a hoop and three glasses of wine.’
Astley’s soon became a popular place of amusement for all classes. Horace Walpole, writing to Lord Stafford, says:—
‘London, at this time of the year [September], is as nauseous a drug as any in an apothecary’s shop. I could find nothing at all to do, and so went to Astley’s, which, indeed, was much beyond my expectation. I do not wonder any longer that Darius was chosen King by the instructions he gave to his horse; nor that Caligula made his Consul. Astley can make his dance minuets and hornpipes. But I shall not have even Astley now: Her Majesty the Queen of France, who has as much taste as Caligula, has sent for the whole of the dramatis personæ to Paris.’