Theatre Design & Technology - Fall 2005 - 55

The scene was intended to include two
chariots, each of which was pulled by four
horses, each of which were to be running on
their own treadmill.
and other racing plays had pushed the boundaries of the
mounted horse race by increasing the numbers of horses involved, but Burgess was not satisfied. His next hippodramatic
spectacle was The Year One, a comedy written by Charles
Barnard (Recklies 1985, 54). Burgess raised the stakes with
this play by "racing" horses in pairs, and even more audaciously, in front of chariots and charioteers.
The Year One premiered on 2 November 1895. This
opening had been postponed several times "due to mechanical difficulties with the new racing machines." (Recklies 1985,
56) When the play did open, the race scene was still hampered
by "difficulties" not unlike those that had, at least occasionally,
hindered the race scene in The Country Fair. The scene was
intended to include two chariots, each of which was pulled by
four horses, each of which were to be running on their own
treadmill. An account in the New York Dramatic Mirror described the components of the intended illusion, and the
largely ridiculous effect that was actually created by the
flubbed race scene in an early production: "On the left of the
stage was a chariot drawn by four coal black horses, which
were dashing along toward the audience at breakneck speed.
On the right was another chariot, drawn by four white steeds,
one of which was dashing madly on to victory, while his three
companions looked at him in mute surprise. [...] That one
horse should run, while his three assistants, attached to the
same vehicle, stood stock still, was so remarkable that the audience simply sat and gasped. Then they had a laugh, but the
laugh was at the expense of Mr. Burgess." ("Star" 1895, 16)
Although this problem was remedied in later performances, The Year One remained a failure both critically and
commercially. This play is, however, significant for its inclusion of the staged chariot race that included eight horses running full blast on onstage treadmills. It is probable that the
onstage machinery facilitating this novel and spectacular effect
included a design patented by Burgess about five year earlier,
on 16 December 1890. This is U.S. Patent No. 442,796 and it
details the means by which to present an onstage chariot race.
The play ran at the Star Theatre for six weeks, during
which time reviews improved but never enough to make the
play a success. Burgess soon revived its more popular predecessor, The Country Fair, and the newer play was forgotten by
most. The Year One remains significant, however, to the development of stage machinery designed and patented to facilitate
the onstage chariot race it included.
Appearing in 1892, and bearing a strong resemblance to
Vim, Burgess' next play, Neil Burgess' Circus, was first produced in Boston. This play is notable mainly for its expanded
circus portion, which featured a collection of bona fide circus
54

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acts, including a bareback riding act (Recklies 1985, 36). The
bareback scene, now a well established staple of Burgess' play
in its various forms, was impossible to present realistically or
accurately on most stages because the horse would not have
had sufficient room to move. Using a treadmill apparatus
(such as those designed by Burgess for earlier plays), such a
scene became possible, although not perfect. In order to understand why this scene could not be perfected using existing
machinery, it is first necessary to understand the very nature of
equestrian circus performance. Unlike racing, in which the
rider or jockey relies mainly on the speed of the horse for balance (by leaning against the reins and literally balancing him/
herself atop the moving horse), the rider or acrobat in bareback or circus "riding" relies mainly (and quite significantly)
upon the centrifugal force generated by the movement of the
circus horse around the circus ring. This is, in fact, why circuses are presented in round "rings." Originally circuses were
what we now would call "equestrian circuses." Essentially, the
"circus" began with performing horses and featured a variety
of equine and equestrian acts. The "modern" American circus
expanded on this by adding clowns and non-equestrian acrobats, and did not appear until late in the eighteenth century
with either Thomas Pool or John Bill Ricketts (depending on
your definition of "circus").6 In any case, the circus began
with horses that required a round ring (of a certain size) to
perform. Therefore, even when utilizing Burgess' earlier machinery that had been specifically designed for enabling circus
performance on the theatrical stage, the potential for authentic
effect remained quite limited.
Burgess sought to remedy the problem of presenting authentic looking circus equestrianism onstage with two patents.
The first of these is U.S. Patent 924,632 (figure 5), which was
granted on 15 June 1909; the second is number 996,452,
which was granted posthumously on 27 June 1911. Both designs represent Burgess' attempts to stabilize the horse and
rider without the benefit of the centrifugal force usually generated by the dimensions of the circus ring.
The first patent is a complex design for which Burgess included numerous detailed illustrations. The design most significantly includes various supports for both the horse and rider/s.
The first design included a number of components that
had been found in earlier designs and combined them with
new and unique elements. Burgess designed the device to produce circus riding, or as he phrased it, "entertainments or
amusements given under canvas," and so he was focused on
the elements of the design relevant to that purpose. Burgess
provides for a motor driven treadmill, which is innovative but
also potentially dangerous, Burgess provides a measure of
safety with a "lever" and "idler" shown at numbers 7 and 8 respectively. These measures seem to be useful, but not foolproof, and no reports of injuries resulting from the
motor-driven treadmill have been found. The horse/s are held
in place by a both a breastplate and a girth-like tether (at 11
and 13). They are further locked in place by external locking
and supporting bars (at 10 and 14). The riders are likewise
securely supported in their positions by wires and straps (at



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2005

Contents
Theatre Design & Technology - Fall 2005 - 1
Theatre Design & Technology - Fall 2005 - 2
Theatre Design & Technology - Fall 2005 - 3
Theatre Design & Technology - Fall 2005 - Contents
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