‘If the objections which are made to permitting the present existing theatres or places of public amusement to continue arises from a principle of morality, which indeed is the only plea of opposition which can be alleged, it is somewhat strange that the only exception should be made in favour of Sadler’s Wells, at which alone, it is worthy of remark, a man may if he chooses get drunk. A pint of liquor is included in the price of admittance, but as much more may be had as any person chooses to call for. The heat of the place is a great inducement, and we believe many females have from that cause drank more than has let them depart in their sober senses, the consequences of which are obvious. This is not permitted at Astley’s, the Circus, or the Royalty.’
The last-mentioned place of amusement was a Variety Theatre, in Wells Street, Goodman’s Fields, which had risen out of the New Wells, and gave entertainments similar to those of Sadler’s Wells and the Royal Circus.
CHAPTER II.
Fortunes of the Royal Circus—Destruction of Astley’s Amphitheatre by Fire—Its Reconstruction—Second Conflagration—Astley in Paris—Burning of the Royal Circus—Erection of the Olympic Pavilion—Hengler, the Rope-dancer—Astley’s Horses—Dancing Horses—The Trick Horse, Billy—Abraham Saunders—John Astley and William Davis—Death of Philip Astley—Vauxhall Gardens—Andrew Ducrow—John Clarke—Barrymore’s Season at Astley’s—Hippo-dramatic Spectacles—The first Circus Camel.
For nearly forty years after the opening of Astley’s Amphitheatre, the performances did not differ, in any respect, from the usual entertainment of the smallest tenting company now travelling. The earliest bill of the collection in the library of the British Museum was issued in 1791, when the great attraction of the place appears to have been the somersault over twelve horses, called le grand saut du Trampolin, of James Lawrence, whose vaulting feats gained him the name (in the bills) of the Great Devil.
In 1792, the entertainments comprised a considerable musical element, and concluded with a pantomime. One of the advertisements of this year announces the performances in the arena as follows:—
‘Horsemanship, and exercises for the Light Dragoons—Ground and lofty tumbling—A grand entry of horses—Equestrian exercises, particularly the metamorphose of the sack—Wonderful equilibres on a single horse—Whimsical piece of horsemanship, called The Taylor riding to Brentford.’
Sadler’s Wells continued to vary its programme with tumbling and rope-dancing, and in 1792 gave ‘a pleasing exhibition of strength and posture-work, entirely new, called Le Tableau Chinois, by Signor Bologna and his children, in which will be displayed a variety of curious and striking manœuvres. Tight-rope dancing by the Little Devil and Master Bologna, with the comic accompaniment of Signor Pietro Bologna.’
From the Royal Circus announcements of the following year, I select the following two, as good illustrations of the kind of performances then given, and curious examples of circus bills eighty years ago:—
ROYAL CIRCUS.