Part 492: Ringling Brothers’ Grand Spectacle of 1913 – “Joan of Arc”
In 1913, Thomas G. Moses wrote, “When we were setting the Ringling scenery at the Coliseum, the big elephants stampeded and there was some excitement for awhile, but the trainer went after them and brought them back and made them go through all the tricks again.” At the time, he was working on another Ringling Brothers’ grand spectacle “Joan of Arc.”
Newspapers reported that the Joan of Arc story was told by 1200 characters, 300 beautiful dancing girls, a chorus of 400 voices and 600 horses (The Daily Herald, 12 April 1912, page 4).
The “Santa Ana Register described the spectacle:
“The story of ‘Joan of Arc,’ a simple peasant girl who became the deliverer of France, and at last, betrayed by all, was burned on the public square on the false charge of heresy and witchcraft, is familiar to all. It is presented by Ringling Brothers in a masterful way, retaining to the end its pathos, its sentiment and its thrilling dramatic interest. The play begins with Joan, just sixteen years old, comes from her father’s pasture at Domremy at the command of the Archangel St. Michael to the court of Charles VII at Chinon. In the light of a thousand torches she is brought into the presence of the king in the great palace which throngs with the nobles of France. The reception which the king gives the peasant girl is filled with impressiveness and suspense. The second climax of the great spectacle is reached when Joan, dressed in armor, crosses the river at Orleans and rides at the head of the French army into the beleaguered city. One of her heralds presents himself at the English camp. Respect to the messenger of a reputed sorceress is denied and the herald is threatened with death. Another messenger is sent to defy Talbot, and to declare from the girl that if any harm is done him ot shall be retaliated on the English prisoners.
Joan in shining armor appears on a tower facing the Tournelles, bidding, the soldiers of Suffolk and Talbot to depart. This they refused to do. At the head of the French knights and archers Joan rides between the towers of the besiegers and followed by the villagers who look on in wonder at the sight of a mere girl leading the armies of France.
Joan rides through victory after victory, her mysterious power leading her on. A scene of matchless beauty is disclosed by the changing of scenery to that of the magnificent court of Charles VII at Rheims, where, through the inspired deeds of the Maid of Orleans the king is restored to his throne. Here amid regal splendor, the joyous acclaim of the populace and the pomp of pageantry, is enacted the most beautiful episode in French history. The stage version ends with the introduction of a great ballet of 300 beautiful dancing girls, a grand opera chorus, 600 horses and an ensemble of 1200 people. The closing chapter of Joan’s life is too sad for this drama of gladness, through her capture, her imprisonment and her execution are told in a series of thrilling tableaus by means of tone of scenery and a great battery of electric mechanism” (4 Sept. 1913, page 8).
The Ogden Standard reported, “Nearly one-half of an entire train section is used to transport the scenery and costumes f the spectacle of Joan of Arc. This spectacle includes a cast of 1,250 characters and a ballet of 300 girls under the personal direction of Ottokaa Bartik, ballet master of the Metropolitan Opera House, New York, and late of La Scala, Milan. In a series fo striking pantomimic pictures this spectacle tells the dramatic and historical story of the Maid of Orleans, who went forth to battle for her country and her king. The costumes and scenery used in this production are more gorgeous and costly ever secured for a presentation of this kind, either under canvas or in a theatre and the spectacle is produced with all the scenic pomp and splendor and detail of a grand opera. It is presented on a stage larger than that of ten ordinary sized theatres, occupying nearly one entire side of the main circus tent, which measure 498 by 234 feet and seats more than 12,000 persona at a performance” (1 Aug. 1913, page 9).
After “Joan of Arc,” 375 performers took part in the ring entertainment, with approximately 200 who were recruited by Ringlings’ European agent (The Daily Herald, 12 April 1912, page 4). There were 124 acts, 40 elephants, and 108 caged animals in the traveling Ringling Brothers’ zoo.
“Joan of Arc” was reported as costing in excess of $500,000 to devise and produce (The Placer Herald, 23 Aug. 1913, page 3). Keep in mind that the amount twas half the price of “King Solomon,” the grand spectacle that the Ringlings would produce in 1914. For “King Solomon” the Ringlings added a railway car, an elephant, eighty horses, and a much larger main tent. The horses increased from 650 in 1913 to 730 in 1914. The 1913 tent measured 498 feet by 234 feet, seating 12,000. The 1914 tent measured 560 by 320 feet and added an additional 2,000 seats, totaling 14,000.
To be continued…
