![]() ![]() His final height was said to be three feet four inches and he eventually weighed 70 lbs. ![]() It was claimed that he stopped growing when he was six months old, and was two feet one inch tall until he became a teenager. ![]() ‘The Bourke street footpath is so crowded in front of the Waxworks that a police constable is specially told off to regulate the traffic, and thus we have confirmed the accuracy of Trinculo’s moralising in the “Tempest,” on the readiness of the people to pay to see monsters…’ Ĭharles Sherwood Stratton – aka General Tom Thumb – was another famous member of Barnum’s assemblage, who toured Australia in the 1870s. Barnum‘s troupe, caused a frenzy when he made his first appearance in Australia in Melbourne on the 1st of June, 1889. įedor Jeftichew, otherwise known as Jo-Jo the Russian dog-faced boy, a well-known member of American circus pioneer P.T. A large crowd attended to watch him freed from his glass prison to break his fast in a somewhat humble fashion – a plate of brown bread, scrambled eggs and ham, washed down with a jug of Bacchus Marsh milk. By day 53 he had shed about 26 kilos from his 6 foot frame. He remained on constant public display as he apparently survived on nothing but soda water and cigarettes. In 1909 Sacco Homan – the Original World Famous Fasting Man (ironically from Hungary) – broke his own world record by fasting for 53 days in a glass case at the waxworks. While we condemn this practice as exploitative and offensive today (and frequently racist and sexist), this industry could offer substantial opportunities to performers, many who were active agents in this lucrative global economy. The exhibition of ‘freaks of nature’ for entertainment had been practised since the 16th century in Britain and at its height in the 19th century was a socially accepted, and common feature of circuses and travelling shows. In addition to sideshow and magic acts, ‘living freaks’ – people with extraordinary and unique physical attributes and abilities – were a consistent part of the waxworks’ offering. Magic: stage illusions and scientific diversions including trick photography Living ‘exhibits’ Īmphitrite – Afternoon & evening daily, Waxworks poster H2000.180/59 This unique spectacle – achieved through the use of mirrors – attracted some 2,500 people in one day, and was said to eclipse even the Eiffel tower as an attraction at the Great World Show in Paris that same year. She must be impervious to headache, for she is upside down for a considerable portion of her time…’ The lady who represents the part is evidently quite comfortable, for she smiles and looks very sweetly at her audience. ‘The scene represents a cave under the sea, the illusion in this respect being absolutely perfect…In the water which fills the cave a young and beautiful water nymph appears gracefully floating, swimming and diving. One of the most sensational acts of 1889 was Amphitrite the water nymph: Magic: stage illusions and scientific diversions including trick photography “Thauma” half lady illusion, Waxworks poster ALMA 93.2/60 Lynn’s magic shows as a boy and as a result was inspired to become a magician when he grew up. Legend has it that Houdini went to see one of Dr. John Wesley Simmons Lynn went by a number of pseudonyms throughout his international career, and was famous for his optical illusions, appearing at the waxworks a number of times. This could range from ventriloquists to chorus girls, boxing kangaroos to glass blowing demonstrations. Visitors could enjoy ‘drawing room entertainment’, comprising of specially selected artists, performing afternoon and evening. In 1888 the Melbourne Punch reported: ‘A LARGE new hall, filled with fresh attractions, has been added to the already big show at the Waxworks’. Anatomical modeller by trade but a showman at heart, Max was always on the lookout for the latest curiosity to capture the public imagination. While such amusements had always been a part of the waxworks’ offering, it was under Max Kreitmayer’s management (1869-1904) that the waxworks reached new heights of novelty. In our previous blog on the Melbourne waxworks, we examined the often grisly appeal of its wax figures and Chamber of Horrors.Īnother aspect of the waxworks’ perennial popularity was its lively tradition of vaudeville and sideshow entertainment. Detail from H39357/126, showing the entrance to the waxworks, 1887. ![]()
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