LADIES AND GENTLEMEN, BOYS AND GIRLS... welcome to the big top blog of Douglas McPherson, author of CIRCUS MANIA, the book described by Gerry Cottle as "A passionate and up-to-date look at the circus and its people."

Saturday, 30 October 2010

MURDER AT THE CIRCUS!

Part 1

by Douglas McPherson

Roll up, roll up as ex-detective Evelyn and her fearless friends return for another thrilling adventure.

Murder at the Circus
as it originally appeared in My Weekly
"It’s murder!" Boomed Maude.
"Are you certain?" asked Jane.
"Positive. Six letters, third letter ‘r’, couldn’t be anything else."
There were advantages to having a friend who had been a code-breaker in World War Two, thought Jane, as she filled in the cryptic crossword.
Mind you, it was handy having been a spy in the Cold War herself, she reflected, as she completed 13 Down: E-S-P-I-O-N-A-G-E.
As Maude turned back to her own newspaper, the peace of her sunny conservatory was disturbed by the sound of her mobile phone ringing with the theme song from Dad‘s Army.
She had the sound turned up to maximum because at 91 she was more than a little deaf. But she had no trouble recognising the ever crisp tones of her friend, the former Scotland Yard detective Evelyn Winstanley-Hughs.
"How do you fancy a trip to the circus?" Evelyn asked without preamble.
"Sounds fun," said Maude. "What time does the show start?"
"As soon as we get there. A clown’s been murdered in front of 500 witnesses and Mervyn’s arrested the wrong man!"

...................................


Evelyn’s maroon and cream Citroen 2CV was at Maude’s door within five minutes.
"We’ll rendezvous with Pam in the high street," said Evelyn, as she pulled away. "Ah, there she is, right on time!"
Mentally back in her youth, as the first woman leader of the Met’s Rapid Response Unit in the 1970s, Evelyn swung her rickety little car up to the kerb just as retired army medic and police pathologist Pam Saunders stepped out of the Dye Hard hairdressers with her freshly blue rinsed ‘do.
"It’s not quite dry," Pam said crustily, "But a Code One is a Code One."
"Reminds me of East Berlin," enthused Jane, who enjoyed some James Bond-style chases behind the Iron Curtain in the 60s.
"Let’s hope you won’t need your Licence to Kill," said Maude, dryly.
Jane whipped a miniature revolver out of her handbag and assured her friends, "I’m locked and loaded, just in case."
Evelyn made the tyres spin and soon the fearless foursome were bumping up onto the grass of the village green.
An orange and blue-striped big top dominated the green, like a pointed fairytale castle surrounded by a circle of lorries and caravans.
A blonde girl leaned out of a pink wagon marked ’box office’ and shouted ’Hey! Have you got a ticket?’ as Evelyn drove straight past her and right up to the front of the circus tent.
Two uniformed police constables guarding the entrance looked up in alarm as the little car chugged and bounced across the grass towards them.
"Who are these clowns?" one PC muttered.
His colleague snapped to attention as Evelyn climbed out of the car. "Good afternoon ladies. Please go straight through..."
When the ladies had gone into the tent, the better informed PC explained to his baffled colleague, "That’s the Blue Rinse Brigade. Led by the Guv’nor’s mother-in-law."
With a smirk, the policeman added, "Mervyn will be happy..."
The big top was empty, and dark except for the spotlights trained upon its central sawdust ring.
Evelyn marched around the perimeter towards the sparkly curtains at the far end as fast as her 81-year-old legs would carry her.
Pam, who was a year younger, trailed behind, using her walking stick to compensate for a hip overdue for replacement.
Jane, who was the youngest of the friends at 75, brought up the rear because she was holding the arm of Maude who was no longer as steady on her feet as she used to be.
Sweeping aside the sparkly curtain, Evelyn found her son-in-law, Inspector Mervyn Pickles, drinking tea from a paper cup and chatting to a uniformed constable in a small backstage area crammed with circus apparatus.
On the grass at their feet, a tarpaulin covered the unmistakable shape of a body. Two enormous red and white clown boots protruded from under one end.
"Never too busy for a cuppa and a good gossip, I see," said Evelyn.
Caught off-guard, Mervyn said, "Actually, we’re waiting for the police pathologist."
"Well you’re in luck," said Evelyn, "Because I’ve brought the best in the business."
"I mean the real police pathologist..." Mervyn began.
Before Mervyn could stop her, Pam reversed her walking stick and used the handle to lift one edge of the tarpaulin.
She winced at what she saw.
"Looks like someone dropped a ton of bricks on the poor fellow."
"That’s not so far from the truth." Mervyn indicated an army-style kitbag on the grass by the wall of the tent.
"At the end of his act a bag full of feathers was supposed to fall out of the ceiling and burst on his head. Unfortunately someone replaced the feathers with that kitbag. It’s full of cement."
At that moment, Jane and Maude caught up with the others. On the way, Jane had picked up one of the plastic patio chairs that formed the ringside seats.
She set it on the grass beside the tarpaulin, and Maude sat down, saying, "Have we missed much?"
"Just one badly flattened funny man who appears to have brought the house down," said Pam. "On his head, unfortunately."
Mervyn said to Evelyn, "Not that I should be telling you lot what‘s going on. How did you hear about this so quickly, anyway?"
Evelyn gave him a triumphant look. "You’re forgetting that your niece is also my granddaughter. When she saw you‘d made such a hasty arrest, she thought the case needed a fresh pair of eyes."
Mervyn bristled. "Now look here, Evelyn. I know you and your friends were very helpful with that dreadful business at Christmas, but that doesn’t give you permission to poke your noses into any investigation that takes your fancy."
"Poke our noses...!" Evelyn protested. "Do I have to remind you of my twenty years at Scotland Yard, ten of them leading the murder squad...?"
"I think you’ve reminded me quite often enough," Mervyn sighed.
"But in this instance your assistance will not be needed. As it happens an arrest has been made but this is an ongoing inquiry and I don’t want you trampling all over it."
Before Evelyn could respond, her mobile rang, with the theme music to The Sweeny.
"Hello my dear," she answered. "I’m in the big top right now. I’ll come to your caravan directly."
Evelyn pocketed the phone and gave Mervyn a smile of mock-innocence.
"Are you forbidding me to pay a social visit to my granddaughter on the rare occasion she comes to town...?"
Mervyn rolled his eyes and wondered if he’d ever win an argument with the formidable leader of the Blue Rinse Brigade.

..................................

"Oh, Granny Evelyn, I’m so glad you’re here!"
Tamsin Connor’s cheek was wet with tears as she wrapped her grandmother in a fond embrace.
"There, there," Evelyn soothed the girl. "Why don’t we go inside and have a cup of tea and you can tell us everything that’s happened."
The little caravan rocked and squeaked as the four blue-rinsed ladies followed Tamsin through the narrow metal doorway.
The inside quickly filled up, but somehow there was room for everyone to sit down. As Jane took charge of the kettle, Tamsin regained her composure.
Evelyn remembered when the raven-haired tightrope walker was a child. She used to love nothing more than playing with toy police cars while Evelyn regaled her with real life tales of catching murderers and bank robbers.
When Tamsin ran away to join the circus, her parents didn’t approve, but Evelyn told her, "If ever you’re in trouble, just call Granny Evelyn."
"I couldn’t believe it when Uncle Mervyn arrested Tommy," Tamsin said, as she wiped her eyes. "I told him Tommy would never hurt anybody, but he wouldn’t listen."
"Leave Mervyn to me," Evelyn said briskly. "Now, if I can just get the facts straight, I take it Tommy is the other clown?"
Putting on her reading glasses, Evelyn leaned towards a framed picture on the wall beside her. It showed Tamsin in a sequined leotard flanked by two handsome young men.
One was wearing a brightly coloured clown suit but had yet to apply his make-up. The other was clad from the neck down in a furry gorilla suit and carried the head under his arm.
"They called themselves the Trouble Brothers but they weren’t really brothers," Tamsin explained. "Tommy’s the one in the clown suit and Rory’s the one who... oh, I can’t believe what’s happened to him."
Tamsin started crying again and Pam handed her a tissue, saying "Chin up, girl."
"It’s all my fault," Tamsin wailed as she dabbed her eyes. "I should never have got involved with someone on the show, it only ever leads to trouble. But when your job moves to a different town each week, who else do you meet but the people you travel with?"
"What happened?" Jane asked gently.
Tamsin took a moment to gather herself, then said, "I joined Telford’s Circus at the beginning of this season. Rory showed an interest in me from the beginning but, like I said, I didn’t want to get involved with someone on the show.
"Rory seemed to accept that. But then Tommy asked me out and, well, I broke my own rule."
"How did Rory react?" asked Evelyn.
"Badly," said Tamsin. "He and Tommy were very competitive and he couldn‘t accept that I‘d chosen Tommy over him. He kept pestering me to go out with him and, of course, that made Tommy jealous."
"It must have taken the fun out of their clown act," Pam ventured.
Tamsin nodded.
"Helga, the ring-mistress, thought I was breaking up the star act. I think she had a word or two with Big Ted, the circus owner, trying to have me thrown off the show. And now... and now this has happened."
For a moment, Tamsin looked on the verge of tears once more. Instead, she fixed pleading, make-up-smeared eyes on Evelyn.
"But I’ll never believe Tommy killed Rory," she insisted. "Yes, he was angry with him, but he’s not a violent man. You have to believe me, Granny Evelyn. Tommy wouldn’t hurt a fly."
As it was such a sunny afternoon, the caravan door was open - and at that moment a shaven headed giant with a huge handlebar moustache shoved his muscle-bound torso through the gap.
"Justa letting you know, Tamsina," he said in a gruff Italian accent. "Big Ted say the evening show willa be going ahead as normal."

........................................

Word of the murder hadn’t reached the general public. When the lights went out and Rory the Clown was dragged from the ring, the audience thought it was all part of the act.
As a result, there was a jolly mood among the families strolling across the green for the evening performance.
The sun was still high and Pam and Maude watched the arrivals from a table beside a hotdog wagon.
Jane joined them, saying, "The circus loos are very clean."
"It’s zoo loos you’ve got to watch," Pam chuckled. "It was the zoo loos that did for Michael Caine."
As Evelyn returned from the hotdog wagon with four teas, Pam said, "You’ve got to admit Mervyn’s got a good case against young Tommy."
"Poppycock!" Evelyn snorted.
"He had the opportunity," Maude pointed out. "There are witnesses to him winching the bag of supposed feathers into the ceiling."
"That was after last night’s show," Evelyn reminded her. "Anybody could have switched the bag in the meantime."
"He also had a motive," Jane said gently. "If Tommy thought Rory was a rival for Tamsin’s affections, that could have driven him to murder."
"Tamsin told Tommy she wasn’t interested in Rory," Evelyn countered.
"She admitted that hadn’t stopped Tommy and Rory arguing, though," Jane returned.
"Then there’s the little matter of Tommy doing a runner immediately after the deed," Pam said darkly. "You have to admit that looks suspicious."
"He probably panicked," said Evelyn.
For a long, pointed moment, nobody spoke. Eventually, Jane said what Pam and Maude were clearly thinking: "I can see why you want to believe your granddaughter when she says Tommy wouldn’t do it..."
"But...?" Evelyn challenged her, icily.
Jane hesitated, then said, "Do you think you might be too close to the case?"
"I’m no closer than Mervyn," Evelyn retorted. "Tamsin’s his niece - and he clearly doesn’t believe her. No, I’m quite capable of looking at this case impartially.
"As it happens I do tend to believe Tamsin’s assessment of Tommy’s character. But whether she‘s right about Tommy or not, there’s no harm in looking into the matter and satisfying ourselves that Mervyn’s got it right for once."
"Where do you propose we start?" asked Pam.
Evelyn opened a circus programme and turned to the cast list. "Well, these are our suspects..."
"That Italian strongman has to be in the frame," said Pam. "He’d have no trouble manhandling a kitbag full of cement. What’s his name again?"
"Luigi," Jane said warmly. She held up her iPhone to show a picture she’d snapped of the shaven headed visitor to Tamsin’s caravan. "He’s quite a dish, isn’t he?"
"I expect you’re volunteering to pump him for information, Mata Hari " Pam chuckled.
Jane held up her hand to show a diamond ring, and said with mock primness, "I’ll thank you to remember that I’m engaged."
"Remember that you landed the millionaire owner of Burbridge’s department store?" Pam scoffed, "I don’t think you’ll ever let us forget!"
"Jealous as always," Jane said smugly.
"Getting back to the matter in hand..." Evelyn cut in, "I propose we divide ourselves into two pairs to interview the artistes."
"Will they talk to us, though?" said Pam. "Mervyn’s made it clear we’re operating unofficially, and I’ve heard circus people are a clannish, secretive lot."
"Perhaps we should launch an undercover operation," Jane enthused. "Infiltrate their secret world and overhear things they‘d never tell an outsider!"
"Good suggestion," said Evelyn.
Maude gave her a level look and said, loudly, "If you’re suggesting we disguise ourselves as the world’s oldest trapeze troupe I don’t think my knees are up to it."
"We could call ourselves the Wheezy Chesty-coughs," joked Pam.
"Or the Flying Zimmer Frames," Jane said, playfully.
"If we could all be serious for a moment," Evelyn rapped her knuckles impatiently on the table. "I don’t think we need to dig out our leotards. But we do know the circus is short of a clown. So who do we know who could fill his outsize shoes?"
"Have to be someone fit enough to do a bit of tumbling..." said Pam.
"And who wouldn’t mind getting the odd custard pie in the face..." said Maude.
"Afternoon ladies, fancy seeing you here."
The four friends looked up to see Tony Size, the fit young self-defence instructor better known to the ladies of the WI as Tony Thighs.
As four light-bulbs lit up in the air above the heads of the Blue Rinse Brigade, Tony’s stick of candyfloss froze half way to his open mouth.
"Er, why are you looking at me like that?"
Evelyn turned to her friends. "Now that looks to me like a young man who always dreamed of running away with the circus."
"A daring young man on the flying trapeze if ever I saw one!" Jane enthused.
"The roar of the greasepaint and the smell of the crowd," cackled Pam.
Tony instinctively put his free hand on his behind.
"If this is another of your missions..." he began warily, "I’ve only just recovered from the mauling that boxer dog gave me at Christmas..."
"Oh, this wouldn’t be anything like as dangerous as that," Evelyn reassured him.
"Just a bit of clowning round," Pam said breezily.
"Well I might as well tell you straight," said Tony, "that I’m really not..."
Before he could finish, the theme music from The Sweeny burst loudly from Evelyn’s pocket. She whipped out her phone.
"Hello my dear..." Evelyn abruptly fell silent, a serious look on her face. "We’ll be right there," she said, and cut the line.
"Tamsin was checking her tight-wire backstage," Evelyn explained. "Someone’s sawn halfway through it and if she’d walked on it, it would have snapped. At 30-feet up, the fall could have killed her."
Pam pointed her walking stick at Tony. "So Sherlock, are you going to stand there and ignore a damsel in distress? Or are you going to help me get out of this chair?"

Next week: Is a serial killer stalking the circus? And will our four friends crack the case before the murderer strikes again?

Click here to read Part Two!
................................................

To read more adventures of Evelyn, Jane, Pam and Maude, download The Blue Rinse Brigade from the Kindle Store.

For more circus fiction visit Polka Dot Dreams

Wednesday, 15 September 2010

Rave Review for Circus Mania!

RAVE REVIEW!
For Circus Mania!

My thanks to Tina Jackson for writing a fantastic review of Circus Mania on the Writers’ Hub website (www.writershub.co.uk). Here’s what she wrote:


CIRCUS MANIA by Douglas McPherson
Review by Tina Jackson


Circus is having a moment at the moment, with every creative Tom, Dick and Harry borrowing from its rich imagery to add motifs of magic to their endeavours. But how many people actually take themselves under canvas and experience for themselves the spectacular skills and very real risks undertaken by performers who take their lives in their hands to show their audience, for five miraculous moments, that they have transcended the limits of what human bodies are usually capable? A trip to the circus will usually reveal more bare seats than this wonderful form of art and entertainment deserves.

The Great Yarmouth Hippodrome
- Britain's oldest circus building.
Circus Mania takes you behind the scenes.
Perhaps a read of Circus Mania Douglas McPherson’s lovely, lively account of the world of the circus might tempt people to see for themselves the tricks they’re missing. Just like his subject, McPherson’s terrifically readable account is a mixed bag: colourful and populist, high culture and trash culture, mingling tales of outrageous daring, skill and beauty with things that are more tacky, if not tawdry. It’s a journey of discovery as well as a labour of love, prompted by the writer’s experience interviewing Eva, a performer on the aerial silks. McPherson’s interview was the last Eva ever gave; the day after she spoke to him, she fell 30 feet during her act, and died instantly.

McPherson’s approach – a combination of candid curiosity and passionate fascination – allows him access to people from a tight-knit community whose way of life is rarely penetrated by outsiders. He talks to members of old circus families who provide him with a sense of the continuing history of the circus, and representatives of the new, art-driven form of cirque that has largely replaced the older tradition where animals would perform alongside humans. His most fascinating chapters, in fact, concern the issue of performing animals and the shift away from the practice that took place in the 1990s, prompted by the question of animal cruelty – something which, after much investigation, McPherson finds no evidence to substantiate.

The Chinese State Circus
- Just one of many circuses explored
in Circus Mania
McPherson wears his heart on his sleeve about his admiration for circus performers of all kinds, for their dedication and physical skill. He is clear-sighted and non-judgemental at the same time as taking an unmistakeably partisan stance on the subject. He does not pretend to be an insider, however, merely a great enthusiast. This approach gives the book an appealing freshness and creates the sense that, with each new anecdote, the writer is sharing what he discovers. He speaks with equal fervour to traditional seaside clowns, to members of The Circus Of Horrors who have revived the old-school freak show for a rock’n’roll audience, and to European performers of theatrical cirque.

Like a good old fashioned circus – McPherson’s favourite kind, in the end – the book rollicks along at a cracking pace, delivering a cast of colourful characters, and a parade of stories of the life-is-stranger-than-fiction variety. There are thrills and spills, acts of derring-do, heart-in-mouth moments, and laughs aplenty. The circus deserves this book and, like the circus, McPherson deserves for Circus Mania to reach a very wide and appreciative audience.
_______________________________

!!!SPECIAL OFFER!!!

Want to read it for yourself? Circus Mania retails at £14.99, but you can save £5 by ordering direct from Peter Owen Publishers at the special offer price of £10 postage-free. Just send a cheque for £10 to:
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81 Ridge Road
London N8 9NP.

Sunday, 8 August 2010

Circus Mania review in Mail on Sunday - "Circus Mania is a brilliant account of a vanishing art form,"

Not my words, but the view of Britain’s best selling Sunday paper, the Mail on Sunday. Here’s the full four-star review by Roger Lewis, which appeared in the Mail on Sunday on August 8.

THE SHOW MUST GO ON FOR EVER
Circus Mania by Douglas McPherson
**** FOUR -STARS ****
Review by Roger Lewis.


The Mail on Sunday's
4-star review of Circus Mania
-
"A brilliant account of a
vanishing art form."
In the old days, the best way of disposing with a killer elephant was to change its name and sell it to a rival circus. You wouldn’t get away with that now. Indeed, you would be hard-pressed to find elephants in any travelling circus, according to Douglas McPherson in this excellent book. Mostly gone, too, are the footballing poodles, unrideable mules and snarling lions and tigers.

The public finally turned against performing animals in 1998, when Mary Chipperfield was convicted on 12 counts of cruelty against a chimp called Trudy. Animal rights charities have also been persistent, putting pressure on shops not to display posters advertising circuses and getting their fanatics to yell ‘child abuser!’ at parents who take their offspring to see a show.

Circus Mania traces the rich
history of the circus ring
It is illogical. Animal rights people ought to vent their rage on the horse-racing fraternity, or on anyone with a goldfish. The Government has recently completed a two year investigation which concluded circuses are ‘perfectly capable of meeting the welfare needs of animals in their care.’ Furthermore, animals are inspected by local authority vets and the RSPCA at every new site the circus visits. McPherson says circus animals have ‘always been fantastically looked after.’

Nevertheless, I agree with him when he says there is no need to see elephants or horses do demeaning tricks, as it is a privilege simply to be able ‘to admire them in motion at such close quarters.’
For that is the appeal of the circus: there is no computer-generated trickery. The galloping palomino stallions are real. The acrobats feats of strength and balance on the trapeze are real. The risk of sudden death is real.

Circus Mania is a brilliant account of a vanishing art form. McPherson vividly describes the frisson of entering the big top, the pulsating music and ‘the strange light beneath the canvas.’ Part of the appeal, he says, is the combination of ‘low budgets and high spirits,’ a mixture of ‘the tacky and the amazing.’

Circus Mania author Douglas McPherson
meets one of the last circus elephants ever to
appear in Britain in what the Mail on Sunday
called "A brilliant account of a vanishing art form."
The circus has a venerable and noble tradition. It commenced in the arenas of ancient Rome - the Circus Maximus, the Circus Flaminus and the Circus Neronis - with equestrian displays and gladiatorial contests. Acrobatic feats derive from the Chinese theatre. Horsemanship was a Cossack and Hungarian gipsy skill. The clowns came from pantomime and the music halls described by Charles Dickens.

McPherson’s interviews with today’s circus artistes are particularly interesting. Circus families are tight knit and have been slaving away for centuries. ‘There are no sick notes in the circus,’ one performer told him. ‘You go on and do the same act with a smile on your face, even if you are in pain.’

Such stoicism and dedication are only to be admired, for it can be a pitiless existence, living in ‘rusty, showerless caravans,’ and taking down and re-erecting the Big Top at a new ground every week or so.

Helynne Edmonds
- a picture from Circus Mania
To become an escapologist or juggler, or to perform gravity-defying stunts high in the air, takes immense concentration and years of practise. The great clown David Konyot was shot out of a cannon before he could walk. Anyone who wants to become a sword-swallower must train their oesophagus to open at will by poking a coat hanger down the throat.

Not everyone is cut out for the circus ring, despite their best efforts. Saddest of all are the likes of Otis the Frog Boy and Captain Dan the Demon Dwarf, deprived of their livelihood by disability rights activists.

McPherson also tells of a duff fire-eater who set fire to his finger and chin at an audition for Gerry Cottle. He tried to put out the flames on his chin and his finger reignited. Eventually, Gerry had to run over and cover him with a blanket. ‘He turned up at the show three days later with his finger all bandaged up and wearing his McDonald’s uniform.’

Perhaps the success of Cirque du Soleil, which currently has 19 shows running worldwide, means that the circus will stage a comeback. Fifty years ago, the Queen used to go regularly to Bertram Mills and Billy Smart’s, and I’m glad to see that Norman Barrett, ringmaster and budgie trainer, was included in a recent honours list.
_______________________________________________________

If that review makes you want to read Circus Mania, click here to buy the updated 2nd Edition direct from Amazon.


More press coverage for
Circus Mania!

Wednesday, 28 July 2010

Great British Circus tiger trainer Martin Lacey

Martin Lacey and Shaka
- A picture from Circus Mania







What’s life like in a cage with six man-eating Bengal tigers? I asked Great British Circus star Martin Lacey, presenter of Britain’s last big cat show.


Tigers and lions are like chalk and cheese. Or, as Martin Lacey puts it, “Tigers are a bit like French swordsmen. If you look at them the wrong way you can lose an ear. Lions are more like all-in wrestlers. You can have a laugh and a joke and cajole them, but don’t let ‘em grab you, because they’ll all gang up on you.”

The reason for the difference lies in millions of years of evolution. “Male lions live on the open veldt. They get lots of warning if there’s problem, so they’re more laid back. Only uptight, nervous tigers have survived because when you’re going through thick undergrowth, with one step you can scare away a wild boar or walk into a trap.”

Lacey knows big cats better than probably anyone in Britain, because he’s spent the best part of fifty years working with them, currently as director and star of the Great British Circus.
Britain's last tiger trainer
Martin Lacey
pictured in the
Great British Circus's
2009 programme

“You have to become a practising animal psychologist,” says Lacey. “To train a lion, you have to think like a lion.”

He gives an example: “If a lion is going to have a go at you, they take their time and work it out. One day you’ll notice that when the lion goes from A-B, instead of moving in a straight line, he’ll bow in towards you slightly. The next day he’ll come just a little bit closer, until in the end he’s coming straight at you.

“What you do is, the day before he’s got it in his head that he’s going to hook you, you step forward, clip his ear and say, ’Hey! Behave yourself!’ And he goes, ‘Aw, I’ve been found out!’”

Watching Lacey in a cage with five tigers is a mesmerising experience. The presentation couldn’t be more relaxed or gentle. The 300lb predators are as docile as domestic ginger cats as he commands them to make an effortless leap from one pedestal to another with a shrug of his shoulder and a, “Are you ready? Go on then.”

Lacey describes training and performance as “A bit like taking your dog to the park and throwing sticks for him. It’s something you both enjoy.”

How this article originally appeared in The Stage
But tigers remain genetically programmed killers, as Lacey discovered during a practise session nine years ago, when he accidentally stood on a tiger’s paw.

“Suddenly I’ve got a tiger on one leg, then another tiger thought, ‘This looks like a good game, I think I’ll join in.’ So the next thing I know I’m on the ground with a tiger on each leg.”

He shouted to his assistant, “’Get out of the cage, there’s no point two of us getting killed!’ Because it had got to the stage where I thought I was going to become a lump of meat with two tigers fighting over me.”

Fortunately, his protégé Helyne Edmonds ignored the advice to save herself and saved Martin instead.
The aftermath “looked like the Texas Chainsaw Massacre,” says Lacey. It took him six months to walk properly again.

Despite that near fatal encounter, it’s hard to imagine a man talking about his animals more fondly. To quote his catchphrase, “A day without lions and tigers is like a day without sunshine.”

Lacey discovered his affinity with animals at Chester Zoo, where he rode the zebras and camels and organised chimpanzee tea parties. “I didn’t want to be a jailer. I wanted to work with the animals,” he recalls.
Great British Circus
2009 programme

During the 70s, Lacey found television fame as a regular animal presenter on children’s show Magpie and provided the tigers for Esso’s ’Put a tiger in your tank’ adverts. Moving into the circus world, he developed his own style of presenting big cats.

“I used to cuddle and kiss them, ride them around the ring, stick my head in their mouth... it was all very nicey-nicey, and fortunately, that’s what the public liked.”

Today, Lacey’s is the last big cat act in Britain, although he is training his Great British Circus co-director Helyne Edmonds to follow in his footsteps with a mixed lion and tiger act of her own.

Lacey’s sons Alex and Martin Jr present big cats in Germany. Martin Jr this year became the first Englishman to win a Gold Clown at the International Circus Festival in Monte Carlo. Lacey is “disgusted” that this achievement - the circus equivalent of winning the Olympics - went largely unreported in the UK.
On the continent, Lacey says his sons are “treated like film stars.” For his own part, however, he says fame and fortune are no longer his motivation for twice daily getting into the tigers’ cage.

“I just go in and play with my animals, which I enjoy doing. As opposed to wowing the audience, the act is really for me to play with my pets.”

Big cats back in Britain
at Jolly's Circus
2013 update
In 2012 the British government announced a ban on wild animals in circus in 2015 with a new licensing regime in the interim. Rather than "wait till the bitter end," Lacey closed his Great British Circus at the end of last year. His tigers went on to perform in Courtney Brothers Circus in Ireland.

But the issue of animals in the circus never goes away. In late 2013, lions and tigers returned to a British circus ring when big cat presenter Thomas Chipperfield joined Jolly's Circus. Click here for more.


Thomas Chipperfield
presents Britain's last
big cat act
2014 update
Next year's ban seems to have receded, with the government failing to introduce its Wild Animals in the Circus bill in the next Parliamentary session. It won't now be debated before next year's general election, and if the government changes... who knows what will happen? In the meantime, Peter Jolly's Circus and Circus Mondao are the only two British circuses licensed to use wild animals, and Jolly's is the last with a big cat act.

2016 update
With the government having taken no action on a ban, the Welsh Assembly has promised a ban in Wales and has appointed Professor Stephen Harris to complete a study on the subject. 2015, meanwhile, saw Britain's last lion tamer, Thomas Chipperfield, set out on a tour of Wales with his own show, An Evening of Lions and Tigers.

Click here to read my review of possibly the last such act the UK will ever see.


The above article first appeared in The Stage. For the full story of Martin Lacey and many other circus stars, from trapeze artists and sword swallowers to tight-wire walkers and clowns, buy my new book Circus Mania! - The Ultimate Book For Anyone Who Dreamed Of Running Away With The Circus.

Click here to buy Circus Mania from Amazon.




Click here to read an interview with Zippos owner Martin Burton.

Monday, 19 July 2010

Great Yarmouth Hippodrome review

Review of FEARLESS!

Britain's oldest circus building,
where the ring becomes a pool!
Now in its 31st year under the helmsmanship of Peter Jay, a trip to the Hippodrome just gets better. The new summer show, Fearless, may well be the best I’ve seen there since my first visit, in the circus venue’s 100th anniversary year, back in 2003.

Among the highlights is a Wheel of Death that finds Columbia’s Duo Vanegas skipping a rope, walking blindfold and turning a death-defying somersault atop their huge, revolving contraption. Fearless, indeed!

But it’s not just the stunts that make this a great show. There’s a huge sense of enthusiasm coming off all the performers that communicates directly with the audience to make this one of the must-see circus shows of the year.

The Hippodrome as it was...
Nowhere is the show’s energy and vibrancy more apparent than in a new cloud-swing routine by Robert Foxhall, set to Queen’s high energy disco classic Don’t Stop Me Now (Cos I’m Having A Good Time). Foxhall’s gleeful showing off above the fountains and swimming pool of the Hippodrome’s near-unique Water Spectacular gels so perfectly with the exuberance of the music that the routine is not just impressive but lifts the soul.

Another great moment comes with Vladimir Georgievsky’s frantic, cartoon-paced comedy trampoline. It’s the best such routine I’ve seen for a long time. Again, it’s not just the technique, but the charisma Vlad brings to the routine. Plus, of course, the way director Peter Jay has dressed the act up with dancing girls and music - in this case Frank Sinatra’s Ain’t That A Kick In The Head?

...and as it is today.
Jay’s window dressing also adds hugely to a hand-to-hand balancing act by Poland’s Duo Vector, who here perform on an island in the middle of the swimming pool. Now, where else short of Las Vegas would you see that?

Backstage at the Hippodrome
After the show... there’s another treat. In traditional circuses you pay a quid to visit the animals in the ‘zoo’ at the back of the tent. At the Hippodrome, the old stables are now home to a fantastic museum of circus artefacts that Peter Jay has been collecting for the past three decades.
A clown car... gorilla suit... chimp’s bicycle... enamel signs... posters... unicycles... pianos... props... scenery... it’s a veritable Aladdin’s cave that’s all the more interesting for the explosion in a jumble sale look with which it’s all piled up in the Hippodrome’s labyrinth of atmospheric backstage corridors. With a unique piece of circus history at every turn, the collection will delight circus lovers almost as much as the show itself.

In the foyer, meanwhile, it was good to see my book Circus Mania! displayed front and centre on the merchandise table for just £10 - pre-signed by Yours Truly. That’s £5 less than in the shops - another reason to get along to the Hippodrome this summer!

"Roll up, roll up
for a glimpse
behind the
grease paint."
- Eastern
Daily Press
There’s loads about the Hippodrome in Circus Mania! plus behind-the-scenes visits to the Chinese State Circus, the Circus of Horrors, Circus Mondao, the Great British Circus and many more. The Mail on Sunday called the book "A brilliant account of a vanishing art form."

Buy Circus Mania for £10 post-free from Peter Owen Publishers. Call 020 8350 1775 or send a cheque or postal order to:

Peter Owen Publishers
81 Ridge Road
London N8 9NP

Or click here to buy Circus Mania from Amazon

Sunday, 27 June 2010

Brian Austen - Secret Showman behind the Chinese State Circus and Moscow State Circus

Meet the Mr Big of British circus!

Who is the biggest player in the British circus industry? Douglas McPherson hears the sawdust to riches story of Brian Austen, promoter of The Chinese State Circus and Moscow State Circus.
...............................................


Brian Austen puts it like this: “Gerry Cottle is probably the most successful circus person of the past 25 years, in terms of people knowing who he is. Whereas if you said ‘Brian Austen’ to anybody, they wouldn’t have a clue who I was.”

In fact, as promoter of the Chinese State Circus and the Moscow State Circus, Austen is the biggest player in the British circus industry - and his rise to the top has been intertwined with Cottle’s since the two men set up their first circus together in the early 70s, when they had barely two lorries and a second-hand tent between them.

Looking back, Austen admits, “I suppose I feel hurt sometimes that Gerry always got the recognition for everything we did together and, actually, behind it all, I don’t think he was the key to it. I think he carried the credit for a lot of ideas that were mine and, financially, the money was mine. But he’s a great showman, and that’s his prerogative.”

Although he began his career in the ring, where the walked the high wire as El Briarno, Austen has never shared Cottle’s love of the limelight.

In fact, it was only thanks to the persuasion of his old pal Cottle that Austen agreed to give his first interview in decades, for my new book, Circus Mania!

Read the full story of Brian Austen and
many other circus stars and showmen
in Circus Mania
- described by the Mail on Sunday
as "A brilliant account of a
vanishing art form."
He attributes his media-shyness to the fact that, “I came from a poor background and I probably lacked confidence. I was happy for Gerry to do all the talking, to be the mouthpiece and the leader, if you want. But in me he had somebody who, whatever he wanted to do, I could back it up. As a team, we were unbeatable.”

Austen ran away with Count Lazard’s Anglo-American Circus when he was 15.

With a chuckle, he remembers, “I always said to Gerry, the one thing I learned from the Anglo-American was to do nothing they did, because it always ended in chaos!”

The first time Austen encountered the ramshackle operation it didn’t even have a tent.

“They’d had a blow down, so they circled the lorries and set up the seats in the middle.”

Brian’s accommodation was a caravan that he shared with the Count’s collection of snakes.

“I never ever got paid. But I wasn’t bothered. They used to feed me and look after me.”

Brian joined the circus as a horse groom but quickly taught himself an impressive repertoire of circus skills including wire-walking, bare-back horse-riding, lion training and knife-throwing - with his girlfriend as target girl.

“I only nicked her once,” Brian confesses, “And it was just her tights. I don’t think it even marked her.”

In particular, Austen discovered an aptitude for the technical and logistics side of circus.

That came in handy when the Anglo-American embarked on a South African tour and arrived to find the promoter had vanished, along with the money. Brian ended up building the seats for an outdoor circus, using wooden pallets discarded by a car factory.

“I used to do four acts in the ring, do the whole build-up and drive - as a 17-year-old with no licence. It was incredibly hard work, but it was a phenomenal adventure.

A selection of Cottle and Austen Circus posters
from the programme of Gerry Cottle's
50 Years of Circus and Magic
“We were the first circus ever to go into Swaziland. I remember places where they’d never seen a circus and the sight of someone on stilts was frightening to them.”

The African adventure ended when Brian ran away with the Count’s sister-in-law. To raise the fare home, “I went to work on South African railways, cleaning the coaches. I used to collect all the Coke bottles and take them to the shop to get the sixpences.”

Back in Britain, Austen joined James Brothers Circus, where his accommodation was, “A caravan with no door and absolutely nothing in it!”

It was at James Brothers that Austen teamed up with Cottle - a stockbroker’s son turned clown and stilt-walker who had big ideas about owning Britain’s biggest circus.

In 1970, the pair founded Embassy Circus, which quickly became Cottle & Austen’s Circus - with the proprietors and their wives performing nearly all the acts.

In addition to his duties in the ring, Brian recalls, “I was the tent master and the transport manager. I never went to bed two nights a week, because I moved the circus all through the night on my own.”

Was he as ambitious as Cottle?

“No, I was never ambitious. I went through life without any great plans. I just enjoyed what I did. But I suppose at the end of the day I was aggressive enough to want a little bit more all the time. I was never content to sit back with what I had.”

Cottle and Austen got their big break when they were featured on TV’s Philpott Files, and the cover of the Radio Times, as ‘The smallest greatest show on Earth.’

By the mid-70s, they had achieved Cottle’s ambition of being Britain’s most successful circus, thanks in part to a decision to monopolise London’s parks, where no circuses had appeared for years.

In retrospect, Austen considers, “We never had a brilliant circus, but we had an entertaining circus. We put it together well and made it gel.”

The headline says it all!
Read the full story of Brian Austen and
the Chinese State Circus in Circus Mania,
reviewed in Worlds's Fair as
"The greatest show on Earth in a book."
The partnership dissolved over Cottle’s decision to start a circus on ice, which proved a loss-maker, and Brian continued with his own Austen Brothers Circus.

Austen and Cottle would later work together on various circus ventures, most notably promoting the hugely successful Chinese and Moscow State circuses, which have now been on permanent tour in the UK for a decade.
In 2003, Austen bought out Cottle’s share and took sole control of the Chinese and Moscow.

But while Cottle’s career - and personal life - has had more highly publicised ups and downs than a trampoline act, the less conspicuous Austen has trod a steadier path.

“I’ve never been bankrupt. I’ve never been in any sort of financial trouble in my life. I’m a plodder, a careful person rather than a chancer. I set my sights lower and move on from there.”

Austen invested the profits from his circuses in a wide range of other interests, including helicopter sales, a 250-acre industrial estate, an engineering business that manufactures specialist circus vehicles, and a company that supplies grandstand seating to prestigious events such as the Trooping of the Colour.

Roll up, roll up, for a glimpse
behind the greasepaint
- Circus Mania author Douglas McPherson
profiled in
The Eastern Daily Press
Always looking for new enterprises, he says, “I’m developing houses, building nursing homes... I think I’m a real entrepreneur in that I see opportunities in all fields and I have a go at them.”

He attributes the enduring popularity of the Chinese and Moscow circuses to a policy of reinvestment, particularly in customer comfort.

“I was the first to put aluminium doors on a tent, or even doors at all. The first to have proper heating... the rest didn’t seem to care.

“In my view, the problem with circus is the people who run it. They’re not prepared to put money back into it, to make it a better circus. The old circus families, in particular, are a disgrace. You pull on the ground and see the transport with the paint hanging off...

“When Gerry and I started, we put the lorries around the front and they were always well painted. It’s first impressions, isn’t it?”

On a personal level, Austen attributes his success in business to honesty and loyalty. Many of his staff have been with him for decades.

“If I’ve shook my hand on something, I’ve shook it. I don’t need a lawyer or a contract to remind me.

“I think that’s the best way to be, because I believe there’s always another time. I’m not after a quick buck, I’m after the long haul, and I would like to have the people I deal with around for a long time.”

Claiming to be unmotivated by money, the 61-year-old adds that he has no plans to retire.

“The truth is, I’m not good at doing nothing. I have a big boat in the Med. I’ve got a helicopter. I’ve got nearly everything I want. But I still get up at half-past-six every morning and go to work.”
..................................................

(This article originally appeared in The Stage. For the latest circus reviews, visit www.thestage.co.uk)



For the full story of Brian Austen, Gerry Cottle and many other colourful circus folk, buy Circus Mania - The Ultimate Book For Anyone Who Dreamed of Running Away With The Circus by Douglas McPherson.


Tuesday, 15 June 2010

Circus Talk!


Wish me luck... and if you’re in the Great Yarmouth area, come along to my first public appearance promoting Circus Mania - The Ultimate Book For Anyone Who Dreamed Of Running Away With The Circus.

The Time and Tide Museum Of Great Yarmouth Life has invited me to give a reading from Circus Mania and tell some of the stories from the book as part of their Showtime circus exhibition (see post below for more details).

I’ll be appearing at 11.30am on Friday June 25 at the museum, which is on Blackfriars Road, Great Yarmouth, NR30 3BX. Tickets are £2.60, which includes tea or coffee. For more info, phone 01493 743930.

Hope to see you there. Just don’t be late, because the Tide and Time Museum waits for no man.

Also, if you’re in Norfolk, you can hear me talking about Circus Mania on Maggie Seker’s Radio Norfolk show on Sunday June 20 at 3pm.

Circus Mania
author
Douglas McPherson
Finally, I’ve just got back from seeing the Russian Ice Stars fantastic production of Snow White On Ice. Following their venture into circus last year with Cirque De Glace, it’s good to see that they have retained some circus tricks to enliven this more traditional display of ice dance. Some terrific aerial silk and aerial strap work, including a guy literally swinging from a chandelier, drew audible gasps from an audience clearly not expecting to see skaters take to the air in such dramatic ways.

See this show if you get the chance, and look out for their next Cirque show which is due in the autumn.

Of course, you can read the full story of the making of Cirque de Glace in Circus Mania. It’s in all good bookshops - or you can save a fiver by buying it direct from Peter Owen Publishers for the special offer price of just £10 postage-free. Just send a cheque to Peter Owen Publishers, 81 Ridge Road, London N8 9NP

Thursday, 3 June 2010

Circus Exhibition at Great Yarmouth's Time and Tide Museum







It wasn’t so much a case of bringing the house down as bringing the bridge down when Cooke’s Equestrian Circus became the first circus to visit Great Yarmouth, in 1845. To drum up publicity, Nelson the Clown sailed down the River Bure in a bathtub pulled by four geese. So many people crammed onto the suspension bridge to see him that the bridge collapsed and 79 people were drowned.

A painting depicting the disaster is one of the exhibits of Showtime, an exhibition celebrating 165 years of circus in the seaside resort, at the Time and Tide Museum Of Great Yarmouth Life.

Naturally, much of the exhibition focuses on Yarmouth’s very own piece of circus history, Britain’s oldest circus building, the Hippodrome. Owner Peter Jay has loaned a wealth of items such as posters, paintings, and props from his backstage collection. These include a chimp bicycle used by the Billy Russell chimps in the 1950s, a swan float from the water-shows and an elephant razor. This razor was used by an elephant for pretending to shave a member of the audience, before dousing them in water!

The exhibition also includes a massive collection of memorabilia amassed by circus historian Don Stacey. He has loaned props and costumes such as a big cat pedestal, trapeze and a white-faced clown costume made by Vicaire. Vicaire was a Parisian maker who specialised in creating heavily sequinned costumes to contrast with the well-known style of baggy tartan trousers and red nose favoured by Jacko Fossett, Britain’s best loved clown. A leotard once worn by Miguel Vazquez, the first trapeze artist to successfully complete the quadruple somersault is also amongst Don’s loans as well as paintings, prints, and posters.

The Great Yarmouth Hippodrome as it was
- a picture from the Showtime souvenir programme
Other attractions include film footage of the circus past and present and a display of paintings by Katherine Hamilton during her residency at the Hippodrome.

There will also be a series of talks each Friday morning, including A History Of Clowning by Don Stacy and The Roman Circus by Adrian Marsden.

If you want to get more involved, Rollo the clown will be hosting a drop-in circus skills workshop every Monday from July 26 to August 30.
Showtime is open from 10am - 5pm until October 31, which makes it the perfect taster for a visit to the Hippodrome’s summer season.

Oh, and finally, don’t forget to pick up a copy of Circus Mania in the museum bookshop - there’s plenty in it about the Hippodrome and every other aspect of the circus life, past and present.

If you’re unable to attend the Showtime exhibition, though, don’t forget you can order Circus Mania direct from Peter Owen Publishers at the special discount price of just £10 postage-free. Simply send a cheque or postal order to:
Peter Owen (Sales)
81 Ridge Road
London N8 9NP

Or click here to buy Circus Mania from Amazon.
______________________________________________________
COMING SOON on the Circus Mania blog: Meet the Mr Big of British circus!

Thursday, 20 May 2010

How to choose a UK circus school, from Zippos academy to the National Centre for Circus Arts

Juggling at Circus Space
-
The UK's only training facility to offer
a degree in circus arts.





Want a degree in circus arts? Or fancy hooking up your caravan and joining Zippos academy for a summer’s intensive training in the big top? Theatrical bible The Stage recently ran a special circus issue to which I contributed the following article on training opportunities in the UK.



Circus Space
in Hoxton, London
In the sawdust ring of the Circus Mondao big top, 9-year-old Cinzia Timmis and her 12-year-old sister Madalane are putting a troupe of pygmy goats through their paces. Elsewhere in the twice daily show, they ride horses, perform a magic routine and don sequins and fishnets to join in with dancers a decade their senior.

Out of the spotlight, they work in the stables, help put up the circus tent and, presumably, find time to go to school as well

The girls are following in the footsteps of parents, grandparents, great-grandparents and great-great-grandparents who have travelled with tent and caravan for 200 years.

At one time, it was only people like Cinzia and Madalane, who were ever considered true circus people.

Those who ran away with a travelling show to become an apprentice were always jossers or flatties - outsiders - in the old circus parlance, and had to prove their commitment by doing the dirtiest jobs, such as mucking out the elephants, before they were considered worthy of being schooled in the arts of the circus ring.

In today’s circus world, however, there are fewer elephants to attend to. The old circus families, and their traditions, have largely given way to contemporary companies like Canada’s international success story Cirque du Soleil.

Training at Circus Space
Circus skills have spilled out of the big top into theatres, arts festivals, pop concerts, cruise ships and corporate entertainment... and along with the increased employment opportunities for acrobats and fire-eaters, there are more formal routes into the industry.

At the National Centre for Circus Arts, formerly Circus Space, in London, you can even get a degree.

Founded in 1989 by a group of new circus performers who wanted a place to train and teach outside the traditional circus environment, the newly 'National' circus school is a state of the art facility in a former power station in Hoxton. The cavernous rooms where the furnaces and generators once stood provide the perfect space for trapeze.

On the three-year BA (Hons) degree course, students are given a one-year grounding in a variety of skills - juggling, trampoline, aerial work and acrobalance - before choosing a speciality.

There are no previous qualifications required for entry, which is by audition, and according to Head of Aerial Disciplines, Juliette Hardy-Donaldson, the students have a variety of aspirations.

“Some want to be in companies they already know. Others want to start their own companies or freelance. The events industry is the bread and butter in this country, because it’s good money.”

Typical graduates are Kaveh Rahnama and Lauren Hardy, who co-founded their own company, So And So Circus, as well as returning to Circus Space to teach on the youth and recreational courses that the school also provides.

“Circus Space changed my life,” says Kaveh. “As performance arts courses go, I’d say one of the
Inside Circus Space
biggest strengths of Circus Space is that they tell you very realistically how to make a living from circus. You do a whole module on a business plan. A lot of my friends went to RADA or LAMDA, and they never had that.”

Kaveh adds that the degree course is no cinch, however. Of the 22 students in his year, only 16 graduated.

“Some people think it’s going to be a bit of fun, but actually it’s incredibly hard work. As well as circus skills, you do a lot of conditioning: circuit training, press ups, sit-ups, as well as theatre and movement.”

A possibly even tougher introduction to life in the circus is offered by the Academy of Circus Arts.

Martin Burton of Zippos circus founded the Academy after hiring a trapeze act trained in a conventional circus school. He asked them to hang their swing in his big top, and was told they didn’t know how to.

“They’d trained in a building where the trapeze was already hanging each day. So although they’d developed a really great act, they hadn’t learned one of the key things, which is how to hang a piece of kit that is going to save your life.”

The trapeze artists then proved unable to adapt to living in a caravan and travelling from town to town each week.

Burton’s solution was a circus school that roams the country in its own tent - the one where the BBC1 sitcom Big Top was filmed. The 2010 course runs from May 1 to October 2, and in addition to the £2,800 fee, students are encouraged to bring their own caravan, although bunk wagon accommodation is available to rent.

The result of living the circus lifestyle 24/7, says Burton, is that “Circus directors from around the world queue up to employ my graduates because they know they will be used to sitting in the box office, putting up posters, building up the big top and taking it down, driving trucks from town to town... and all the many, many things that go with life in the circus besides just doing your act.

“The other part of the ethos is that they put on a show each week. So the students know they’d better pay attention to what we teach them on Monday because they’re going to be doing it in front of an audience on Friday.”

Gerry Cottle with students of his
Wookey Hole Circus School
An emphasis on rehearsal for regular public performances is also at the heart of the Wookey Hole Circus, a new training facility founded by veteran showman Gerry Cottle at the Wookey Hole caves tourist attraction in Somerset.

Cottle began the school as an evening class for local 9 to 16-year-olds.

“We’re getting a good name,” says Cottle. “If you ask most people if they want to see a youth circus, they’d think it’s not going to be very good. But when they come and see all these little smiling faces... then the kids start doing forward somersaults and riding unicycles standing on each other’s shoulders, then they really do like the show.”

Thanks to the success of Cirque du Soleil and circus-themed pop shows by Britney Spears and Take That, David Davies, Chairman of the Circus Friends Association, says “There’s a big interest in circus throughout the country at youth level. There are a lot of circus skills being taught in youth clubs, circus clubs and universities.”

Despite the efforts of Cottle, Circus Space, the Academy of Circus Arts and a very small number of other circus schools, however, the opportunities for professional circus training in the UK remain limited and of an uneven standard compared with other performing arts - and compared with countries such as China, which has state-run full-time circus schools in every province, taking pupils from the age of six.

It’s no coincidence that Britain’s two most successful touring shows of the past decade have been the Chinese State Circus and the Moscow State Circus, or that performers from China and Russia (another country with a tradition of state-funded circus schools) dominate the cast of Cirque du Soleil.

Gerry Cottle
in his younger days
Jane Rice-Bowen, CEO of Circus Space, feels that increased public funding for training and development is the main requirement if home-grown talent is to compete on the world stage.

“We want people to think about circus in the way they think about opera - as a very expensive endeavour. I think we have to talk about circus on that kind of grand scale in order to produce something as successful as Cirque du Soleil.”

Clearly, structured training to a recognised standard is the foundation of any profession. But, in the colourful world of the sawdust ring, there will always be room for those who simply want to run away with the circus.

Helyne Edmonds did just that. From school, she got a job in a circus box office then filled a vacancy when an animal groom left the show. Today, at 32, she’s a director of the Great British Circus, and in 2010 was the UK’s only lady tiger trainer. Read her story in Circus Mania, along with the full stories of Circus Space, Gerry Cottle's Wookey Circus School and Zippos Academy of Circus Arts.



CIRCUS MANIA FOR A TENNER!
(Postage-free!)
But what’s life really like in the circus? To find that out you’ll have to read my new book, Circus Mania - The Ultimate Book For Anyone Who Dreamed Of Running Away With The Circus.

You’ll find it in all good bookshops price £14.99. But the good news is you can save a jumbo-size £5 by ordering direct from Peter Owen Publishers for just £10 postage free.

To buy Circus Mania for a tenner, simply call 020 8350 1775 or send a cheque or postal order to:
Peter Owen Publishers
81 Ridge Road
London N8 9NP

Or click here to get Circus Mania on your Kindle!