1956



Charlie Cairoli: “A Circus Is Like Nothing Else” — The 1956 Tower Circus Programme

“A circus is like nothing else,” says Charlie Cairoli. And he’s right. A clown’s problems are far more complicated than most people imagine.

If you only make the children laugh, the adults think you’re not very good.
If you only appeal to the grown-ups, some say you’re childish.
In the circus, you must be everything to everybody.

Charlie has always succeeded in walking that line, and he was set to do it again in the 1956 International Programme, which opened on Thursday, 29th March. He loved every minute of performing, always remembering the advice of his father, Jean-Marie Cairoli, who had recently passed away in Paris:

“A clown must not be too grotesque,” said Jean-Louis.

“There is a point where the grotesque stops being amusing, and for children it becomes frightening. A good clown must know exactly where that line lies—and never cross it.”

A Strong International Bill

Charlie appeared once again with his partner Paul, supported by an impressive international cast. The programme included a full range of classic circus acts—tigers, bears, horses, ponies, dogs—and the elephant Looney, already tipped to be a favourite with the holiday crowds.

Charlie and Paul, the “chief fun-makers,” featured in a classical comedy sketch in which Charlie played Theseus battling the Minotaur in the Grand Water Finale. As always, everyone involved ended up thoroughly soaked.

The pair also expanded their famous musical repertoire.

This year’s “instruments” included:

a saw

a stirrup pump

and Charlie himself — transformed into a human accordion, able to produce actual notes when squeezed at “strategic points” on his body.

Edward Graves Describes the Parody

Edward Graves wrote a vivid description of their mythological parody:

High above the labyrinth of Crete lies a maiden, trembling, dressed in loose white robes symbolising her purity—one of the seven girls and seven boys demanded by King Minos as tribute from Athens after defeat in war. She is faint from fear, for at any moment the Minotaur may appear.

But help is at hand, in the person of Theseus, son of Aegeus, King of Athens.

Except… this Theseus wears a red bulbous clown’s nose and a Davy Crockett-style cap of raccoon tails.

This is the Theseus who, on his legendary journey from Troezen to Athens, defeated Sinis, Sciron, Cercyon, Procrustes, and Phaea.
Yes — and no.

For this is not quite the ancient tale, but a Cairoli & Co. transformation, adapted with the help of Mrs Kathleen Williams for the delight of the 1956 Blackpool Tower Circus audience.

Charlie, as “Theseus Crockett Cairoli,” sets off for Crete on a hopelessly unseaworthy raft. His Athenian henchman, Jimmyeous Scott, falls into the water almost immediately.

The Minotaur, portrayed by Paul in a shaggy bullskin, behaves far more like a man than a beast — which is hardly surprising. Even covered in fur, Paul cannot resist doing what comes naturally: making people laugh. Remaining convincingly on all fours would ruin the joke.

With sound effects reminiscent of the silent-film era coming from behind the curtains, the sketch plays out as a series of brilliantly visual comic escapades. The situations may not be new, but Charlie’s timing, expression, and physical humour make them feel fresh and irresistibly funny

.

A New Take on the Water Finale

The traditional Tower Circus water spectacle was replaced by this mythological variation, but water still played a major role.
As the ring table sank, jets and fountains erupted, creating a new kind of watery chaos — unmistakably a Cairoli entrée.

More Innovations in the 1956 Programme

There were other notable changes. Charlie and Paul presented an entrée in the first half without the usual “and Co.”Their partner, though excellent for comedy, took a secondary role this year, giving Charlie (the auguste) and Paul (the whiteface) space to showcase their extraordinary musical virtuosity.

Their performance of the Barcarolle from The Tales of Hoffmann was a highlight.
They switched instruments constantly, yet maintained perfect timing and tunefulness — a testament to their skill beneath the chaos.

Eventually, “Davy Crockett Cairoli” found himself in further trouble, leading to another water scene: Charlie adrift on a raft, pursued by a giant sea monster.
The rest is better left to the imagination — or better still, witnessed in person at the Tower Circus.

A Blackpool Institution

No Tower Circus would be complete without Cairoli and Paul, whose perfectly timed slapstick and joyful mayhem formed one of the most celebrated comedy partnerships in circus history. Their famous “waterfight” routine — water everywhere, buckets flying, a painted ocean all around — remained one of the most beautifully timed pieces of slapstick ever staged.

The Tower Circus, with its fabulous acts and its even more fabulous clown, Charlie Cairoli, stood as one of Blackpool’s enduring treasures.



Even seeing only part of the 1956 programme was enough to confirm that it was packed with rich, irresistible entertainment.