Circus Mess Tent

About This Project

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The traveling circus, from the late 19th century through the first half of the 20th century, was a major form of spectator entertainment and attracted huge crowds wherever it went across America.

Like many kids my age, I was captivated. I marveled at the pageantry of the grand parade, the daring of lion tamers, the majesty of the elephants, and the danger of high-wire acts like the Flying Wallendas. Over the years, my interest deepened through books, watching The Ed Sullivan Show, and, when possible, attending live circuses. I became especially interested in the lives of famous animal trainers: Mabel Stark wrestling with her tiger Rajah; Clyde Beatty in a small ring surrounded by fierce lions, protected only by his whip, chair, and courage; and the multi-talented Gunther Gebel-Williams performing with horses, lions, tigers, and elephants—sometimes all at once.

The American circus was revolutionized by P. T. Barnum, who introduced the sideshow featuring midgets, bearded women, fire eaters, and other attractions. He also helped popularize exhibits of exotic wild animals, multiple rings under the “Big Top,” and the circus train, which allowed the show to travel efficiently from town to town.

As I grew older, the culture of the circus began to interest me more than the acts themselves. Circuses were often described as a troupe or family because they functioned that way. They were highly structured organizations with a clearly defined hierarchy. At the top were the owners and ticket takers—those who handled the money. Next were the skilled performers: large animal trainers, high-wire acts, and trick riders. Below them were the clowns, midgets, “freaks,” and roustabouts. Everyone had a role and knew their place.

Despite this hierarchy, everyone ate in the same mess tent, served from the same chow line. For that reason, I consider the mess tent to be the heart of the circus. However, even there, the different groups typically sat at separate tables, often divided by makeshift canvas curtains. Because it served everyone, the mess tent was the first tent erected and the last taken down before moving on.

Due to the hard work, low pay, and nomadic lifestyle, few questions were asked during hiring. As a result, the circus often became a refuge for people who wanted to disappear, start over, or leave something behind. The troupes were frequently a rough mix of society’s outcasts, so-called “freaks,” and highly skilled but often poorly educated performers, many of whom had grown up in circus families. From this unique culture came songs, movies, and books. One of the most well-known is the Bobby Darin song from the 1960s that begins with the line ‘Oh, goodbye cruel world, I’m off to join the circus. Gonna be a broken-hearted clown”  

For all of these reasons, I decided to build my roombox, The Circus Mess Tent.

As you view the box from left to right, you first see a brightly colored bucket. These buckets were an essential part of circus life. Because circus grounds were often located outside of town, access to clean water could be limited. Each person or family had their own bucket, which they painted so it could be easily identified. On the stool next to it is a tin can filled with sand for cigarette butts. Fire was a constant danger; circus tents were made of highly flammable canvas and filled with combustible materials in a confined space.

The posters on the sides of the tent were produced by the Cincinnati-based Strobridge Lithographing Company, a leading printer of circus posters at the time. The company was known for its bold designs, bright colors, and high quality. These posters served as the primary advertising for traveling circuses, especially in rural towns. They are historically significant as some of the earliest forms of outdoor advertising in America. Today, they are highly collectible and appear in many museum collections, including the Cincinnati Art Museum, which holds one of the finest in the country.

The lowland gorilla eating an apple in the far right corner represents Buddy, a real animal with a remarkable story. Born in the Belgian Congo, Buddy was given to a ship captain by missionaries. The captain when he docked in America passed the gorilla on to Gertrude Lintz. She raised him as a pet, dressed him in clothes, and even drove him around town in her car. This arrangement ended abruptly in 1937 when the seven-year-old, 450-pound gorilla, startled by thunder, climbed into bed with her. She soon sold him to Ringling Brothers for $10,000. The circus rebranded him as “Gargantua – The World’s Most Terrifying Living Creature.” He became one of their most popular attractions and is credited by some with helping the circus avoid bankruptcy during the Great Depression.

Finally, the ladders on each side of the tent represent the setup phase, when roustabouts and performers worked together to erect the tents and prepare for the show. For anyone who has given a presentation or performed on stage, this moment is both exciting and stressful—the anticipation, the nerves, the hope that you will succeed. Afterward, as everything is taken down, there is mental and physical exhaustion but also a sense of accomplishment. However as you complete the tear down that feeling quickly gives way to a sense anticipation of the next event, as one experience becomes a memory your attention turns to what comes next.

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