Tales from a Scenic Artist and Scholar. Part 910 – The Passing of Al Ringling on Jan. 1, 1916

Copyright © 2019 by Wendy Waszut-Barrett

Al Ringling’s portrait at the Circus World Museum in Baraboo, Wisconsin.

In 1915, Thomas G. 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.”

Moses designed and supervised the painting of six grand circus spectacles for Al Ringling.  These were events for the big top and attached to the opening parade of the circus, spectacles solely accompanied by movement and music. Al Ringling both liked and trusted Moses, so it was Sosman & Landis who would deliver the scenery to Al’s new theatre in 1915.

Before his theatre opened in 1915, Ringling was involved in a car accident. On October 18, 1915, the “Muscatine Journal” reported, “Well Known Circus Figure Meets With Mishap. Lafayette, Ind., Oct. 18 – Al Ringling, one of the owners of Ringling Brothers’ circus, was confined to his bed at a hotel here today, suffering from injuries resulting from an automobile accident.

“Ringling and a party of friends were en route to Baraboo, Wis., to attend the Purdue-Wisconsin football game when the crankshaft of the machine broke a few miles north of this city. The car plunged into a ditch. Throwing Ringling out of the machine. He was injured about the head” (page 7).

He never really recovered from his injuries and also suffered from Bright’s disease. In modern medical terms, this kidney disease would be described as acute, or chronic nephritis, characterized by swelling and the presence of albumin in the urine, and often accompanied by high blood pressure and heart disease. Regardless of his physical suffering, Ringling continued to direct the completion of his new theatre during the fall of 1915 until it’s opening. After the opening of his theatre, Ringling’s health began to fail in earnest. On Jan. 1, 1916, Ringling passed away. The following day, newspapers announced, “Al Ringling is Dead.”  The “New York Times” reported:

“Famous Show Man, Oldest of Circus Family, Succumbs at Home. Baraboo, Wis. Jan. 1. – Al Ringling, sixty-six years old, died here to-day of Bright’s disease. He had been ill about a year. Mr. Ringling was the oldest of the Ringling brothers, circus owners, who have their winter head quarters here. Mr. Ringling is survived by his widow.

“It was Al Ringling’s success in the show business that influenced his four brothers to join hi in the circus venture. Although he had given up the active management of the shows some time before he died, his was always the guiding spirit. More than any of his brothers he was beloved of his associates and friends the world over.

“Mr. Ringling entered the show business in 1874 with Yankee Robinson, whom he soon afterward left, to start out on his own hook. By 1884, he was conducting a show wagon around the country. That was the beginning of the Ringling Brothers’ shows, for the five brothers were soon aligned.  The shows increased so rapidly that the Ringling brothers gradually absorbed the Jack Robinson circus, the Forepaugh-Sells show and finally the Barnum & Bailey outfit in 1907.

“Mr. Ringling did much in his lifetime for Baraboo, where he lived and which he never forgot. It is estimated that he made more than a million dollars in the circus business. He is survived by a widow, his brothers and a sister” (2 Jan. 1916, page 13).

On January 4, 1916, “the Portage Daily” reported, “Funeral of Famous Showman Tuesday. Services for Al Ringling Held at Lutheran Church. The Rev. Mueller Officiated. All Baraboo Does Honor to their Respected Citizen.

“The funeral of Al Ringling was held at Baraboo Tuesday afternoon. The remains laid in state at the palatial home of Mr. Ringling, which marks the site of the first residence of his parents in the early 70s, after his death.

“The funeral services were conducted by Rev. H. Mueller at St. John’s Evangelical Lutheran Church of which the Ringling Bros. contributed $5,000 toward the erection of the edifice. Pastor Mueller was assisted in the service by Rev. H. Gold of Madison.

“Al Ringling was the leading citizen of Baraboo and its greatest benefactor. He had recently established the Al Ringling theater, which cost $125,000. Its dedication on Nov. 17 was a notable event in the history of Baraboo. Mr. Ringling had provided for the permanence of this theater, contemplating that an opera house so pretentious might not be self-sustaining in a city of this size.

“Death prevented the fulfillment of a plan which Mr. Ringling had, to build a fine hotel here.

“The Ringling Circus enterprise will be continued by the remaining four of the original seven brothers. First to die was August G. Ringling. He was not connected with the circus. In 1911 Otto, operating boss, called “the king” of the circus, died. Remaining are Chas. R., Evanston, Ill. Henry, who has residences in Baraboo and Florida; John, who resides in Ringling, Mont., and Alf who passes his time chiefly in new York and Chicago. A sister, Mrs. Ida Ringling North, resides in Baraboo.

“Al Ringling some months ago began the construction of a great mausoleum in the cemetery at Baraboo, which still is in course of construction. Until this is finished, the body will be placed in a vault.

Albert Ringling was the son of Mr. and Mrs. August Ringling, Chicago, of Hugenot ancestry, pious folks that were opposed to the desire of their boys to go into the circus business, but, like wise parents, entered no serious objections, the father advising the boys when they were tired tramping around to come back and sew tugs in his harness shop. [Thomas G. Moses’ father left a life on the sea to establish a tannery and harness shop in Sterling, Wisconsin].

“The Ringling family moved to Baraboo in the early 70’s. In 1882 Ringling Brothers’ Circus made its first real start when the first performance was held in the jail yard in Baraboo. The seats fell down and almost broke the show. Previously the brothers, and especially Albert, were always trying tricks and would amuse the children with juggling and the like circus spirit seemed insistent in Al, whose passing now removes the veteran of the sawdust ring, his fame being even greater than that of Barnum or Forpaugh [sic.]”

On January 23, 1916, the “Sioux City Journal” reported, “Latest to hear the final summons of the ‘equestrian director’ – the ‘call boy’ of the circus – was Al. Ringling, oldest brother of the famous family which put Baraboo, Wisconsin, on the map. His death occurred the first day of the new year. Otto and Gus Ringling died some time ago. Four brothers survive and they are the so-called ‘circus kings’ of today – Alfred T. John, Charlie and Henry, the latter coming into the firm at the death of Otto” (Page 27).

There are those moments that the term “passing of an era” is very visible.  The loss of Ringling was such a great one.  What would life had been like if he had lived another ten or twenty years? The same can be said of Joseph S. Sosman and Perry Landis. Creative men, living before their time, whose vision change and entire industry.

Of the Al Ringling Theatre, it also wept for Al’s passing, as the the theatre soon flooded. On Feb. 8, 1916, the “Wisconsin State Journal” reported, “Some one unfortunately left a window open in the Al Ringling theater which caused a pipe to freeze and burst thereby flooding the balcony to some extent. The carpets and mattings were soaked. They were removed and there was no interference with the pay announced for the evening” (Madison, page 4).

To be continued…

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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