Part 484: Thomas G. Moses’ and the Al Ringling Theatre
In 1883, the Ringlings called their show “Ringling Brothers Grand Carnival of Fun.” Five of the seven brothers were business partners by this point – Albert (1852–1916), Otto (1858–1911), Alfred T. (1862–1919), Charles (1863–1926), and John (1866–1936). Their two other brothers Augstus “Gus” (1854–1907) and Henry (1869–1918), later joined and worked as employees.
It was the combined efforts of the brothers that helped secure enough income to purchase their first circus tent. The first Ringling tent measured 45’ wide by 90’ long, with a seating capacity for almost 600 spectators. Later tents would measure 440 feet long by 190 feet wide, seating more than 12,000 people. The largest tents took 30 employees with horses and elephants to raise the center pole. Their show included acrobatic acts mixed with comedy acts and musical selections. The Ringling brothers played instruments in the band, performed in the show, and led several of the acrobatic acts.
The death of their mentor Yankee Robinson became a turning point in the trajectory of the Ringling Brother’s circus, they all needed to assume the supervisory role of practical tasks that Robinson had led in the beginning. At first, the circus traveled from town to town by wagon, but as the size increased they traveled by rail. Over time their circuses continued to increase in size and scope. They hired new acrobatic acts, clowns, dancers and animal trainers.
Al was the ringmaster and in charge of circus operations and hiring; this is why he was the one who met with Thomas G. Moses about the scenery. Otto was the treasurer and referred to as the “King,” since he controlled the finances. Alf T. was in charge of marketing and working with newspapers for advertising. He wrote “Life Story of the Ringling Brothers” in 1900. Charles was in charge of dozens of men who put up advertising, such as billboards, posters, and other signage. He was the most musically inclined of all the brothers and worked behind the scenes, becoming a favorite with many of the performers. John planned the logistics of the tours, establishing the route that the circus would travel each year. He worked with the railroads and hired the locomotives that would pull the Ringling railway cars. Gus supervised Advertising Railcar No. 1 and the twenty-seven men who were responsible for pasting up circus advertisements. Henry was the superintendent at the main entrance of the big top, supervising the ticket takers.
By 1890, the circus required 18 railcars. The troupe’s touring menagerie was quite large, including 107 horses and ponies, 3 elephants, 3 camels, 3 lions, monkeys, a kangaroo, a water buffalo, an emu, a zebu, a zebra, a hyena, an elk, an anteater, a hippopotamus, snakes, and a variety of birds. When they stopped at a town to set up, their location was referred to as Ringlingville. Their traveling city included a barbershop, general store, dining hall, post office, and blacksmith shop.
Twenty-five years later, the Ringling Brothers circus traveled on 85 railcars that moved in 4 sections, with each section being pulled by a steam locomotive. In 1915, the circus included 17 tents that covered 14 acres of land. The tents included the big top for a main performance, an animal menagerie, the side show, three horse tents, the pony tent, three dining tents, a cook tent, two dressing tents, a ballet tent, and wardrobe tent and others for candy and souvenir stands.
Weeks before the circus would arrive in any town, advance men were sent ahead to secure the necessary supplies during their stay. Moses did the same thing as carpenters were sent ahead to prepare the areas where he would be working and transport all the necessary supplies and tools.
The first Ringling train to arrive in any town was the “Flying Squadron” who was met by the 24-hour man. The Fling Squadron carried the kitchen and dining tents, chef, cooks, equipment and helpers. This included some 20 circus cars that were set on a side track for unloading. The Ringling circus employees drank 185 quarts of coffee and 65 quarts of tea daily.
Thomas G. Moses worked directly for Al Ringling, the eldest of the brothers who was in charge of hiring. Al was in also in charge of supervising the circus performers, as well as contracting scenery and other specialty items for the shows. For many years, Al was the ringmaster, announcing the acts twice daily. Al’s home basd remained in Baraboo, where he would later finance the building of the Al Ringling Theatre, another project that Moses would work on.
In 1915, Moses wrote, “The new theatre we did at Baraboo for Al Ringling was a good contract at $2,600.00. I went up to open and found a beautiful theatre, very unique in design, fifty years ahead of the town. Poor Al Ringling died soon after this.” The Janesville Gazette reported, “Sosman & Landis company of Chicago did the scenic painting in this new theatre” (20 Nov. 1915, page 20). On April 7 of that same year, Joseph S. Sosman passed away at the age of 70, leaving a widow and two sons (Arthur and Fred). Thomas Moses became the president of Sosman & Landis, with Arthur Sosman as vice-president. The Ringling Theatre was one of Moses’ flagship projects as the new studio president.
The Al Ringling Theatre opened its doors in November 1915 and has been operating continuously ever since. Al Ringling hired the architectural firm of Rapp and Rapp to design a theater based on the Orpheum Theatre built in Champaign, Illinois in 1914. The Janesville Daily Gazette reported, “Theatrical men, scenic painters, canvas makers and many prominent citizens from Chicago and other towns, all of whom were bound for Baraboo to do honor to a man who had the courage to build in that city one of the finest, if not the finest, playhouse in America, Mr. Al Ringling. (20 Nov. 1915, page 20). There were 844 seats, with seventeen boxes, each containing six seats. The stage was 33’-6” deep, 60’ wide and 46’ high. The massive fire curtain of asbestos measured 24’ high by 40’ wide, weighing 750 pounds.
When asked about the approximate cost of the enterprise, Al Ringling refused to give a price. Instead, he responded, “My object from start to finish was to give the people as fine a playhouse for the size of it as there was anywhere, and the architects and finishers and many theatrical men have said that I have accomplished my undertaking. And if it is, then I am satisfied, for I have had much pleasure in all the years that I have been in the business, and although at times it seemed hard, it was a pleasure for me to make the money, and now if I have done something with a part of it that will bring pleasure to my friends and neighbors, I have accomplished something.”
To be continued…
