Musical Entree's

Musical Entrées – 1952 -1959

1952

A party has been planned in the Circus for the manager’s son. The son, however, turns out to be the most anaemic-looking figure—almost certainly Jimmy Buchanon, who was working as a carpet clown that season. Jimmy officially joined Charlie’s team the following year. This entrée involved just one round of high jinks and two additional stooges. At the end of the musical section, Charlie makes a great impression on the audience by “playing the cast” using only the sound of his fingers knocking together.

1953

The second corrodee frolic is musical in theme—an area in which Charlie is always at his happiest and greatest. The unexpected is always expected of him, and the audience is never disappointed.

He begins by sitting down at a grand piano. Suffice it to say: the unexpected happens! Charlie plays various sounds using car horns hidden inside his black professor’s cape.

There was a delightful competition between Charlie and a magnificently costumed Paul (dressed by Mme. Vicaire) to hold the attention of the TV auditioning judge, played by Delbosq. Delbosq’s gradual inebriation during the sketch is realistically performed—though hopefully never the fate of the ringmaster!

NB: In 1954 there was a new ringmaster, though the reason is uncertain.

Finally, Charlie plays a Coronation Chute on his trumpet. Paul opens his rich golden cloak, the lights are dimmed, and a patriotic inscription is illuminated fluorescently on the white-faced clown’s front.

1954

There are two new ringmasters this year: Henry Lytton and Harold Holt.

Harold Holt handles the animal content of the programme.

Henry Lytton, an actor of wide experience, has an immaculate, resonant voice which allows him to make announcements without a microphone. His patrician qualities make him an ideal dignified foil for the absurdities of Charlie Cairoli and his irrepressible associates.

For the musical entrée, Charlie arrives—as in many previous years—from the top of the pit stairs. After playful business with the patrons of the front row, he appears this time attired as a lady, carrying a “wee baby” which, in true clown form, proceeds to produce its own “water show”! (Mrs. Williams cut this later in the season.)

Later in the season, Charlie—now dressed as a man—performed a Chinese duet with Jimmy Buchanon, involving the lighting of fuses in their backs. Paul was introduced by the ringmaster as a professional bodybuilder. The musical interlude was shorter than usual, but Charlie still demonstrated his virtuosity on the trumpet.

1955

The opening motif parodied the “catching a bullet in the mouth” illusion and led into one of those musical affairs in which Charlie and Paul excelled. Contributions were also made by Jimmy Buchanon and Charlie’s prop man and stooge Jock Morgan.

1956

The humour revolved around an egg-producing accordion, according to a photograph by Barnett Saidman. Unfortunately, no further details survive, as memories fade. A photograph confirms that Charlie also made use of a musical saw.

1957

Charlie used his snake-in-the-basket, Lucy, operated like a glove puppet with Charlie’s hand inside the head. This gave way to an oriental parody, with Henry playing a fakir hypnotising Charlie.

Edward Greaves notes that Charlie and Paul again played trumpet and violin, with Charlie’s clarity on the high notes being especially memorable. Paul’s costume featured special ultraviolet treatment, and was noted to be less elaborate than usual at the beginning of the entrée.

1958

For comic business, Charlie performed the classic “tissue fanned into an egg” trick. Edward Greaves notes that the entrée was musically humorous, with Paul acting as his faithful and highly competent opposite.

1959

Paul Freeman missed the dress rehearsal—reportedly due to drunkenness. Mrs. Williams wanted him immediately dismissed. Charlie pleaded that it was impossible to find an important partner at such short notice, so Paul was granted one final year. Mrs. Williams kept her promise: he did not return in the following seasons.

In the musical entrée Charlie used a new instrument—a small “Sputnik” which emitted sparks and produced a sound like bagpipes!

Looking back, it is astonishing how Charlie, year after year, managed to offer completely renewed and musically excellent entrées. In my knowledge, no other clown achieved this.

— Daniel Potier

Charlie Cairoli – Musical Entrées (1964–1969 and beyond)

1964

The Tower Circus is now 74 years old, writes James Hartley in the Gazette.
Charlie’s comedy “contrives to be as topical as the latest hit song,” yet never sacrifices the traditional values of the authentic big top.

He contributes handsomely to modern times with his take-off of The Beatles, which brought the youngsters to their feet on opening night. Dick and Doc (Fred Desmond and Jack Marks), along with Jimmy Buchanan, join Charlie as “the rest of the Beatles”—and you can guess the rest!

1965

Charlie opens the parade in a single spotlight, appearing as a mounted herald of days gone by.
Resplendent in chain armour, trumpet in one hand and reins in the other, he sounds a challenge on his banner trumpet and rides off, ending the scene with the friendly pat of a truly great clown upon his steed’s rump.

The second entrée is Auto Musical, assisted by Paul King, Little Jimmy, and a small elephant from the Roberts stable.

1966

Jimmy contributes most of the comicalities this season, interrupting constantly—
first as an egg-laying board chicken,
then with a time bomb placed beneath Charlie’s chair.

The explosion destroys Charlie’s guitar, revealing strings of sausages.
Next, Jimmy brings in his musical stand-in, reads a few notes of music, steps away, falls flat on his face, takes tumultuous applause, and leaves the ring.

1967

Fraser Duggan writes in The World’s Fair:
Among the unusual instruments Charlie plays this year, he manages to secure a tune from a rubber hot-water bottle and a dustbin.

Charlie’s music act contains more real music than usual this season, to everyone’s delight.

This was to be Paul King’s last year. Taken to hospital with yellow jaundice, he sadly died that winter. Paul was a partner always remembered with great affection—not only a superb musician, but someone who could adapt himself to any acting role Charlie designed.

1968

Paul Connor joins as the new white-face clown. Much younger than his predecessor, he proves himself just as efficient and musically capable.

The Gazette notes that Charlie and Paul bring “house-fulls of laughter,” alongside their musical talents, which this year include playing an unusual new xylophone.

1969

The Gazette again praises Charlie’s musical spot, saying that when he plays anything from a clarinet to a fire hose, “he never fails to please.”

He also demonstrates his magical flag trick, popular during the 1960s. For added magic, he makes a goldfish bowl full of water disappear down Anthony Barnick’s trousers.

The Later Years (1970s)

Charlie still has a further ten years to star at the Tower before illness begins to take its toll.

By now in his sixties, he finds it increasingly difficult to create new musical or slapstick entrées. From 1975 he is working under a new producer—one not specialised in circus and not particularly enthusiastic about comedy.

It is therefore unsurprising that many of the old gags, unorthodox instruments, and classic routines appear again… and again.
But they still work.



New generations of children continue to roar with laughter.
In fact, in his final seasons, children are invited into the ring to help with Charlie’s last spot—a moment they never forget.

They are delighted to help Uncle Charlie.