Monarchs of minstrelsy, from "Daddy" Rice to date

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Title: Monarchs of minstrelsy, from "Daddy" Rice to date
Author: Rice, Edward le Roy
Language: English
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~Monarchs of Minstrelsy,
from “Daddy” Rice to Date~

~By
Edw. Le Roy Rice~

~Author of
“1000 Men of Minstrelsy, and 1 Woman;”
“Minstrelsy That Was, and Is;”
“A Ramble Among the
Minstrels,” etc.~

[Illustration]

~Kenny Publishing Company
22-24 North William Street
New York City, N. Y.~

_All Rights Reserved_

[Illustration: EDW. LE ROY RICE.]

~To
My Mother~

(_The Best I Ever Had_)

~This Book is Affectionately Dedicated.~

THE AUTHOR’S FOREWORD.

There were several reasons which prompted me to compile this volume,
the chief one being the fact that the subject in its entirety had never
before been attempted; and whenever individual articles appeared, they
almost invariably treated of old times and old timers alone.

A second reason, and one of equal importance, was that these
contributions which appeared both in the various newspapers and
magazines, were in the main written on hearsay alone without any
apparent regard for facts.

No one is infallible, and if the data that appears between the covers
of this book of living performers who furnished me with the sketches of
their careers is incorrect, obviously no blame can be attached to the
author.

But of those who are past, I have given the most careful search of the
records that were placed at my disposal, and verified or disavowed all
statements made to me, or have qualified by attributing them to those
from whom they emanated.

In this manner I hope to perpetuate the names and fame in story and
picture of these “Monarchs of Minstrelsy from ‘Daddy’ Rice to Date.”

New York City, Oct. 12, 1910.
EDW. LE ROY RICE.

INTRODUCTION.

Is Minstrelsy dying out? How often has the question been asked and how
conflicting are the opinions of those who ought to know? Some maintain
that minstrelsy is here to stay, while others insist there are no more
minstrel shows.

But if the question were: Are the minstrels dying out? there could be
no divergence of opinion. The passing away in the last decade or so of
such luminaries as Neil. Bryant, Billy Rice, Billy West, Billy Emerson,
Wm. Henry Rice, Frank Cushman, Ben. Cotton, Johnny Booker, Jack Herman,
Andy Leavitt, E. F. Dixey, J. B. Donniker, “Eugene” J. H. Haverly,
Sam. Hague, Dave Reed and many others, eliminate the matter of doubt
entirely. Granting this, it would appear that the two terms: Minstrels
and Minstrelsy are synonymous.

Some of the minstrel-loving public who recall the old days when
Hooley’s in Brooklyn, The San Franciscos (Birch, Bernard, Wambold and
Backus) in New York, likewise Bryant’s and the Christy’s; and Carncross
and Dixey’s in Philadelphia were household words, will be astonished to
learn that many of the burnt-cork heroes of forty years ago, yes, fifty
years, are still living, scattered about the country, though it has
been years since some of them have darkened their features.

But while most of the old-timers are past and gone, and those who are
living, practically in retirement; yet there are many of the younger
generation of sable performers who rank in many ways with their
illustrious predecessors, and it is of these as well as of the “old
guard” that “Monarchs of Minstrelsy; from ‘Daddy’ Rice to Date,” will
specialize on. I wish to take this opportunity to extend my thanks to
the New York _Clipper_, without whose assistance this work could not
have reached the comprehensive form it has attained; and an invaluable
auxiliary was obtained when this aid was further supplemented by the
files and data of the _Dramatic Mirror_ being placed at my disposal,
and for which I am also extremely grateful.

From the Albert Davis collection of photographs, Brooklyn, I have
received invaluable specimens, likewise Eddie Fox, Mrs. Billy Rice,
“Hank” Mudge, Harry Booker, Emil Heusel, John Unsworth, Billy Huntley,
Mrs. J. T. Huntley, Tommy Granger; Charles E. Ellis, author of
“Official Elks History;” Mrs. James Budworth, Mrs. G. W. H. Griffin,
Mrs. Archie Hughes, “Bill” Hines, Dan Mason, Phil. A. Paulscraft,
Mrs. Ben Cotton, R. H. Mayland, Gus Hill, Fox & Ward, John P. Hogan,
Miss Maggie Weston, Frank Dumont, William Blakeney, New York _Sunday
Telegraph_; Louis Morgenstern, Tom Ward, Will Webster, Mrs. Catherine
Griffin, Tom Waters, McIntyre & Heath, Geo. Lewis, Nick Norton, Geo. L.
Willson, Chapin & Gore, Chicago; Willis P. Sweatnam, Walter Kingsley
and the late J. H. Surridge.

* * * * *

NOTE.--Where dates and miscellaneous information found in this volume
differ from those in my “1,000 Men of Minstrelsy; and One Woman,” it is
because careful research has shown the latter to be erroneous.

INDEX

Abbott, C. D. 74
Abbott, Fred. 94
Abecco, Raphael 118
Abel, Neal 364
Abrams, Morris 32
Adams, Jas. E. 215
Adams, Marsh 131
Adams, Thos. 288
Allen, And. Jackson 6
Allen, Billy 124
Allen, Johnny 175
Allen, Paul 247
Allen, R. G. 182
Allmon, Dan. 316
Ames, Emil 220
Arbuckle, Maclyn 320
Arlington, Billy 115
Armstrong, Harry 228
Arnold, Amos 163-223
Arnold, Billy 163-223
Arnold, Frank 163-224
Ashcroft, Wm. J. 160
Atkins, Charley 220
Atkinson, “Chuck” 119
Austin, Ralph 351

Backus, Chas. 70
Bailey, Fred. 351
Bailey, Geo. W. 60
Baird, I. W. 203
Baldwin, Archie 219
Baldwin, Louis 315
Ball, Stephen B. 67
Bamford, A. 142
Banker, Ed. H. 115
Barbour, W. W. 203
Barlow, Bill 223
Barlow, Billie 272
Barlow, James 223
Barlow, Milt. G. 159
Barnes, Stuart 322
Barnum, P. T. 23
Barry, Billy 224
Bartley, John 142
Barton, Chas. 276
Basquin, J. A. 72
Beach, Bobby 267
Beard, Billy 358
Beban, Geo. 339
Behman, Louis 266
Belasco, David 280
Belknap, W. S. 238
Bell, Frank 159
Bell, Fred. A. 279
Benedict, Lew. 132
Benham, Earl 364
Benson, Billy 296
Berger, Paul 55
Bernard, Sam. 318
Bernard, Wm. H. 71
“Bernardo,” 210
Berthelon, Dick 80
Bidaux, Theodore Gustave 76
Birch, Billy 2-68
Birch, Walter 84
Birdue, Bob 212
Black, W. W. 308
Blackford, John 279
Blair, Billy 74
Blakely, Harry 279
Blakely, Thos. 6
Blakeney, Wm. 78
Bloodgood, Harry 176
Blue, John J. 362
Bogert, Eddie 335
Bohee, Jas. D. 142
Booker, Harry 222
Booker, Johnny 74
Booth, Edwin 91
Bortell, Chas. 155
Bowers, Fred. V. 348
Bowers, Nick. 54
Bowers, Otis 230
Bowman, Jas. M. 350
Bowman, John 154
Bowman, Wm. T. 350
Boyce, John T. 131
Boyd, Billy 80
Boyd, Clarence 299
Bradley, Jas. B. 311
Braham, Dave 66
Bray, Walter 146
Brickwood, Chas. 235
Briggs, J. Harvey 318
Briggs, Tom 46
Brimmer, Lew 151
Brockway, Wm. H. 108
Brooks, Jos. 215
Brower, Frank 11-15
Brower, Thos. P. 71
Brown, Ben. 188
Brown, Geo. 96
Brown, Joe 72
Brown, John G. 47
Bruno, Gus. 202
Bryant, Billy 248
Bryant, Dan. 64-87-98-248-295
Bryant, Fred. 215
Bryant, Jerry 58
Bryant, Neil 106
Bryant, Wm. H. 220
Bryant, Wm. T. 72
Buckley, Billy 298
Buckley, Fred 18
Buckley, Geo. Swayne 18-83
Buckley, James 15
Buckley, Joe. 104
Buckley, J. K. 134
Buckley, R. Bishop 16
Buckley, R. Jean 92
Budd, Jake 103
Budworth, Harry 218
Budworth, Jas. 64-79-295
Budworth, W. S. 114
Bugbee, Chas. R. 299
Bulger, Harry 324
Burbank, Otto 72
Burgess, “Cool” 138
Burgess, Fred. 52
Burgess, Neil. 188
Burk, Major 159
Burnham, Chas. D. 146
Burr, Billy 135
Burton, Clarence 287
Butler, “Picayune” 30
Byrne, J. H. W. 270

Cain, John E. 308
Callender, Chas. 54
Cameron, Al. 319
Campbell, Geo. F. 252
Campbell, J. C. 174
Campbell, J. K. 103
Campbell, M. C. 26
Campbell, Sher. 60
Canfield, Eugene 222
Carle, Jno. H. 48
Carle, Richard 324
Carmichael, Bob. 310
Carncross, John L. 92
Carnes, Boardman 326
Carroll, Jas. 59
Carroll, Richard F. 318
Carroll, R. M. 80
Carroll, Wm. J. 250
Carson, Dave. 66
Carter, Billy 94
Carter, Jim 30
Casey, Frank 299
Cassady, Eddie 359
Castle, Wm. 110
Cave, John Arnold 34
Cawthorne, Herbert 296
Cawthorne, Joe 323
Ceda, Bill 24
Chace, Billy 272
Chambers, Billy 91
Charles, Geo. W. 124
Chase, Frank V. 315
Cheevers, Joe. 200
Chestnut, Mast. 6
Childs, Joe. H. 134
Chipman, E. W. 335
Chirgwin, Geo. A. 343
Christian, Tom. 23
Christie, Arthur 296
Christie, Chas. 55
Christy, E. Byron 22
Christy, Edwin P. 19
Christy, Geo. N. 20
Christy’s Minstrels 19
Christy, Wm. A. 22
Church, Chas. L. 92
“Cincinnatus” 220
Clapham, Geo. T. 207
Clapham, Harry J. 142
Clapp, W. W. Jr. 6
Clark, Billy 354
Clark, Geo. M. 84
Clark, Jimmy 142
Clark, S. E. 30
Clark, Willis 246
Clarke, Kit. 124
Claudius, Dana H. 352
Cleveland, Wm. S. 306
Clifford, Billy S. 340
Clifford, J. H. 147
Cluskey, John 72
“Coal Oil Johnny” 282
Coburn, J. A. 331
Coes, Geo. H. 58
Cogill, C. W. 210
Cohan, Geo. M. 356
Cohan, Jerry 203
Cohen, Sallie 280
Cole, Sam. 126
Coleman, Billy 60
Coleman, “Pickaninny” 28
Collier, Willie 330
Collins, Ben. 244
Collins, D. W. 114
Collins, John H. 28
Collins, “Punch” 48
Collyer, Dan 240
Comfort, Vaughn 360
Connors, Jimmy 279
Converse, Frank B. 119
Conway, Billy 254
Cook, Arthur 158
Cook, James 312
Cooke, Aynsley 95
Cooper, Jas. H. 118
Corbett, Jas. J. 343
Corbin, Edmond G. 282
Cornu, E. J. 116
Cotton, Ben. 62
Cotton, Ben. Jr. 212
Courtright, Billy 203
Cox, John S. 82
Crane, Wm. H. 182
Crimmins, John 300
Crimmins, Mike. 300
Crimmins, Steve 300
Crocker, John P. 95
Cronin, Tim. 278
Crosby, L. V. H. 50
Crosher, John 147
Cummings, Jas. H. 239
Cunningham, Geo. W. 311
Cunningham, Jerry 292
Cushman, Frank 168-243

Dailey, Peter F. 302
Daly, Bill 247
Daly, Dan 303
Daly, John 287
Daly, Tom 247
Dart, Fred. 272
Davis, Lewis H. 224
Davis, Ned. 90
Davis, Will J. 282
Day, Chas. H. 151
Day, Geo. W. 319
De Angelis, Jeff 292
De Angelis, Johnny 87
Deaves, Edwin 27
Decker, Al. 256
Decker, Jas. H. 218
Delehanty, Wm. H. 184
Delmanning, Dent. 208
Delmore, Len. 271
Deming, Arthur 323
De Rue, Billy 348
De Rue, Bobby 348
Detzel, Pete. 350
De Vere, Geo. M. 300
Devere, Sam. 152
Devere, Tommy 220
Devere, Wm. 220
Devlin, Jimmy 355
Diamond, Billy 224
Diamond, John 40
Diamond, Lawrence 254
Diamond, Matt. 254
Dicken, C. Edward 294
Dickinson, Commodore 98
Dingess, John A. 52
Dixey, E. Freeman 86
Dixey, Henry E. 294
“Dixie”, origin of 314
Dixon, Thos. B. 198
Dixon, Geo. Washington 6
Dobson, Chas. E. 132
Dobson, Edw. C. 288
Dockstader, Chas. 207
Dockstader, Lew. 2-4-46-138-274-302
Dockstader, W. L. 303
Donaldson, Wm. B. 36
Donnelly, Lewis J. 134
Donnelly, Tommy 318
Donniker, John B. 83
Dooley, Larry 307
Doty, J. Arthur 300
Dougherty, Hughey 170
Dove, Johnny 359
Doyle, J. Marcus 236
Dresser, Paul 212
Dukelan, “Slim Jim” 168
Duley, John H. 91
Dumont, Frank 198
Dunn, Arthur 322
Duprez, Chas. H. 72
Durand, Lansing 34
Durell, Frank 294
Dwyer, Wm. 136

Eagan, Hubert W. 150
Early, John W. 327
Edwards, Bob. 36
Eldredge “Press” 226
Ellis, Harry A. 354
Eltinge, Julian 363
Emerson, Billy 186-207
Emerson, Mort. 246
Emmett, Billy 170
Emmett, Dan. 11-14
Emmett, J. K. 150
Emmett, “Young Dan” 66
English, Tom 304
Ernest, Chas. M. 219
“Eugene” 111
“Eustache” 218
Evans, Chas. E. 271
Evans, Geo. 339
Evarts, Harry 76

Fagan, Barney 216
Farrell, Bob 6
Field, Al. G. 214
Fields, John F. 251
Fields, Lew. 328
Fields, Wm. 118
Filkins, Robert J. 182
Fish, Fred. C. 260
Fish, Wm. B. 47
Fisher, Harry 207
Florence, W. J. 96
Foley, Johnny 366
Foley, Mike 155
Foley, Willie 366
Foote, Wm. 174
Forde, Stanley 356
Forrest, Edwin 23
Fostelle, Chas. 180
Foster, Dave 264
Foster, Stephen C. 51
Fox, Charley 56
Fox, Eddie 195
Fox, Jas. 212
Fox, Joe. 235
Fox, Ned. 178
Foy, Eddie 218
Foy, Dave. 215
France, Sid. C. 122
Fraser, Bob. 152
Frear, Billy 210
Frear, Fred. 219
Frear, Jas. B. 211
Freeth, Jabez 215
Freeze, Larry 340
Freeze, Billy 340
French, Chas. K. 298
French, Edwin 243
Friganza, Trixie 354
Frohman, Chas. 264
Frohman, Daniel 264
Frohman, Gus. 264
Frothingham, Geo. 174
Fulton, Jas. C. 336
Fulton, Wm. T. 336

Gallagher, Denny 66
Gale, Geo. 211
Gale, Peter 302
Gardner, Charley 130
Gardner, Dan 26
Gardner, Sam. 28
Gaylor, Chas. 98
Gaylord, Low. 110
Gaynor, James 131
Geary, Gustave 147
Gentry, Jas. B. 310
Germon, Francis 24
Gettings, Tommy 162
Geyer, Frank C. 266
Gibbons, Chas E. 136
Gibbs, Clark M. 116
Gibbs, Wally 216
Gibson, Alf. 284
Gilbert, John D. 283
Gilday, Chas. 291
Gildea, Edw. P. 304
Gill, Wm. S. 4
Gilmore, Barney 344
Gilmore, P. S. 62
Ginniven, Billy 260
Girard, Eddie 286
Girard, Frank 140
Girard, Willie 286
Glenn, Jas. 128
Glidden, Charley 211
Golden, Billy 288
Golden, Geo. Fuller 346
Golden, Richard 242
Goldrich, Pete. 199
Goodman, “Hank” 95
Goodwin, Nat. C. 268
Goodyear, Chas. 179
Gorman, Geo. 232
Gorman, James 232-355
Gorman, John 232
Gorton, Jos. Jr. 356
Gorton, Jos. Sr. 108
Goss, Ned. 212
Gould, Billy 339
Gould, Julia 46
Gould, Napoleon W. 28
Granger, Tommy 231
Granville, “Bun” 364
Graupner, Mr. 5-6
Gray, Billy 136
Gray, Geo. 151
Gray, William 296
Green, J. E. 86
Greenland, Ned. 67
Griffin, G. W. H. 59-83
Griffin, Jas. H. 268
Guy, Albert 320
Guy, Arthur L. 346
Guy, Mrs. Arthur L. 351
Guy, Chas. 296
Guy, Edwin 326
Guy, Geo. 36
Guy, Geo. R. 263
Guy, Willie 242

Hague, Sam. 56
Haines, Nat. 307
Haley, Maurice 278
Hall, Artie 355
Hall, Bob. 82
Hall, E. M. 183
Hall, Geo. L. 56
Hall, Wm. D. 330
Hall, Wm. M. 6
Hallen, Fred. 270
Hallen, Geo. 308
Hallett, Wm. H. 332
Hamall, Hugh 183
Hamilton, Wm. H. 147
Hanson, Frank 251
Hapgood, Harry 47
Harley, Edwin 218
Harold, Donald 266
Harper, Ned. 24
Harrigan, Ned. 263
Harrington, Geo. A. 30
Harrington, J. C. 288
Harris, Chas. K. 322
Harris, Tommy 267
Harris, Wm. 154
Hart, Al. 324
Hart, B. C. 182
Hart, Billy 83-151
Hart, Bob 83
Hart, Jerry 272
Hart, Joe. 306
Hart, John 90
Hart, Tony 263
Haverly, Burt. 244
Haverly, J. H. 120
Hawkins, D. R. 148
Hawkins, Lew. 244
Hayes, Ben. 150
Hayes, Tim. 151
Hayman, Al. 208
Haywood, Charlie 304
Heath, Thos. K. 255-262
Height, Bob. 228
Hengler, Thos. M. 184
Hennessy, Michael F. 271
Henry, Chas. 104
Henry, Hi. 172
Henshaw, John E. 216
Herbert, “Pot Pie” 6
Herman, Geo. W. 63
Herman, J. A. 42
Hernandez, A. M. 82
Herne, Jas. A. 148
Heusel, Emil 324
Heywood, Chas. 199
Hicks, Chas. B. 147
Higgins, Joe. 303
Higgins, Wm. 303
Hilliard, Chas. 364
Hilton, J. W. 107
Hines, Wm. E. 290
Hitchcock, Raymond 335
Hobbs, W. L. 82
Hoey, Jas. F. 302
Hoey, Wm. F. 264
Hogan, Gus. 276
Hogan, Harry 276
Hogan, John P. 190
Holland, Geo. 22
Holly, Jas. 230
Holmes, Edwin 67-83
Holmes, Wm. F. 235
Holt, Dan. 66
Hooley, Bob. 278
Hooley, John 75
Hooley, R. M. 38
Hopper, De Wolf 323
Horan, Eddie 332
Horn, Eph. 27
Horn, Geo. 227
Horwitz, Chas. 323
Howard, Charley 51
Howard, Frank (A., C. & H.) 215
Howard, Frank (Hurd) 148
Howard, Frank (Martindale) 180
Howard, Gus. 134
Howard, Patsy 258
Howard, Rollin 83-127
Howard, Seth. 76
Huber, Fred. 252
Hughes, Archie 78
Hughes, Artie 264
Hughes, Joe. 315
Hughes, Mark 136
Hughes, Ruey. 202
Huntington, Harry (see “Young Dan Emmett.”)

Huntley, C. L. 42
Huntley, J. T. 43
Huntley, Mrs. J. T. 83
Huntley, Wm. A. 160
Hurley, J. 230
Hussey, Frank 91
Hutton, Laurence 5-6
Hyde, Richard 266
Hyde, Tommy 360

Irwin, Max 87
Isaacs, P. B. 78

Jackson, Theodore 110
Jamison, Neil 6
Jansen, J. Melville 187
“Japanese Tommy” 116
Jefferson, Jos. 60
Jefferson, Tommy 116
Jenkins, Charley 6
Jennings, John 251
Jerome, Billy 322
Johnson, Arthur 304
Johnson, Carroll 230
Johnson, Jim. 50
Johnson, Sam. 23
Jolson, Al. 363
Jolson, Harry 362
Jones, Albert 66
Jones, Geo. 362
Jose, Richard J. 338

Kanane, Mike 67
Kayne, E. M. 187
Keating, John J. 262
Keefe, Matt. 326
Keegan, John T. 292
Kellerd, John E. 307
Kelly, Edwin 143
Kelly, Jimmy 279
Kelly, J. J. 160
Kelly, John T. 264
Kelly, J. W. 278
Kelly, Nolan 220
Kemble, J. R. 124
Kennedy, Edw. J. 200
Kennedy, Harry 267
Kennedy, “Memphis” 228
Kent, Frank 2-71
Kernell, Harry 187
Kerns, Frank 155
King, John H. 334
Kneass, Nelson 26
Knowles, R. G. 291
Koppitz, Chas. 66
Kunkel, Geo. 39
Kurtz, Melvin S. 175

Lackaye, Wilton 296
Lacy, Harry 270
Lafayette, The Great 4
Lamont, Jas. W. 123
Landis, John 30
Lane, Pete 75
Lang, Joe. 154
Lang, John 183
Langdon, Geo. 76
Lansing, Harry 220
La Rue, D. C. 95
Latell, Ed. 339
La Verne, Lucille 323
Lawrence, Billy 79
Lea, Geo. 30
Leavitt, Andy 35
Leavitt, M. B. 158
Le Clair, Harry 270
Lee, Dinner 96
Lee, John H. 215
Lee, Pete 123
Lee, Philip 96
Lee, Sam 318
Lehr, Harry 67
Leicester, ---- 6
Leighton, Bert. 358
Leighton, Frank 356
Leighton, Harry 78-322
Leighton, Joe. 358
Le Mack, Tom 316
“Leon” 123-143
Leon, Dan. 51
Leonard, Eddie 351
Leslie, Bert. 346
Leslie, Tom. 91
Lester, Billy 247
Lewis, Charley 91
Lewis, Frank 295
Lewis, Geo. W. 314
Lewis, Tom. 71-296
“Little Mac” 162
Lockwood, Chas. 147
Long, Chas. G. 52
Lorraine, Chas. F. 207
“Lotta” 179
Lovely, Joe. 212
Lynch, Frank 32
Lyons, Dan. E. 291

Mack, Andrew 315
Mack, James 286
Mack, Jas. W. 183
Mack, Johnny 242
Mack, John A. 114
Mack, Jos. H. 207
Mack, Keller 336
Mack, Pete 280
Mack, Will. G. 198
Mackin, Jas. F. 258
Mackney, E. W. 47
Magee, Richard Jr. 228
Maguire, Tom. 43
Malcolm, Fred. B. 227
Mallory, Ben. 62
Manchester, Bob. 251
Mann, Harry 3-287
Manning, Billy 128-248
Manning, Eddie 303
Manning, Jas. H. 335
Marble, Ed. 187
Marion, Bert. 327
Marion, Geo. 294
Marion, Herman 355
Marks, Clarence 343
Marks, Eddie 310
Marr, Billy 230
Martin, Geo. T. 300
Martin, Tom. 307
Mason, Chas. A. 299
Mason, Dan. 271
Mason, “Hank” 40
Mason, Hen. 148
“Master” Barney 128
“Master” Juba 48
“Master” Martin 284
“Master Tommy” 206
Maxwell, Barry 179-199
Mayland, Rowland H. 204
Mazier, Eddie 347
McAllister, Billy 158
McAndrews, J. W. 79
McCabe, D. W. 298
McCullough, John 98
McElroy, Matt. 304
McGee, Joe B. 362
McGowan, Dick 130
McGown, Bobby 226
McIntyre, Jas. 255-262
McKee, Andy 171
McKee, Frank 304
McMahon, Tim. 335
McMahon, Walter 346
McMillan, Jerry 142
McNally, Tom. 119
McNish, Frank E. 240
McVeigh, Johnny 179
McWade, Robert 139
McVickar, John 232
Melville, Chas. 102
Melville, E. J. 50
Mestayer, Harry 6
Meyers, Lew. 103
Mills, Gus. 242
Milton, Chas. W. 344
Mitchell, Mike 66
Monroe, Chas. L. 142
Monroe, Ned. 332
Montague, Harry 98
Montgomery, Dave 342
Montgomery, “Scamp” 327
Moore, Geo. F. 211
Moore, “Pony” 31
Moran, Frank 2-54
Moreland, Arthur 58-191
Morgan, Duke 72
Morningstar, Chas. A. 71
Morrell, Frank 352
Morris, Billy 64
Morris, Chas. A. 64
Morris, D. L. 139
Morris, Lon. 64
Morris, Tim. 94
Morrisey, L. 135
Morse, Harry M. 242
Mortimer, Jos. 63
Morton, Jos. 262
Morton, J. W. 204
Morton, Will H. 218
Moxley, Thos. L. 59
Mudge “Hank” 138
Mullally, W. S. 178
Mulligan, John 55
Murphy, Con. T. 162
Murphy, Joe 106
Murphy, J. B. 63
Murphy, J. C. 183
Murphy, J. H. 144
Murphy, John E. 262
Murphy, Jos. D. 42
Murphy, Mark 304
Myers, “Ole Bull” 23

Newcomb, Bobby 1-58-194
Newcomb, W. W. 40
Newman, Wm. G. 308
Nicholls, Geo. 6
Niles, P. J. 271
Nish, Anthony 63
Noble, Chas. 75
Norcross, Jos. M. 150
Norris, James 138
Norton, John 122
Norton, Tim. 122
Norton, Wash. 122

Oakland, Fred. 252
Oakland, Will 362
Oberist, John F. 111
O’Brien, Mike 67
O’Brien, Neil 330
O’Day, Billy 238
Olcott, Chauncey 282
O’Neill, Charley 75
Ordway, John P. 44

Paine, Ira 116
Parker, Dick 114
Parker, Lew. 204
Parmley, “Hank” 106
Parrow, Wm. 31
Pastor, Tony 84
Patti, Greg 324
Payne, Billy 298
Payton, Corse 331
Pearl, Billy 312
Pearl, Charley 239
Peasley, John A. 136
Peel, “English Tommy” 146
Peel, Matt. 75
Peel, Mrs. Matt., (see Mrs. J. T. Huntley)

Peel, Tommy 148
Pelham, Dick 11-12
Pell, Frank 148
Pell, Gilbert W. 48
Pell, Harry 72
Pell, Jas. 294
Pell, Johnny 84
Pendy, John 140
Percy, Harry 178
Petrie, Chas. 86
Petrie, Will O. 260
Pettengill, Charley 156
Pettengill, Joe. 302
Pettitt, Seamon S. 232
Phelps, Lucius M. 178
Philbrick, Will 358
Phillips, Augustus 347
Phillips, Will, F. 346
Pierce, Earl 43
Pierce, Johnny “Froggy” 131
Pierce, W. W. 118
Pike, Marshall S. 28
Pixley, Gus. 323
Polk, J. S. 98
Porter, Wm. A. 38
Powers, Geo. W. 192
Powers, James 51
Powers, Jas. T. 323
Prendergast, John 188
Prendergast, Tom. 66
Price, Harry M. 283
Price, Neil 140
Price, Sam. 114
Primrose, Geo. H. 4-236
Pringle, C. W. 136
Prosser, Rees 327
Purdy, S. S. 110

Queen, Chas. 254
Queen, John 323
Queen, Johnny 135
Quigley, “Doc” 348
Quilter, Dick 199
Quinlan, Dan. 316
Quinn, Billy 118
Quinn, Paul 334

Rainer, Jos. H. 47
Raleigh, Tom. 30
Ralph, Dick 174
Rankin, Carl 262
Rankin, Rit. 262
Rankin, Will 262
Rattler, Lew 76
Raymond, Maude 334
Raynor, Geo. 34
Raynor, J. W. 39
Reece, “Pop” 64
Reed, Charley 267
Reed, Dave 67
Reed, Ned. 136
Reeves, Al. 319
Remington, Billy 136
Reynolds, Chas. 239
Reynolds, Charley 115
Reynolds, Geo. 239
Ricaby, Sanford B. 330
“Ricardo” 175
Rice, Billy 163-207
Rice, “Daddy” 7-74
Rice, Dan. 42
Rice, Edw. Le Roy 1
Rice, Geo. 6
Rice, Geo. W. 276
Rice, Johnny 206
Rice, John C. 268
Rice, Philip 30
Rice, Wm. Henry 31-74-163
Richards, Geo. 258
Richards, Vic. 292
Richards, Warren 134
Richardson, Billy 220
Richardson, Sage 202
Richmond, Harry G. 140
Rickey, Sam. 280
Rigby, Arthur C. 328
Roberts, James 6
Robinson, Geo. (see “Eustache”)

Robinson, Harry 91
Robinson, “Hop” 6
Robson, Andrew 4
Rockefeller, Geo. W. 156
Rogers, Neil 176
Rogers, Stevie 171
Romain, Manuel 346
Roome, Jas. 116
Rosenbaum, Ed. 306
Ross, Jasper H. 51
Rudolph, Carl 132
Rudolph, W. Jackson 52
Rumsey, Hy. 59
Rumsey, Zenas 28
Rushby, Horace 146
Russell, James 266
Russell, Jas. G. 135
Russell, John 266
Ryman, Add. 122

Sadler, Tom. 276
Sanderson, Harry 295
Sandford, Jim 23
Sands, Dick 147
Sands, Edw. 262
Sanford, Jas. 152
Sanford, Sam. 34-364
Sarrissey, “Dad” 62
Sarsfield, Steve 299
Schoolcraft, Luke 58-192
Scott, Ainsley 108
Seamon, Chas. V. 214
Sexton, Mert. 76
Seymour, Nelse. 50-64-95-98-295
Sharpley, Chas. 315
Sharpley, Fred. 219
Sharpley, James 182
Sharpley, Sam. 64-76
Shattuck, Chas. F. 90
Shay, Harry 230
Shay, Johnny 179
Sheffer, “Buck” 279
Shelby, Dan. 122
Shepard, Burt. 227
Sheppard, Billy 147
Sheppard, Bob. 35
Sheppard, Frank 291
Sheridan, John F. 183
Shirley, Harry 230
Shorey, J. G. H. 90
Shunk, Harry C. 347
Silver, Dick 76
Silver, J. K. 135
Simmons, Lew. 1-126
Simpson, John 72
Sitgreaves, Beverly 354
Sivori, John 83
Skiff, M. T. 96
Skinner, Otis 316
Slavin, Bob. 2-250
Sliter, Dick 50
Slocum, E. N. 111-294
Smith, Bob. 75
Smith, Ed. C. 270
Smith, Harry W. 356
Smith, John P. 82
Smith, John W. 24
Smith, Sol. 6
Smith, Wm. 248
Smith, Wm. H. 44
Smith, Wm. N. 67
Sommers, Tom. 214
Sothern, Mr. 96
Spalding, Dr. G. R. 23
Spencer, Lew. 198
Spooner, Cecil 355
Spooner, Edna May 346
Sprung, Fred. 140
Stanley, Burton 228
Stanwood, Harry 152
Steele, John W. (see “Coal Oil Johnny”)

Stewart, “Fatty” 95
Stiles, Billy 276
Stine, Chas. J. 320
Stone, A. C. 140
Stone, Fred. 342
Stone, H. D. 6
Stout, John S. 180
Stratton, Eugene 320
Strickland, W. H. 147
“Stuart” 344
Studley, J. B. 82
Subers, Emil 355
Sullivan, J. F. 148
Sullivan, John L. 339
Sullivan, Mark 287
Sully, Lew. 311
Sully, Wm. J. 283
Sun, Gus. 334
Surridge, J. H. 126
Sutton, Charley 176
Sweatnam, Willis P. 3-179
Swor, Bert 343
Sweeney, Dick 24
Sweeney, Joe. 22
Sweet, O. P. 110
Symonds, Jack 303

Talbott, Jack 144
Tatnall, Sam. 6
Templeton, Chas. 104
Ten Brooke, James 286
Tenney, Ernest 328
Thatcher, Geo. 3-188
Thatcher, Ned. 294
Thayer, Ambrose A. 118
Thayer, “Bije” 44
Thomas, Wally 134
Thompson, Dan. 278
Thompson, Denman 106
Thompson, Johnny 155
Thompson, John W. 131
Thompson, Matt. 96
Thompson, Wm. H. 338
Tierney, Jas. (T. & W.) 326
Tierney, Jas. M. (T. & C.) 272
Trowbridge, Jos. T. 39
Turner, Chas. 303
Turner, Frank 208
Turner, John 223
Turner, John M. 210
Turner, Tommy 239

Unsworth, James 50-64-107-295
Unsworth, John 175

Van, Billy 312
Van, Billy B. 342
Vaughn, Tom. 43
Vetta, Franz 311
Vidocq, Will 322
Vogel, John W. 312
Vokes, Harry 323
Von Bonhorst, Julius A. 30

Wagner, “Happy” Cal. 146
Waldron, Dan. 248
Wallace, Jake 110
Walters, Charley 204
Walz, Fred. 239
Wambold, Dave. 70
Wambold, Jas. 92
Wambold, Ned. 211
Ward, Frank 208
Ward, “Hap” 323
Ward, John H. 139
Ward, Wm. H. 235
Warfield, Tom. 135
Warren, Mickey 59
Waterbury, Edw. M. 328
Waterbury, Geo. N. 328
Waters, Tom. 348
Watson, Harry 212
Wayne, Burt. 212
Wayne, Chas. 326
Weaver, Add. 87
Weber, Jos. 328
Welby, Jake 239
Welch, Billy 206
Welch, Fayette 123
Wells, Frank 95
Wells, Jimmy 51
Wells, Sam. 51
Weslyn, Everett 235
West, Charley 219
West, Luke 52
West, Wm. 135
West, Wm. H. 71-207-246
Weston, Horace 46
Weston, Wm. R. 280
Wheeler, Matt. 162
White, Archie 226
White, Chas. O. 111
White, Chas. T. 5-35
White, “Cool” 34
White, Frank H. 228
White, G. Warren 26
White, “Hank” 84
Whiteside, Walker 4
Whitlock, Billy 11-12
Wild, Billy 176
Wild, John 155
Wilkes, Geo. 140
Williams, Barney 44
Williams, Bert. 350
Williams, Billy 256
Williams, Jack. 294
Williams, Percy G. 271
Willis, Oscar 155
Wills, Nat. 335
Wilson, Chas. 152
Wilson, Chas. D. 347
Wilson, Dave. 139
Wilson, Francis 258-344
Wilson, Fred. 55
Wilson, Fred., (D. & W.) 271
Wilson, Geo. 172
Winnett, Tommy 232
Winship, Geo. 47
Winter, Banks 283
Withers, Ike 182
Witmark, Julius P. 342
Wood, Billy 290
Wood, Henry 74
Woodruff, Tim. 46
Woods, Geo. W. 206
Woodson, Harry 238
Wray, Billy 86
Wright, Billy 75
Wyatt, Andrew 82

Yale, Chas. H. 276
Yeamans, Jennie 310
Young, Charley 254

Zanfretta, Alexander 72

INDEX TO ILLUSTRATIONS

Abecco, Raphael 217
Abel, Neal 145
Adams, Jas. E. 289
Allen, Billy 233
Allen, Hen 177
Allen, Johnny 113
Allen, Paul 21
Ames, Emil 29
Arbuckle, Maclyn 196
Arlington, Billy 41
Armstrong, Harry 221
Arnold, Amos 157
Arnold, Billy 157
Arnold, Frank 157
Ashcroft, Wm. J. 301
Austin, Ralph 196

Backus, Chas. 117
Bailey, Fred. 196
Ball, Wm. 165
Bamford, A. 73
Banker, Ed. H. 97
Barlow, Milt. G. 41
Barnum, P. T. 49
Barry, Billy 73
Basquin, J. A. 73
Beban, Geo. 197
Belasco, David 197
Bell, Frank 85
Benedict, Lew. 85-225
Benham, Earl 257
Bernard, Sam. 196
Bernard, Wm. H. 117
Bidaux, Theodore Gustave 141
Birch, Billy 117
Birdue, Bob 349
Bishop, Gonsalvo 141
Black, W. W. 229
Blakely, Harry 301
Blakeney, Wm. 165
Blossom, Nat. 173
Blue, John J. 229
Bogert, Eddie 177
Booker, Harry 349
Booker, Johnny 65
Booth, Edwin 49
Bowers, Fred. V. 197
Bowman, Jas. M., Facing 351
Bowman, John 177
Bowman, Wm. T., Facing 351
Bradley, Jas. B. 305
Brandisi, Sig. 165
Brimmer, Lew. 265
Brockway, Wm. H. 333
Brower, Frank 13
Brown, Joe. 229
Bruno, Gus. 57
Bryant, Dan 99-149-225
Bryant, Mrs. Dan 209
Bryant, Fred. 177
Bryant, Jerry 93
Bryant, Neil. 65
Buckley, Fred. 13
Buckley, Mrs. Fred 209
Buckley, Geo. Swayne 13
Buckley, James 13
Buckley, Joe. 181
Buckley, R. Bishop 13
Budworth, Jas. 161
Budworth, Mrs. Jas 209
Budworth, W. S. 265
Bugbee, Chas. R. 365
Bulger, Harry 197
Burgess, “Cool” 245
Burgess, Neil. 49
Burton, Clarence 53

Cain, John E. 145
Campbell, J. C. 221
Campbell, J. K. 221
Campbell, Sher. 221
Canfield, Eugene 349
Cardella, Frank 105
Carle, Richard 196
Carncross, John L. 181
Carroll, R. M. 341
Carter, Billy 37
Carter, Jim 21
Carter, Otis 217
Casey, Frank 317
Cassady, Eddie 169
Castle, Wm. 49
Catlin, E. N. 105
Cawthorne, Joe. 196
Chace, Billy 321
Christy, E. Byron 85
Christy, Edwin P. 45
Christy, Geo. N. 45
Clapham, Harry J. 365
Clark, Willis 337
Claudius, Dana H. 265
Clifford, Billy S. 196
Coes, Geo. H. 357
Cogill, C. W. 253
Cohan, Geo. M. 196
Cohan, Jerry 196
Cohen, Sallie 273
Collier, Willie 197
Collins, Ben. 133
Collins, Frank 361
Collins, Lew. 361
Comfort, Vaughn 313
Connors, Jimmy 253
Constantine, Harry 201
Converse, Frank B. 349
Cook, James 361
Cooper, Fred. 253
Corbett, Jas. J. 125, 196
Corbin, Edmond G. 53
Cornu, E. J. 105
Cotton, Ben. 89
Cotton, Ben. Jr. 349
Courtright, Billy 165
Cox, Will (see Wm. West) 101
Crane, Wm. H. 197
Cronin, Tim. 357
Cummings, Jas. H. 81
Cunningham, Geo. W. 321
Cushman, Frank 77

Daly, Bill 337
Daly, Dan 49
Daly, John 293
Daly, Tom 337
Dart, Fred. 109
Davis, Lewis H. 321
Day, Chas. H. 365
De Angelis, Jeff 197
Delehanty, Wm. H. 301
Delmanning Bros. 289
Deming, Arthur 129
De Rue, Billy 137
De Rue, Bobby 137
De Vere, Geo. M. 29
Devere, Sam. 37
Dixey, E. Freeman 113
Dixey, Henry E. 197
“Dixie”, first performance of 185
Dixon, Thos. B. 281
Dockstader, Chas. 249
Dockstader, Lew 249, Facing 274
Donniker, John B. 105
Doty, J. Arthur 201
Dougherty, Hughey 85
Dove, Johnny 341
Dukelan, “Slim Jim,” 305-309
Dumont, Frank 313
Duprez, Chas. H. 141
Du Rell, Ed 337
Du Rell, Frank 337

Eagan, Hubert W. 41
Edwards, Bob. 21
Edwards, Geo. 41
Ellis, Harry A. 25-305
Ellwood, Lincoln 241
Emerson, Billy 29-237
Emerson, Mrs. Billy 209
Emerson, Mort 337-361
Emmett, Dan. 13
Emmett, J. K. 49
English, Tom 149
Ernest, Chas. M. 89
Escott, Dick 309
“Eugene” 109-241
Evans, Chas. E. 249
Evans, Geo. 293
Ewers, Wm. 309

Fagan, Barney 341
Field, Al. G. 121
Fields, John F. 277-317
Fields, Lew. 197
Foley, Johnny 305
Foley, Willie 305
Foote, Wm. 365
Forrest, Edwin 49
Fox, Charley 353
Fox, Eddie 105
Fox, Jas. 277
Fox, Joe. 33
Foy, Eddie 196
France, Sid. C. 149
Fraser, Bob. 181
Fredericks, Chas. 165
Freeze, Billy 137
Freeze, Larry 137
French, Chas. K. 149
French, Edwin 53
Friganza, Trixie 273
Frohman, Chas. 197-285
Frohman, Daniel 197
Frohman, Gus. 285
Frothingham, Geo. 125

Gale, Geo. 193
Gardner, Charley 25
Gardner, Sam. 333
Gaylord, Low, facing 118
Germon, Francis 69
Gettings, Tommy 233
Geyer, Frank C. 177
Gibbs, Clark M. 101
Gibson, Alf. 169
Gilbert, John D. 177
Gilmore, Barney 196
Gilmore, P. S. 49
Girard, Eddie 57
Girard, Frank 73
Girard, Willie 57
Gladdish, Fred. 305
Glenn, Jas. 181
Golden, Richard 49
Goldrich, Pete. 33
Goodman, “Hank” 65
Goodwin, Nat. C. 196
Gorman, Geo. 157
Gorman, James 157
Gorman, John 157
Goss, Ned. 277
Gould, Julia 145
Granger, Tommy 161
Gray, Billy 229
Gray, Geo. 217
Green, J. E. 229
Greenland, Ned. 365
Grier, W. P. 165
Griffin, G. W. H. 333
Griffin, Jas. H. 277
Guy, Arthur L. 257
Guy, Mrs. Arthur L. 81
Guy, Geo. R. 121-133
Guy, Willie 133

Hague, Sam. 97
Haines, Nat. 77
Hall, Artie 273
Hall, Bob 105
Hall, E. M. 265
Hallett, Wm. H. 305-313
Hanson, Frank 317
Harley, Geo. W. 281
Harper, Ned. 9
Harrigan, Ned. 289
Harrington, Geo. A. 69
Harrington, J. C. 253
Harris, Chas. K. 197
Harris, Wm. 197
Hart, Bob. 85
Hart, Jerry 169
Hart, John 29
Hart, Tony 289
Haverly, Burt. 97
Haverly, J. H., facing 118
Haverly, Mrs. Jack 209
Hawkins, Lew. 133
Hayes, Tim. 233
Heath, Thos. K., facing 255
Hengler, Thos. M. 301
Henry, Chas. 217
Henry, Hi., facing 118
Herman, J. A. 217
Herne, Jas. A. 49
Heywood, Chas. 241
Hilliard, Chas. 269
Hines, Wm. E. 173
Hitchcock, Raymond 125-196
Hodges, D. B. 365
Hoey, Wm. F. 277
Hogan, Gus. 357
Hogan, Harry 357
Hogan, John P. 133
Holden, Jas. 105
Holmes, Edwin 141
Hooley, R. M. 121
Hopper, De Wolf 196
Horan, Eddie 341
Horn, Eph. 181-225
Horwitz, Chas. 197
Howard, Charley 353
Howard, Frank (Martindale) 193
Howard, Harry 305
Howard, Rollin 109
Huber, Fred. 113
Hughes, Archie 113
Hughes, Artie 177
Hughes, Ruey. 133
Hunneman, Chas. 105
Huntley, Wm. A. 53
Hyde, Tommy 341

Jansen, J. Melville 57
“Japanese Tommy” 165
Jefferson, Jos. 49
Jerome, Billy 196
Johnson, Arthur 253
Johnson, Carroll 205
Jolson, Al., facing 363
Jolson, Harry 257
Jose, Richard J. 193

Kanane, Mike 233
Kayne, E. M. 333
Kellerd, John E. 197
Kelly, Chas. 165
Kelly, Ed. 253
Kelly, Edwin 165
Kelly, Jimmy 253
Kelly, J. W. 49
Kelly, Nolan 361
Kemble, J. R. 333
Kemble, Mrs. J. R. 209
Kennedy, Edw. J. 177
Kent, Frank 141
Kernell, Harry 40
Kerns, Frank 25
King, John H., facing 118

Lackaye, Wilton 197
Lamont & Ducrow 133
Lang, John 281
Lansing, Harry 201
La Rue, D. C. 121
Latham, Mike 305
Lavake, Will 101
Lee, John H. 289
Lee, Pete. 113
Lee, Sam 257
Lehr, Harry 145
Leighton, Bert. 137
Leighton, Frank 137
“Leon” 109-165
Leonard, Eddie 305
Leslie, Bert. 196
Leslie, Tom. 217
Lester, Billy 21
Lewis, Tom. 33
Lewis, W. H. 141
Linden, Ernest 241
“Little Mac” 73
Livermore, C. 213
Livermore, G. 213
Livermore, H. 213
Livermore, L. 213
Lockwood, Chas. 217
Lorraine, Chas. F. 213
“Lotta” 273
Lovely, Joe. 349
Lyons, Billy 241

Mack, Andrew 197
Mack, James 201
Mack, Jas. W. 349
Mack, John A. 65
Mack, Keller 33
Mackin, Jas. F. 153-293
Malcolm, Fred. B. 241
Manning, Billy 237
Manning, Mrs. Billy 209
Marion, Herman 321
Marks, Clarence 257
“Master” Barney 129
Maxwell, Barry 89
Mazier, Eddie 257
McAllister, Billy 41
McAndrews, J. W. 161
McElroy, Matt. 29
McGee, Joe B. 169
McIntyre, Jas., facing 255
McKee, Andy 321
McNish, Frank E. 25
Melville, Chas. 217
Meyering, Frank 309
Mills, Gus. 201
Monroe, Ned. 33
Montgomery, Dave 153-196
Montgomery, “Scamp” 329
Moore, “Pony” 65-225
Moran, Frank 85
Moreland, Arthur 313
Morrell, Frank 193
Morris, Billy 117
Morris, Chas. A. 121
Morris, Lon. 117
Morse, Harry M. 313
Morton, J. W. 301
Morton, Will H. 333
Mudge, “Hank” 149
Mullally, W. S. 105
Mulligan, John 41
Mulligan, Mrs. John 209
Murphy, Joe. 113-153
Murphy, J. B. 217
Myers, “Ole Bull” 21

Newcomb, Bobby 233
Newcomb, Mrs. Bobby 209
Newcomb, W. W. 65
Niles, P. J. 249
Norcross, Jos. M. 313
Norman, Harry 165
Norton, Wash. 233

Oakland, Will 249
Oberist, John F. 217
O’Brien, John 253
O’Brien, Neil 305, facing 330
O’Day, Billy 329
Olcott, Chauncey 196

Palmer, Chas. C. 309
Parker, Lew. 41
Parr, Chas. 305
Pastor, Tony 49
Patti, Greg. 145
Payton, Corse 196
Pearl, Charley 289
Peasley, John A. 81
Peel, Matt. 65
Peel, Tommy 349
Pelham, Dick 13
Pell, Gilbert W. 69
Pell, Harry 85
Pell, Jas. 33
Pell, Johnny 117
Pendy, John 41
Pettengill, Charley 353
Pettengill, Mrs. Charley 209
Pickert, Willis 341
Powers, Jas. T. 197
Prendergast, Tom. 217
Primrose, Geo. H. 293-305
Purdy, S. S. 149

Queen, Chas., facing 118
Queen, John 81
Queen, Johnny 173
Quilter, Dick 33

Ralph, Dick 221
Raymond, Maude 273
Raynor, J. W. 93
Read, Beaumont 165
Reed, Charley 353
Reed, Dave. 113
Reynolds, Chas. 317
Reynolds, Charley 353
Reynolds, Geo. 317
“Ricardo,” 201
Rice, Billy 73-161
Rice, Mrs. Billy 209
Rice, “Daddy” 9
Rice, Dan. 49
Rice, Edw. Le Roy, Frontispiece, 2-305
Rice, Johnny 57
Rice, John C. 196-277
Rice, Wm. Henry 81-141-237
Richardson, Billy 85
Richmond, Harry G. 89
Rickey, Sam. 129
Rigby, Arthur C. 129
Robinson, Harry 121
Robinson, Justin 241
Rockefeller, Geo. W. 145
Roe, Harry W. 281
Rogers, Neil 89
Rogers, Stevie 321
Romain, Manuel 193
Rumsey, Hy. 53
Rushby, Horace 281
Russell, Jas. G. 165
Ryman, Add. 245

Sandford, Jim 21
Sands, Edw. 177
Sanford, Jas. 81
Sanford, Sam. 37
Schoolcraft, Luke 357
Scott, Wm. 305
Seamon, Chas. V. 177
Seymour, Nelse 65-99
Sharpley, Sam. 37
Shaw, Raymond 281
Shay, Johnny 97
Sheffer, “Buck” 301
Shelby, Dan. 41
Shepard, Burt. 241
Sheppard, Billy 233
Sheppard, Bob. 181
Sheppard, Frank 361
Sheridan, John F. 349
Shirley, Harry 281
Shunk, Harry C. 77
Simmons, Lew. 173
Sinclair, Geo. 305
Sitgreaves, Beverly 273
Skiff, M. T. 97
Skinner, Otis 197
Slavin, Bob. 97
Sliter, Dick 233
Slocum, E. N. 333
Slocum, Mrs. E. N. 209
Smith, Harry W. 101
Smith, John P. 365
Smith, Wm. H. 365
Spooner, Cecil 273
Spooner, Edna May 273
Stanley, Burton 201
Stanwood, Harry 265
Stanwood, Moody 69
Stine, Chas. J. 77
Stone, Fred. 153-196
Stratton, Eugene 97
Strickland, W. H. 365
“Stuart” 201
Sullivan, John L. 196
Surridge, J. H. 165
Sutton, Charley 353
Sweatnam, Willis P. 29
Sweeney, Dick 9
Sweeney, Joe. 9-185

Talbott, Harry 113
Templeton, Chas. 217
Thatcher, Geo. 293
Thomas, Wally 233
Thompson, Denman 197
Thompson, Johnny 25
Thompson, John W. 97
Tierney, Jas. (T. & W.) 173
Tierney, Jas. M. (T. & C.) 357
Tilla, Haydon 281
Trowbridge, Jos. T. 117
Turner, Tommy 177
Tyrrell, Bob. 281

Unsworth, James 85

Van, Billy 169
Van, Billy B. 197
Vaughn, Tom. 45
Vernon, Paul 241
Vokes, Harry 197

Wagner, “Happy” Cal. 97-161
Waldron, Dan. 29
Wallace, Franklyn 305
Wambold, Dave. 117
Ward, Frank 25
Ward, “Hap” 197
Ward, Wm. H. 33
Warfield, Tom. 265
Warner, Chas. F. 309
Waters, Tom, (Waters & Kelly) 361
Waters, Tom. 89
Wayne, Burt. 349
Wayne, Chas. 173
Weaver, Add. 245
Weber, Jos. 197
Welby, Jake 289
Welch, Billy 57-285
Welch, Fayette 65
Wells, Sam. 333
Weslyn, Everett 317
West, Luke 129
West, Ned 129
West, Wm. (see Will Cox) 173
West, Wm. H. 333
Wheeler, Matt. 101
White, Archie 205
White, Chas. T. 229
White, “Cool” 21-245
White, Frank H. 173
White, Wm. 69
Whitlock, Billy 13
Wild, Frank 245
Wild, John 245
Wilkes, Geo. 201
Williams, Barney 49
Williams, Bert. 297
Williams, Billy 177
Williams, Percy G. 196
Williams, Tom. 221
Willis, Oscar 53
Wills, Nat. 196
Wilson, Chas. 81
Wilson, Dave. 101
Wilson, Francis 153-197
Wilson, Fred. 225
Wilson, Geo. 293
Winter, Banks 193
Wood, Billy 361
Woodson, Harry 205

Yeamans, Jennie 273

MINSTREL ORGANIZATIONS, THEATRES AND PROGRAMS

Barlow, Wilson & Rankin’s 261
Bryant’s (Program) 185
Callan, Haley & Callan’s 213
Callender’s 285
Campbell’s 93
Christy’s 45
Christy’s 17
Cohan & Harris’ 325
Duprez & Green’s 141
Eleventh Street Opera House, Philadelphia 61
Ethiopian Serenaders 69
Federal Theatre, Boston 5
“Lambs” Minstrels 345
Mechanics Hall, New York 61
Morris Bros., Pell & Trowbridge’s, Boston 117
Robinson’s Harry 189
San Franciscos, New York 117
Sweeney, Joe (Program) 185
Virginia Serenaders 21

SKETCH OF THE AUTHOR, WITH PERSONAL RECOLLECTIONS.

[Illustration: “THE INCEPTION OF NEGRO MINSTRELSY.”]

Let me begin by saying that I am not a “Monarch of Minstrelsy,” not
even a duke or prince; as a matter of fact I am a mere subject, perhaps
it would be more exact to say I am a slave, for I cannot recall the
time when the curtain having been rung up on the first part, the
interlocutor saying, “Gentlemen, be seated,” that it did not thrill me
through and through; in all probability they would have been seated
without his invitation, but still, disappointment would have been keen
had he not have done so. Then the overture accompanied by the bones and
tambos; but that part of the performance seems to be obsolete now; and
how I yearn for it. The second son of the late Wm. Henry Rice, who put
on cork for nearly fifty years, I was born in New York City, August 24,
1871, on Fourteenth Street, nearly opposite the Armory, above Sixth
Avenue. If you happen to see a crowd around there at any time, you will
know it is part of the excited populace trying to carry away portions
of the building which housed me on my first appearance in any country.

I can remember, as a youngster even before my school days began, my
father asking me if I wanted to be a minstrel? I knew that my mother
was averse to it and, as they both looked at me awaiting my reply, I
vehemently said NO; that was the first lie I ever told. I have done
better subsequently, but they have no bearing on this matter. When I
was about six or eight years of age, my father, wishing to celebrate
the occasion in a fitting manner, took me down town (Philadelphia) and
giving me my choice to go in one direction and see “Jack the Giant
Killer,” or take another route and see the minstrels. I had heard a
whole lot about the youthful prodigy who made a business of trimming
big husky gents for the sake of getting an appetite that he might
better enjoy his meals, and confess to a feeling of curiosity; but it
was the “nigger singers” for mine, and it was there that I obtained my
first recollection of any individual performer. It was Bobby Newcomb
doing Topsy. Whether it was an “Uncle Tom” show, with which the late
minstrel was prominently identified at one time, or whether it was a
burletta on Mrs. Stowe’s immortal work, I never learned, but Newcomb’s
dress, a ragbag affair, I remember distinctly, subsequently, one made
from an American flag, finishing with the well-known suit of white
duck in knee-breeches. That was the beginning. I decided then that a
minstrel’s life was the life for me, and for years I importuned my
father to take me on the road with him, finally obtaining a promise
to go the next time he took a show out. This was somewhat hazy, but
I clung to it tenaciously, and when in July, 1890, he organized
the World’s Fair Minstrels, my happiness was unbounded. I was in
Philadelphia at the time, passing cigars and tobacco over the counter
of a Smoke Emporium presided over by Lew Simmons, one of the oldest
active minstrels in harness to-day; observe the date again, please.
July, 1890, was it not? At that time Lew had given up the minstrel
business entirely. I recall Lew Dockstader dropping in one day and
inquiring how he (Simmons) liked the business? “Like it?” said the
senior Lew, “why I am perfectly happy; I wouldn’t go back in the
business again for $100 per week.” (I remember it was PER week.) But he
did, a couple of years later, and from all appearances looks good for a
few more. I joined my father’s troupe. We opened at Elizabeth, N. J.,
on July 17th. In the company were Billy Birch, Frank Moran, Frank Kent
and Bob Slavin; all since passed away.

Old minstrel _habitues_ will recall that nigger-act wherein one of the
performers declares loudly to his friends that he is boss in his own
home, how he rules the ranch and so on; and just as he is saying it
his wife would show up then he would inflict dire punishment upon her,
she comes running down the aisle from the front of the house saying,
“Where’s my husband?” gathers her lesser half by the ear and amidst the
jeers of his companions, carries him away.

[Illustration: Being a Truthful Portrayal of the Author’s First
Appearance on Any Stage; Morristown, N. J., July 18, 1890.]

At the second performance, at Morristown, N. J., I was cast for the
enraged spouse. I believe I was made up for the part fully an hour
before the house opened. How nervous I was awaiting my cue, but when
it came, my ears seemed to hear nothing but wife, wife, wife, and
instead of saying, “Where’s my husband?” I said, “Where’s my wife?”
* * * I won’t repeat what my father said, but what with the tears of
mortification that flowed from my eyes and the perspiration from the
pores of my face, almost made washing-up a superfluity.

After that awful first night I got away with the part without any
trouble, and even indulged in conversations while awaiting my cue,
which I had always thought to be a physical impossibility.

Billy Birch, who was with us, used to suffer severely from rheumatism,
and just before parade would say to me, “‘Cully,’ would you mind
going over to the hotel, on the bureau, right hand side, and get my
medicine?” Would I go? I felt honored.

At the opening performance we had a song and dance team who, like
myself, were just breaking into the business. Their act was not an
unqualified success and extra tickets to Morristown were not purchased.
Some one asked Bob Slavin what he thought of the act, to which he
replied: “As a success, they’re a failure; as a failure, they’re a
success.”

The company closed early in November and a couple of weeks before
Christmas I consented to wrap parcels at Wanamaker’s store in
Philadelphia for a small weekly stipend. It was hard to work for wages
after having received a salary.

Various mercantile positions were mine until the Fall of 1894, when the
late Harry Mann opened the old Arch Street Theatre in Philadelphia for
the production of the old farces such as “Box and Cox” and others of a
like nature. I had heard that there were to be specialties between the
acts, wrote for an engagement and shortly afterwards received a reply
from Mr. Mann asking me to call. (I have that letter yet.) I told him
that I had a black-face monologue that was absolutely original; he told
me that he could get Willis P. Sweatnam, but decided to give me the
preference, I was quick to reply that I wasn’t as good as Sweatnam.
(I was frightfully modest those days.) However, I was engaged, and
was to receive $10 for my week’s services; I was certain he could not
get Sweatnam for less than $12.50 or possibly $15. Monday, September
24, we opened; I wore a pale-blue suit and a pleasant expression; on
Tuesday I still had the suit, but had lost the expression, caused by
the sudden closing of the house. I have always maintained that if I
had been billed stronger, the house might have remained open longer;
possibly another night; the $1.67 due me for my one performance, I
never received, but as compensation, one of the papers said that my
monologue, besides being good in itself, was excellently rendered. It’s
not true that the reporter who wrote this, attended a prizefight that
evening. I banked a whole lot on that blue suit; it was part of my plan
to be different from any other monologist, and I still think I was.
Instead of making my entrance in the conventional manner, I hit upon
the idea of having one of the scenes part in the centre, and then walk
on saying, “I just blew in,” carelessly pointing to my blue suit at the
same time.

The more I thought of this, the greater the sensation I was sure I
would create; I pictured the reserves being called upon to quell the
riot; I saw myself taking encore after encore, and conjured the immense
audience rising in their seats as one, begging for just one more
glimpse of that blue suit; I was so sure of my success to be, that in a
burst of confidence, I told a friend about my idea, and was horrified
to learn that George Thatcher had done the self-same thing some time
before. Here was a dilemma, what was I to do? I had known Thatcher
from boyhood, and the idea of utilizing any of his ideas was not to
be thought of; fortunately, about this time, he (Thatcher) played an
engagement at the National Theatre (Philadelphia), and I decided to
see him and explain the situation thoroughly. I found him one evening
standing on the steps of the theatre; I told the whole story, reserving
nothing, and explained that I was willing to relinquish my idea if he
thought it would conflict with him in any way, but with rare generosity
he agreed not to prosecute me for plagiarism or piracy.

A week later I opened at Easton, Pa. I had a cold in the head and an
old wig; the cold I obtained in Philadelphia, the wig in Easton, it
was an old one (the wig) having lost my good one in Philly the week
previous. * * * An uncle of mine graciously advanced me the price of
a ticket to Philadelphia. * * * The watch was worth considerably more
than $2. Six months later I might have been seen doing my specialty in
Paterson, N. J.; provided you came Monday afternoon. * * * A performer
in the same dressing-room asked me how much I paid for my trunk,
which was a duplicate of his; $6 I said; why, I paid $12 for mine, he
averred. And that was all I got out of the engagement. But that suit,
little did the young lady who made it for me dream it would one day
become historical; she is now a sedate matron in Detroit. Wonder if she
still remembers it?

In the fall of 1898 I was a member of one of the many California
Minstrel organizations that have invaded the country in the past fifty
years. The Spring and Summer of 1900 found me selling pasteboards to
the Southerners while with the Primrose & Dockstader Minstrels; in the
Fall of 1900 I was agent for Andrew Robson in “The Royal Box;” 1901-02,
agent for “Pud’dnhead Wilson,” with William S. Gill in the name part,
Walker Whiteside, and a return to Primrose & Dockstader; 1902-03,
manager, Western Alphonse & Gaston Co.; 1903-04, treasurer, Great
Lafayette Company.

At various times I acted as usher and lithographer at the Park, Walnut
and Arch Street Theatres in Philadelphia; Columbus Theatre, New York
City, and the Park in Brooklyn.

In July, 1907, I conceived the idea of appearing daily at the ball
games in New York City, and in the following afternoon’s paper give
an accurate account of the conversations entered into, together with
the description of the parties spoken to; in addition having my own
features reproduced daily together with an accurate description of
myself; to any party who could single me out was given a free pass to
all the ball games on the ground where I was detected.

Under the title of the “Man in the Bleachers” I ran those on the New
York _Evening World_ with great success for five weeks.

Then came the idea of giving to the world the lives and careers of the
minstrels, thus “presenting to the public and preserving to posterity
the peculiarities and personalities of prominent performers of the past
and present;” and here it is, after three years’ exhaustive and patient
labor. Now for the big show.

THE FIRST BLACK-FACE PERFORMER.

The late Laurence Hutton in “The Negro on the Stage,” states that
Shakespeare’s Othello was one of the earliest black-face stage
characters; giving the date of the appearance at the Globe Theatre,
London, England, on April 30, 1610; Oronoko followed in 1696. But
several hundred years before the jealous Moor’s appearance, a couple of
young men, named Cain and Abel respectively, did a brother act, though
not necessarily a brotherly act, for the first-named gentleman one day
in a fit of peevishness did smite Master Abel with such force that the
breath did leave his body; Cain was punished, as he should have been;
his complexion was changed from Caucasian to Ethiopian; this was the
_first black face turn_. Anyway, that’s how the story runs. With the
reader’s permission we will skip about 1,700 years, and come down to
the comparative present.

The late Charles T. White, who made a study of minstrelsy all his life
and was himself contemporaneous with it from its inception, stated that
according to Russell’s Boston _Gazette_ of December 30, 1799, at the
Federal Theatre, Boston, a Mr. Graupner sang a song called “The Negro
Boy.”

[Illustration: FEDERAL THEATRE, BOSTON, MASS.

The First Recorded Black-Face Act Was Given Here December 30, 1799.]

W. W. Clapp, Jr., in his “History of the Boston Stage,” avers that this
would be impossible, as the news of George Washington’s death, December
14, 1799, did not reach Boston until December 24, and that the theatre
was closed a week in consequence thereof. Granting this, six days would
have elapsed, and the performance undoubtedly was given, for had it
not, the advertisement which was inserted announcing the performance
for that evening, would not under any circumstances have been printed.
However, for the sake of argument, let us concede that the first
black-face appearance (the term black-face as used here has reference
to a single performer doing a specialty) was not on the date specified.

The next mention of a black-face performer, by Mr. White, was in
1815, when an actor known as “Pot Pie” Herbert sang “The Battle of
Plattsburg” in Albany; Mr. H. D. Stone in the “Drama,” published
in Albany in 1873, credits one “Hop” Robinson as the singer of the
song; while “Sol” Smith, a reputed eye-witness, in his (Smith’s)
autobiography, published in 1868, credits it to Andrew Jackson Allen,
claiming that Allen sang it at the Green Street Theatre, Albany, 1815,
playing a black-face character. Obviously there could be but one
“first” and a period of fifteen years had apparently elapsed between
the reputed appearance of Mr. Graupner and the last named gentleman; in
other words, no claims have been made for others between 1799 and 1815.
Nevertheless, there _was_ an appearance between these dates, and by
none other than Mr. Graupner himself, who, on September 4, 1809 (while
“Daddy” Rice was an infant in swaddling clothes), appeared as the
“Gay Negro Boy” in a circus at Taunton, Mass.; the honor then beyond
any doubt is Mr. Graupner’s; and equally certain is the fact that he
appeared in Boston, December 30, 1799. Black-face performers sprang up
rapidly, and in earlier days no circus was considered complete without
at least one of them.

SOME EARLY BLACK-FACE PERFORMERS.

The following were all popular performers preceding minstrelsy proper;
unfortunately the dates of their deaths are practically shrouded in
oblivion:

George Nichols; Bob. Farrell, the original “Zip Coon”; Sam Tatnall,
Barney Burns, Bill Keller, Horatio Eversell, George Rice (brother of
T. D. Rice), William M. Hall, Thomas Blakely, Leicester, etc. Andrew
Jackson Allen, already mentioned, was born in New York City in 1776,
and according to Laurence Hutton was the costumer, dresser and personal
slave of Edwin Forrest for many years; he was quite deaf, and was
commonly known as “Dummy” Allen. He died in New York City, October
29, 1853. James Roberts, by the same authority, sang a song in negro
character as early as October 7, 1824; he died in 1833.

George Washington Dixon sang “Coal Black Rose,” the air of which was
appropriated from an old ballad, as early as 1827. His first New York
appearance was of the Lafayette Theatre, July 19, 1828. He later became
notorious as a filibuster during the Yucatan disturbances, and died in
New Orleans in 1861. Some prominent early minstrel performers whose
records and deaths were likewise lost in oblivion are: Charley Jenkins,
Master Chestnut, Harry Mestayer, Neil Jamison and many more. There are
others, too, of nearly every decade of whom the author has made every
research to gather some knowledge, but without success.

“DADDY” RICE.

Thomas Dartmouth Rice was the original “Jim Crow,” the story has been
told in many ways, but the authentic version appeared in the _Atlantic
Monthly_ in 1867, and herewith is reproduced verbatim; it is from the
pen of Robert P. Nevin.

“Thirty-six years ago a young man, about twenty-five years of age,
of a commanding height--six feet full, the heels of his boots not
included in the reckoning--and dressed in scrupulous keeping with
the fashion of the time, might have been seen sauntering idly along
one of the principal streets of Cincinnati. To the few who could
claim acquaintance with him he was known as an actor, playing at the
time referred to a short engagement as light comedian in a theatre
of that city. He does not seem to have attained to any noticeable
degree of eminence in his profession, but he had established for
himself a reputation among jolly fellows in a social way. He could
tell a story, sing a song, and dance a hornpipe, after a style which,
however, unequal to complete success on the stage, proved, in private
performance to select circles rendered appreciative by accessory
refreshments, famously triumphant always. If it must be confessed
that he was deficient in the more profound qualities, it is not to
be inferred that he was destitute of all the distinguishing, though
shallower, virtues of character. He had the merit, too, of a proper
appreciation of his own capacity; and his aims never rose above that
capacity. As a superficial man he dealt with superficial things, and
his dealings were marked by tact and shrewdness. In his sphere he was
proficient, and he kept his wits upon the alert for everything that
might be turned to professional and profitable use. Thus it was that,
as he sauntered along one of the main thoroughfares of Cincinnati,
as has been written, his attention was suddenly arrested by a voice
ringing clear and full above the noises of the street, and giving
utterance, in an unmistakable dialect, to the refrain of a song to this
effect:

“Turn about an’ wheel about an’ do jis so,
An’ ebery time I turn about I jump Jim Crow.”

Struck by the peculiarities of the performance, so unique in style,
matter, and “character” of delivery, the player listened on. Were not
these elements--was the suggestion of the instant--which might admit
of higher than mere street or stable-yard development? As a national
or “race” illustration, behind the footlights, might not “Jim Crow”
and a black face tickle the fancy of pit and circle, as well as the
“Sprig of Shillalah” and a red nose? Out of the suggestion leaped
the determination; and so it chanced that the casual hearing of a
song trolled by a negro stage-driver, lolling lazily on the box of
his vehicle, gave origin to a school of music destined to excel in
popularity all others, and to make the name of the obscure actor, T. D.
Rice, famous.

As his engagement at Cincinnati had nearly expired, Rice deemed it
expedient to postpone a public venture in the newly projected line
until the opening of a fresh engagement should assure him opportunity
to share fairly the benefit expected to grow out of the experiment.
This engagement had already been entered into; and accordingly, shortly
after, in the Autumn of 1830, he left Cincinnati for Pittsburg.

The old theatre of Pittsburg occupied the site of the present one,
on Fifth Street. It was an unpretending structure, rudely built of
boards, and of moderate proportions, but sufficient, nevertheless, to
satisfy the taste and secure the comfort of the few who dared to face
consequences and lend patronage to an establishment under the ban of
the Scotch-Irish Calvinists. Entering upon duty at the “Old Drury”
of the “Birmingham of America,” Rice prepared to take advantage of
his opportunity. There was a negro in attendance at Griffith’s Hotel,
on Wood Street, named Cuff--an exquisite specimen of his sort--who
won a precarious subsistence by letting his open mouth as a mark
for boys to pitch pennies into, at three paces, and by carrying the
trunks of passengers from the steamboats to the hotels. Cuff was
precisely the subject for Rice’s purpose. Slight persuasion induced
him to accompany the actor to the theatre, where he was led through
the private entrance, and quietly ensconced behind the scenes. After
the play, Rice, having shaded his own countenance to the “contraband”
hue, ordered Cuff to disrobe, and proceeded to invest himself in the
cast-off apparel. When the arrangements were complete, the bell rang,
and Rice, habited in an old coat forlornly dilapidated, with a pair of
shoes composed equally of patches and places for patches on his feet,
and wearing a coarse straw hat in a melancholy condition of rent and
collapse over a dense black wig of matted moss, waddled into view.
The extraordinary apparition produced an instant effect. The crash of
peanuts ceased in the pit, and through the circles passed a murmur and
a bustle of liveliest expectation. The orchestra opened with a short
prelude, and to its accompaniment Rice began to sing, delivering the
first line by way of introductory recitative:

“O, Jim Crow’s come to town, as you all must know,
An’ he wheel about, he turn about, he do jis so,
An’ ebery time he wheel about he jump Jim Crow.”

The effect was electric. Such a thunder of applause as followed was
never heard before within the shell of that old theatre. With each
succeeding couplet and refrain the uproar was renewed, until presently,
when the performer, gathering courage from the favorable temper of
his audience, ventured to improvise matter for his distiches from
familiarly known local incidents, the demonstrations were deafening.

Now it happened that Cuff, who meanwhile was crouching in _dishabille_
under concealment of a projecting _flat_ behind the performer, by
some means received intelligence, at this point, of the near approach
of a steamer to the Monongahela Wharf. Between himself and others of
his color in the same line of business, and especially as regarded a
certain formidable competitor called Ginger, there existed an active
rivalry in the baggage-carrying business. For Cuff to allow Ginger the
advantage of an undisputed descent upon the luggage of the approaching
vessel would be not only to forfeit all “considerations” from the
passengers, but, by proving him a laggard in his calling, to cast
a damaging blemish upon his reputation. Liberally as he might lend
himself to a friend, it could not be done at that sacrifice. After a
minute or two of fidgety waiting for the song to end, Cuff’s patience
could endure no longer, and, cautiously hazarding a glimpse of his
profile beyond the edge of the flat, he called in a hurried whisper:
“Massa Rice, Massa Rice, must have my clo’se! Massa Griffif wants
me--steamboat’s comin’!”

The appeal was fruitless. Massa Rice did not hear it, for a happy
hit at an unpopular city functionary had set the audience in a roar
in which all other sounds were lost. Waiting some moments longer,
the restless Cuff, thrusting his visage from under cover into full
three-quarter view this time, again charged upon the singer in the same
words, but with more emphatic voice: “Massa Rice, Massa Rice, must have
my clo’se! Massa Griffif wants me--_steamboat’s comin’_!”

[Illustration:

“DADDY” RICE

NED HARPER

JOE. SWEENEY

DICK. SWEENEY

BLACK-FACE PERFORMERS WHO ANTEDATED MINSTRELSY PROPER.]

A still more successful couplet brought a still more tempestuous
response, and the invocation of the baggage-carrier was unheard and
unheeded. Driven to desperation, and forgetful in the emergency of
every sense of propriety, Cuff, in ludicrous undress as he was, started
from his place, rushed upon the stage, and laying his hand upon the
performer’s shoulder, called out excitedly: “Massa Rice, Massa Rice,
gi’ me nigga’s hat--nigga’s coat--nigga’s shoes--gi’ me nigga’s t’ings!
Massa Griffif wants ’im--STEAMBOAT’S COMIN’!!”

The incident was the touch, in the mirthful experience of that
night, that passed endurance. Pit and circles were one scene of
such convulsive merriment that it was impossible to proceed in the
performance; and the extinguishment of the footlights, the fall of the
curtain, and the throwing wide of the doors for exit, indicated that
the entertainment was ended.

Such were the circumstances--authentic in every particular--under which
the first work of the distinct art of Negro Minstrelsy was presented.

Next day found the song of Jim Crow, in one style of delivery or
another, on everybody’s tongue. Clerks hummed it serving customers at
shop counters, artisans thundered it at their toils to the time-beat
of sledge and of tilt-hammer, boys whistled it on the streets, ladies
warbled it in parlors, and house-maids repeated it to the clink of
crockery in kitchens. Rice made up his mind to profit further by its
popularity: he determined to publish it. Mr. W. C. Peters, afterwards
of Cincinnati, and well known as a composer and publisher, was at that
time a music dealer on Market Street in Pittsburg. Rice, ignorant
himself of the simplest elements of musical science, waited upon Mr.
Peters, and solicited his co-operation in the preparation of his song
for the press. Some difficulty was experienced before Rice could be
induced to consent to the correction of certain trifling informalities,
rhythmical mainly, in his melody; but, yielding finally, the air as
it now stands, with a pianoforte accompaniment by Mr. Peters, was put
upon paper. The manuscript was put into the hands of Mr. John Newton,
who reproduced it on stone with an elaborately embellished title-page,
including a portrait of the subject of the song, precisely as it has
been copied through succeeding editions to the present time. It was the
first specimen of lithography ever executed in Pittsburg.

Jim Crow was repeated nightly throughout the season at the theatre;
and when that was ended, Beale’s Long Room, at the corner of Third and
Market Streets, was engaged for rehearsals exclusively in the Ethiopian
line. “Clar de Kitchen” soon appeared as a companion piece, followed
speedily by “Lucy Long,” “Sich a Gittin’ up Stairs,” “Long-Tail Blue,”
and so on, until quite a repertoire was at command from which to select
for an evening’s entertainment.

Rice remained in Pittsburg some two years. He then visited
Philadelphia, Boston, and New York, whence he sailed for England, where
he met with high favor in his novel character.

Before he sang “Jim Crow,” Rice was considered only a mediocre
performer. Jos. N. Ireland, in his “Records of the New York Stage,”
says that he drew more money to the Bowery Theatre than any other
performer in the same period of time. His appearances were generally
with dramatic organizations, where he usually performed between the
acts. His minstrel performances were comparatively few, and mostly
confined to Charley White’s Serenaders; though he played a star
engagement at Wood’s Minstrels in August, 1858, also in New York. At
the Bowery Theatre in the Metropolis, he appeared with much success
for several weeks as Uncle Tom, commencing January 16, 1854. He was
the author of several early negro farces, the most popular being, “Oh,
Hush!” “The Mummy” and “Bone Squash.” The first New York performance of
“O, Hush” was given August 15, 1832. He was noted for his eccentricity
of dress; the buttons on his coat and vest were five and ten dollar
gold pieces, which he would give away indiscriminately as souvenirs. He
married a Miss Gladstone in England, June 18, 1837. “Daddy” Rice was
born in New York City, May 20, 1808. He died there September 19, 1860.

THE FIRST MINSTREL PERFORMANCE.

There has always been considerable discussion as to the exact date
when this interesting event took place; two things are certain, and
have never been disputed, viz.: that it actually did occur, and that
the initial presentation was in New York City, between January 31 and
February 17, 1843.

That the idea of amalgamating the respective talents of the original
four, Emmett, Brower, Pelham and Whitlock, was conceived by the latter,
there is no doubt; the following was furnished by him many years before
his death.

“The organization of the minstrels I claim to be my own idea, and it
cannot be blotted out. One day I asked Dan Emmett, who was in New
York at the time, to practice the fiddle and the banjo with me at his
boarding-house in Catherine Street. We went down there, and when we
had practiced, Frank Brower called in by accident. He listened to our
music, charmed to his soul! I told him to join with the bones, which
he did. Presently Dick Pelham came in, also by accident, and looked
amazed. I asked him to procure a tambourine and make one of the party,
and he went out and got one. After practicing for a while we went to
the old resort of the circus crowd--the ‘Branch,’ in the Bowery--with
our instruments, and in Bartlett’s billiard-room performed for the
first time as the Virginia Minstrels. A program was made out, and the
first time we appeared upon the stage before an audience was for the
benefit of Pelham at the Chatham Theatre. The house was crammed--jammed
with our friends; and Dick, of course, put ducats in his purse.”

The house on Catherine Street was No. 37, and was kept by a Mrs.
Brooks. The “Branch” was a hotel opposite the Bowery Amphitheatre.

On January 31, 1843, Dick Pelham did have a benefit, but the
performance was of the ordinary nature; nothing unusual, such as a
quartet of black-face performers appearing at one time, which would
have caused considerable stir; thus may we eliminate January 31, 1843,
as the date of the first performance in public.

The following announcement appeared on February 6:

BOWERY AMPHITHEATRE,

Monday evening, Feb. 6. 1843, first night of the novel, grotesque,
original and surpassingly melodious Ethiopian Band entitled

THE VIRGINIA MINSTRELS

Being an exclusively minstrel entertainment combining the banjo,
violin, bone castanets and the tambourine, and entirely exempt from
the vulgarities and other objectionable features which have hitherto
characterized negro extravaganzas.

[Illustration: 11:45 FROM THE HOTEL]

The New York _Herald_ commented on the performance for the first time
on February 9.

The quartet remained at the Bowery Amphitheatre until February 11;
five days later they were over Cornucopia Hall, at No. 28 Park Row;
February 22, they began an engagement at the Park Theatre, and shortly
afterwards went to Boston, where they played at Melodeon Hall for a
few weeks, and sailed from New York, April 21, 1843. May 21, they gave
their first performance at Liverpool, England, at the Concert Rooms on
Concert Street; subsequently playing a week in Manchester, and thence
to the Adelphi in London, where they remained one month; the original
four disbanded then.

BILLY WHITLOCK

was a typesetter on the New York _Herald_, and appeared at various
theatres in the evening, while retaining his position during the day.

He made his first appearance in New York City in 1835, as Cuff in “O,
Hush.” He resigned from the _Herald_ in 1837, and went with a circus;
he returned to New York, and in the Winter of 1839 was engaged by P. T.
Barnum to play the banjo for John Diamond, the great dancer.

Mr. Whitlock was the first to return to the United States after the
dissolution of the original company; he arrived about August, 1844;
subsequently appearing with various small organizations and circuses.

For many years he traveled as a Yankee comedian, and was also an actor
at the Bowery Theatre about 1853; he was the composer of “Lucy Long,”
one of the great songs of early minstrelsy. His last appearance was
with Dan Rice’s Circus in 1855.

His daughter married Edwin Adams, the great actor.

It is a strange thing that no one seems to know where Mr. Whitlock is
buried. Billy Whitlock was born in New York City, 1813; he died at Long
Branch, N. J., March 29, 1878.

DICK PELHAM (Richard Ward Pell),

like Billy Whitlock, made his first appearance in his native city in
“O, Hush,” in 1835. February 13, 1840, he danced against John Diamond
in New York City.

November 14, 1842, he appeared at the Franklin Theatre in New York, and
on January 16, 1843, he had a benefit at the Amphitheatre, on which
occasion he appeared in sixteen songs and dances, and played in the
farce “Negro Assurance;” yet we think continuous performances are of
recent origin. After the dissolution of the original four in England,
Mr. Pelham played an extended engagement at Sadler’s Wells Theatre in
London. April 22, 1844, in conjunction with Dan. Emmett, Frank Brower
and Joe Sweeney, they reorganized their little band and opened in
Dublin, Ireland; at the Theatre Royal, afterwards, appearing in Cork,
Belfast, Glasgow and Edinburgh, after which they disbanded.

Mr. Pell subsequently organized Pell’s Serenaders, and played all
the large cities in England, Ireland, Scotland and Wales. His last
appearance was at Birmingham, England, August 19, 1856.

[Illustration:

BILLY WHITLOCK

DICK PELHAM

DAN. EMMETT

FRANK BROWER]

The above four performers gave in New York City, February 6, 1843, the
first minstrel performance ever given; they were known as the Virginia
Minstrels.

[Illustration:

R. BISHOP BUCKLEY

JAS. BUCKLEY

SWAINE BUCKLEY

FRED. BUCKLEY

THE ORIGINAL BUCKLEY SERENADERS.]

Dick Pelham was born in New York City, February 13, 1815; he died in
Liverpool, England, October 8, 1876.

DAN. EMMETT (Daniel Decatur Emmett)

was better known to the general public than any of his associates,
from the fact that he outlived nearly all his contemporaries, and the
more important one that he was the author of “Dixie,” which will live
forever.

[Illustration: TOWN HALL TO-NIGHT--MINSTRELS.]

Mr. Emmett first blacked up at the age of sixteen, and two years later
joined Sam. Stickney’s Circus. At the age of twenty-five, he learned to
play the banjo, and traveled with Angevine’s Circus until he reached
New York, in 1842.

In 1843, after leaving his three associates in England, he performed at
Bolton, Lancashire; he rejoined Pelham and Brower in Dublin, Ireland,
April 22, 1844, and played with them and Joe Sweeney for several weeks.

Returning to the United States, he appeared with various circus and
minstrel companies.

In 1853-54 he was part proprietor of White’s Minstrels in New York;
in 1855 he opened the first minstrel hall in Chicago, at 104 Randolph
Street.

Emmett’s Minstrels opened at St. Paul, Minn., April 26, 1858; he was
also associated with Frank Brower in a minstrel company in the 50’s.

Mr. Emmett joined Bryant’s Minstrels in New York City in 1858, and
remained several years; after Dan Bryant’s death in 1875, he accepted a
position as leader in the Star Varieties, Chicago. In the Fall of 1881
he went out with Leavitt’s Minstrels, where in conjunction with several
old timers, they gave a reproduction of the original Virginia Minstrels
of 1843.

His last engagement was a tour of the country with Al. G. Field’s
Minstrels about ten years ago.

An account of the famous song of “I Wish I Was in Dixie,” will be found
elsewhere.

Dan Emmett was born in Mt. Vernon, Ohio, October 29, 1815, where he
died, June 28, 1904.

FRANK BROWER,

the junior member of the first minstrel company, made his first
appearance at Dick Myers’ Museum in Philadelphia, doing a song and
dance, about 1838; subsequently he joined John Robinson’s Circus, and
later Raymond & Waring’s Circus.

After the separation of the original minstrel company in London in
1844, Mr. Brower traveled with Cook’s Circus in England; and in the
Spring of 1844, with Pelham, Sweeney and Emmett, they gave their old
performance, opening in Dublin, Ireland, April 22, 1844, and playing
engagements in Cork, Belfast, Glasgow and Edinburgh, after which he
returned to America and played with some of the principal minstrel and
circus organizations.

In 1851 he revisited England, appearing as clown with Welch’s Circus.
February 28, 1856, he opened at Sanford’s Minstrels in Philadelphia.

His last engagement in minstrelsy was with Tunnison’s Minstrels in
Philadelphia, November 2, 1867; and his last appearance on the stage
was in the same city, November 22, 1867, at the Walnut Street Theatre,
in “The Lottery of Love.”

Mr. Brower’s “Happy Uncle Tom” was as perfect a piece of acting, it has
been said, that has ever been seen on any stage. He was original to a
degree, and never stooped to vulgarity in any form.

Frank Brower was born in Baltimore, Md., November 20, 1823; he died in
Philadelphia, June 4, 1874.

THE BUCKLEY SERENADERS.

JAMES BUCKLEY, the father of R. Bishop, G. Swayne and Fred Buckley
was the organizer of the justly famous Buckley Serenaders; they were
originally known as the Congo Melodists; subsequently upon playing an
extended engagement in New Orleans, they adopted the title of “New
Orleans Serenaders”; later using the name they were ever after known by.

Mr. Buckley was leader at Harrington’s Museum in Boston in 1840.

In 1843 he organized the Congo Melodists in Boston, and gave their
first performance at the Tremont Theatre; in October they were playing
the Tabernacle, the present site of the Howard Athenaeum. Their
first New York appearance was in 1845; the following year they went
to England, where they remained about two years. For family reasons
each of the four Buckleys adopted different names on this trip, and
retained them for a time after their return to the United States in
1848; James Buckley was known as James Burke.

Their metropolitan reappearance was made at the Society Library Rooms,
corner Broadway and Leonard Street; they played here as early as
January 3, 1849.

The Buckleys were the first recognized company from the East to visit
California, which they did in 1852; they played in tents at $3 per
ticket. In June, 1853, they made their third New York appearance at the
Chinese Assembly Room, 539 Broadway, which they leased and made into a
minstrel hall; they remained three years. August 25, 1856, they opened
at 585 Broadway; their last performance there was January 9, 1858;
subsequently they played a brief engagement at 444 Broadway, commencing
two days later.

In May, 1858, they began a brief engagement at the Ordway Hall in
Boston, and in November, same year, they began a short season at
Allston Hall on Tremont Street; subsequently returning to New York at
585 Broadway, opening July 11, 1859.

On March 21, 1860, they sailed again for England, where they met with
pronounced success; in this engagement they played under their own
names.

As a matter of actual fact, their success was so great, that rival
managers became jealous, and succeeded in digging up an old law which
prevented an opera other than the Royal Opera from being given; as the
Buckley’s success depended on the production of these operas, which
they produced on a lavish scale, they were compelled to return to
America, which they did in 1861. After playing several engagements,
they returned to Boston and opened at Allston Hall, October 13, 1862.
December 22, same year, they began an engagement at the Palace of
Music, New York (the present site of the Fourteenth Street Theatre),
and June 15, 1863, they again visited Boston, appearing at the new
hall, corner Chauncey and Summer Streets, remaining until April 9, 1866.

The retirement of James Buckley and the deaths of R. Bishop and Fred
Buckley, left only G. Swayne Buckley, who reorganized the company and
toured with intermittent success and failure until about 1876, when the
Buckley’s Serenaders passed into oblivion.

Such is the history of this famous family whose talents and versatility
are beyond comprehension to the present generation.

They were the first company to produce burlesque opera, which they did
on a scale of magnificence never since duplicated.

The company originally consisted of the four members of the family;
later they were augmented by Sam Sanford and J. C. Collins; this was
about 1846; in after years many of the prominent lights of the minstrel
profession appeared on their roster. Mr. Jas. Buckley was the only
member of the organization who was not active up to the time of his
death.

James Buckley was born in Manchester, England, 1803; he died in Quincy,
Mass., April 27, 1872.

R. BISHOP BUCKLEY, began his career in 1843 in Boston as member of the
original Buckley Serenaders.

He was an excellent mimic, accomplished musician and good actor.

He was best known for his performance on the Chinese fiddle, which was
never equaled except by a native Chinaman. He was the possessor of a
good tenor voice, which he used easily and gracefully.

[Illustration:

Scenes From
_THE ORIGINAL CHRISTY MINSTRELS_
AT MECHANICS HALL, 472 BROADWAY N.Y. IN 1847]

Mr. Buckley was known as J. C. Rainer in the late 40’s while in Europe
and shortly after their return.

R. Bishop Buckley was born in England, 1826; he died in Quincy, Mass.,
June 6, 1867.

GEORGE SWAYNE BUCKLEY, the most versatile of the famous Buckley family,
made his first appearance as a prodigy at Harrington’s Museum in
Boston, in 1840.

Later, while learning to play the banjo, the famous Joe. Sweeney took
an interest in him, and “starred” him for a lengthy period through the
country as “Young Sweeney,” which title he used as late as May 15, 1845.

Some idea of Mr. Buckley’s versatility may be gleaned from the fact
that in one performance he sang a song and done a banjo solo in the
first part, played a solo on the kitchen bellows in a burlesque on the
Julien Concerts; gave Locust Hum in the third part; played a part in
the burlesque opera; danced with two others in the finale, and gave
his bone solo, which was a wonderful performance; with them he gave
imitations of the drums, the march, the reveille, etc., concluding with
imitations of two horses running a race. It must be understood that all
these performances were given in an artistic manner; and this was about
sixty-five years ago.

Probably Swayne Buckley’s chief fame rests on the act he did in later
years; it was called “Musical Moments;” in it he performed on twelve
different instruments, playing several at one time.

July 8, 1867, he reorganized in Boston the Buckley Serenaders with
himself as the one remaining member of the famous family in its company.

In 1870 Mr. Buckley played an engagement with the San Francisco
Minstrels in New York City; and on September 3, 1872, with Sam Sharpley
he organized a company and gave minstrelsy on new lines, eliminating
the time-honored first part.

The two following seasons saw Buckley’s Serenaders on the road, and on
September 13, 1875, he opened with the minstrels at Beethoven Hall,
Boston; their stay was brief; a road tour was even less successful.

In 1871 he played in a sensational melodrama called “On the Track;” in
this he portrayed seven characters. Mr. Buckley’s last appearance was
at the Walnut Street Theatre, Philadelphia, playing Zip, a negro, in
“Devotion.”

George Swayne Buckley was born in Bolton, England, August; 1829; he
died in Quincy, Mass., June 25, 1879.

FRED BUCKLEY came to America with his father and brothers in 1839;
when, as previously stated, the family changed their names, Mr. Buckley
was known as Master Ole Bull.

He was leader of the orchestra in their organization for many years.

Some of the famous ballads of early minstrelsy were composed by him,
such as “We Are Growing Old Together,” “I’d Choose to Be a Daisy,”
“Laughing Jennie,” “I See Her Still in My Dreams,” “I’m Turning Gray,
Dear Kate,” and numerous others.

Mr. Buckley married Fanny Brown, the actress, January 29, 1857.

Fred Buckley was born in Bolton, England, October 12, 1833; he died in
Boston, Mass., September 12, 1864.

CHRISTY’S MINSTRELS

were originated and first organized by Edwin P. Christy, and after
that gentleman retired from the profession, a few years later, part
of his old company organized and went to Europe, giving their first
performance there August 3, 1857; they were called the “Christy”
Minstrels. From this company several others sprung, and for a
great many years all minstrel organizations in England were called
“Christy’s.”

E. P. Christy had a “card” on his program for many years, stating that
his was the first minstrel company organized, the date given as 1842.
In support of this at one time gave a statement of receipts covering a
period of six months in 1842, and up to January 1, 1848.

It is a noteworthy fact that Mr. Christy’s “card” did not appear until
after Wood’s, likewise Campbell’s--two permanent minstrel organizations
like his own in New York City, had prospered and made their presence
felt.

As has been stated elsewhere, black-face performers there were a-plenty
long before the original four gave their first joint performance; they
played chiefly in circuses and dance houses, and it was in one of the
latter that Mrs. Harrington, mother of George Christy, and subsequent
wife of E. P. Christy, kept, where these performances were given, and
were very common occurrences at that time, and this was the only basis
that Mr. Christy had of ante-dating the original company. There is no
doubt that after the intelligence reached Buffalo of the success of
Pelham, Whitlock, Emmett and Brower, that Mr. Christy, like scores of
others, formed a company and called them Christy’s Minstrels; the date
of this interesting event has never been made public, if indeed it was
ever recorded. The first record of the company that the author has been
able to find was in Albany, N. Y., May, 1844. On Sunday, August 17,
1845, R. M. Hooley is said to have led the orchestra for them at the
Assembly Room in Buffalo, N. Y.

Their first metropolitan appearance was at Palmo’s Opera House, April
27, 1846; they subsequently played at the Society Library Rooms and
later at the Alhambra, all in the same city.

But it was at Mechanics Hall, 472 Broadway, New York, that the name
of Christy’s Minstrels became famous; they opened there on February
15, 1847, and remained until July 15, 1854. On September 20, 1854, the
company sailed for California; they played a few weeks at Pratt’s Hall
in San Francisco, but were not overly successful.

Such is the story of E. P. Christy’s Minstrels; the original company
consisted of E. P. Christy, George Christy, Tom Vaughn and Lansing
Durand; the careers of most of these performers, also their portraits,
will be found elsewhere.

It was the withdrawal of George Christy from E. P. Christy’s Company
that caused their dissolution.

EDWIN P. CHRISTY was best known as a ballad singer, although he played
the banjo acceptably and played parts in his entertainments; he made a
specialty of singing Stephen C. Foster’s songs.

He returned from California early in 1855, and never appeared again
professionally; nor did he ever play in England, although his name is a
household word there yet even to this day.

Edwin P. Christy was born in Philadelphia, November 28, 1815; he died
(suicide) in New York City, May 21, 1862.

GEORGE N. CHRISTY (Harrington), is conceded to have been one of the
greatest performers that ever graced the minstrel stage; he was
versatile by all the term applies; had he deemed to use his talents
otherwise, his name might have been enrolled as one of America’s great
actors.

His career began at Buffalo, N. Y., in 1839; although he had not yet
entered his teens, he was rated a fine jig dancer.

He was associated with E. P. Christy a few years before the latter
organized his minstrel company.

George Christy was with Christy’s Minstrels in New York from February
15, 1847, until October 29, 1853, during which period he played every
conceivable part; male and female equally well; he was a great endman
and as a bone player ranked with the best.

Owing to a misunderstanding, he left E. P. Christy on October 29, 1853,
and two days later he joined forces with Henry Wood at 444 Broadway,
where as Wood and Christy’s Minstrels they held forth many years.

During the 50’s Wood and Christy took the house vacated by E. P.
Christy, put a show in there and ran both establishments for several
months; Billy Birch and Christy played on the ends in their respective
houses, after which each would go to the other theatre and contribute
to the rest of the entertainment.

December 2, 1854, “444” was destroyed by fire, and the company after a
brief tour, resumed at “472.” “444” was rebuilt and reopened October 1,
1855.

Subsequently the company opened at Wood’s Marble Palace, 561-563
Broadway, which was especially built for them, October 31, 1857; the
other houses were then closed.

Christy withdrew from Wood on May 1, 1858, and went to California,
opening at San Francisco under the management of Tom Maguire, June
7; the company was known as Christy’s Minstrels; they remained in
California several months; subsequently Christy and R. M. Hooley formed
a partnership and returned to New York, opening at 444 Broadway, May
23, 1859. Christy had previously signed an agreement with Henry Wood
not to appear within 100 miles of New York for a period of eighteen
months, commencing May 1, 1858.

When George Christy attempted to perform, he was enjoined from doing so
by Wood; Christy then took the road until the time limit had expired,
opening at Niblo’s Saloon, November 7, 1859; he played here about one
year, and subsequently moved opposite to 585 Broadway.

In 1864 he was with J. W. Raynor’s Company; and on September 4, 1865,
he began an engagement with Hooley in Brooklyn; a year later he opened
with Kelly and Leon’s Minstrels at 720 Broadway; this was the initial
performance of the latter company in the metropolis.

January 16, 1867, with G. W. H. Griffin, he organized Griffin and
Christy’s Minstrels, opening at the Fifth Avenue Theatre (late Madison
Square Theatre); they closed June 27, went on tour and reappeared in
New York, July 29, at Union Hall, Fifth Avenue and Twenty-third Street;
they closed on September 23 and went traveling.

His last appearance was with Hooley’s Minstrels, May 2, 1868, in
Brooklyn, N. Y.

George Christy was born in Palmyra, N. Y., November 6, 1827; he died in
New York City, May 12, 1868.

[Illustration: THE VIRGINIA SERENADERS, 1843.

Reading from left to right, in later years the above performers were
familiarly known as Jim Sanford, “Ole Bull” Myers, Jim Carter, Bob
Edwards and “Cool” White.]

[Illustration:

BILLY LESTER

PAUL ALLEN

LESTER AND ALLEN--They came later.]

WILLIAM A. CHRISTY, the younger son of E. P. Christy, was a comedian,
and a fair end man.

His greatest proficiency was in the delineation of the female character.

Late in 1860 “Christy’s” Minstrels, under his management, toured for a
brief season; they closed, and on July 4, 1861, they reorganized and
opened at the Athenaeum, Brooklyn, N. Y.

William A. Christy died in New York City, December 8, 1862, aged 22
years.

E. BYRON CHRISTY was a son of E. P. Christy; he was a comedian, and
best known for his stump speeches. He played with Sanford’s Minstrels
in Philadelphia in 1859, and with George Christy’s Minstrels same
year, after the latter’s return from California. In 1865 “Christy’s”
Minstrels made a tour under his management.

He died in New York City, April 6, 1866, aged 28 years.

JOE SWEENEY (Joel Walker Sweeney)

was the “father of the banjo” and one of the earliest black-face
performers.

Mr. Sweeney and two brothers traveled in a wagon through the South
in the early 30’s, and certainly as early as 1838 when he was with a
circus that played in Lynchburg, Va.

He played many subsequent engagements with circuses, notably with the
John Robinson Show.

About 1843 he went to England, where he traveled with Cook’s Circus.

April 19, 1844, with Brower, Pelham and Emmett, he formed again the
Virginia Minstrels; they played in Dublin two weeks, and several
other cities, after which the quartette broke up; Pelham and Sweeney
then performed in the principal cities of the United Kingdom, Sweeney
returning to the United States about 1845.

He subsequently organized Joe Sweeney’s Opera Troupe and traveled
chiefly through the South at intermittent periods up to within about a
year or two of his death.

In April, 1852, he played an engagement with Charley White’s Minstrels
in New York. Up to the time of Joe Sweeney, the banjo, so-called, was
made from a gourd and had four strings only; he took an old cheese box,
cut it in half, covered it with a skin and added another string; the
fine instruments we see to-day are the evolution of the crude affair
just described; this was about 1830.

Joe Sweeney was born at Appomattox, Va., 1813; where he died October
27, 1860.

GEO. HOLLAND, father of the late Geo. Holland, and of E. M. and Jos.
Holland, and who was known as one of the great comedians of the old
stock days, made his appearance with Wood and Christy’s Minstrels in
New York City, December 21, 1857, playing female parts in black-face,
and remained with the company six months.

The famous “little church around the corner” gained its name and fame
through the death of this great old actor.

George Holland was born near London, England, December 6, 1791; he died
in New York City, December 20, 1870.

EDWIN FORREST, America’s first great actor, at the Globe Theatre,
Cincinnati, Ohio, July 17, 1823, played Cuff, a Kentucky negro, in the
“Tailor in Distress.”

In this play Mr. Forrest imitated the black man in dress, accent, gait,
dialect and manner; and was said to be the first actor to do so.

Edwin Forrest was born in Philadelphia, March 9, 1806; he died there
December 12, 1872.

“OLE BULL” MYERS (J. Richard Myers) was one of the earliest and best
violinists in minstrelsy.

He entered the profession in 1835, and was with numerous black-face
companies, notably the Virginia Serenaders in 1843; this organization,
a photograph of which will be found elsewhere, played an engagement at
the Chatham Theatre, New York, January 24, 1844.

“Ole Bull” Myers was born in Baltimore, Md., May 9, 1909; he died in
Philadelphia, September 10, 1874.

P. T. BARNUM, the great circus man, in the fall of 1836 while traveling
with a small show of his own, had the misfortune to lose the services
of Jim Sandford, one of his principal “cards,” who was doing “nigger”
business; but rather than disappoint his audience, Barnum “blacked up”
and sang “Such a Gittin Up Stairs,” and other songs that were popular
that day.

P. T. Barnum was born in Bethel, Conn., July 5, 1810; he died at
Bridgeport, Conn., April 7, 1891.

TOM CHRISTIAN, one of the first, also one of the best to do Tyrolean
warbling in minstrelsy, joined E. P. Christy’s Minstrels in New York in
1847, and continued as a member of that organization until it disbanded
in 1854; subsequently he joined Sanford’s Minstrels in Philadelphia,
and Raynor’s “Christy” which toured the country until they sailed for
England in June, 1857, when Christian went with them; he remained with
the organization which afterwards was known as Moore, Crocker and
Ritter’s Minstrels, until his death.

Tom Christian died in London, England, January 29, 1867; aged 59 years.

DR. G. R. SPALDING, whose “Floating Palace” and steamers “Banjo” and
“Gazelle” and “James Raymond” gave minstrel performances on the rivers
for many years, commencing about 1855, was a native of Coeymans, N. Y.;
he died in New Orleans, La., April 6, 1886, aged 68 years.

SAM JOHNSON (Isaac Ray) was one of the earliest minstrel performers;
as early as the Summer of 1844 he appeared in Hoboken, N. J., at Otto
Cottage as one of the Operatic Brothers and Sisters.

He died at River View, Ky., about November 1, 1876, aged 62 years.

JIM SANDFORD (Blandford) was one of the earliest jig dancers of
minstrelsy. He appeared with small companies as early as 1843; and for
several years traveled with the great John Diamond. He was noted for
his fastidiousness in dress.

He was born in Baltimore, Md.; he died in Philadelphia, September 2,
1855; aged 41 years.

JOHN WASHINGTON SMITH was one of the earliest and best negro
delineators ante-dating minstrelsy proper, although he was later
associated with several prominent organizations.

His earliest recorded appearance was with the Lion Circus in
Cincinnati, December, 1838.

The following year he played in New York, and a year later went to
Europe, where he performed with “Pickaninny” Coleman. Returning to
America, he played at the Bowery Amphitheatre, April 25, 1842.

In 1849 he wrote and first sung the song that was afterwards in the
repertoire of many famous minstrels--“Old Bob Ridley;” this occurred in
New Orleans, La.

In the Fall of 1855 he was with the original San Francisco Minstrels in
the California metropolis. He subsequently went to Australia and other
foreign countries, where for many years he piloted various minstrel
organizations.

John Washington Smith was born in the United States about 1815; he died
in S. Yarra, Australia, August 31, 1877.

FRANCIS GERMON was one of the early comedians and tambourinists in
minstrelsy.

December 25, 1839, at Taunton, Mass., in a concert there he was singing
the old song of “Sittin’ on a Rail.”

About 1844 he joined the Ethiopian Serenaders, and continued as a
member of that party several years.

September 15, 1845, Mr. Germon and the company, as shown on another
page, began an engagement at Palmo’s Opera House, New York.

Francis Germon died in Philadelphia, it is said, in the 50’s.

NED HARPER was one of the early black-face performers who ante-dated
minstrelsy proper.

He was the author of “Jim Along Josey,” and the first to sing it in his
drama, the “Free Nigger of New York,” about 1838.

February 22, 1837, at the Lion Theatre, Boston, he played Gumbo Cuff in
“O’ Hush.”

He died in England about fifty years ago.

“BILL” CEDA (Wm. Price), up to the time of his death was the oldest
living minstrel in England, where he had been since 1848; he was a
comedian and general performer, and made his first appearance at the
Bowery Theatre, New York, in 1840; in June, 1848, he was with the
Virginia Harmonists.

Bill Ceda was born in the United States; he died in Liverpool, England,
March 9, 1873.

DICK SWEENEY, a brother of the famous Joe Sweeney, and who traveled
with him in the 30’s and 40’s, giving concerts in black-face, died in
Washington, D. C., in 1860, it is said. He was born in Virginia about
1815.

[Illustration:

FRANK WARD
(of the Original Clipper Quartette)

HARRY A. ELLIS
(of the Original “The Quartette”)

JOHNNY THOMPSON

FRANK KERNS

(Thompson & Kerns were the original double song and dance team; 1862.)

CHARLEY GARDNER
(Original “Hop Light Loo”)

FRANK E. McNISH
(Original “Silence and Fun”)

“SOME ORIGINALS.”]

NELSON KNEASS’ fame has been handed down to posterity for his
association with the song of Ben Bolt, which was composed by Thomas
Dunn English; an old German tune was supplied by Mr. Kneass, and
through it the verses have become immortalized.

Mr. Kneass followed the profession of negro minstrelsy for many years.

February 1, 1841, he was leader of the “orchestra” at the opening
of the Museum, Albany, N. Y. In 1846 he was a member of the Sable
Harmonists; in 1853 with Sanford’s Minstrels in Philadelphia, and on
June 2, 1854, Mr. Kneass and his daughter, Annie, who later married
J. N. Rentfrow, of Rentfrow’s Jolly Pathfinders, were with Wood and
Christy’s Minstrels in New York, the former as Aunt Chloe, and the
latter as Eva in “Uncle Tom’s Cabin.”

In 1859 he was with a minstrel company in Chicago, and late that same
year was with Dan Scott’s Dramatic Company.

Nelson Kneass was born in Philadelphia; he died in Chillicothe, Ohio,
September 10, 1869.

G. WARREN WHITE was a famous vocalist in the early days of minstrelsy.
He began as a boy singer, and later was with Dumbleton’s Serenaders;
also with Ordway’s Aeolians in Boston.

His later years were spent with the Campbell-Castle Opera Company, and
the Kellogg Opera Company.

Mr. White was born in Boston, Mass., in 1816; he died in Somerville,
Mass., in March, 1886.

DAN GARDNER was equally at home as a clown in a circus, or as a
minstrel.

At the age of 13, on the 13th of the month, he ran away from home, and
after walking thirteen miles, joined a canal boat show.

He soon after returned to his heath, and subsequently held the position
of assistant property man at Mt. Pitt Circus in New York, on the site
that is now occupied by the Hoe Printing Press Company. Mr. Gardner
began his clown business there.

As early as 1835 he did a wench character; it is considerably more
than probable that he was the first performer to do a female part in
black-face. And he was absolutely the first to do Lucy Long, a famous
characterization in early minstrelsy.

In every decade commencing in the 30’s, Mr. Gardner was prominently
identified with minstrelsy. He was with Sam Sanford’s Minstrels as
early as 1844, and when the latter took the present Eleventh Street
Opera House in Philadelphia, he played numerous engagements there in
the 50’s, 60’s and 70’s.

In 1845 he was one of the famous Operatic Brothers and Sisters in New
York City.

Mr. Gardner was the father of W. H. Gardner, prominent in circus
business; also Lida Gardner, who was the original Mabel Santley of the
Rentz-Santley Burlesquers.

Dan Gardner was born in New York City, October 28, 1816; he died in
Atlantic City, N. J., October 7, 1880.

M. C. CAMPBELL (Cainan), one of the great ballad singers in the early
days of minstrelsy, first appeared prominently at Wood’s Minstrels
in New York in 1851; he remained successively a member of Wood and
Christy’s; Wood’s; and George Christy’s Minstrels, covering a period of
about nine years.

In February, 1861, he organized a company with James Budworth.

On November 10, 1862, he gave the first performance of Campbell’s
Minstrels at what is now known as the Fourteenth Street Theatre, New
York; June 27, 1864, his company opened at what is now known as the
People’s Theatre, New York; January 16, 1865, R. M. Hooley became
associated in the management, and in the Spring of the same year he
disposed of his interest to Hooley.

Mr. Campbell had various minstrel companies until about 1870, when he
retired; subsequently he was identified with the _Evening News_, New
York City.

M. C. Campbell was born in London, England, 1817; he died in New York,
January 6, 1883.

EDWIN DEAVES was associated with some of the very earliest minstrel
companies in existence in his native and other Eastern cities in the
middle 40’s.

About 1850 he went to California, where he remained many years. When he
first played in the great coast metropolis, the “theatre” was a tent.

Edwin Deaves had a pleasing personality and a commanding presence,
which eminently fitted him for the position of “middle-man” in the
various companies in which he was associated. Mr. Deaves was among the
first to sing the lamented Foster’s ballads, such as “Old Dog Tray,”
“Nellie Gray” and others.

When George Christy and his company arrived in San Francisco in the
Summer of 1858, Mr. Deaves at once became a member. Likewise was
he associated there with Birch, Wambold, Bernard, Backus and many
other burnt cork luminaries many years before these artists made a
metropolitan reputation.

Edwin Deaves was born in Philadelphia, in 1817; he died in New York
City, July 19, 1890.

EPH. HORN (Evan Evans Horn) was a name to conjure with for many years.

His professional career began more than seventy years ago. He first
appeared in New York City about 1847 as a member of the Ethiopian
Serenaders.

In conjunction with Charley White, they formed Horn and White’s
Minstrels, opening in New York, April 2, 1851. Subsequently he was
identified with practically all the famous permanent minstrel companies
in the metropolis, including Wood’s, Campbell’s, Buckley’s, Bryant’s,
and E. P. Christy’s; with the latter he went to San Francisco, Cal.,
in the Fall of 1854, where he remained eighteen months. Subsequently
he appeared as clown in a circus, in black face. In 1858 he played an
engagement with Ordway’s Aeolians in Boston. Mr. Horn was a fine end
man in his day, and all-round general comedian.

In the Summer of 1865 he went to London, where he played a brief
engagement.

Eph. Horn was born in Philadelphia, Pa., 1818; he died in New York,
January 1, 1877.

SAM GARDNER (Sylvester Gardner) was a prominent minstrel interlocutor
for forty years; he was likewise a splendid bass singer, and had been
identified with many prominent organizations, notably Wm. Henry Rice’s
Minstrels in Cincinnati, with whom he opened September 2, 1872. He had
been a resident of Omaha, Neb., where he died March 10, 1888, for many
years. He was born in New York City about 1818.

ZENAS RUMSEY was one of the early minstrel performers of the ’40’s.
He possessed a good tenor voice, and from 1847 to 1850 he sang at the
Bowery Theatre.

That year he married Mary Van Keuren, and retired from the profession.

He was born in Shawangunk. N. Y.; he died in Ellenville, N. Y.,
December 10, 1891, aged 73 years.

MARSHALL S. PIKE was one of the pioneers of minstrelsy, as well as one
of the first female impersonators. In 1843 in conjunction with the
Powers Brothers and L. V. H. Crosby, they formed a little company, and
appearing with whitened faces and flaxen wigs, styled themselves the
Albino Family subsequently they changed to blackened features, and were
known as the Harmoneon Family, afterwards the Harmoneons. It was this
company that sang for President Polk in the White House in 1847.

Mr. Pike married in 1849, and in that same year joined Ordway’s
Aeolians in Boston, and continued with them for several seasons,
leaving in 1857 and organizing “Pike’s Harmoneons.”

Subsequently he was identified with various dramatic companies, Mr.
Pike was the author of more than 100 songs, the most popular of which
was “Home Again,” written in 1849.

Marshall S. Pike was born in Westboro, Mass., May 20, 1818; he died in
Upton, Mass., February 13, 1901.

NAPOLEON W. GOULD, famous as a vocalist and guitarist in many minstrel
companies, came to the United States in 1848.

He joined E. P. Christy’s Company in New York about 1850, remaining
about four years.

In 1859 he became a member of Bryant’s Minstrels, same city, and
continued there for several seasons. His last professional appearance
was with George Christy’s Minstrels in New York about fifteen years
previous to his death.

Napoleon W. Gould was born in London, England, June 7, 1819; he died in
New York, May 23, 1881.

JOHN H. COLLINS was a well-known vocalist with various minstrel
companies.

He was the husband of Julia Gould, the prima donna of Buckley’s
Minstrels.

In the Spring of 1860 he was with Wood’s Minstrels, and in the Fall of
that year he joined Rumsey and Newcomb’s Company, going to Cuba with
them, where he died in December, 1860.

“PICKANINNY” (Thomas E.) COLEMAN was one of the early black-face
performers ante-dating minstrelsy proper.

[Illustration:

JOHN HART
EMIL AMES
WILLIS P. SWEATNAM

BILLY EMERSON
(1869)

DAN. WALDRON
(Of Original Big 4)

GEO. M. DE VERE--MATT McELROY
1878.]

He played many engagements in New York in the early 40’s, with John W.
Smith, with whom he made a trip to England in 1840.

He died in Newark, N. J., July 5, 1859.

JOHN LANDIS was one of the old-time minstrels and general black-face
performers; he was with Sam Sanford’s Minstrels in 1859, and at one
time was prominently identified with his own company. He died in
Philadelphia, September 19, 1863.

S. E. CLARK was one of the early interlocutors, or “middle-men” of
minstrelsy; he was rated an excellent bass vocalist, and was with the
Bryant’s in New York in 1857.

He died in New Haven, Conn., February 3, 1860.

JULIUS A. VON BONHORST was one of the early banjo players of
minstrelsy, and practically his entire career was spent with Sanford’s
Minstrels in Philadelphia.

He married a Miss Luther about 1854, and three years later retired from
the profession.

He died at Reading, Pa., February 16, 1869, aged 40 years.

JIM CARTER, one of the earliest of black-face performers, and whose
portrait may be seen on another page, was also one of the original
Campbell’s Minstrels, organized June, 1847.

He died many years ago.

PHILIP RICE was one of the pioneer banjo players of minstrelsy.

In the very early days he constructed an instrument by tacking a skin
over a peck measure that had been sawed in half; this attracted wide
attention.

June 18, 1856, he was with Dave Reed’s Minstrels on board the steamer
“James Raymond,” which traveled on the Mississippi River.

He died at Grand Lake, Ark., December 4, 1857.

TOM RALEIGH (T. R. Mahan), one of the musicians of the real early
days of minstrelsy, was accidentally shot and killed by Frank Hussey,
comedian, in San Francisco, December 5, 1859.

GEORGE LEA, one of the pioneers of the variety theatre business in New
York City, was the proprietor of Lea’s Minstrels at 185 Chatham Street,
in the Fall of 1853.

He died at Port Jervis, N. Y., August 20, 1902.

“PICAYUNE” BUTLER (John Butler), one of the best of the early
banjoists, and who made famous the song “Picayune Butler’s Comin’ to
Town,” had considerable vogue in the 50’s.

He died in New York City, November 18, 1864.

GEORGE A. HARRINGTON was one of the members of the Ethiopian
Serenaders who appeared in New York, September 15, 1845. The following
year they appeared in London, England.

He was a good bass singer and banjoist, and was the first to sing “Lucy
Neal.”

He died in Philadelphia, January, 1859.

WILLIAM PARROW, who was with Joe. Sweeney’s Minstrels in the 40’s, and
was said to be the original Old Bob Ridley, was murdered at Lebanon,
Tenn.; he died November 29, 1870.

* * * * *

WM. HENRY RICE, long famous for his burlesque female impersonations,
sat on the end with his own minstrel company in Cincinnati, September,
1872.

* * * * *

“PONY” MOORE (George Washington Moore). This unique character in
minstrelsy, up to the time of his death, enjoyed the double distinction
of being the oldest living minstrel, as well as having attained greater
longevity than any other known black-face performer.

There have been many versions of the veteran’s interesting career. Mr.
Moore in a letter to the author, dated December 3, 1908, says his first
appearance was in New York with Welch and Delevan at the old Broadway
Circus in negro opera, playing in black-face, in 1844.

In a series of articles commencing August 1, 1909, in Lloyd’s _Weekly
News_ (London, England), Mr. Moore stated that he must have been about
twenty-one when he first blacked his face, and speaks of Frank Brower,
who was in the same company with him as having got the idea of making
the first set of “bones” then known.

This would make the date 1841, and as the incident concerning Brower
actually did occur while with Roger’s Circus, during the week of July
4, that year, the date of his first appearance in black-face may be
safely stated to have been in 1841. Previous to this, however, he had
been associated in many capacities with various circuses, but chiefly
as a driver; it had been said that he handled as many as forty horses
at one time, and in that way received the sobriquet of “Pony,” which
clung to him all his life.

It was in 1844 that his first prominent engagement as a black-face
performer, however, occurred.

Mr. Moore further stated that “he joined Haworth and Horton’s Opera
Troupe, September 13, 1854, and the year following organized Hunter,
Hedden and Moore’s Troupe.”

It is a fact that J. Hunter and William Hedden, the one a comedian
and the other a fine dancer, were with Raynor’s “Christy” Minstrels
as late as May 1, 1856, as likewise was “Pony” Moore. The Raynor
Company returned to New York and opened there on February 2, 1857,
playing about a month, after which they took a tour previous to their
departure for England; Mr. Moore left the company at the conclusion of
the New York engagement, and at once joined Matt. Peel’s Minstrels;
he continued with this company until in the Summer of 1858, they
played an engagement in New York. A short time later Matt. Peel left
the organization which subsequently was known as Sniffen’s Campbell’s
Minstrels.

Mr. Moore continued with this troupe until February 12, 1859, on which
date he left to rejoin Matt. Peel’s company, continuing with the latter
until his (Peel’s) death, May 4, 1859; after which he became a member
of Burtis’ Varieties in Brooklyn, N. Y.

One month later Earl Pierce died in London, England. Pierce had been a
great favorite in the British Metropolis, and J. W. Raynor sent for W.
W. Newcomb, the well-known comedian, to take the place of the deceased.

Evidently Mr. Newcomb did not relish the idea of a sea trip, and “Pony”
Moore, on his own initiative, went to London and presented himself to
his former manager. It is an odd fact that on this occasion Mr. Moore
had to sign an agreement “not to be too funny.”

It had been remarked that during the period of Pierce’s death and the
subsequent occupation of his chair by Moore, that it remained vacant.
This is inaccurate. Pending the advent of “Pony” Moore, it was occupied
by W. P. Collins, a member of the company. Mr. Moore continued with the
company for one year, at the expiration of which, Mr. Raynor retired to
private life. Several companies sprang from the parent organization,
one of which, Wilsom and Montague’s “Christy’s,” Mr. Moore joined.

It is pertinent at this juncture to remark that from this period, all
minstrel organizations were known as “Christy’s” in England.

Mr. Moore continued with Wilsom and Montague for about four years, and
immediately after, in conjunction with Johnny Ritter, J. P. Crocker
and Henry Hamilton, organized a company bearing their names; with the
exception of the latter, all were performers. They gave their first
performance at Chester, England, November 14, 1864.

After playing through the provinces for several months, they opened in
London, at St. James Hall, September 18, 1865. Subsequently through
purchase and death’s intervention, Mr. Moore was sole owner of the
company. Later, Fred. Burgess was taken in partnership, and as Moore
and Burgess’ Minstrels flourished several years. Mr. Moore’s last
appearance with his own company was in January, 1894.

April 9, 1904, saw the last of permanent minstrelsy in London. It
seemed that a minstrel show at St. James Hall without “Pony” Moore was
like “Hamlet” without Hamlet.

Mr. Moore’s last appearance was made in London at the Pavilion for the
benefit of Mr. Frank Glenister.

Mr. Moore was twice married; first about 1860, and subsequently in
1884. Three daughters were the result of the first union. They married
Fred. Vokes, of the famous theatrical family of that name; Charles
Mitchell, the former champion pugilist, and Eugene Stratton, the
premier black-face vaudeville artist in England. With the exception of
the latter, all were English born.

“Pony” Moore was born in New York City, February 22, 1820; he died in
London, England, October 1, 1909.

FRANK LYNCH was one of the great dancers of early minstrelsy. He
traveled with Barnum in the 40’s as “John Diamond,” after the great
showman had had difficulties with the original Diamond. Lynch was last
heard of in St. Louis, Mo., in 1859.

MORRIS ABRAMS is one of the oldest living black-face performers. He did
nigger business on the style of “Daddy” Rice in England, after Rice’s
phenomenal success there in the 30’s.

[Illustration:

JOE--FOX & WARD--WM. H.
(The oldest team of theatrical partners in existence)

NED--MONROE & MACK--KELLER

DICK--QUILTER & GOLDRICH--PETE

JAS.--PELL & LEWIS--TOM
(Portraits reserved)]

Mr. Abrams is said to be living in retirement in Brighton, England.

LANSING DURAND, one of the four original performers of E. P. Christy’s
Minstrels, was a jig dancer of exceptional merit. In later years he was
of the team of Painter and Durand, gymnasts. He was living as late as
1872.

JOHN ARNOLD CAVE is probably the oldest living black-face performer.

He made a reputation in England more than sixty years ago doing nigger
acts with the late E. W. Mackney.

Mr. Cave is said to be at present a guest of the Charter House, where
he obtained through the late King of England. He (Cave) was formerly
proprietor of the Old Vic Theatre, London, England.

GEORGE RAYNOR was a well-known minstrel vocalist, and a brother of J.
W. Raynor, the famous manager. He was with Wood’s Minstrels in 1860,
also other prominent organizations.

He died in Brooklyn, N. Y., April 2, 1864, aged 43 years.

SAM SANFORD, whose correct name is said to have been Lindsay, was one
of the pioneer minstrel managers and performers.

His first appearance was at the age of nine years. He subsequently
joined a circus, and on February 16, 1843, for the first time assumed
managerial duties. About 1846 he joined Buckley’s Company, and went to
England with them, returning late in 1848.

Mr. Sanford left the Buckleys about two years later.

He built the first theatre ever constructed especially for a minstrel
company, at Twelfth and Chestnut Streets, Philadelphia, Pa., which he
opened August 1, 1853; it was destroyed December 9, following. April
23, 1855, Sanford’s Minstrels opened at the Eleventh Street Opera
House, that city; he continued until the Spring of 1862.

Subsequently Mr. Sanford had other theatres in the Quaker City, and one
in Harrisburg, Pa., as well as many traveling minstrel organizations.

About 1875 he essayed the role of Uncle Tom, and played that character
at intervals for several years. In his day Mr. Sanford was rated as one
of the best comedians of his time. Sam Sanford was born in New York
City January 1, 1821; he died in Brooklyn, N. Y., December 31, 1905.

COOL WHITE (John Hodges) was one of the pioneers of minstrelsy; he
entered it at its inception, and for many years was one of the most
brilliant luminaries. Mr. White was a grand interlocutor, and an actor
of no ordinary merit.

As early as 1838 he appeared at the Walnut Street Theatre in his native
city, singing songs in black-face between the acts. He portrayed the
dandy negro, and as such was very successful.

In 1843 he organized the Virginia Serenaders. Later he organized the
Sable Melodists, and subsequently Sliter’s Empire Minstrels, and was
with them four years. He then appeared as a Shakespearian clown with
Spalding and Rogers Circus, and after engagements with some other
minstrel companies, he joined Sam Sanford’s Minstrels in Philadelphia
about 1855, and continued there about four years.

He then went to New York, and later organized Cool White’s Broadway
Minstrels, and on September 12, 1870, in Brooklyn, N. Y., with Archie
Hughes and Fayette Welch, started a permanent minstrel company in that
city.

In the Fall of 1879 he played Uncle Tom. For several years prior to his
death he had been connected with Hooley’s Theatre in Chicago.

Cool White was born in Philadelphia July 28, 1821; he died in Chicago,
April 23, 1891.

CHARLES T. WHITE was one of the greatest men that minstrelsy produced.
His career began with minstrelsy in 1843, at which time he appeared
with various small companies.

The following year he organized the Kitchen Minstrels, and was with
many companies until November 24, 1846, when he opened the Melodeon at
53 Bowery, New York. He was twice burnt out, but rebuilt each time.

The place finally closed April 22, 1854, and on August 7 following he
opened a place at 49 Bowery; each establishment was run as a minstrel
show; the admission was 6¼ and 12½ cents. Mr. White was again burnt
out, and later opened places at 585 and 598 Broadway. He was with Mrs.
Matt. Peel’s Minstrels about 1861.

He was the author of innumerable minstrel sketches, some of which are
yet in use. For several seasons he had traveled with the “White Slave,”
and at the time of his death was a member of Edward Harrigan’s Company,
playing Mrs. Jackson in “Reilly and the 400,” a black-face part.

Mr. White was twice married.

Charles T. White was born in New York June 4, 1821; he died there
January 4, 1891.

BOB SHEPPARD. This famous old-time performer began his career as a jig
dancer in his native city in 1832; the “theatre” where he made his
debut being no less a place than his father’s slaughter-house: the
admission 6¼ cents, with the privilege of looking at the cattle; the
audience usually had a “bully” time.

In 1856 he opened a concert hall in Philadelphia, where many artists of
prominence in later years made their appearance.

In Bob Sheppard’s day, performers had to be versatile; and as a dancer
and tambourine player, he had no superior in his time; but in the
delineation of Old Bob Ridley, he excelled.

He was with some notable organizations, including Shorey’s Minstrels in
1863.

Bob Sheppard was born in Philadelphia, in 1821; he died there August
15, 1898.

ANDY LEAVITT made his first stage appearance April 8, 1837.

In 1842 he leased Bleeker Hall in Boston and transformed it into
Leavitt’s Opera House. As early as 1858 he traveled with Leavitt’s
Ethiopian Troupe, and that same year he opened a small theatre at 22
Beaver Street, Albany, N. Y.

March 30, 1859, he leased the Gayety Theatre on Green Street, in the
same city. In the early 70’s he went to the Howard Athenaeum in Boston,
where for many years he remained. He was especially clever in the acts
with Harry Bloodgood; the latter doing the comedy.

Andy Leavitt was an unusually intelligent performer, and was the author
of several negro farces that were widely used.

He was likewise responsible for the song “Ham Fat,” that achieved great
vogue several years ago.

In 1882 and 1889 he played white-face parts with “Joshua Whitcomb”
and “Two Sisters” respectively; his stage career ended about this
time. About 1891 he secured a position as stage door man at the Hollis
Theatre, Boston, which he retained five years.

Andy Leavitt was born in Boston, Mass., in 1822; he died there February
1, 1901.

WILLIAM B. DONALDSON was the inventor of the jawbone used as a musical
instrument by black-face performers several years before the first
minstrel performance was given.

He was associated with minstrel and circus organizations for forty
years, and was the first black-face clown to appear in a ring.

Like most performers of his day, he played the banjo; but Mr. Donaldson
created a sensation by playing it with his left hand.

His professional debut was made in Poughkeepsie, N. Y., in 1836, as
“Young Jim Crow,” after the style of “Daddy” Rice. In June, 1847,
he was one of the five original members of the _first_ Campbell’s
Minstrels.

About three years before his death he became proprietor of the Lockwood
House in Poughkeepsie, N. Y.

William B. Donaldson was born October 13, 1822; he died in
Poughkeepsie, N. Y., April 16, 1873.

BOB EDWARDS (Dean) was one of the earliest bone players, and in his
youth was known as “Master” Edwards.

In 1841-42 he traveled though Pennsylvania as a jig dancer. In 1843
and 1844 he was a member of the famous Ethiopian Serenaders, a group
picture of which will be found on another page.

Subsequently he withdrew from that company, and joined Sanford’s
Minstrels in Philadelphia, where he remained for a long time.

In 1862 he had the Gayety Music Hall in Harrisburg, Pa., and a few
years before his death was proprietor of his own company.

Bob Edwards was born in Philadelphia in 1822; he died in Buffalo, N.
Y., July 24, 1872.

GEORGE GUY was the founder of the famed Guy Bros. Minstrels.

Mr. Guy, who was an excellent baritone vocalist, had the unique
distinction of sitting in the first part with his six sons; an
occurrence that had no parallel in minstrelsy.

The original Guy family of entertainers consisted of father, mother,
daughter and six sons.

Mr. Guy’s principal engagements were with Christy’s, and Kelly and
Leon’s Minstrels. About 1874 he organized the Guy Brothers Minstrels as
a permanent institution, and as such it has continued ever since.

[Illustration:

SAM. DEVERE

SAM. SANFORD

BILLY CARTER

SAM. SWAIN

SAM. SHARPLEY

BILLY CARTER SURROUNDED BY SOME CELEBRATED “SAMS.”]

Mr. Guy married Amelia Evans in London, England, in 1851.

George Guy, Sr., was born in London, England, January 20, 1822; he died
in Springfield, Mass., February 23, 1895.

R. M. HOOLEY was associated with all that was best in minstrelsy.

He came to America in 1844, and on August 17, the following year, he
played his first engagement in Buffalo, N. Y., as “leader” of E. P.
Christy’s Minstrels; he remained with Christy for two years.

About 1851 he organized his own company, and took same to Europe, where
he played Paris, Boulogne, Brussels and other Continental cities.
During the 50’s he was associated in the management of Maguire’s
Minstrels in California, and in 1858 was proprietor with Maguire of
George Christy’s Minstrels in San Francisco.

Returning to New York in 1859, he soon separated from Christy, and
on February 6, 1860, in co-partnership with Sher. Campbell and G. W.
H. Griffin, organized Hooley and Campbell’s Minstrels; this company
disbanded in July, 1861, and the following year Mr. Hooley opened his
famous minstrel hall in Brooklyn, where he continued for several years.

During the above period Hooley had a company in Philadelphia at the old
Seventh Street Theatre, from September 7 to October 17, 1868.

October 19, 1868, he opened another minstrel show in Brooklyn, at the
Odeon, the present site of the Novelty Theatre.

The home of the original Hooley Company was destroyed by fire May 12,
1865, and that same month the energetic manager opened at 201 Bowery,
New York, the present site of the People’s Theatre. January 2, 1871,
Mr. Hooley opened Bryan Hall, the present Grand Opera House in Chicago,
and remained several months.

The big fire of October, 1871, having destroyed his theatre, Mr. Hooley
thereupon built what is now known as Power’s Theatre, Chicago, which he
opened with his company in 1872, and flourished about three years, when
he returned to his old love in Brooklyn, and began an engagement in
1875.

In the Spring of 1876 in conjunction with Billy Rice, he formed Rice
and Hooley’s Minstrels for a road tour; December, 1876, they opened
at Hooley’s old Opera House in Brooklyn for a limited engagement. Mr.
Hooley again went to Chicago, and on March 1, 1880, opened with a
minstrel company at the Novelty Theatre.

In September, 1882 he associated with Rice; and Billy Rice and Hooley’s
Minstrels opened in Joliet, Ill., but disbanded after a few months.

Mr. Hooley married Miss Rosina Cramer of New York, in San Francisco,
about 1856, after a brief but romantic courtship.

R. M. Hooley was born in Ballina, Ireland, April 13, 1822; he died in
Chicago, Ill., September 8, 1893.

WILLIAM A. PORTER, one of the earliest members of E. P. Christy’s
Minstrels, made his first theatrical appearance as a supernumerary in
the old Chatham Theatre, New York, in the fall of 1841.

His debut as a black-face performer occurred in the Spring of 1844 with
the Clark Brothers Panorama Show.

Mr. Porter made his first appearance with E. P. Christy’s Minstrels at
the Eagle Street Theatre, Buffalo, N. Y., April 5, 1845.

February 15, 1847, he opened with the company at Mechanic’s Hall, New
York, and remained there until 1853, after which, in the Fall of that
year, he became a member of George Christy and Henry Wood’s Minstrels.

Mr. Porter subsequently went to California and identified himself with
Backus’ Minstrels there.

Early in 1855 he rejoined E. P. Christy’s Company in San Francisco,
acting as business manager.

In August, same year, he set sail for Australia with Backus’ Minstrels;
he remained in that country until 1859, during which period he engaged
in mining and mercantile pursuits, as well as following his profession.

Mr. Porter returned to New York about September, 1870, later making his
home at Johnsonburg, N. Y., where he died January 18, 1906.

William A. Porter was born in Hartford, Conn., May 4, 1822.

J. W. RAYNOR (Rea) came to America at the age of ten years.

His first professional appearance was as a vocalist in New York City
about 1845. In June, 1847, Mr. Raynor was one of the original members
that comprised the _first_ Campbell’s Minstrels.

Not long after this he joined E. P. Christy’s Minstrels in New York
City, and continued with them until the dissolution of the company in
that city, July, 1854. Mr. Raynor then organized a “Christy Minstrels”
and for three years traveled successfully in the United States and
Canada. July 11, 1857, in partnership with Earl Pierce, he sailed with
a company for England, where they opened in London, August 3, following.

He met with immediate and lasting success, and exactly three years from
the date he left America, Mr. Raynor announced his retirement, and
returned to the United States, arriving August 15, 1860.

Less than four years later the old fever came back to Mr. Raynor, and
he organized another “Christy’s” Minstrels, and continued at its head
until about January 1, 1866, when he laid aside business cares of that
nature for good and all, settling down in Paterson, N. J., where he
became one of its most honored citizens.

J. W. Raynor was born in Ireland March 31, 1823; he died in North
Paterson, N. J., April 5, 1900.

GEORGE KUNKEL began his career as a black-face performer in 1844.
In 1853 he organized a minstrel company that became famous as the
Nightingale Serenaders; they traveled until 1855.

In the latter year Mr. Kunkel became manager of a theatre in Baltimore,
and continued in such until 1861, when he again reorganized his
minstrel company for a tour. In 1866 the company was formed for the
third time for a brief engagement, after which Mr. Kunkel played Uncle
Tom, and for many years, or until shortly before his death, he appeared
in that role, in which he was eminently successful.

He married Ada Proctor, the actress, about 1861.

George Kunkel was born in Green Castle, Pa.; he died in Baltimore, Md.,
January 25, 1885; aged 62 years.

JOSEPH T. TROWBRIDGE was prominent as a bass singer and interlocutor.

He joined Ordway’s Aeolians in Boston in 1852, and continued with them
until December, 1857, when Johnny Pell, Lon and Billy Morris and John
T. Huntley, organized a company bearing their names, and opened in
Boston. Mr. Trowbridge was with them. Mr. Huntley withdrew about March,
1859, and the company was thereafter known as that of Morris Bros.,
Pell and Trowbridge, and as such it continued until 1867. He later
became identified in the management of two Boston theatres. About 1872
he retired from active business.

Jos. T. Trowbridge was born in Newtonville, Mass., September, 1823; he
died in Chelsea, Mass., Jan. 11, 1891.

HANK MASON was familiarly known as “Hank, the Mason.” He was one of the
foremost jig dancers in the early days of minstrelsy. He was born April
18, 1823; he died in Brooklyn, N. Y., October 9, 1885.

W. W. NEWCOMB (Coomb) was one of the best known performers of
minstrelsy.

As a boy he traveled with circuses. In the late 40’s he formed a
partnership with Bije Thayer, of Boston, and successfully conducted a
minstrel company about four years.

He made his first New York appearance in December, 1851; subsequently
playing with Fellowe’s Minstrels, and later Wood’s Minstrels, in New
York, with whom he remained until July, 1853. That same year he went
with Campbell’s Minstrels, and continued four years with them.

In 1857 with Hy. Rumsey he organized Rumsey and Newcomb’s Minstrels,
playing in the United States, Canada, Cuba, England and Germany. The
organization broke up in London in the Spring of 1862.

Mr. Newcomb and Eph. Horn organized a company the following year; Mr.
Horn soon dropped out, and Newcomb’s Minstrels continued until 1871.

April 17, that year, Newcomb and Arlington’s Minstrels opened in New
York, on the present site of the Fifth Avenue Theatre.

Mr. Newcomb subsequently appeared with various companies, his last
appearance being at Hooley’s Theatre in Brooklyn, N. Y., February 17,
1877.

“Bill” Newcomb was the originator of the “Essence of Old Virginny”
dance; a great end man; and he was especially noted for his stump
speeches.

W. W. Newcomb was born in Utica, N. Y., Aug. 4, 1823; he died in New
York May 1, 1877.

JOHN DIAMOND was one of, if not the greatest jig dancers that the world
ever knew.

At a very early age he gave evidence of the wonderful talents he
possessed, but it was not until the late P. T. Barnum took him in hand,
and at Vauxhall Garden, New York, in the Spring of 1840, and brought
him out, and subsequently took him all over the Union, and later to
Europe, that he achieved the recognition he so richly deserved.

After the original four had given their first minstrel performance in
February, 1843, Diamond was called upon to strengthen the quartette at
a subsequent performance, a very short time later.

[Illustration:

JOHN MULLIGAN

MILT. G. BARLOW

LEW. PARKER

JOHN PENDY

BILLY ARLINGTON

DAN. SHELBY

GEO. EDWARDS

HUBERT W. EAGAN

BILLY McALLISTER

PROMINENT PERFORMERS OF THE PAST AND PRESENT.]

On July 8, 1844, he danced a contest with Master Juba, the colored
dancer, and the greatest his race ever knew.

He was feted and courted for many years, but dissipation and riotous
living carried him to an early grave.

John Diamond was born in New York City, in 1823; he died in
Philadelphia, October 29, 1857.

J. A. HERMAN (Simonson) was one of the very earliest ballad singers in
minstrelsy; he was the possessor of a sweet tenor voice which he used
in rendering the old songs to excellent advantage.

Mr. Herman’s first appearance was in New York, at the Olympic Theatre,
in 1839, singing “Norah McShane.”

His first minstrel engagement was with the “Campbell’s”; he was with
this company in New York as early as October 17, 1848.

Subsequently he was associated with Wood and Fellowe’s; Henry Wood in
1852; Wood and Christy from 1853 to 1858; in the Fall of that year
he joined Sniffen’s “Campbell’s” Minstrels, and when George Christy
returned from California in the Summer of 1859, Mr. Herman went with
him, and continued with Christy for a long period.

About 1863 he joined Hooley’s Minstrels in Brooklyn, and remained with
them several years; barring the time Hooley was in Chicago.

Mr. Herman’s two brothers, George W. and William H., were both old-time
minstrels. Mr. Herman retired from the profession a great many years
before his death.

J. A. Herman was born in Brooklyn, N. Y., January 1, 1823; he died at
Wood Haven, Long Island, N. Y., January 23, 1901.

DAN RICE (McLaren), the world-famous clown, in conjunction with Sam
Sanford and others, in blackface, appeared in New York City at Palmo’s
Opera House in the spring of 1843.

He was born in New York City, January 25, 1823; he died in Long Branch,
N. J., February 22, 1900.

JOSEPH D. MURPHY (Donnelly) began his minstrel career in the middle
40’s as a member of the Sable Harmonists: he was then a ballad singer.

On the 17th day of July, 1850, Mr. Murphy, Luke West, Matt. Peel and
James Norris formed an organization known as the “Original Campbell
Minstrels;” subsequently Mr. Norris retiring, the company flourished
for several seasons as Murphy, West and Peel’s Minstrels.

About 1860 Mr. Murphy retired from minstrelsy and assumed various
executive positions, notably as business manager at the Arch Street
Theatre in Philadelphia, where he remained for fifteen years.

Mr. Murphy was a half brother of Jno. F. Donnelly.

Jos. D. Murphy was born in Philadelphia, January 11, 1823; he died
there January 1, 1884.

C. L. HUNTLEY, a member of Thayer’s Boston Sable Harmonists about 1850,
was a fine guitar player, and very proficient in the manipulation of
the bones.

He died in Boston, Mass., April 13, 1883; aged about 60 years.

TOM VAUGHN was one of the earliest banjoists of minstrelsy. When
sixteen years of age he made his professional debut with Holt and
Nichols Circus; later he joined Turner and Rockwell’s, and Welch and
Mann’s Circuses. After this he went to Buffalo, and met E. P. Christy,
and when the latter formed the minstrel company that bore his name,
Mr. Vaughn was one of the four original members. He continued with Mr.
Christy until the dissolution of the company in July, 1854, and a few
months later went with Christy’s Minstrels to California.

Mr. Vaughn returned to New York in 1855, and opened Vaughn’s Minstrels
there that same year. Subsequently he was with Wood and Christy’s and
George Christy’s Minstrels for several years, mostly in the Metropolis.

Tom Vaughn was born in New York, September 5, 1823; he died in
Zanesville, Ohio, September 3, 1875.

J. T. HUNTLEY was one of the early wench dancers of minstrelsy.

In December, 1857, he, with Lon and Billy Morris and Johnny Pell,
seceded from Ordway’s Aeolians in Boston, and organized in that city a
minstrel company bearing their names, which they conducted successfully
for about two years, after which Mr. Huntley organized his own minstrel
company and played an engagement at the Eleventh Street Opera House in
Philadelphia in the Spring of 1859.

August 23, 1859, he married the widow of Matt. Peel, and at once
assumed the management of Mrs. Matt. Peel’s Campbell’s Minstrels, and
continued in that capacity for about four or five years, after which he
retired to private life.

J. T. Huntley was born in New York, June 24, 1824; he died in
Mamaroneck, N. Y., August 4, 1895.

EARL HORTON PIERCE was one of the greatest minstrel comedians of his
day. April 8, 1850, he opened his own minstrel company in New York;
it was subsequently Pierce and Fellowe’s Minstrels. Later, Mr. Pierce
was with E. P. Christy’s Company in New York, and Ordway’s Aeolians
in Boston. August 3, 1857, with J. W. Raynor, they opened in London,
England, as “Christy’s Minstrels;” this was the first company to play
under that title in England. Subsequently all minstrel companies were
called “Christy’s.” Mr. Pierce made a tremendous hit singing a topical
song called “Hoop de-Dooden-Do.” After his death his chair on the end
remained vacant for three days, during which time it was draped.

Earl H. Pierce was born in New York in 1823; he died in London,
England, June 5, 1859.

TOM MAGUIRE never got the credit due him for placing minstrelsy in
California on the high plane it once enjoyed. Mr. Maguire went to San
Francisco in 1849, and a year later built the Jenny Lind Theatre there.

It was Maguire who brought George Christy and Company to California in
1858, and it was Maguire a dozen years or so later that paved the way
for the success that later came to Billy Emerson, with whom Maguire was
associated until the late 70’s.

And when Emerson made his first trip to Australia about 1873,
Maguire’s Minstrels flourished on in San Francisco. Yes, the great
coast metropolis owes much to Tom Maguire. Mr. Maguire died in New
York, January 20, 1896; aged 72 years.

DR. JOHN P. ORDWAY was one of the earliest prominent managers engaged
in permanent minstrelsy in one particular city.

He was the founder of the Aeolians, a famous minstrel organization who
gave their first performance in Harmony Hall, Boston, Mass., December
16, 1849, and played in that city until September, 1859.

December 12, same year, he appeared with Anderson’s Minstrels for a few
nights only; this was his last professional appearance.

Dr. Ordway was a skilled musician, and the composer of many popular
ballads. While with his company he usually played the piano in the
first part and invariably in white-face.

After retiring from the stage, he practiced medicine for several years,
and in 1868 was a member of the Massachusetts Legislature.

He was the founder of the Massachusetts Anglers (now Fish and Game)
Association.

Dr. John P. Ordway was born in Salem, Mass., in 1824; he died in
Boston, Mass., April 27, 1880.

WILLIAM H. SMITH, the well-known manager, went to California in 1850,
and in 1856 opened the Varieties Theatre in San Francisco. In 1860 he
organized the California Minstrels and took them to South America,
Australia and Europe.

In 1865 he was associated in the management of Cotton and Murphy’s
Minstrels, frequently acting as interlocutor.

In 1880 he went to St. Louis, Mo., and at various times was manager of
the Comique, Peoples and Standard Theatres there.

On September 24, 1866, Mr. Smith married Clara Sages in San Francisco.

William H. Smith was born in Norwich, Conn., August 10, 1824; he died
in St. Louis, Mo., December 1, 1901.

“BIJE” (Amidon L.) THAYER was one of the pioneers of minstrelsy; his
operations were confined to Boston and contiguous territory chiefly.

Thayer’s Minstrels and Thayer and Newcomb’s Minstrels existed from the
middle 40’s to the early 50’s.

To Mr. Thayer belongs the credit of being the first to establish a
_permanent_ minstrel company in Boston, although the Buckleys had
preceded him in giving entertainments there.

“Bije” Thayer died in Boston, Mass., February 20, 1864; aged 41 years.

BARNEY WILLIAMS (Bernard O’Flaherty), who was one of America’s greatest
legitimate Irish comedians, in his _very_ early days was equally
prominent as a burnt-cork performer.

July 8, 1845, at the Elysian Fields in Hoboken, N. J., he was
advertised as “master of the tambourine.” September 6, same year, at
Castle Garden, New York, he portrayed the great black-face part of
“Dandy Jim, of Caroline.”

Barney Williams was born in Cork, Ireland, July 20, 1824; he died in
New York City, April 25, 1876.

[Illustration:

TOM. VAUGHN

EDWIN P. CHRISTY

GEO. CHRISTY

THE ORIGINAL CHRISTY MINSTRELS (Organized about 1844).

The company at its inception comprised Edwin P. Christy (the founder),
Geo. Christy, Tom Vaughn and Lansing Durand. The other photos here
represent minstrel scenes of that day.]

TOM BRIGGS was one of the earliest and greatest banjo performers in
minstrelsy; when he first went on the stage, in the early 40’s, he
traveled under the name of Fluter.

He invented the banjo thimble in 1848, and it came into general use
three years later.

He was the first to do the bell chimes, and gave imitations of a
horse-race on the banjo.

He played successful engagements in the 40’s and 50’s with Wood’s
Minstrels, likewise Buckley’s Serenaders. September 20, 1854, he left
New York with E. P. Christy’s Minstrels to play an engagement in San
Francisco; he contracted an illness on the way, and was unable to play.

Tom Briggs died in San Francisco October 23, 1854; aged 30 years.

JULIA GOULD was the first woman to achieve prominence in minstrelsy;
she was with the famous Buckley Serenaders, and played several
engagements with them in the 50’s; she was also with Maguire’s San
Francisco Minstrels in San Francisco, July 11, 1864.

She essayed the principal female roles in the great operatic burlesque
that made the Buckleys famous; always appearing in black-face.

Miss Gould’s first husband was A. T. Gregory Hall; she subsequently
married John H. Collins, a prominent minstrel singer.

She was an actress and singer of rare and versatile talents.

Julia Gould was born in London, England, August 28, 1824; she died in
Kinamundy, Ill., January 29, 1893.

HORACE WESTON, a colored man, was one of the world’s greatest
banjoists; in addition he was a good general musician and dancer; a
fact that is not generally known.

He served in the Army, and in July, 1863, was discharged, after which
he joined Buckley’s Serenaders in Boston, and later traveled with
them. About 1867 he became a member of the Georgia Minstrels, a famous
colored organization.

In 1878 he went to Europe with an “Uncle Tom’s Cabin” Company; he
played the principal Continental cities, and was a sensation.

Returning to America he joined Haverly’s Georgia Minstrels. The balance
of his career was spent mostly in the variety theatres.

Horace Weston was born in Derby, Conn., in 1825; he died in New York,
May 23, 1890.

* * * * *

The honor and distinction (and the pleasant sensation) of having
received the highest salary ever paid to any black-face single
performer belongs to Lew Dockstader.

* * * * *

TIM WOODRUFF appeared mostly in the West, where he was recognized as a
truly great comedian.

His first appearance was made in Cincinnati, March 15, 1842; in an act
called “Spirit Rappings,” later more generally known as the “Haunted
House;” he achieved great success in this, and was forever identified
with it.

He was at various times associated with Woodruff’s Minstrels;
Woodruff, Brown and Jones’ Minstrels, and Woodruff and Foster’s
Minstrels; these companies were mostly in existence in the 50’s.

About 1860 he entered the variety business, and continued with it
practically up to his death.

Tim Woodruff was born in Hamilton, Ohio; he died in Cincinnati, Ohio,
November 12, 1872.

E. W. MACKNEY was England’s earliest representative of the negro
character.

He appeared in sketches with J. A. Cave, fully ten years before the
first minstrel company invaded England in 1843.

He was prompted by the pronounced success achieved by “Daddy” Rice, of
Jim Crow fame.

Mr. Mackney died in England, March 26, 1909; aged 84 years.

WILLIAM B. FISH was one of the “Sable Harmonists” of the 40’s. He died
in Argenta, Ark., July 29, 1875.

JOHN G. BROWN was a celebrated tambourinist and comedian in the
earliest days of minstrelsy.

He was with the Buckleys when they played New York, May 9, 1844; at
that time they were known as the Congo Melodists. In the Fall of 1848
he was with Thayer’s Minstrels, one of the famous Boston companies.

He died in New Bedford, Mass., October 8, 1858.

JOSEPH H. RAINER was one of the earliest vocalists and interlocutors.
He was with Wood’s Minstrels in New York in 1852, and with Horn and
Newcomb’s Company in 1863. He first appeared professionally in the late
40’s. He had been a resident of Lockport, N. Y., for many years.

Mr. Rainer was born in Lancaster, England, May 11, 1825; he died in
Philadelphia, Pa., March 11, 1906.

GEORGE WINSHIP was one of the pioneers of minstrelsy. As early as
1849 he occupied the bone end with the New York Serenaders, a famous
minstrel company of that day.

He was long associated with J. W. McAndrews, the famous “Watermelon
Man.”

About 1873 he was stage manager and performer at the Opera House,
Rondout, N. Y., he had not appeared professionally much since then.

Mr. Winship had long been a resident of Fruitvale, Cal., where he died
October 19, 1900.

HARRY HAPGOOD was, up to the time of his death, the oldest living
minstrel agent.

In his youth he was known as “Handsome Harry.”

His professional career began as an actor in Philadelphia in 1843. He
subsequently became a manager and agent for various companies, and in
the latter capacity was with Rumsey and Newcomb’s Minstrels about four
years. He then was associated with Mr. Rumsey in the Rumsey Minstrels
in 1863.

Harry Hapgood was born in Elizabethtown, N. Y., February 26, 1825; he
died at Amityville, Long Island, N. Y., July 10, 1910.

MASTER JUBA (William H. Lane) was a colored man, and as a jig dancer it
is said that the world never saw his equal.

He played the tambourine with the Georgia Champions Minstrels in 1843,
and several engagements with Charley White’s Minstrels in New York.

He went to Europe about 1848, and in the Spring of the following year
played an engagement with Pell’s Serenaders at the Surrey Theatre in
London. He was lionized in Europe, and took the Britishers by storm. He
married a white woman there.

“Master” Juba died in London, England, about 1852; he was born in the
United States about 1825.

GILBERT W. PELL was a brother of Dick Pelham, one of the original
minstrels of 1843.

As a member of the Ethiopian Serenaders, he went to England in 1846.
The success of the company was so great in London that morning
performances had to be given, and in addition they appeared at private
residences of the rich. Mr. Pell, who played the bone end, and the
company, whose portraits adorn another page, played an engagement at
Palmo’s Opera House, New York, September 15, 1845.

In 1849 he was in England with his brother’s company, known as Pell’s
Serenaders. Subsequently he returned to the United States, but early in
1859 he again went to Europe, where he remained until his death.

Gilbert W. Pell was born in New York City; he died in Lancashire,
England, December 21, 1872, aged 47 years.

JNO. H. CARLE, famous for the singing of “The Lively Old Flea,”
accompanied by the banjo, was one of the early prominent proprietors of
a minstrel show. In the 50’s he was associated with J. G. H. Shorey and
Chas. Duprez; on July 4, 1856, he withdrew from the partnership, and
for many years played minstrel and variety engagements.

About 1876 he went to fill a two weeks’ engagement at Flood’s New Park
Theatre, Curtis Bay, Md. He remained there until the time of his death,
nearly a quarter of a century, and he had the distinction at that time
of being the oldest active banjoist and vocalist before the public,
retaining his vivacity all the while.

John H. Carle was born at Portland, Me.; he died at Curtis Bay, Md.,
September 20, 1900; age 75 years.

“PUNCH” COLLINS (W. Pearson Collins), the well-known comedian of the
early minstrel days, first appeared prominently with Sam Sanford’s
Minstrels April 1, 1850, at the Astor Place Opera House, New York
City, and was at the opening of the first theatre ever built expressly
for minstrelsy, also by Sanford, August 1, 1853; subsequently he was
with Earl Pierce’s Minstrels in New York in 1855; on August 3, 1857,
he opened in London, England, with Raynor and Pierce’s “Christy”
Minstrels. This was the first minstrel organization that ever played in
England under the title of “Christy.”

After the death of Earl Pierce Mr. Collins occupied the end chair
formerly occupied by Pierce.

[Illustration:

EDWIN BOOTH

JAS. A. HERNE

P. S. GILMORE

EDWIN FORREST

BARNEY WILLIAMS

JOS. JEFFERSON

WM. CASTLE

TONY PASTOR

DAN. DALY

P. T. BARNUM

RICHARD GOLDEN

HARRY KERNELL

DAN. RICE

J. W. KELLY

NEIL. BURGESS

J. K. EMMETT

FAMOUS ARTISTS OF THE PAST--THEY ALL BLACKED UP.]

Mr. Collins later withdrew from this company, and with “Tony” Nish
organized another “Christy” company, opening in London, England, at Her
Majesty’s Concert Hall Monday, March 18, 1861; subsequently he sold his
interest in this company, returned to London, and organized another
troupe; they played at Polygraphic Hall as early as April 14, 1862.

In September, 1863, he sailed for India, playing the principal cities.
In July, 1866, he returned to America, later going to England, where
he married; subsequently he returned to Pittsburgh, where he remained
until his death. He had not appeared professionally for several years
prior to that.

Mr. Collins did an “end”, a stump speech and a female impersonation
equally artistic.

W. P. Collins died at Pittsburgh, Pa., November 1, 1881; age about 55
years.

L. V. H. CROSBY has been credited as being the first interlocutor,
then called “middle man” of minstrelsy; this was about 1845, when
he organized the Boston Harmoneons. This company gave a special
performance at the White House in Washington, D. C., June 18, 1846, for
President Polk.

Mr. Crosby was composer of several songs, and a basso of unusual
ability. His late years were devoted almost exclusively to concert work.

L. V. H. Crosby died at Reynolds, Ga., March 26, 1884; age about 60
years.

* * * * *

JAMES UNSWORTH and NELSE SEYMOUR were born and died within thirty days
of each other.

* * * * *

E. J. MELVILLE (Edward John Robbins), a well-known singer of the
early days of minstrelsy, came to the United States in 1849; shortly
afterwards he sang in the choir of a church in Cleveland, O., where he
was known as the best tenor in that city. His principal engagements
were with Hooley’s Minstrels, Hooley and Campbell’s Minstrels (being
with them at their inception, May 6, 1860), Lloyd’s Minstrels,
Carncross and Dixey, and Duprez and Benedict. He also played an
engagement at the Canterbury Music Hall, New York City, in October,
1861.

Mr. Melville was married to Miss Amelia Nash, October 1, 1848, by whom
he had three daughters, one of whom became the wife of Edwin French,
the banjoist.

Mr. Melville’s private life was a most happy one; he was generous,
cheerful and a true friend.

E. J. Melville was born in London, England, February 4, 1825; he died
in Buffalo, N. Y., January 18, 1903.

“JIM” JOHNSON (Gallagher), an old-time banjoist, well known in his day
and popular on the steamer “Banjo”, was born in New York about 1825; he
died in New Orleans, La., November 22, 1875.

DICK SLITER was one of the world’s greatest jig dancers. His
professional career commenced in the late 30’s, and he had been with
many of the early famous organizations, notably Sanford’s Minstrels in
1859.

He also, with Johnny Booker, organized Booker and Sliter’s Minstrels,
which was quite successful. Dick Sliter died in Jackson, Mich., May 21,
1861.

JASPER H. ROSS was famed as a musical director and composer. His
professional career began in 1847 with Spalding and Rogers’ Circus.
Subsequently he played extended engagements with the minstrel companies
of Carncross, Bryant’s, White’s, Rumsey and Newcomb’s and the San
Franciscos.

He was born in Northampton, Mass., in 1826; he died in New York,
September 8, 1889.

JIMMY WELLS, once well-known as a manager, was a member of Ordway’s
Aeolians in Boston for a lengthy period in the early 50’s.

He was born in New York in 1826; he died in Grand Rapids, Mich., March
16, 1893.

SAM WELLS was prominent as a bass vocalist and interlocutor. He went
to Europe in the middle 40’s with the Ethiopian Serenaders, and they
created a sensation.

He was with several prominent minstrel companies located in New York
up to 1855, when he sailed for California, where he was located with
George Christy’s and other minstrel companies until December, 1863,
when he went to New York, and after playing one week with Bryant’s
Minstrels, returned to California.

Mr. Wells’ death was caused by being thrown from a horse in California,
August 27, 1864; he was 38 years of age.

CHARLEY HOWARD has been given credit of being the first to represent
the aged darkey on the stage. At the age of ten years he traveled
with Joe Sweeney’s company, giving concerts in the Southern States,
appearing in barns and churches, and traveling by coaches.

Mr. Howard was with many prominent minstrel organizations, and when
Haverly separated from Cal. Wagner in 1873, Howard was one of the first
engaged for the Haverly Minstrels.

Charley Howard was born in Virginia, June 5, 1826; He died in Brooklyn,
N. Y., April 28, 1895.

STEPHEN COLLINS FOSTER, whose simple and homely ballads contributed
as much as any other cause to the placing of early minstrelsy on a
permanent and successful basis, was the author, among others, of
“Willie, We Have Missed You”, “Old Uncle Ned”, “My Old Kentucky Home”,
“Old Dog Tray”, “Massa’s in de Cold, Cold Ground”, “Ellen Bayne” and
“Old Black Joe.”

He was born in Allegheny, Pa., July 4, 1826; he died in New York City,
January 13, 1864.

JAMES POWERS was one of the real early minstrels, and a member of the
Boston Harmoneons, which were especially well known in Massachusetts.
With his brother John, he was with the above organization several
seasons, commencing in the early 40’s.

Mr. Powers was the author of “She Sleeps in the Grave” and “Faded
Flowers”, favorite ballads of days now forgotten.

James Powers died in Boston, Mass., January 5, 1890; age 64 years.

DAN LEON, a real old-time black-face comedian and general performer,
died in New York City, April 27, 1863; he was born March 1, 1826.

W. JACKSON RUDOLPH, one of the pioneers of minstrelsy, made his
first appearance in his native city early in 1846 in black-face as a
banjoist; the following year he was one of the Sable Harmonists; in
1849 he was with the Virginia Minstrels, and up until 1855, when he
joined Sanford’s Minstrels in Philadelphia, he was almost continuously
associated with one or the other of the many minstrel bands that were
then in evidence.

He later went on the legitimate stage, but subsequently, in 1864,
joined Carncross and Dixey’s Minstrels in Philadelphia.

About 1870 he played his last minstrel engagement with Simmons and
Slocum, also in the Quaker City. November 3, 1880, he made his last
appearance on the stage of Wood’s Museum in Philadelphia.

W. Jackson Rudolph was born in Philadelphia, 1826; he died there
September 5, 1881.

JOHN A. DINGESS. After the dissolution of the Duprez and Green’s
Minstrels as an organization in 1865, Mr. Dingess formed a partnership
with Jno. E. Green and organized Dingess and Green’s Minstrels, opening
at Chattanooga, Tenn., November 18, 1866; their existence was short
lived. He was subsequently, and for many years, engaged in an executive
capacity in the circus business.

John A. Dingess was born in Cincinnati, Ohio, in 1826; he died in New
York City, April 14, 1901.

LUKE WEST (William Sheppard) was the first performer to do a whistling
solo in minstrelsy, which he did as early as 1845 at Otto Cottage,
Hoboken, N. J.

In the Fall of 1848 he was one of the organizers of the Campbell’s
Minstrels; November 29, 1849, he joined the E. P. Christy’s Minstrels
in New York, resuming his own name of Sheppard. On August 15, 1850,
in conjunction with Matt. Peel, Joseph D. Murphy and James Norris,
“Campbell’s Minstrels” gave their first performance. Subsequently the
organization was known as Murphy, West and Peel’s Minstrels, and as
such continued until his death. In addition to his whistling ability,
Mr. West was an accomplished comedian, dancer and banjoist.

Luke West was born in Philadelphia, 1826; he died in Boston, Mass., May
26, 1854.

CHARLES G. LONG, who was for nearly forty years associated in the
management of the Academy of Music, in Selma, Ala., with George T.
Rees, the present incumbent, was one of the pioneers of minstrelsy.

About 1844 or 1845 he became a member of the Virginia Serenaders, a
full page photograph of which is shown elsewhere. The company traveled
by wagon through Pennsylvania and New York chiefly.

It has been stated that Mr. Long joined this company when he was ten
years of age; this is clearly erroneous, as the little band was not
organized until 1843, probably in the late Spring or early Summer.

Mr. Long played a banjo, one of his own making.

Charles G. Long was born in Carlisle, England, December 20, 1827; he
died in Selma, Ala., January 28, 1908.

FRED BURGESS was for many years co-proprietor with “Pony” Moore at St.
James Hall, London, England, of Moore and Burgess’ Minstrels.

Mr. Burgess was a shrewd business man, and possessed intellect out of
the ordinary. At one time he was a member of Kunkel’s Nightingales, an
early minstrel company in the United States.

[Illustration:

CLARENCE BURTON

HY. RUMSEY

BILLY HUNTLEY

EDWIN FRENCH

OSCAR WILLIS

EDMOND G. CORBIN

BRIGHT LIGHTS OF THE BANJO.]

In the fall of 1864, at Glasgow, Scotland, he was engaged as agent for
Moore, Crocker, Hamilton and Ritter’s Minstrels; about a year later
he secured St. James Hall, in the British metropolis, and a few years
later, “Pony” Moore having bought out Hamilton and Ritter, and the
death of Crocker paved the way for a partnership; the organization
subsequently and for many years was known as Moore and Burgess’
Minstrels.

Mr. Burgess was twice married; his second wife was Miss Ellen Meyrick.

Fred Burgess was born in Providence, R. I.; he died at Finchley,
England, July 26, 1893; age 66 years.

CHARLES CALLENDER, proprietor and manager of the famous colored
organization that bore his name, played many seasons on the road,
commencing about 1872; several years later Haverly purchased his
interests; the company subsequently became the property of Charles and
Gustave Frohman.

Mr. Callender had retired from active theatricals some years before his
death.

Charles Callender died at Chicago, Ill., February 24, 1897; age 70
years.

FRANK MORAN came to the United States at the age of four years; it was
not until later that he did a stump speech.

His first appearance professionally was about 1848, as a comic
singer in Philadelphia with Raymond and Waring’s Circus. He was with
several small minstrel shows before going to California in 1850, and
subsequently to Australia.

Some time after his return from the Antipodes, he joined Sanford’s
Minstrels in Philadelphia, and later was with Carncross and Dixey at
different periods, aggregating a number of years.

September 5, 1864, he opened Moran’s Minstrels on Chestnut Street,
Philadelphia. Later he was with Bryant’s, and Kelly and Leon’s
Minstrels in New York; Hooley’s in Brooklyn, and Moore and Burgess’ in
London.

As Moran and Dixey’s Minstrels, the famous Eleventh Street Opera House
in Philadelphia opened October 2, 1871; in September, the following
year, the company was known as Moran’s Minstrels.

Subsequently Moran and Billy Manning’s Minstrels made a brief tour.
Of later years Mr. Moran was associated with Ned Thomas in a minstrel
company, and on July 17, 1890, he began an engagement with Wm. Henry
Rice’s World’s Fair Minstrels.

Frank Moran was a natural born comedian, and at times was rather
caustic in his wit; but underneath a seeming rough exterior was a heart
that was never known to fail a fellow performer in distress.

As a stump orator he was different from all others, and he did this act
almost up to the time of his death.

Mr. Moran was twice married; his first wife died a few years prior to
his marriage to Miss Jessie Millar, February 1, 1898.

Frank Moran was born in Ireland, September 15, 1827; he died in
Philadelphia, December 14, 1898.

“NICK” BOWERS (Edward Bowers), one of the ablest and most efficient
middle men and stage directors of minstrelsy, made his first appearance
at Charley White’s in New York, in the early 50’s; subsequent
engagements were with Ordway’s Aeolians, Morris Bros., Pell and
Trowbridge and Wood and Christy’s Minstrels.

In 1858, in conjunction with Billy Birch and Charley Fox, they
presented Birch, Bowers and Fox’s Minstrels, and in 1864, with Tom
Prendergast, launched a company that had a brief existence. For some
time he played star engagements with John Mulligan.

His last appearance was in New York City, February 11, 1865.

Nick Bowers died in Brooklyn, N. Y., February 27, 1865; age 38 years.

PAUL BERGER was one of the greatest bass singers in minstrelsy, and at
the requests of Presidents Tyler and Van Buren, he sang before those
chief executives.

He was with Matt. Peel’s Minstrels in 1858; with Sanford’s Minstrels
in Philadelphia, and later with Carncross and Dixey’s Co. in the
same city. Mr. Berger was business manager for Fox’s Theatre in
Philadelphia, in 1876.

Paul Berger died in Philadelphia, October 8, 1894; age 67 years.

JOHN MULLIGAN was an altitudinous comedian, and in the old nigger
acts with performers of immature stature, in the ludicrous make-up he
invariably affected, he was screamingly funny. His first professional
appearance was with Raymond and Waring’s Circus; his first minstrel
engagement was with the Perham Company more than fifty years ago. Mr.
Mulligan appeared for several seasons in the various variety houses
controlled by George Lea.

In June, 1866, he commenced an engagement at Hooley’s Minstrels in
Brooklyn, remaining fifteen months; subsequently he was with the San
Franciscos in New York.

January 2, 1871, when Hooley invaded Chicago, Mr. Mulligan was with his
company.

Mr. Mulligan was most happily married, and his domestic life was an
ideal one.

John Mulligan was born in New York City, 1827, where he died July 28,
1873.

CHARLES CHRISTIE, who had various companies bearing his name, notably
one in England about 1866, died in Kansas City, Mo., February 12, 1897;
age 69 years.

FRED WILSON. The distinction of being the oldest living minstrel
undoubtedly belongs to the subject of this sketch, who made his first
appearance about 1843, and for four or five years allied himself with
many of the various minstrel companies that sprang up after the success
of the parent organization.

In 1848 he joined “Bije” Thayer’s Minstrels, a prominent Boston Company.

While Mr. Wilson was not the first to do clog dancing in this country,
he was undoubtedly the first to do so in a minstrel company.

In the Fall of 1858 he joined Bryant’s Minstrels in New York, and about
December 1, that year, made his first appearance in Boston with the
Morris Bros., Pell and Trowbridge’s Minstrels, where he made a lengthy
stay.

April 29, 1861, he opened with Lloyd’s Minstrels in New York, closing
May 25, following. Later he went to China in a government capacity, but
not liking the cooking in the Celestial Empire, returned to the United
States, arriving January 25, 1864.

(Charley) Morris and Wilson’s Minstrels opened at their permanent
home in St. Louis, April 10, 1865; the partnership was dissolved in
February, 1867.

Fred Wilson’s Minstrels toured for two or three years, and then Mr.
Wilson made another foreign trip; but returned in the Summer of 1871.

In 1872 he was with Cal. Wagner’s Minstrels, and in 1875 made another
foreign invasion, remaining abroad five years, returning in 1880 and
joining Haverly’s Minstrels. Subsequently Mr. Wilson, whose specialty
for many years had been clog dancing, except in 1852 when he was a
clown in a circus, took up executive duties with many minstrel and
other organizations. He also promoted several attractions of his own.

Fred Wilson was born in Boston, Mass., November 9, 1827.

SAM HAGUE, the famous English minstrel manager, began his career as a
clog dancer.

He visited the United States in 1850 with his brothers Thomas and
William; later he was a partner of Dick Sands, also Tim Hayes.

He toured the United States for several seasons with Hague’s Concert
Company, and in 1865, with Cal. Wagner, formed Wagner and Hague’s
Minstrels.

He also organized Hague’s Georgia Minstrels, a company of negro
performers, and gave the first performance at Macon, Ga.

Later they sailed for England, and opened at Liverpool, July 9, 1866,
and scored a failure. Subsequently Mr. Hague engaged white performers
for the principal parts, and retaining some of the colored men, gave a
performance that achieved success.

He organized a permanent minstrel company in Liverpool, and opened
there in St. James Hall, October 31, 1870, and remained eighteen years,
after which they made brief tours, up to the time of Mr. Hague’s death.

He visited the United States with Hague’s British Operatic Minstrels,
opening in Philadelphia, September 12, 1881.

Sam Hague was born in Sheffield, England, in 1828; he died in
Liverpool, England, January 7, 1901.

GEORGE L. HALL has the distinction of being the oldest living minstrel
balladist. His first appearance was at Georgetown, D. C., October 14,
1848, with the Beck Family.

Mr. Hall has long since retired from active theatricals, but during
his long career as a vocalist he was associated with some of the most
famous organizations in minstrelsy.

Among the most prominent ones that may be mentioned are: Sanderson’s,
in Baltimore; Sanford’s, in Philadelphia; George Christy’s, and
Bryant’s, in New York; Skiff and Gaylord’s, Johnny Booker’s, Sam
Price’s and Boyce and Mudge’s.

Wm. D. Hall, the well-known minstrel and author, in Philadelphia, is a
son of Mr. Hall.

Geo. L. Hall was born in Baltimore, Md., May 5, 1828.

CHARLEY FOX was one of the most popular comedians and banjoists of his
day.

His first appearance was in 1848. About 1854 he came to New York, and
for many years was identified with the best permanent organizations. He
was of the original company of Bryant’s Minstrels, New York, February
23, 1857.

[Illustration:

BILLY WELCH

JOHNNY RICE

(WELCH & RICE.)

EDDIE GIRARD

WILLIE GIRARD

(GIRARD BROS.)

J. MELVILLE JANSEN

GUS. BRUNO

(KNOWN AS JOHNSON & BRUNO.)]

He was with Lloyd’s Minstrels in 1861, and several seasons with Wood’s
Minstrels; all in the metropolis. His last appearance was December 22,
1864.

Charley Fox was born in Brooklyn, N. Y., November 15, 1828; he died in
New York City December 26, 1864.

GEORGE H. COES was a splendid “straight man”, possessed a fine voice,
and was an excellent banjoist.

He went to California about 1852 from the east, and identified himself
with several minstrel companies there. He remained a few years, and
then returned to New York, where he opened with Wood and Christy’s
Minstrels, October 15, 1857. In the Spring of the following year he
again went to California, where he appeared with George Christy’s
Minstrels. In 1859, with Sam Wells, he organized Coes and Wells’
Minstrels in California.

A few years later he again came East, subsequently joining the Morris
Brothers’ Minstrels in Boston. He left them February 13, 1866, and on
the following March 5, he was at the opening of Seaver’s Minstrels
in Brooklyn, N. Y., in the theatre that is now known as the Novelty.
A year later, with S. S. Purdy and Frank Converse, Purdy, Coes and
Converse’s Minstrels were organized.

Mr. Coes flayed stock engagements at Pastor’s, Bob Butler’s and
John Hart’s theatres in New York City for many years. He formed a
partnership with Luke Schoolcraft in 1874, which terminated in 1889.

George H. Coes was born in Providence, R. I., about 1828; he died in
Cambridge, Mass., March 16, 1897.

* * * * *

Arthur Moreland, Bobby Newcomb and Luke Schoolcraft were born on three
successive days, respectively, in 1847.

* * * * *

JERRY BRYANT (O’Brien) was the oldest of the famous Bryant Brothers; he
was an excellent comedian, and was especially good on the “bone end” of
the minstrel first part.

He made his initial appearance as a ballad singer in 1842. Billy
Whitlock, the “father of minstrelsy,” first brought him before the
public.

In 1844 he became a member of the Ethiopian Serenaders, subsequently
appearing with the Operatic Brothers and Sisters. In June, 1847, he
formed one of the _original_ Campbell’s Minstrels, organized in New
York City.

The following year he played in London, England, with Major Dumbleton’s
Ethiopian Serenaders. In 1849 he returned to America and made a tour
of the country, and on April 8, 1850, he opened with Earl Pierce’s
Minstrels at No. 442 Broadway, New York City; subsequently he went to
Boston, where he met with much success with Ordway’s Aeolians.

When George Christy seceded from the E. P. Christy Minstrels, in New
York, October 1854, Jerry Bryant took his (Christy’s) place, and
remained with the company until it disbanded, on July 15, 1854; in
September, the same year, he went with E. P. Christy’s Minstrels to
California, and continued until the final dissolution of that company
took place, a short time after their arrival. In San Francisco he
next managed the San Francisco Minstrels, in conjunction with Eph.
Horn and Sher. Campbell. In 1855 they went to Australia, subsequently
returning to the United States, and on Monday, February 23, 1857, in
conjunction with his brothers, Dan and Neil, and about ten others, the
first performance of Bryant’s Minstrels was given in New York City, at
Mechanics’ Hall, No. 472 Broadway.

Mr. Bryant was married in the Spring of 1859; his widow subsequently
became the wife of Thomas Donaldson, proprietor of the London Theatre,
New York.

Of Jerry Bryant it may be truthfully said that he was one of the most
capable and popular performers that ever blacked up.

His last appearance was with his own company, April 2, 1861.

Jerry Bryant was born in Chesterfield, N. Y., June 11, 1828; he died in
New York City April 8, 1861.

MICKEY WARREN was one of the most famous of the early jig dancers. He
appeared with Charley White’s Minstrels in New York City in 1849, and
was for a long time with Bryant’s Minstrels in the same city.

He died in New York City May 14, 1875; age 47 years.

HY. RUMSEY was one of the greatest banjoists of his day. In the middle
50’s he joined Campbell’s Minstrels, and continued with them until
1857, when, with W. W. Newcomb, he organized a company bearing their
names, which traveled in the United States and Europe until 1862.

Mr. Rumsey subsequently organized Rumsey’s Minstrels, and traveled with
it for several seasons.

He was one of the earliest performers to give imitations of the bell
chimes on the banjo, and unlike most of his contemporaries, Mr. Rumsey
invariably played while in a standing position.

Hy. Rumsey was born July 12, 1828; he died in Newburgh, N. Y.,
September 9, 1871.

THOMAS L. MOXLEY was known as “Master Floyd” in his earlier career,
which began with Kunkel’s Nightingales in the 50’s; he remained with
them several seasons, chiefly as a female impersonator. He was the last
survivor of that famous company.

He was born in Baltimore, Md., and died there July 7, 1890; age 62
years.

JAMES CARROLL was a capable and efficient “middle man” and vocalist of
Bryant’s Minstrels in New York City at the time of his death there,
April 11, 1861; age 32 years.

G. W. H. GRIFFIN was one of the prominent men of minstrelsy; he
excelled as an interlocutor, had a fine voice, was an actor of merit
and was intellectual to a degree.

His first appearance was in 1850 with the Boston Harmonists in Palmyra,
N. Y. In 1853 he joined Wood’s Minstrels in New York, and continued
with them when the organization, a few months later, was known as
Wood and Christy’s Minstrels. With the latter company he remained
until May, 1854, when he went to California with George Christy’s
Minstrels. A year later he returned East, and on February 6, 1860, in
conjunction with Sher. Campbell and R. M. Hooley, he organized Hooley
and Campbell’s Minstrels. This company continued until July 13, 1861.

October 28, following, Mr. Griffin and Mr. Hooley organized the famous
Hooley Minstrels, giving the first performance in New York on that date.

Mr. Griffin severed connection with this company in August, 1862.

Season of 1862-63 he was with Bryant’s Minstrels in New York, and the
following one with Hooley in Brooklyn, N. Y., and continued with him
until 1866.

Early in 1867 Mr. Griffin and George Christy’s Minstrels were
established in New York, where their final appearance was made
September 23, same year.

Later Mr. Griffin was identified with the following well-known minstrel
organizations: Kelly and Leon’s; Hooley, in Chicago, and Unsworth’s.

His last minstrel appearance was in Brooklyn, N. Y., January 8, 1875,
with a venture of his own.

Subsequently he appeared in the variety theatres. His last engagement
was with Harrigan and Hart Company, in Boston, Mass., June 7, 1879.

G. W. H. Griffin was born in Gloucester, Mass., March 21, 1829; he died
in Brooklyn, N. Y., July 11, 1879.

JOSEPH JEFFERSON.--This famous American comedian, whose long
association in the character of Rip Van Winkle endeared him to the
hearts of thousands, at the age of four years, in Washington, D. C.,
was brought on the stage by the immortal “Daddy” Rice, and danced Jim
Crow before an admiring audience.

Joseph Jefferson was born in Philadelphia, February 20, 1829; he died
at Palm Beach, Fla., May 23, 1905.

BILLY COLEMAN, a good general black-face performer and banjoist, a
favorite of Charley White’s Melodeon in New York City in the 50’s, at
one time associated with George W. Charles, the wench dancer, died
in New York City June 4, 1867; age 38 years. He had retired from the
profession about five years prior to this.

SHER. CAMPBELL (Sherwood Coan) was conceded to be the greatest baritone
singer that minstrelsy ever knew, although in his earlier days he had a
fine alto voice. His first appearance was with Campbell’s Minstrels in
1849, in New York City, where he remained several years, subsequently
joining Murphy, West and Peel’s Minstrels, with whom he continued a
few seasons; later he was with E. P. Christy’s Minstrels in New York,
and went to California with them in 1854, afterwards joining Backus’
Minstrels there, going to Australia with that company.

Returning to San Francisco in 1856, he remained there with different
companies until 1858, when he joined George Christy’s Minstrels,
returning to New York in May, 1859. The following year, with G. W.
H. Griffin and R. M. Hooley, they organized Hooley and Campbell’s
Minstrels.

August 5, 1861, he opened with Bryant’s Minstrels in New York; he
remained two years; this was his last minstrel engagement. Later
the Castle-Campbell Opera Company was organized, and Mr. Campbell’s
success in that form of entertainment was in every respect equal to his
minstrel triumphs.

Sher. Campbell was born in New Haven, Conn., May 16, 1829; he died in
Chicago, November 26, 1874.

GEORGE W. BAILEY, one of the early minstrel performers, who was with
Sharpley’s and other first-class organizations, and who was a clever
“straight” man and interlocutor, died at Milford, Mass., July 2, 1891;
age 62 years.

[Illustration: The 11TH ST. OPERA HOUSE, PHILADELPHIA.

Now and for nearly sixty years a home of permanent minstrelsy.]

[Illustration: MECHANICS HALL; 1857.

472 Broadway, New York City; for many years the home of Bryant’s
Minstrels. Only a memory now.

TWO FAMOUS MINSTREL EDIFICES; PAST AND PRESENT.]

P. S. GILMORE, who organized and led for many years the famous band
bearing his name, was a member of Ordway’s Aeolians in Boston, 1851,
where he sat on the end and played the tambourine. June 24, 1851, he
began an engagement in Hartford, Con., with the above company.

P. S. Gilmore was born near Dublin, Ireland, December 25, 1829; he died
at St. Louis, Mo., September 24, 1892.

“DAD” SARRISSEY (William H. Blackledge), an old-time banjoist and
comedian, played several engagements at Charley White’s in New York,
also Bryant’s Minstrels in the same city. His last appearance was about
1869.

He was born in New York City in 1829; he died there December 15, 1889.

BEN MALLORY was especially well known as a dancer. He was with E. P.
Christy’s Minstrels in New York, and in the same city was one of the
original members of Bryant’s Minstrels in 1857.

He was born in New York in 1829; he died in Savannah, Ga., November 2,
1859.

BEN COTTON. One of the truly great names in minstrelsy was Ben
Cotton--not so great in 1845, when running away from home, yet early
in his teens, he joined the Amburgh Circus, as in 1906 he made his
final appearance at Tony Pastor’s, New York City, doing, not the aged
darky act, by which character he was most familiarly known, but the
dandy of the present; the beard he had been wont to wear for many years
was shorn for this occasion. It was no longer “old Ben Cotton,” but
“young Ben Cotton” that the audience received and applauded. Only the
initiated could have known that the “darkey” before them was 76 years
of age, and it is the writer’s proud boast that he was at Pastor’s
to give Ben Cotton a “hand” on his entrance, and remaining until the
evening performance, again led with the veteran’s reception; and Ben
Cotton “made good.”

When Julian’s Serenaders opened the famous Eleventh Street Opera House
(then known as Cartee’s Lyceum), in Philadelphia, December 4, 1854, he
was a member of the company. His next prominent engagement was with
Matt Peel’s Minstrels. Here he made a big success as “Old Bob Ridley”,
a character portraying the aged negro, which he did with remarkable
fidelity. Afterwards he was on the steamer “Banjo”, which plied the
Mississippi River, giving entertainments on board, stopping at the
various towns on its course. This engagement gave him an opportunity to
study the negro at close range, which he was quick to take advantage
of, and it served him in good stead during his entire career.

Returning to New York, Birch and Cotton’s Minstrels played a successful
engagement at No. 444 Broadway; and in 1862 they went to San Francisco,
this being Cotton’s first appearance there. He remained under Tom
Maguire’s management for three years.

With Joe Murphy, Cotton and Murphy’s Minstrels were organized about
March 1, 1865; the organization continued two years, when, Murphy
retiring, it became Cotton’s Minstrels.

In 1870 he joined Manning’s Minstrels in Chicago, playing an extended
engagement there. Later Arlington, Cotton and Kemble’s Minstrels were
launched in the same city, and met with such success that a theatre was
built especially for them. Accordingly, Myers Opera House, Chicago, was
opened with this company September 23, 1872.

Early in 1875 he was with Billy Emerson’s Minstrels at Hooley’s
Theatre, Chicago, and that same year, with Dave Reed, opened the
Twenty-third Street Opera House, New York, which had lately been
vacated, owing to the death of Dan Bryant. The company was known as
Cotton and Reed’s Minstrels.

A short season of management at Wood’s Museum, Chicago, not proving
successful, with his wife and daughter he produced and played for many
years “Faithful Bob”; later this play was known as “True Devotion”.

In 1878 he returned to minstrelsy for a few months, forming an alliance
with Cal Wagner, known as Cotton and Wagner’s Minstrels.

In 1886 Birch and Cotton’s Minstrels again took the road; following
this, he played a few seasons in California with a repertoire company.

Engagements of late years were character parts in “The War of Wealth”,
“The New South” and “As Ye Sow”.

Ben Cotton was thrice married.

Ben Cotton, Jr., who is dead, and Idalene Cotton, who is the wife of
Nick Long, are his children.

Ben Cotton was born in Pawtucket, R. I., July 27, 1829; he died in New
York City, February 14, 1908.

ANTHONY NISH was well known for many years as a minstrel “leader.”

His first theatrical appearance was in the 50’s, with Parham’s
Minstrels. July 11, 1857, he sailed for England with Raynor and
Pierce’s “Christy” Minstrels, opening in London, August 3, following.

He continued with this company for a lengthy period, later organizing
a troupe of his own. He finally returned to London, and was with Moore
and Burgess’ Minstrels for many years.

He was born in New Castle, England; he died in London, England, October
3, 1874; age 39 years.

J. B. MURPHY was a well-known composer, vocalist and manager. He had
been with Beler’s Campbell Minstrels in 1861, and with Lloyd and
Bidaux’s, where he commenced an engagement January 21, 1867.

He died in Jersey City, N. J., July 13, 1871.

GEORGE W. HERMAN (Simonson), well and favorably known as a black-face
comedian and banjoist, and a brother of J. A. Herman, died in Brooklyn,
N. Y., about August, 1882.

JOSEPH MORTIMER (Mocherman) began his professional career in the
variety theatres as a black-face banjo player; later he was with
Gardner and Forepaugh’s Circus.

His first managerial experience was with the Canterbury in Philadelphia
in 1864.

Subsequently he assumed control of what is now known as the National
and Casino Theatres in the same city, the former on February 6, 1871;
the latter August 23, 1873.

He retired from the management of the Grand Central Theatre, June 24,
1876, and took the management of Matt Morgan’s Variety Company. This
was his last theatrical enterprise.

Mr. Mortimer was twice married--first to Effie Walters, who was
later known as Florence Stover, and later to Ida Morris; both were
professional ladies.

Wm. A. Mortimer, the well-known actor of Corse Payton’s Stock Company,
is his son.

Joseph Mortimer was born in Harrisburg, Pa.; he died there January 6,
1880.

THE MORRIS BROTHERS.

The careers of LON and BILLY MORRIS were practically contemporaneous.

Their first professional appearance was made at Charlotte, N. Y., in
1845, at a very early age.

About 1852 they joined Ordway’s Aeolians in Boston, where they remained
five years, and met with such success that, in conjunction with Johnny
Pell and J. T. Huntley, they organized a company bearing their names,
and opened at the Howard Athenaeum in Boston, December 25, 1857.

Early in 1859 Mr. Huntley withdrew from the organization, and Jos.
Trowbridge was taken as a partner.

Subsequently, through the death of Pell and the retirement of
Trowbridge, the company was known as the Morris Minstrels, and as such
they opened in St. Louis, Mo., November 6, 1867.

About two years later the organization disbanded, and Lon and Billy
Morris took up other pursuits.

Both were comedians of ability; Lon was the tambourinist and Billy the
bones of the troupe.

CHARLEY MORRIS, who was at various times agent, performer and manager,
began his theatrical career simultaneously with his brothers in 1845,
and was associated with them practically until July 27, 1861, when,
in conjunction with W. H. Brockway and John E. Taylor, he organized a
company, opening at Gloucester, Mass.

In 1863 Mr. Morris was associated in the management of the Morris
Minstrels with Add Weaver; April 10, 1865, with Fred Wilson, he opened
in St. Louis, Mo., a permanent minstrel company that was successfully
run until the dissolution of the partnership, February, 1867.

Mr. Morris subsequently conducted his own minstrel companies until
about 1878, and about a year or so later retired from active management.

Mr. Morris excelled as a banjoist.

Lon Morris was born in Fort Erie, N. Y., May 15, 1830; he died in New
York, May 6, 1882.

Billy Morris was born in Rochester, N. Y., April 11, 1831; he died in
Boston, Mass., October 11, 1878.

Charles A. Morris was born in Rochester, N. Y., March 27, 1834; he is
now a guest of the Actors Home in Staten Island, N. Y.

* * * * *

SAM SHARPLEY, NELSE SEYMOUR, JAMES UNSWORTH, JAMES BUDWORTH and DAN
BRYANT--all died within a hundred days in 1875.

* * * * *

“POP” REECE (Lewis M. Reece) was an old-time performer. As early as
June 18, 1856, he was a member of Dave Reed’s Minstrels on the steamer
“James Raymond.”

He died in Brooklyn, N. Y., December 18, 1890; age about 60 years.

[Illustration:

HANK. GOODMAN

MATT. PEEL

W. W. NEWCOMB

JOHNNY BOOKER

FAYETTE WELCH

NELSE. SEYMOUR

JOHN A. MACK

“PONY” MOORE

NEIL. BRYANT

THE OLD GUARD.]

DAVE BRAHAM, whose catchy melodies did so much to make Harrigan
and Hart’s series of plays so successful, was long in the minstrel
business, and as early as May 13, 1862, played at the Academy of Music,
New York.

He was born in England, and died in New York City, April 11, 1905; age
65 years.

“YOUNG DAN EMMETT” (Harry Huntington), a comedian who was with several
minstrel companies, died in Elmira, N. Y., July 15, 1861.

DENNY GALLAGHER, one of the best known of black-face performers about
fifty years ago, entered the profession about 1848, doing Irish songs
and dances in white face.

In conjunction with Andy Leavitt and John Mulligan, they formed a trio
which for genuine black-face comedy has never been excelled. They
played three years at the Melodeon in New York.

Denny Gallagher was born in New York in 1830; he died in Philadelphia,
November 23, 1868.

MIKE MITCHELL was one of minstrelsy’s greatest dancers.

He had his own minstrel company on the road in the 50’s, and had been
associated with many first-class organizations.

He died in Victoria, B. C., January 13, 1862; age 32 years.

CHARLES KOPPITZ, a famous musician, who achieved prominence in other
lines, was with George Christy’s Minstrels in California in 1858 in the
capacity of musical director.

He was born in Holstein, Germany; he died in St. Johns, N. B., June 22,
1873; age 43 years.

DAVE CARSON was another performer and manager who was best known
abroad. He sailed for Australia in 1853, and for many years played in
every section of that country.

He returned to New York about 1869, and after appearing here for a
while he again went abroad.

He was born in New York about 1830; he was living as late as 1875.

DAN HOLT, a well-known black-face performer in the South many years
ago, died in New Orleans, La., October 10, 1867.

TOM PRENDERGAST was a prominent tenor vocalist.

He was one of the original members of Bryant’s Minstrels in New York,
opening February 23, 1857. In 1864 he was with Hooley in Brooklyn, and
had been associated in minstrel ventures with Cool. Burgess, Archie
Hughes and D. C. La Rue.

He retired about a year previous to his death, which occurred in Utica,
N. Y., March 6, 1869; age 39 years.

ALBERT JONES (Silcox) was a good comedian and general performer; in
Boston and Chicago, he was especially well known, having been connected
with prominent companies in those cities.

He died in Boston, Mass., November 25, 1866; age 36 years.

WILLIAM N. SMITH at the time of his death was considered one of the
greatest bone players in minstrelsy.

He had played many engagements with various companies. He was the first
to give imitations of the snare drums with the bones.

Owing to an accident, he was compelled to retire from the profession,
which he did April 18, 1867. He died in New York, February 4, 1869.

MIKE O’BRIEN, an old-time banjoist and ballad singer, who had been with
Sanford’s and other minstrel companies, died at Algiers, La., April 28,
1869.

EDWIN HOLMES, a popular minstrel tenor, who was with Duprez and
Green’s and later Duprez and Benedict’s Minstrels for about six years,
commencing in 1862, died in Boston, Mass., July 11, 1879.

NED GREENLAND was one of the best beloved characters in theatredom.
Though many years dead, his praises are yet sung to-day. He was
treasurer and business agent for Hooley’s Minstrels in Brooklyn, N. Y.,
for several seasons.

He died in Brooklyn, N. Y., August 4, 1883.

MIKE KANANE, a famous dancer in the good old minstrel days, died in San
Francisco, Cal., December 7, 1886.

STEPHEN B. BALL was a famous vocalist of Ordway’s Aeolians in Boston as
early as 1851; he retired about 1856, and became director of the choir
of the Old School Street Church in that city. He was a fine singer and
vocal teacher.

He died in Boston, Mass., September 27, 1881.

HARRY LEHR. Of this famous minstrel’s talents and abilities there was
no divergence of opinion; manager, critic and performers were unanimous
in their verdict that he never had a superior as a comedian. One
manager, John L. Carncross, went further and declared that he never had
an equal.

His first professional appearance was with a small minstrel company in
Camden, N. J., February 22, 1846.

At the age of 16 he organized a troupe of his own.

In 1852 he was with Kunkel’s Nightingales, and subsequently with
Rumsey and Newcomb’s Minstrels, with whom he remained until the Spring
of 1861. Subsequently he became a member of Hooley’s Minstrels in
Brooklyn, N. Y., and in 1864 joined Carncross and Dixey’s Minstrels in
Philadelphia and remained there for seven seasons.

In 1871-72 he was with Simmons and Slocum’s Minstrels, also in
Philadelphia. In 1872 he re-joined Carncross and Dixey, and continued
with them until November, 1875, when he made his final stage appearance.

Mr. Lehr was thoroughly legitimate in each character he portrayed; he
was the “darky” in life as well as color.

Harry Lehr was born in Philadelphia, October 7, 1830; he died there
September 10, 1881.

DAVE REED. The career of this famous old-timer practically began with
minstrelsy itself.

He it was, with Dan Bryant, who did so much to popularize “Shoo
Fly” more than forty years ago; and “Sally Come Up” will always be
identified with his memory.

But as a bone player, Dave Reed is probably best remembered; his
imitations of drums, horses running and the like were wonderful; the
art practically died with him. Mr. Reed’s career began about 1844 with
a small traveling company. He played in and around New York for several
seasons and later went West.

June 18, 1856, Dave Reed’s Minstrels were the feature performance on
board the steamer “James Raymond”, plying the Mississippi.

Mr. Reed was with Hooley’s Minstrels in New York in 1861; subsequently
with the latter in Brooklyn. He joined Bryant’s Minstrels in New York
in 1863; he was there when Dan Bryant died, April 10, 1875. In between,
about 1868, he was with Kelly and Leon, also in New York.

About twenty-five years ago Dave Reed, his wife and four clever
children made their appearance in vaudeville as the Reed Family; later
they were known as the Reed Birds. He retired in 1903.

Dave Reed, Jr., the popular song composer, is his son.

Dave Reed was born in New York, November 18, 1830; he died there
December 5, 1906.

BILLY BIRCH was a name to conjure with for many years, especially in
the Metropolis. He made his first appearance in New Hartford, N. Y., in
1844 with a minstrel show, as an amateur.

His initial professional appearance was with the Raymond Minstrels at
Stamford, Conn., in 1846.

Subsequently he was identified with many prominent organizations until
1850, when he appeared first in New York with Fellowe’s Minstrels.

When Wood and Christy were running two houses on Broadway, 444 and 472,
Birch and Geo. Christy would simultaneously appear at their respective
theatres in the first part, and would then proceed to the other theatre
and finish their performance for the evening; this was about 1855. In
1851, with Sam Wells and Dick Sliter, he opened in San Francisco with
Birch, Wells and Sliter’s Minstrels, and remained six years; under the
management of Tom Maguire.

August 20, 1857, Mr. Birch sailed for New York, and a few days later
was wrecked off the coast of Charleston, S. C.; he finally made his
way to New York, where he played a brief engagement with Bryant’s
Minstrels, commencing September 28.

In February, 1858, Birch’s Minstrels opened in Chicago; subsequently
he was one of the performers on the steamer “Banjo,” which plyed the
Mississippi River. Afterwards Mr. Birch was associated in several
minstrel ventures with J. B. Donniker, Joe Murphy, Sam Sharpley and
Ben Cotton. With the latter he formed Birch and Cotton’s Minstrels in
San Francisco in 1862; likewise nearly a quarter of a century later
(July, 1886) did these old minstrels reunite, and the great California
metropolis again saw Birch and Cotton’s Minstrels.

September 15, 1864, Birch, Dave Wambold and Charley Backus opened in
San Francisco as the San Francisco Minstrels, and in January, 1865, Wm.
H. Bernard joined the organization. In March following they sailed for
New York, and on May 8th, 1865, gave their first performance at 585
Broadway; four days previous they appeared in Newark, N. J.

The company continued at 585 until April 27, 1872; on August 28, 1872,
as Birch, Wambold and Backus’ Minstrels, they opened at St. James Hall,
the present site of the 5th Avenue Theatre; season of 1873-74 the
company traveled, and on September 3, 1874, they opened at their own
new theatre on Broadway, until when recently demolished, known as the
Princess Theatre.

[Illustration: ETHIOPIAN SERENADERS; 1847.

Their full names were, respectively, Gilbert W. Pell, Geo. A.
Harrington (not Geo. Christy), Wm. White, Moody Stanwood, Francis
Germon.]

They continued until 1880, when the company was known as Birch and
Backus’ Minstrels, and remained as such until late in 1882, when it
became Birch, Hamilton, and Backus’ Minstrels; this alliance was
short lived, and the season of 1882-83 finished as Birch and Backus’
Minstrels.

August 27, 1883, Birch’s San Francisco Minstrels opened; December 3,
“Jack” Haverly became a partner, but on December 29, 1883, the last
performance of the famous San Francisco Minstrels was given in New York.

In the fall of 1884 with Harry Kennedy he again launched Birch’s San
Francisco Minstrels, but lasted only a few weeks; in November, 1886, he
returned to his “old home” as a member of Lew Dockstader’s Minstrels,
for a short sojourn. In 1889 with Frank Moran he organized Birch and
Moran’s Minstrels, and on July 17, 1890, he began his last minstrel
engagement with Wm. Henry Rice’s World’s Fair Minstrels.

Birch was a typical comedian of the old school of minstrelsy.

Billy Birch was born in Utica, N. Y., February 26, 1831; he died in New
York City, April 20, 1897.

CHARLES BACKUS, of the famous San Francisco Minstrels “quartette,” and
one of the principal comedians of the organization, achieved wide fame
for his impersonations of prominent actors, in which he was an adept.

He went to California in 1852, and two years later organized Backus’
Minstrels there; in 1855 he took the company to Australia, and a few
years later organized Horn and Backus’ Minstrels; in 1859 he again went
to Australia, and appeared as a negro clown in Burton’s Circus.

He returned to San Francisco in 1861, and after playing several
engagements there, on September 15, 1864, was one of the organizers of
Birch, Wambold and Backus’ Minstrels; his career from that time until
his death was linked with that of Billy Birch.

Mr. Backus was married to Leo Hudson, the famous equestrienne; he was
divorced in March, 1866; subsequently he married Miss Kate Newton, the
well-known actress.

On October 17, 1876, in Philadelphia, he married Miss Tizzie Mason.

Charles Backus was born in Rochester, N. Y., in 1831; he died in New
York City, June 21, 1883.

DAVE WAMBOLD, universally conceded as minstrelsy’s greatest balladist,
made his first appearance with a small minstrel company in 1849; his
New York debut was made with Donaldson’s Minstrels four years later; he
subsequently appeared with Charley White’s Minstrels in the same city
for two years.

In August, 1857, he opened with Raynor and Pierce’s Minstrels in
London, England, and remained in Europe with various organizations for
several years.

In addition to being a remarkable singer, it is not generally known,
but nevertheless a fact, that Mr. Wambold was the first performer to do
a Dutch part in black-face; his dialect was one of the best.

September 15, 1864, he organized with Birch and Backus the San
Francisco Minstrels, opening in New York in May, 1865; he continued
with the organization until May 1, 1880, when owing to ill health, he
retired from minstrelsy, at Holyoke, Mass.

Mr. Wambold married Miss Isabella Young in Philadelphia, April 25, 1859.

Dave Wambold was born in Elizabethtown, N. J., April, 1836; he died in
New York City, November 10, 1889.

* * * * *

Tom Lewis says that when making the parade in Lynchburg, Va., about ten
or twelve years ago, a “rube” asked him (Lewis) what “society” it was.
“Sons of Poor Parents,” replied Lewis.

Billy West, who happened to overhear the retort, also said something.

* * * * *

WM. H. BERNARD (White) was the greatest interlocutor, or middle-man,
that minstrelsy has ever known.

He is credited with having organized the first minstrel company in San
Francisco; this was in August, 1849; performances were in the Parker
House, and patrons gladly paid $5.00 per ticket for the privilege of
seeing the minstrels. “Those were the happy days.”

In the winter of 1849 he made a trip to the Sandwich Islands as one of
the “New York Serenaders,” and in 1850 he went to Sydney, Australia,
and gave the first minstrel performance that the big island ever
saw; subsequently he went to India, and was the first to introduce
minstrelsy there.

In January, 1865, he joined Birch, Wambold and Backus with their
company in San Francisco, and until the Spring of 1872, when he retired
permanently from the profession he so long and ably graced, he was
associated in partnership with those gentlemen.

William H. Bernard was born in New York City, in 1830; he died there
January 5, 1890.

CHARLES A. MORNINGSTAR, a well-known agent and manager of the 60’s,
and proprietor of Morningstar’s Minstrels in 1863, was murdered near
Mobile, Ala., December 27, 1871.

FRANK KENT was one of the early female impersonators, or wench dancers,
as these performers were originally known.

In December, 1842, at the Franklin Theatre in New York, Master Kent
appeared in a variety entertainment.

For many years he appeared with the various minstrel companies, notably
Howard Burlesque Opera Troupe; San Franciscos in New York; Duprez and
Benedict, in Philadelphia; Duprez and Green’s; Arlington, Cotton and
Kemble’s in Chicago, and Morris Brothers, Pell and Trowbridge, in
Boston. In all probability his last appearance in minstrelsy was with
Wm. Henry Rice’s Company, commencing July 17, 1890.

Frank Kent was born in Salem, Mass.; he died in Cooperstown, N. Y.,
August 15, 1906; age about 75 years.

THOMAS P. BROWER, a brother of Frank Brower, one of the organizers of
the first minstrel show, and himself a performer of ability, died in
Philadelphia, March 15, 1867; age 37 years.

DUKE MORGAN, an old-time violinist and musician of the real early days
of minstrelsy, died in New York City in October, 1881.

OTTO BURBANK was one of the best jig dancers in the early minstrel
days, likewise a good comedian. He was prominently identified with
some of the best minstrel organizations, notably Collins’ “Christy”
Minstrels, in London, England, in 1862.

He died at Peoria, Ill., February 13, 1882.

HARRY PELL, an old-time black-face comedian, who was an excellent stump
orator, played several minstrel engagements, notably with the Morris
company in 1863.

He died in New York City, June 1, 1866.

JOHN CLUSKEY, at one time rated as one of the best dancers of his day,
died at Albany, N. Y., September 17, 1864.

ALEXANDER ZANFRETTA, the famous pantomimist, played important minstrel
engagements, notably with Simmons and Slocum’s, in Philadelphia, and
with Haverly.

He died in Brooklyn, N. Y., May 14, 1899.

CHARLES H. DUPREZ was one of the great managers of early minstrelsy.

In 1852 he made his _entre_ into the profession at New Orleans, La.,
with the company that was afterwards known as Carle, Duprez and
Green’s Minstrels. In 1858 the organization was known as Duprez and
Green’s, and it remained as such until 1865 at Green Bay, Wis., when
Mr. Green retiring, Lew Benedict purchased his interest, and Duprez
and Benedict’s Minstrels were organized; Mr. Benedict retired from
the company in 1876; Mr. Duprez continued on with the same trade-mark
until about 1885, when retiring from minstrelsy he went into the hotel
business in Lowell, Mass.

Charles H. Duprez was born in Paris, France, March 13, 1830; he died in
Providence, R. I., August 31, 1902.

J. A. BASQUIN, a well-known minstrel singer, who was also known at
various times as J. J. Roberts and J. Waterman, was a prominent member
of Buckley’s Serenaders in the 60’s and early 70’s, also with Unsworth
and Eugene in England in 1868.

J. A. Basquin was born in France; he died in Brooklyn, N. Y., January
27, 1872; age 42 years.

JOHN SIMPSON, prominent for many years as business manager of Bryant’s
Minstrels, in New York City, died November 15, 1881.

WM. T. BRYANT (O’Brien), a brother of Dan, Neil and Jerry, a mediocre
performer, was with Bryant’s Minstrels in New York at the time of his
death, September 23, 1865.

JOE BROWN, one of the world’s greatest jig dancers, made his first
appearance at Albany, N. Y., in 1844. His first New York engagement
was in the fall of 1852; August 3, 1857, he opened with “Christy’s”
Minstrels in London, England, remaining with, them until about 1860,
when he joined Nish’s “Christy” Minstrels, opening in Cape Town, South
Africa, August 20, 1862. Prior to the opening he and the company were
shipwrecked, losing everything except his clothes; a handsome silver
belt he won from Dick. Sliter in 1856 was amongst the things lost.

[Illustration:

J. A. BASQUIN

A. BAMFORD

FRANK GIRARD

BILLY BARRY

“LITTLE MAC”

BILLY RICE

“MERRY MINSTREL MEN.”]

Returning to England in 1863, he organized Joe Brown’s “Christy”
Minstrels, visiting Egypt and India; returning to London, opened at St.
James Hall, June 11, 1866. In 1868 he paid a brief visit to the United
States, then returned to England.

Joe Brown was born in Buffalo, N. Y., January 2, 1830; he died in
Glasgow, Scotland, October 25, 1883.

C. D. ABBOTT was a prominent musician of the early days of minstrelsy,
when those performers were artists in their respective lines, and each
one was a soloist.

He died at La Salle, Ill., May 20, 1864.

* * * * *

WM. HENRY RICE made his first minstrel appearance September 19, 1859;
“Daddy” Rice died exactly one year later.

* * * * *

BILLY BLAIR, the old-time general minstrel performer who was
with Christy’s Minstrels as early as May, 1856, also many other
organizations, was a good “Bob Ridley” and end man. He died in
Brooklyn, N. Y., January 19, 1888.

JOHNNY BOOKER (Sam. Roberts), was one of the early minstrel comedians
and managers.

In the middle 50’s he toured with Booker and Evart’s Minstrels;
subsequently Booker and Sliter’s and intermittently with Johnny
Booker’s Minstrels. In the early days he made famous a song that had
great vogue called “Meet Johnny Booker at the Bowling Green.” He was a
member of Dave Reed’s Minstrels on board the Steamer “James Raymond,”
June 18, 1856. Among the notable minstrel organizations he was with
were Hooley’s, in Brooklyn, N. Y., 1862; Lloyd and Bidaux’s, 1867, and
Arlington’s, in 1870.

Johnny Booker was born in Bowling Green, Ky., October, 1830; he died at
Dayton, Ohio, October 25, 1898.

HENRY WOOD was one of the most famous of New York City minstrel
managers. He entered the theatrical field at 444 Broadway, in 1851,
with Jerome B. Fellowe, and conducted Wood and Fellowe’s Minstrels
until February, 1852, when he had the show to himself.

Wood’s Minstrels continued there until October 31, 1853, when he formed
an alliance with George Christy, and as Wood and Christy’s Minstrels
they flourished until May, 1858.

“444” burned down December 2, 1854, the company then going shortly
after to “472” Broadway.

Later, for a brief period, both houses were run simultaneously.

October 1, 1855, “444” reopened, and on October 31, 1857, they moved
to their new Marble Palace, 561-63 Broadway; this house was closed
September 3, 1859. Nine days later Mr. Wood returned to “444,” where
he remained practically until July 7, 1862, when he moved his company
to 514 Broadway.

Wood’s Minstrels ceased as an institution about 1866.

Mr. Wood was a brother of Fernando Wood, once Mayor of New York.

Henry Wood is _said_ to have died about twenty-eight years ago; he is
also said to be living.

PETE LANE was a great jig and a good general dancer. He was with
Sanford’s Minstrels in Philadelphia in 1856; he died there June 27,
1858.

CHARLES NOBLE, the well-known minstrel bass singer who was with
Thatcher, Primrose and West’s, and other well known minstrel
organizations, died in New York City, June 8, 1892; age 62 years.

BOB SMITH, the old-time minstrel performer, was associated with many of
the best performers of his day.

As a tambourine manipulator he achieved particular prominence, and
ranked with the best.

He died at St. Johnland, Staten Island, N. Y., April 20, 1900; age
about 70 years.

BILLY WRIGHT, an old-time comedian, had some prominence as a “knife
thrower.” His chief claim to fame lies in the fact that he was
instrumental in obtaining an opportunity for the embryonic talents of
Francis Wilson to be given recognition, which he did about 1865.

He died in Philadelphia, March 10, 1879.

MATT. PEEL (Flannery). There are few who are alive to-day who remember
the performances of this sterling young versatile performer, whose
first professional appearance was made in New York in 1840. A few years
later he joined Campbell’s Minstrels, the only organization at that
time bearing that name.

He continued with this company several years, and on July 17, 1850, in
company with James Norris, Jos. D. Murphy, and Luke West, organized
another company; with the exception of the first named, all were
performers. Subsequently and for a few years the organization was known
as Murphy, West and Peel’s Minstrels, and later Matt. Peel’s Minstrels,
by which it was known until the death of Mr. Peel.

Mr. Peel was one of the first minstrel performers to sing an Irish song
on the end.

Matt. Peel was born in New York, January 15, 1830; he died in Buffalo,
N. Y., May 4, 1859.

CHARLEY O’NEILL, a well-known comedian who was with Unsworth’s
Minstrels in 1861, and subsequently with Hooley in Brooklyn, N. Y.,
committed suicide by drowning, in St. Louis, Mo., July 21, 1863.

JOHN HOOLEY, a brother of the famous manager, R. M. Hooley, ran a
minstrel company in Brooklyn, N. Y., in 1873.

He died there April 12, 1891.

MERT. SEXTON was prominent as a comedian and dancer; his chief fame
rested in his ability to dance the “Essence of Old Virginia.” He played
with many famous organizations, notably Matt. Peel’s in 1858; Fox and
Worden’s in 1859, and Collins’ “Christy” Minstrels in 1862; the two
latter companies were in England.

Mert. Sexton is said to have died in Long Island City, N. Y., in May,
1866.

SETH HOWARD, one of the old-time interlocutors and straight men, who
was one of the original Bryant’s Minstrels at Mechanics Hall in New
York City in 1857, died at Hornellsville, N. Y., February 11, 1860.

GEORGE LANGDON, an aged darky impersonator and singer, and who sang
duets with John L. Carncross in Philadelphia before Carncross joined
Sanford’s Minstrels in that city, died at Pawtucket, Mass., May 12,
1859.

HARRY EVARTS, who was associated with Johnny Booker with Booker and
Evarts’ Minstrels in the 50’s, and was considered a good general
performer, was in later years prominently identified with several
companies in an executive capacity.

He was killed in a wreck near Hamilton, Canada, April 28, 1889.

DICK (Richard) SILVER, was an early member of the famous Morris Bros.,
Pell and Trowbridge’s Minstrels in the 60’s.

At the time of his death he had been in the theatrical profession about
seventy years.

Mr. Silver was born in Groton, Vt., he died in Traverse City, Mich.,
October 10, 1909.

LEW RATTLER, long associated in the early days of minstrelsy in
California, and a member of an organization of the same name in 1859,
was a comedian of merit.

He died in San Francisco, Cal., March 27, 1905.

THEODORE GUSTAVE BIDAUX who ranked with the great baritone singers of
minstrelsy, came to America in 1858, and appeared with much success
with the following well-known burnt cork organizations--Sanford’s, in
Philadelphia; Lloyd and Bidaux’; Duprez and Green’s; George Christy’s;
Manning’s; Haverly’s, and Wm. Henry Rice’s in Cincinnati.

Mr. Bidaux married a Mrs. Ayleen in 1867.

Theodore Gustave Bidaux was born near Paris, France, March 12, 1830; he
died at Hatboro, Pa., March 5, 1886.

SAM SHARPLEY (Sharpe) was one of the most famous minstrel comedians and
banjoists of his day. He first appeared professionally at the age of 16.

In 1858 he went to Sanford’s Minstrels in Philadelphia, where he became
a great favorite. In 1860 he associated himself with John L. Carncross
in Carncross and Sharpley’s Minstrels; that same year he also was
partner with Birch and Sharpley’s Minstrels.

In the Fall of 1862 he launched his famous “Iron Clads” Minstrels.
From 1865 to 1867 he was associated with Tony Pastor in the management
of what is now known as the People’s Theatre in New York. In 1872 he
formed an alliance with Swaine Buckley, and subsequently with Sheridan
and Mack in minstrel organization bearing their names. He was a natural
wit and a great entertainer.

[Illustration:

FRANK CUSHMAN

HARRY C. SHUNK

NAT. HAINES

CHAS. J. STINE

A QUARTETTE OF CORKERS.]

Sam Sharpley was born in Philadelphia, June 13, 1831; he died in
Providence, R. I., January 1, 1875.

* * * * *

HARRY LEIGHTON, long and favorably known as a vocalist, did an end with
Vogel’s Minstrels, April 16, 1908.

* * * * *

ARCHIE HUGHES (Arthur Hughes), was one of the biggest favorites of
Hooley’s great minstrel company in Brooklyn, N. Y., many years ago.

There is a difference of opinion as to when and where he made his first
appearance, but it is certain he was with Sam Sanford’s Minstrels,
traveling in 1859; and equally certain that one evening during a
performance with that company, a man in the audience became so enthused
with Hughes’ dancing, that he took his watch from his pocket and gave
it to him (Hughes); he finished the season at Sanford’s Theatre in
Philadelphia in the Spring of 1860. About June following he joined
Mrs. Matt Peel’s Minstrels; subsequently returning to Sanford’s in
Philadelphia.

September 29, 1862, he opened with Hooley’s Minstrels in Brooklyn, at
the initial performance of the organization.

In November, 1864, he began an engagement with Wood’s Minstrels in New
York, and the following year was one of the proprietors of (Cool.)
Burgess, (Tom) Prendergast, Hughes and (D. C.) La Rue’s Minstrels.

May 28, 1866, he returned to Hooley’s, and at the ending of the season
of 1868-69, he went to England with Smith and Taylor’s Minstrels.

September 12, 1870, with Fayette Welch, and Cool. White, he opened
Welch, Hughes and White’s Minstrels in Brooklyn, on the site now
occupied by a large carpet store; the organization continued there for
several months. In 1873 Mr. Hughes was with Sharpley, Sheridan and
Mack’s Company, and two years later he rejoined Hooley in Brooklyn.

In December, 1880, he was a member of Kyle’s “Christy” Minstrels in
Boston, and in September, 1881, he began his last engagement with
Leavitt’s Gigantean Minstrels.

Mr. Hughes was a splendid comedian and a fine dancer; he specialized
singing Irish songs on the end.

Archie Hughes was born in Albany, N. Y., about 1830; he died in
Buffalo, N. Y., October 18, 1881.

P. B. ISAACS was one of the early minstrel leaders, and a fine
musician. He was one of the original members of Bryant’s Minstrels in
New York at their opening, February 23, 1857.

He was born in London, England, 1831; he died in San Francisco,
September 6, 1865.

WILLIAM BLAKENEY. The distinction of being the oldest minstrel leader
in all probability belongs to William Blakeney, who made his first
appearance with the Western Minstrels, an amateur organization in
Pittsburg, Pa., in 1847.

He was five years with the Yankee Robinson Circus.

Late in 1860 he joined William Christy’s Minstrels, and in the Spring
of 1861, went to Europe with Rumsey and Newcomb’s Minstrels.

Subsequently he was with Morris and Wilson’s Minstrels in St. Louis,
and continued with them four years. In Philadelphia he was with Simmons
and Slocum’s Minstrels two years. February 2, 1878, he sailed with
Kelly and Leon and their minstrel company for Australia; he continued
with them until their dissolution, after which he was associated with
the Victoria Loftus Troupe.

Mr. Blakeney’s most important engagement was with the San Francisco
Minstrels in New York, with whom he remained five years.

William Blakeney was born in Elfin, Ireland, October 30, 1831.

BILLY LAWRENCE, an old-timer who had his own minstrel show in Chicago
as early as 1858, and for many years after appeared with other
companies, died in Chicago, Ill., August 21, 1900; age 69 years.

J. W. MCANDREWS (Walter James McAndrews), famous for many years as the
“Watermelon Man,” the latter appellation being the title of the sketch
he performed for about three decades with astonishing success.

His first professional appearance was made in his native city at the
Richmond Theatre, at the age of 13, in black-face and singing that
early favorite, “Jim Along Josie.”

Subsequently and for many years he did “nigger” acts in circuses and
small minstrel companies.

About 1857 he joined Buckley’s Serenaders, remained with them for
a considerable period, and went to England with them in 1860. Mr.
McAndrews played sundry engagements until he joined Kelly and Leon’s
Minstrels. About 1866, while with that company in Cincinnati, “Pastimes
on the Levee” was first put on; it was not until three or four years
later that the skit got the title that made it so popular; Dan Bryant
did the christening, and McAndrews played three years with Bryant’s
Minstrels in New York.

He went to England with Haverly’s Mastodons, and opened at Her
Majesty’s Theatre, London, July 31, 1880; subsequently, July 17, 1882,
he played at the Pavillion in the English Metropolis, opening with
great success.

The succeeding years of his career were spent with the many prominent
minstrel and variety organizations, as well as playing innumerable
engagements in the variety theatres.

J. W. McAndrews was born in Richmond, Va., November, 1831; he died at
Elgin, Ill., December 29, 1899.

JAMES BUDWORTH, in addition to being a great minstrel, was a good
actor. His debut was made at the Park Theatre, in New York City, in
1848, as vocalist and mimic.

May 26, 1860, James Budworth, Frank Budworth (his son, who afterwards
developed into one of the best Chinese impersonators) and his brother,
W. S. Budworth, appeared with Wood’s Minstrels, at the same time.

One year prior to this, he was the principal comedian with George
Christy’s Minstrels in New York, Christy had been enjoined from
appearing.

In 1862 he was with Mrs. Matt. Peel’s Minstrels; September, 1864, found
him with Hooley’s, in Brooklyn, N. Y.

Monday, August 27, 1866, with his brother William, he opened the 5th
Avenue Theatre (until recently, when it was demolished, known as the
Madison Square Theatre), New York City; they remained several months.

Mr. Budworth was with Sam Sharpley’s Minstrels in the Summer of 1869,
and in September, 1872, he became a member of Frank Moran’s Minstrels
in Philadelphia; he was likewise with several of the other prominent
companies of his time. He also played the title role in “Pomp” and star
roles in other plays.

Mr. Budworth was best known for his imitations of actors, in which he
had no peer.

As a banjoist he gained renown, and played with equal proficiency the
Japanese and Chinese fiddle.

As a Dutch comedian he was great; his John Schmidt in “The Persecuted
Dutchman” at the Park Theatre, Brooklyn, N. Y., in 1865, received
lavish praise from press and public.

James Budworth was born in Philadelphia, December 24, 1831; he died in
New York City, March 15, 1875.

DICK BERTHELON, an old-time black-face performer, appeared mostly in
variety houses for many years; he was good in the old-time “nigger”
acts, and was proficient as a manipulator of the bones and tambourine.

He died in Brooklyn, N. Y., September 25, 1891; age 60 years.

BILLY BOYD was a capable minstrel performer of the old school; he was
with Hunt and Company’s Minstrels in 1855, and was very well-known in
Philadelphia, where he was born in 1831; he died in New York, April 21,
1869.

R. M. CARROLL, or “Dick” as he is better known, or “Master Marks” as
he was originally known to the profession, probably has the greatest
number of years of theatrical service of any one in minstrelsy.

Mr. Carroll is best remembered as a dancer, and he was one of the
world’s greatest; but in his early career he was a splendid wench
performer; he was the third one to do “Lucy Long”; a great feature of
old-time minstrelsy.

Mr. Carroll’s first public appearance was at Tinkham Hall on Grand
Street, New York City; the occasion was the benefit of an elderly Irish
lady, long since departed--this was in 1837. For many years he danced
at balls and parties. About 1845 he first appeared professionally
at the Bowery Amphitheatre, New York City, in a circus, and shortly
after this at the Bowery Theatre he blacked up for the first time with
“Daddy” Rice, playing in “Bone Squash.”

The year following he played his initial minstrel engagement with
Charley White’s Company, also in New York; he remained with White
several seasons.

In 1854 he was with Buckley’s Serenaders in New York; in 1858 with
Sniffen’s Campbell’s Minstrels, likewise in the metropolis.

February 14, 1859, he made his first appearance as a member of Morris
Bros., Pell and Trowbridge’s Minstrels in Boston, where he became a
great favorite, remaining about three years.

In his long career Mr. Carroll played with many prominent minstrel
organizations, notably Kelly and Leon’s; at Hooley’s, at the latter’s
theatre in Brooklyn, N. Y., with little Dick, his son, he began an
engagement there March 14, 1870.

Subsequently with Dick, Jr., and Dick’s brothers, Edwin and Bennie,
they played for several years in the principal variety theatres of the
country.

[Illustration:

JOHN QUEEN

MRS. ARTHUR L. GUY
In Select Company

JAS. CUMMINGS

JOHN PEASLEY

JAS.--SANFORD AND WILSON--CHAS.
(_Portraits Reversed._)

WM. HENRY RICE]

In September, 1878, he opened Carroll’s Comique, in Brooklyn, N. Y.,
and several weeks later, with his sons, began an engagement with Cotton
and Wagner’s Minstrels. It may be interesting to know that Mr. Carroll,
and the late J. K. (Fritz) Emmett, had a minstrel show once; Carroll
and Emmett’s Minstrels opened at De Bar’s Opera House, St. Louis, Mo.,
June 1, 1868.

R. M. Carroll and John Queen (afterwards Queen and West), were the
first to do a double clog dance, about 1862. Mr. Carroll likewise
originated the famous song “Me Father Sold Charcoal.”

His sons, Bennie and Edwin, died in New York City, September 18, 1877,
and at Denver, Colo., March 5, 1905, respectively.

Mr. Carroll played the variety houses for several years with his well
known dancing specialty “Mortar and Bricks.”

R. M. Carroll was born in New York City April 10, 1832.

W. L. HOBBS, the well known minstrel “leader” was associated with Frank
Moran’s Minstrels in Philadelphia in 1872; he was also with Carncross
and Dixey’s Company in the same city, and for several seasons was
connected with Bryant’s Minstrels in New York.

W. L. Hobbs died in Philadelphia, July 12, 1874; age 45 years.

BOB HALL, who had been connected with many minstrel companies during
his long career, and who had also been with Harrigan and Hart, died in
Baltimore, Md., June 29, 1882; age 50 years.

ANDREW WYATT, an old-time minstrel leader, who was with Sanford’s
Minstrels in Philadelphia as early as 1856, and for eight years prior
to his death with Whitmore and Clark’s Minstrels, died in Salem, Mass.,
August 5, 1874; age 41 years.

A. M. HERNANDEZ was famous as a pantomimist and acrobat; but it was as
a guitarist and vocalist he was best known; he was capable of playing
practically every known instrument.

In 1852 he was with Hayworth and Horton’s variety show doing a knife
throwing act. The following year he was with Parrow’s Minstrels and
subsequently with Matt. Peel’s and Sniffen’s Campbell’s Minstrels.

Mr. Hernandez was born in Havana, Cuba; he died in Montevideo, Uruguay,
S. A., October 25, 1874.

J. B. STUDLEY, the famous old legitimate actor, played, “Pomp, or
Cudijos Cave” in New York, April 11, 1864, and in the same city played
Uncle Tom, in Uncle Tom’s Cabin, October 20, 1879.

Mr. Studley was born in Boston, Mass., October 8, 1832; he died in New
York, August 6, 1910.

JOHN S. COX, the old-time minstrel leader of Simmons and Slocum’s in
Philadelphia, and other well known companies, died in August, 1902; age
70 years.

JOHN P. SMITH, familiarly known as “Cully” Smith, began his
professional career as a member of old Joe Sweeney’s Company in 1845;
he was then Master Smith.

In 1850 he was with the “Old Dominion” Minstrels, playing the bones,
under the name of “John P. Weston”; subsequently he was with Parrow’s
Minstrels, and Smith and Hernandez Minstrels. Later he was identified
with the Buckley’s, and George Christy’s Minstrels in an executive
capacity, and of recent years was associated in a like manner with
several prominent legitimate attractions.

John P. Smith was born in Richmond, Va., August 3, 1832; he died in New
York City, November 12, 1897.

* * * * *

SWAYNE BUCKLEY, ROLIN HOWARD, EDWIN HOLMES, BILLY HART and G. W. H.
GRIFFIN, all died within thirty days in 1879.

* * * * *

MRS. J. T. HUNTLEY was the grand-daughter of the late Colonel Jacob
Deems, a prominent figure of old Baltimore.

She became the wife of the famous Matt. Peel just one year before
the latter’s death; subsequently she married J. T. Huntley, another
old-time minstrel.

After Matt. Peel’s demise, Mrs. Peel, a few months later re-organized
the company, and as Mrs. Matt. Peel’s Minstrels, she conducted its
affairs successfully for several seasons.

As Mrs. Peel she also had the additional distinction of being the first
woman that ever sold tickets for a minstrel show; this was more than
fifty years ago, when the companies played in halls, and carried their
own treasurers.

Mrs. Huntley is living, active, and is happy in the thought that she is
earning her own livelihood.

Mrs. J. T. Huntley was born in Baltimore, Md., August 4, 1832.

BOB HART (James M. Sutherland) famous as a stump speaker, made his
professional debut at “444” Broadway, New York, in 1859; prior to this
he had been a Methodist minister.

In 1863 with Lew Simmons he was proprietor of Hart and Simmons’
Minstrels; he was also prominently identified with the San Francisco
Minstrels in New York; Bryant’s, in the same city; Emerson and
Manning’s in Chicago, and subsequently, in 1871, with Manning’s
Minstrels, also in Chicago.

His last appearance in minstrelsy was with Dan Bryant’s company in
1875. In 1878 he again took up evangelical work and continued at it
until his death.

Bob Hart was born in New York State, February 9, 1832; he died
(suicide) in New York City, April 6, 1888.

JOHN SIVORI (Wheeler) who was one of the original Bryant’s Minstrels
of February 23, 1857, in New York City, and was for several years
associated with them; gave up the profession many years ago, and is
said to have become a doctor or dentist.

He was reported dead about ten years back.

JOHN B. DONNIKER was one of the oldest as well as the best “leaders” in
minstrelsy.

He was associated with many of the famous organizations, including some
of his own. In 1854 he was “leader” with Ordway’s Aeolians in Boston;
subsequently he went to California, and while there was one of the
proprietors of Birch (Billy) and Donniker’s Minstrels, 1859.

In 1861 he was with “Eugene” and Unsworth, proprietor of Unsworth’s
Minstrels. In 1862 he had a half interest in Arlington (Billy) and
Donniker’s Minstrels; and in 1865 he was associated with Burgess
(“Cool”), Prendergast (Tom), Hughes (Archie) and Donniker’s Minstrels.

He was with Morris Bros., Pell and Trowbridge, in Boston, and with
Bryant’s, and Wood and Christy’s in New York; likewise for several
seasons was he intermittently with the famous San Francisco Minstrels,
also in New York.

In the late 70’s he was engaged as leader at the London Theatre, New
York City, remaining a few seasons.

Of late years, having lost the use of his arm, he took pupils, giving
lessons on the violin.

John B. Donniker died at Penn Yan, N. Y., July 17, 1902; age 69 years.

TONY PASTOR (Antonio Pastorius), during his long career as manager in
New York City, occupied three different theatres, each of which had
previously been used by a permanent minstrel company.

Mr. Pastor’s early days, about 1846-47, were spent as a minstrel.

Tony Pastor was born in New York, May 28, 1832; he died at Elmhurst, L.
I., N. Y., August 26, 1908.

“HANK” (Azro) WHITE, a famous old-time minstrel, had been in the
profession about forty years; twenty-five of which were spent with
Whitmore and Clark’s Minstrels.

He died in Windsor, Vt., February 14, 1900; age 68 years.

WALTER BIRCH (Smith), was a well-known tenor vocalist with Christy’s
Minstrels in 1862 and 1865; in 1863 he was with Horn and Newcomb’s
Minstrels. He was likewise associated with several operatic companies.

He died in Jersey City, N. J., January 29, 1880; age 47 years.

JOHNNY PELL (Gavin), a prominent young comedian, spent the best part
of his professional career in Boston. His first appearance was with
Charley White’s company in New York in the early 50’s.

In 1854 he went to Boston, and became a member of Ordway’s Aeolians,
remaining until 1857, when in conjunction with Lon and Billy Morris
and J. T. Huntley, they organized a company bearing their names; about
two years later it was known as Morris Bros., Pell and Trowbridge’s
Minstrels, and as such continued until the demise of Mr. Pell.

Two days prior to his death, he married Miss Moore, of Boston.

Johnny Pell died in Boston, Mass., January 24, 1866; age 33 years. He
was born in New York.

GEO. M. CLARK entered the field of minstrelsy about 1860; subsequently
with his partner he organized Whitmore and Clark’s Minstrels, and
traveled successfully for many years.

He was born in 1833, and died in Felchville, Vt., June 6, 1885.

[Illustration:

BYRON CHRISTY

HUGHEY DOUGHERTY

JAMES UNSWORTH

HARRY PELL

FRANK MORAN

BOB. HART

BILLY RICHARDSON

FRANK BELL

LEW BENEDICT

ORATORS OF THE OLD DAYS.]

CHARLES PETRIE was one of the old time banjoists, and one of the first
to open a variety theatre in Chicago.

He was associated with the minstrel companies of Arlington, Kelly, Leon
and Donniker, Lew Benedict’s and others.

He was born in Lockport, N. Y., in 1833; he died in Dallas, Texas,
November 12, 1881.

J. E. GREEN was known as “Mocking Bird Green,” from the fact that he
was so long identified with singing of the song of that name, and
whistling imitations of same. He entered the profession about 1856,
as a member of the minstrel firm of Shorey, Carle, Duprez and Green;
subsequently it became Duprez and Green’s Minstrels, and continued
until 1865 under that trade-mark, when he sold his interest to Lew
Benedict. He subsequently had several companies of his own and was
associated in another with “Hop Light Loo” Charley Gardner.

At the time of his death he was musical director with Archie White’s
“Duprez and Benedict’s” Minstrels.

J. E. Green was born in Portsmouth, N. H., April 9, 1833; he died in
New York, November 30, 1886.

BILLY WRAY, the father of Mrs. John Wild, was one of the most versatile
of performers; as an end man and stump speaker he excelled; he was
likewise a clever magician.

With his wife (Louise Payne) and daughter, Ada, already referred to, he
traveled in 1862, giving an entire performance by themselves.

Billy Wray was born in New York, July 25, 1833; he was lost in the
wreck of the Steamer “Evening Star” between New York and New Orleans,
October 3, 1866.

E. FREEMAN DIXEY--his was a household word in Philadelphia, where
practically his whole professional career, and the major portion of his
life was spent.

His first engagement was in Boston, at the age of eighteen;
subsequently he went to Philadelphia, and opened there at Cartee’s
Lyceum, the present site of the 11th Street Opera House, with the
Julien Serenaders, December 4, 1854.

On April 23, 1855, the house was opened as Sanford’s Opera House, by
Sam Sanford, and Mr. Dixey was a member of the company, and continued
with Sanford until the latter drew away from its management, April
14, 1862, when Mr. Dixey and Mr. Carncross opened it under the name
of Carncross and Dixey’s Minstrels; Robert Simpson was the financial
man. The firm of Carncross and Dixey continued until June 17, 1871; Mr.
Carncross retiring on that date.

October 2, 1871, Mr. Dixey in conjunction with Frank Moran opened the
house as Moran and Dixey’s Minstrels. The second season commenced
August 26, 1872, and on September 24, Mr. Dixey retired from the firm.
September 1, 1873, again saw Carncross and Dixey’s Minstrels installed;
they continued until March 16, 1878; after a supplemental tour that
terminated May 11, 1878, Mr. Dixey retired to private life.

Mr. Dixey was one of minstrelsy’s greatest bone players, and in his
earlier days he excelled in the delineation of wench characters.

He was a student of the negro, as well as a student in private life; a
gifted, intellectual, cultured gentleman was Edward Freeman Dixey.

E. Freeman Dixey was born in Marblehead, Mass., July 29, 1833; he died
in Philadelphia, March 2, 1904.

MAX IRWIN was a well-known comedian, stump orator and general performer.

In 1858 and 1859 he was a member of Matt. Peel’s Minstrels.

In the latter year he also played variety engagements with “Young
America” (E. Richardson). May 16, 1859, he married Gussie Lamoreux, the
well-known dancer, in Philadelphia.

Mr. Irwin who was at one time known as P. Maxey, was born in
Cincinnati, O.; he died in Adelaide, Aus., August 9, 1864; age 33 years.

ADD. WEAVER (Addison Weaver), was one of the real old-time minstrel
comedians.

It is said he entered the profession in 1845. In 1858 he was with the
Metropolitan Minstrels; in 1861 with Mrs. Matt. Peel’s Minstrels, and
in 1863, in conjunction with Charley Morris, was proprietor of the
Morris Minstrels. In the 60’s, and for several years, he did sketches
with Master Barney; subsequently he had many pupils who were known as
Master Add. Weaver; one of these was Fred Hallen.

In the fall of 1876 he succeeded Lew Dockstader in the management of
the Adelphi, formerly Newton’s Varieties, in Hartford, Conn.

Add. Weaver was a good end man, and was noted for his stump speeches.
The writer’s last recollection of the veteran minstrel was with “The
House With Green Blinds,” at the Walnut Street Theatre, Philadelphia,
about September, 1893; he appeared in the initial production in a
black-face part, but only played one or two performances, when he was
succeeded by the author, Scott Marble.

On July 22, 1887, he was married to Mrs. Abigail F. Harris, in New York
City.

Add. Weaver was born in Cattaraugus County, New York, about 1833; he
died in Staten Island, N. Y., February 2, 1903.

JOHNNY DE ANGELIS was one of the early black-face performers in
California. He was well-known as a good general comedian in San
Francisco, where he played many years.

He was the father of Jeff DeAngelis, the present light opera star.

Johnny De Angelis was born in Philadelphia, about 1833; he died in San
Francisco, Cal., December 25, 1877.

DAN BRYANT (Daniel Webster O’Brien). The profound esteem in which this
black-face comedian was held can be told in no better way than in
citing the fact that within three weeks of the date of his death, the
entire theatrical profession in New York City gave no less than eleven
testimonial benefits in as many different theatres in the Metropolis on
the afternoon of April 29, 1875; for Dan Bryant’s hand was ever in his
pocket for those less fortunate than himself, and no one ever appealed
to him in vain; he was a lovely character, was Dan Bryant--and yet his
grave remains unmarked; so it is said.

His first appearance was in New York City in 1845 at Vauxhall Garden,
at his brother Jerry’s benefit; he was with various companies until
1848, when he joined Losee’s Minstrels; subsequently he was with the
Sable Harmonists, and in 1850 he joined Charley White’s company in New
York, remaining a year.

Next he appeared with Wood and Fellowe’s Minstrels in New York, and
when Mr. Fellowe withdrew, he continued with Henry Wood’s Minstrels,
same city; he was with them as late as July, 1852.

Later he joined Campbell’s Minstrels, and in the Summer of 1856, he
managed Bryant’s “Campbell’s” Minstrels; in September, same year,
he made a pronounced hit in Philadelphia, and on February 23, 1857,
Bryant’s Minstrels gave their first performance in New York City, at
Mechanic’s Hall; their last appearance there was June 2, 1866.

August 10, 1867, Dan Bryant and his Minstrels sailed for California;
they played in San Francisco under the management of Tom Maguire; they
remained away until May 18, 1868, when they opened at the Tammany
Building (present Olympic Theatre), New York City; Bryant’s Minstrels
next home was on 23rd Street, above 6th Avenue; they opened there
November 23, 1870, and continued until Dan Bryant’s death.

While Dan Bryant’s name and fame will go down to posterity as a
minstrel, yet he was recognized as a fine Irish comedian. At a benefit
performance for William R. Floyd in New York, July 2, 1863, Mr. Bryant
gave a performance of Handy Andy in the play of that name, the equal
of which had not been seen in some time, and during the Summer seasons
for several years played in various Irish dramas with success; in May,
1865, he sailed for Europe, and in Dublin, Ireland, and Liverpool,
England, he gave several performances of Celtic characters.

Although a good general performer, Dan Bryant’s chief fame rests in his
“Essence of Old Virginny” dance; it is not claimed that he originated
it, but it is universally conceded that he excelled all others in it’s
execution; he likewise gained prominence in the famous “Shoo Fly” song
and dance with Dave Reed.

It has been shown that Dan Bryant was an actor in _white-face_, but
that he equally was an actor behind his mask of cork, I submit the
following from _Harper’s Magazine_, written a few years before the
lamented minstrel’s death. * * *

“Edwin Forrest was never weary of seeing Dan Bryant play the part of
the hungry negro in “Old Times, Rocks,” and the verdict of the great
player was that there was not a finer bit of tragic acting to be seen
in America at that time than Dan in this broadly funny bit. Who that
remembers the performance need be told how tears were constantly
checking laughter in this little scene of the black man’s suffering
through hunger, and how one’s sympathies were irresistibly wrung by
the pathos of the minstrel’s voice when, on being questioned as to
when he had eaten a square meal, he answered, humbly ‘I had a peanut
last week.’ It was side-splitting--it was heartbreaking.”

Mr. Bryant married Miss Ellen Fitzgibbons of St. Louis, Mo., in that
city, July 29, 1860.

Dan Bryant was born in Troy, N. Y., May 9, 1833; he died in New York
City, April 10, 1875.

[Illustration:

BEN. COTTON

TOM. WATERS

BARRY MAXWELL

HARRY G. RICHMOND

CHAS. M. ERNEST

NEIL. ROGERS

STUDIES IN BLACK AND WHITE.]

JOHN HART, jolly “fat” John Hart, as he was universally known, first
appeared professionally in 1854 as a member of Eisenbeice’s Minstrels;
the company stranded in Syracuse, N. Y., and that was the end of
Eisenbeice.

Some time later he was stock comedian at Trimble’s Varieties in
Pittsburg, Pa.

His first New York appearance was at Josh Hart’s Comique in 1869. In
1871, Hart, Ryman and Barney’s Minstrels were organized.

Mr. Hart also was with Haverly; Kelly and Leon; Morris Bros., and other
first-class minstrel companies.

In 1888 he was the original Hiram Pepper in the “Two Sisters” Company.

In September, 1887, he was one of the organizers of (Wm. Henry) Rice,
Hart and (Add) Ryman’s Minstrels.

He toured with the “Two Johns” for three years.

John Hart was screamingly funny in the old-time nigger acts he used to
do with Arthur Moreland at various times.

He also played an engagement with Augustin Daly in the play of the
“Royal Middy.”

John Hart was born in Monongahela City, Pa., July 10, 1833; he died in
New York City, June 4, 1904.

J. G. H. SHOREY was one of the early minstrel proprietors and comedians.

The first record of Mr. Shorey’s career as a black-face performer was
in his father’s barn at the age of nine years; pins were the admission
fee, and it is said that no one ever complained of being stuck. A few
years later he joined a dramatic company, and later a circus; after
that came Shorey’s Southern Minstrels.

In the middle 50’s he formed an alliance with Duprez, Carle and Green,
playing for a few seasons under the firm name. In later years he
was identified with several prominent organizations in an executive
capacity, as well as playing the variety theatres.

Mr. Shorey is reputed to have been the proprietor of the first Dime
Museum ever opened in Boston.

J. G. H. Shorey was born in Great Falls, N. H., April 10, 1833; he died
in Lynn, Mass., May 23, 1886.

CHARLES F. SHATTUCK was one of the oldest and most noted of minstrel
bassos. He was the author of the song, “One Hundred Fathoms Deep,” and
had made many beautiful minstrel arrangements.

He had been associated with such well-known minstrel organizations as
Newcomb’s; Buckley’s; Simmons and Slocum’s; Geo. Wilson’s and numerous
others. Mr. Shattuck died in New York, November 29, 1905; age 69 years.

NED DAVIS was an old-time comedian; it was his company, known as the
Olio Minstrels, that were the first to perform on the steamer “Banjo,”
giving their first performance at Lawrenceburg, Miss., October, 1855.
Mr. Davis traveled with his minstrel company for many years, also
appearing with other companies at times, notably Campbell’s Minstrels
in New York, with whom he opened July 6, 1863.

He died at Mott Haven (New York City) June 29, 1872; age 48 years.

EDWIN BOOTH, the great American tragedian, in 1850, at the court-house
in his native town, gave an entertainment in which he blackened his
face and sang negro songs, accompanied by the banjo and bones. This was
one year after his dramatic debut in Boston.

Edwin Booth was born in Belair, Md., November 13, 1833; he died in New
York City, June 7, 1893.

TOM LESLIE, once prominent as a bass singer with Morris Bros., Pell
and Trowbridge’s Minstrels in Boston, was the father of Eddie and Joe
Leslie; the former, well known as a mimetic comedian, and the latter
long associated with Cohan and Harris’ attractions.

Mr. Leslie was born in Halifax, Nova Scotia, December 29, 1833; he died
in Boston, Mass., June 6, 1899.

CHARLEY LEWIS, an old-time comedian who was with William Christy’s
Minstrels in 1860, and who married Miss O’Keefe, of Portage City, Wis.,
at Milwaukee, July 20, 1861; died at Portage Lake, Wis., November 28,
1864; age 31 years.

JOHN H. DULEY was a well-known comedian half a century ago; his
“Old Bob Ridley” is said to have compared favorably with the best
performances of that favorite old-time act.

He had been with Hooley and Campbell’s Minstrels in New York in 1861,
and went to England with Rumsey and Newcomb’s Company that same year.

July 10, 1859, he married Mrs. Mattie Robinson, an actress.

John H. Duley was born in Philadelphia, Pa., 1834; he died in London,
England, May 31, 1864.

FRANK HUSSEY was a well-known comedian and versatile performer.

His operations were chiefly confined to California and foreign
countries.

His first appearance was with a minstrel company known as the “Sable
Brothers,” in 1848. There is practically no country on the globe that
Hussey has not appeared in.

He was born in Nantucket, Mass., October 26, 1834; he was last heard of
as a member of Leslie’s Anglo-American Minstrels in Africa, July 30,
1883.

BILLY CHAMBERS, an old-time banjoist and comedian, was with Sam
Sharpley’s Minstrels, in 1865, and played his last engagement, about
1870, with Sam Sanford; he died in Philadelphia, September 7, 1879; age
45 years.

HARRY ROBINSON (Bishop), famous in minstrelsy as the “Man With the
Silver Horns,” came to the United States about 1861, and subsequently
appeared with George Wood’s Minstrels as a cornetist; later he was with
Cal. Wagner’s Company.

About 1870 he organized Harry Robinson’s Minstrels, and toured for
several seasons. He was an excellent musician, and was married three
times.

Mr. Robinson was born in England; he died (suicide) at Bloomington,
Ill., May 5, 1889; age 55 years.

CHARLES L. CHURCH was a prominent balladist of the 60’s and 70’s.

For many years he was actively associated with Sharpley’s, and Morris
Bros. Minstrels.

A son of the same name is also a well-known vocalist.

He was born in England, and died in Cambridge, Mass., June 4, 1910; age
76 years.

JAMES WAMBOLD was a brother of Dave Wambold, and achieved prominence as
a banjoist. His first appearance was in his native city with a local
minstrel troupe in the early 50’s.

Subsequently he played on the “Floating Palace”; Backus’ Minstrels, and
Mrs. Matt. Peel’s Minstrels, in 1861.

Mr. Wambold was an expert whistler and gave imitations of birds and
animals, accompanied by the banjo. He played many engagements with
circuses, and it was while with one of these in the Spring of 1875 that
he received injuries that compelled his retirement from the profession.

James F. Wambold was born in Newark, N. J., March 4, 1834; he died
there June 15, 1901.

JOHN L. CARNCROSS, famous for his long association at the old Eleventh
Street Opera House in Philadelphia, was one of the greatest singers in
minstrelsy; his voice, a pure tenor, is yet recalled by many of the old
residents of the Quaker City. Originally he appeared at the various
concert halls in his native city as “Billy” Warren.

On January 4, 1858, he made his first appearance with Sanford’s
Minstrels at the latter’s theatre in Philadelphia. Mr. Carncross
continued there until the Spring of 1860, when the season having
closed, with Sam Sharpley he organized Carncross and Sharpley’s
Minstrels in the same city at the Continental Theatre, which was on the
present site of the Casino Theatre, and gave their first performance
August 22, 1860; after playing a few weeks they left there and
reappeared October 1.

April 14, 1862, Mr. Carncross and E. F. Dixey opened there under the
firm name of Carncross and Dixey’s Minstrels, and continued as such
until April 18, 1871, when the regular season closed; this was followed
by a supplemental tour, which terminated on June 17, on which date Mr.
Carncross retired from the firm, and entered the mercantile business.

Mr. Dixey subsequently also retired from the company, but on September
1, 1873, Carncross and Dixey’s Minstrels again opened.

Dixey retired permanently in 1878, and Mr. Carncross continued there
until January 25, 1896, as Carncross’ Minstrels, on which date he
finally retired to private life at his residence in the city of his
birth.

John L. Carncross was born in Philadelphia, about 1834.

R. JEAN BUCKLEY (Alexander W. Moody), one of the good old-timers, made
his first appearance at the old Marshall Theatre, Richmond, Va., in
October, 1847, as a ballad singer. The following year he joined Joe
Sweeney’s Minstrels, and at that time he was not only the youngest
living banjo player, but one of the very few living players.

Mr. Buckley was many years stage manager at the Odeon Theatre,
Baltimore, Md., and for twenty-two years he was associated with Tim
Morris, though he also worked with some of the best comedians in the
country.

[Illustration:

J. W. RAYNOR

JERRY BRYANT

CAMPBELL’S MINSTRELS (1848)

The original company was organized in June, 1847. Jerry Bryant and J.
W. Raynor were two of the original company. The other photos represent
minstrel scenes of that day.]

While Mr. Buckley was probably best known in minstrelsy, he also
traveled extensively with several prominent dramatic and circus
organizations. He is a skilled general musician, but was well known
for his performances on the banjo and guitar; as an interlocutor and
“straight” man, he ranked high.

Mr. Buckley retired from active theatricals in 1907, after sixty years
of active theatrical life; truly a remarkable record.

R. Jean Buckley was born in Williamsburg, Va., November 24, 1834.

BILLY CARTER was not the father of the banjo, but he adopted it at an
early age, and has had it in his possession ever since.

Mr. Carter first appeared in New Orleans as a performer, in the early
60’s; he did black and white-face business at three dollars per
evening, which wasn’t bad for a raw amateur. In 1865 your Uncle Bill
sat in the middle and played the banjo with the Louisiana Serenaders;
this was his first minstrel troupe, and “Codfish Aristocracy” was the
soul-inspiring ballad that stirred his auditors.

After the affair in which he sang about the “Finny 400,” he joined
the Great Western Opera Bouffe Company; this sounded good enough for
a four years engagement, but the truth of the matter is, it flopped
in Lynchburg, Va., in _nearly_ four years less than that time;
subsequently Mr. Carter and dear departed Luke Schoolcraft (who was a
member of the company) arrived in Philadelphia in somewhat distressed
financial circumstances; fortunately our banjo comique had a relative
in the Quaker City; an _uncle_, I believe, and hunting him up, he took
a violin and showed it to him. * * * With this 85 cents they arrived in
New York (Mr. Great Western had considerately purchased transportation
to the metropolis), and shortly after, he secured an engagement at
Hooley’s Minstrels in Brooklyn, where he met with instant success.

His next important minstrel engagement was with Simmons and Slocum in
Philadelphia, where he opened February 16, 1874. In 1878 he joined
Haverly’s Minstrels in Chicago; two years later he engaged with the
latter’s Mastodons for the London invasion, but William was a bad
sailor, and at the last minute renigged. Subsequently he appeared with
Thatcher, Primrose and West’s and with Barlow, Wilson & Company’s
Minstrels.

Mr. Carter was several years with Harrigan and Hart’s Company in New
York; with this company he originated the famous “Skidmore Guards,”
that had such a vogue for a long time. He has played all the principal
_variety_ houses, and most of the prominent vaudeville theatres. Will
somebody please notice this nice distinction?

Billy Carter was born at Parish St. Bernard, La., December 16, 1834.

FRED ABBOTT, a well-known and clever female impersonator, associated
for several seasons with Hooley’s Minstrels in Brooklyn, Chicago, and
the road tours; died in Boston, Mass., May 28, 1871; age 37 years.

TIM. MORRIS, an old-time performer who achieved recognition for his
delineation of the plantation “darky,” was with many minstrel troupes
prior to his death in Providence, R. I., March 6, 1880. He was about 46
years of age.

“FATTY” STEWART (J. S. Crossy), famed for many years as one of the
original “Two Johns,” made his first professional appearance in New
York in 1848 as a comic singer.

About two years later he was a member of the Sable Harmonists. In 1854
he launched Stewart’s Minstrels; and in 1873 he played an engagement
with Sam Hague’s Minstrels in Liverpool, England. Mr. Stewart was the
author of many black face sketches, all of which have had considerable
vogue. He also built or managed several theatres, notably in St. Louis,
Providence and Philadelphia. Mr. Stewart died in St. Louis, Mo., May
23, 1905; age 71 years.

JOHN PAUL CROCKER was one of the proprietors of Moore, Crocker, Ritter
and Hamilton’s Minstrels, who gave their first performance at Chester,
England, November 14, 1864.

Mr. Crocker was a good comedian and well liked personally; he continued
as a partner of the organization up to the time of his death.

John Paul Crocker was born in the United States; he died in London,
England, December 17, 1869; age 35 years.

AYNSLEY COOKE, who was well and favorably known in operatic circles,
was a prominent singer with Bryant’s Minstrels in New York City in 1861.

He was born in London, England; he died in Liverpool, England, February
16, 1894; age 60 years.

FRANK WELLS (Bernard Mundy) was a well-known and capable female
impersonator.

He was for a long time with Morris and Wilson’s Minstrels in St. Louis,
also with Charley Morris and Add Weaver’s Company, in 1863; later he
was with LaRue’s Minstrels.

He died in Brooklyn, N. Y., April 25, 1874; age 39 years.

D. C. LARUE, a well-known minstrel manager, who had his own companies
in the 60’s, and during the same period was associated in minstrel
ventures with J. B. Donniker, Tom Prendergast, Archie Hughes and Cool
Burgess, died in Charleston, S. C., March 15, 1875; age about 40 years.

“HANK” GOODMAN, the old-time comedian, was a member of Gorton’s New
Orleans Minstrels for many years.

In 1887 he retired, and later assumed the management of Goodman’s Opera
House in Friendship, N. Y., continuing there until his death, which
occurred in that city May 14, 1908.

NELSE SEYMOUR (Thos. Nelson Sanderson), made his first appearance
in his native city as a clown in a circus. His initial black-face
appearance was in the same city in 1861 as a member of Kunkel’s
“Nightingales,” a prominent minstrel organization, with whom he
remained the season.

The following year he joined Bryant’s Minstrels in New York; January
26 following he opened with Wood’s Minstrels, same city. He rejoined
Bryant’s in 1863, and continued with them until the Fall of 1866, when
he became a member of Kelly and Leon’s Minstrels, also in New York; he
remained until May, 1868.

That same month he again joined Bryant’s, and a few weeks later went to
England, where he opened with Moore and Crocker’s Minstrels. November
23, 1870, found him back to Bryant’s, where he continued until his
death.

Mr. Seymour was exceedingly tall, and correspondingly slender, and in
the various acts in which he worked with Dan Bryant he was very funny.
He was equally at home, sitting on the end or in the middle on the
first part.

Nelse Seymour was born in Baltimore, Md., June 5, 1835; he died in New
York, February 2, 1875.

MATT THOMPSON, a good general performer and “Essence” dancer, who was
with Mrs. Matt. Peel’s Minstrels in 1861; died in New Orleans, La.,
August 21, 1867; age 32 years.

M. T. SKIFF was a well-known and prominent manager of minstrel
companies. He organized a company bearing his name September 26, 1863,
at Alexandria, Va. In November the following year, with Low Gaylord, he
formed Skiff and Gaylord’s Minstrels, and as such traveled for several
seasons.

Mr. Skiff formed a partnership with Eph. Horn and Walter Bray in
August, 1869, and gave minstrel performances for a brief period. In
1871 Mr. Skiff called his company the “Albinos.” He later deserted the
minstrel field, and for several years traveled in an executive capacity
with legitimate attractions.

M. T. Skiff was born in New Bedford, Mass.; he died in Baltimore, Md.,
June 13, 1890; age 55 years.

THE FAMOUSLY FUNNY LEE DINNER, as told by the late W. J. Florence to
_Seen and Heard_; Philadelphia:

“Philip Lee,” said he, “was the husband of the beautiful and gifted
Adelaide Neilson, since whose death we have never seen a Juliet upon
the stage to equal her. Lee was the son of an English clergyman, and
in demeanor and apparel was a gentleman. He accompanied his wife to
this country, not as her business manager, but simply as her husband.
He was a harmless, pleasant, gentlemanly fellow, with but little
knowledge of American ways. It is not true, as has frequently been
stated, that he knew so little of this country that he expected to
see buffaloes plunging down Broadway and Indians tomahawking people
in Central Park, New York, nor was his astonishment at the absence
of such surprising adventures the inspiring cause of the joke of
which he was made the victim. Its inception was in this way: At
the time Lee was in New York City, in the Fall of 1877, he was a
patron of the Fifth Avenue Hotel, where I was also staying, as I had
been for years, and Mr. Sothern was quartered at the Gramercy Park
Hotel. One night the three of us met at the Lotos Club, which was
then far down town, and, as we were about leaving there, Sothern and
myself, desiring to pay the Englishman some attention, invited him to
accompany us to the old chop house kept by George Brown, and there
have a bite and sup before going to bed. We walked up Fifth Avenue
together, and, as we were opposite the Glenham Hotel, our attention
was attracted by a disturbance across the way, evidently caused by a
brawl between a policeman and some jovial young blades. Lee, who was
very curious about everything he saw, exclaimed, ‘Bless me! what’s
that?’ Mr. Sothern replied in the most nonchalant manner, as he
continued walking on, ‘Oh, only another dead man.’

[Illustration:

BOB. SLAVIN

ED. H. BANKER

“HAPPY” CAL WAGNER

BURT. HAVERLY

SAM. HAGUE

EUGENE STRATTON
(1878)

JOHNNY SHAY

M. T. SKIFF

JOHN W. THOMPSON

A GROUP OF GENUINES.]

“‘Another dead man!’ gasped Lee; ‘Lord bless me, what do you mean?’

“‘Oh, that’s nothing,’ exclaimed Sothern, with a wave of his hand;
‘I stumble across them every night on my way home. They are killing
men around here all the time. I trip over them, but pay no attention
to them, but keep right on my way home. I don’t care to be summoned
as a witness before the Coroner every day of my life.’ ‘Bless me!’
exclaimed Lee; ‘what a remarkable country!’

* * * * *

“We finally reached Brown’s, and, having secured a table, we ordered
chops and ale. Sothern and myself had not prearranged any joke upon
our guest, but he had given me a wink, which I knew meant mischief,
and I was ready to play second to any part he proposed performing.
While we were eating, Sothern suddenly reached over and placed his
fork in one of my chops, attempting to remove it to his plate. I
prevented this by the insertion of my own fork, and then said, in
calm but determined tones, ‘Ned, I don’t like that,’ to which Lord
Dundreary responded, but not in the feeble tones of that stuttering
stage nobleman, ‘Mr. Florence, I don’t care whether you like it or
not; I want that chop!’

“With that I sprang upon him with uplifted knife and grabbed my
dearly beloved friend by the throat, and he seized me in a similar
way, while he apparently made desperate efforts to cut my jugular
vein. In the melee which ensued the table was upset, and chops, ale,
dishes, knives, forks and all the other appurtenances descended upon
poor Lee in a shower. Brown, the proprietor of the establishment, who
knew us both intimately, rushed forward and separated us, and at his
solicitation, he thinking we were entirely in earnest, we finally
shook hands and renewed our vows of eternal friendship upon one
another’s bosoms.

* * * * *

“That was the inception of the famous Lee dinner hoax. Sothern
came to me afterward and said he desired to give the Englishman a
dinner at the Gramercy Park Hotel, in order to introduce him to the
customs of the great American people, and said that the only part
he desired me to take in it was to be sure that Lee should be on
hand at the appointed hour, which was noon of the following Sunday.
To this I agreed. I knew, of course, that some sort of a joke was
to be perpetrated upon Miss Neilson’s husband, but I pledge my word
that I was not fully let into the secret, and was not advised of
the programme. At the designated time I escorted Lee to the banquet
room, which was on the first floor in the rear of the hotel office. I
found out afterward that by special arrangement with Mr. Judson, the
proprietor, the doors and windows had been well padded and covered
so that no noise within could reach beyond them. The apartment was
lighted with wax candles. Those assembled were John McCullough,
Harry Montague, J. S. Polk, Charles Gaylor, all of whom had achieved
fame upon the stage; Dan Bryant and Nelson Seymour, the most famous
negro minstrels of their day; Commodore Dickinson, of the New York
Yacht Club; George Brown, of the chop house, which bore his name; a
gentleman named Cooper and, of course, Sothern, Lee and myself. None
other than these was present.

* * * * *

“The oysters had been disposed of,” continued Florence, “and the soup
had just been placed on the table, when Charley Gaylor arose, and, in
very impressive tones, spoke about as follows: ‘Gentlemen, I think
this is a most auspicious occasion to bring about peace between two
men who, while strangers, were once devoted friends. I do not think
that rancor could exist in any heart at a gathering of this kind. To
be sure, it may ill become me to act the part of a peacemaker, for,
while it is true I have shed human blood, that my right hand has been
red with, the gore of another, it must also be borne in mind that
I was triumphantly acquitted of the offense, and that a jury of my
peers said that I had acted only in self-defense.’

[Illustration:

DAN BRYANT
AND
NELSE SEYMOUR.]

“You can readily imagine that this took the breath out of my friend
Lee, who had been seated upon my left. He whispered to me, ‘What has
he done? Did he kill anyone?’ I looked at him warningly, and put a
finger on my lips as I whispered back, ‘Sh-h-h! It was nothing; only
his mother!’ I heard him mutter, ‘My God!’ as he shrunk in his chair,
and then he leaned toward me and whispered, ‘Of whom is he speaking?’
As I didn’t know myself, I couldn’t well tell him, but I warned him
off by saying, ‘You will learn it all in a moment. His words might
apply to any two men about the board, because every fellow here has
killed his man.’

* * * * *

“Just then Gaylor threw light upon the subject by saying, as he
pointed with one hand to that clever negro minstrel, Dan Bryant, and
the other toward that equally famous delineator of cork humor, Nelse
Seymour, ‘Of course, gentlemen, it is hardly necessary for me to say
that I refer to America’s most famous poet, William Cullen Bryant,
and that equally distinguished gentleman, M. Seymour, the son of the
talented ex-Governor of the State of New York, Horatio Seymour, and I
now request that these two gentlemen shake hands across the table and
let the bloody feud which has existed between them end here!’

“I had scarcely time to give an affirmative reply to Lee’s whispered
inquiry. ‘Is that really William Cullen Bryant?’ when there ensued
the most remarkable scene which I ever witnessed in my life. I
cannot, even after many years have elapsed, think of it without the
tears of laughter coming to my eyes. Seymour was a man over six feet
in height, and with legs the length of which were absurdly out of
proportion to the rest of his body. He appeared to be split up almost
to his neck. One of his most famous feats upon the minstrel stage
was to suddenly throw one of his feet about a man’s neck and draw
the other fellow toward him. Upon this occasion Bryant, in obedience
to Gaylor’s summons, had reached forth his right hand, when Seymour
suddenly threw that dreadful right leg of his across the table,
caught his friend and fellow-minstrel by the back of the neck, drew
him toward him and hit him squarely between the eyes. In another
instant both men were on top of the table amid the soup dishes, and
were snarling and biting and tearing at one another like a pair of
bulldogs. Cooper and Dickinson, who were not in the secret, became so
alarmed that they got under the table, while I could only hold Lee in
his chair by main force. In the midst of the contest the table upset
and the poor Englishman was almost drowned in soup. While Bryant
and Seymour were making a mockery of struggling beneath the debris,
Seymour, by wetting his fingers of one hand, secured a quantity
of blacking from one of his shoes, and with this gave himself the
semblance of a black eye. When some appearance of order had been
obtained a truce was patched up between the combatants, and, after
Seymour’s blackened eye had been bandaged, they were induced to shake
hands, whereupon the other members of the company, who were in the
secret, exclaimed admiringly, ‘Once a gentleman, always a gentleman!’
and declared that ‘a true American gentleman can always be told by
his willingness to settle a little difference amicably.’

“Lee whispered to me in tremulous indignation, ‘This is most
shameful!’ to which I replied, ‘I don’t see how you say that. There
was no one killed.’ Thereupon he amended his remark by saying, ‘At
least, it was most unfortunate. I am dreadfully sorry it occurred.’

[Illustration:

MATT. WHEELER

DAVE WILSON

WILL COX

CLARK GIBBS

HARRY W. SMITH

WILL LAVAKE

“Wheeler & Wilson,” “Will Cox & Gibbs,” and some “Singers”; nearly all
“Domestics.” Try to play this on the machine.]

* * * * *

“The table was got in shape again, and things moved along smoothly
and pleasantly for some time, until Polk and Sothern became engaged
in apparently a very angry and excited dispute about the merits of
the North and South, in the midst of which Mr. Sothern suddenly arose
to his feet, and, drawing a revolver, fired it directly over Polk’s
head. Immediately a scene of the wildest excitement ensued. In less
than twenty minutes twenty shots from revolvers had been fired across
the table. Polk, Gaylor, McCullough, Montague, Seymour, Bryant and
Sothern were not only firing blank cartridges from revolvers, but
were brandishing huge knives over one another’s heads. Dickinson,
Cooper and Brown had by this time discovered the affair was a joke
and simply added to the tumult. The terror of the Englishman was
almost pitiable. He begged to be allowed to go, but his friends were
so thoroughly in love with him that they would not let him depart.
There was upon the table at this particular juncture a large dish of
asparagus, covered with drawn butter, and most of the combatants, who
were crawling across the table to carve one another’s hearts out,
managed to get their hands into this mess, and, while thus besmeared,
they could take turns in jumping around to where I was holding Lee
in place, and, bringing their palms down upon his shoulders, would
beg of him to be seated and assured him that the difficulty was
simply a trifling one, and that they would regret it to their dying
day should he leave them. So frequent were these expressions of
hospitality that Lee was smeared from head to foot with drawn butter.
I shall never forget the spectacle that the lamented John McCullough
presented on that occasion. Having fired his revolver, he drew a long
Roman sword from his boot, and, with a swirl, cut off the neck of a
champagne bottle as if he were decapitating a foe, and then waving
it threateningly over the heads of Lee and myself, he exclaimed,
‘Why does not the gallant Florence stand by his friends? Where is
his revolver to-night? I have traveled with him through the West,
and then he never went without his arsenal and scarcely a day passed
without his killing a man.’

* * * * *

“In the midst of the fracas, Seymour, who had temporarily
disappeared, appeared in the doorway attired in a white hat and
apron, which he had procured from the hotel chef, and announced that
the landlord declared that the entire party must vacate the room. He
had not finished his speech when everything on the table, including
even the large, heavy dishes, was hurled at him, and it is really
a wonder that he escaped the shower unhurt. By this time everyone
in the room, and especially the Englishman, was a lamentable sight
to behold. Each one was smeared and crushed and tumbled and torn
from head to foot. Lee could stand it no longer. He got on his feet
finally and managed to say that while he had heard such scenes as he
had witnessed were enacted in the purlieus of the great cities of
America, he was astounded and disappointed to find that they were
the custom among gentlemen, and further said that he would have to
leave to keep a dinner engagement. It was 4 o’clock. I escorted him
to the street and put him in a carriage to conceal his dilapidated
condition. When we came to settle for this little joke, we found that
our bill was $600. The item for breakage alone amounted to $80.”

Men will sometimes become boys again; and very silly boys.

* * * * *

Note.--Mr. Florence was in error in giving the date of the foregoing as
the Fall of 1877. Dan Bryant died in the Spring of 1875.--Author.

CHARLES MELVILLE was of late years best known as a manager and agent,
but in his earlier days achieved considerable fame as a balladist in
minstrelsy.

As early as May 1, 1856, he was with Raynor’s “Christy” Minstrels, and
in November, same year, he was a member of Turner’s Southern Serenaders.

The following year he was with Mrs. Matt. Peel’s Minstrels in the
Summer; in November, 1860, Charles Melville’s Minstrels were on tour.

October 14, 1861, he began a brief engagement with Fox and Sharpley’s
Minstrels in New York.

In an executive capacity he was associated among others with Col. T.
Allston Browne and Shook and Palmer.

In February, 1894, Mr. Melville occupied the position as ticket taker
at the Arch Street Theatre in Philadelphia, at the opening of that
theatre in a revival of old stock plays by George Learock.

Charles Melville died in Newark, N. J., July 10, 1901; age about 65
years.

LEW. MEYERS (Buhmeir), is a name that is practically unknown to
minstrel lovers of to-day; yet to him belongs the credit of being
the original “musical moke,” long familiar to variety and minstrel
_habitues_. His first performance of the act was given in Newark, N.
J., during the season of 1852-53.

He was likewise the first to perform the harmonica on the stage. He
went to Europe in 1866 with Hussey, Sweney and Felton’s Minstrels.
His last appearance was at Los Angeles, Cal., January 27, 1874,
where he gave an entire evening’s entertainment of one and a half
hours’ duration, during which he performed on twenty-six different
instruments; and on one occasion four at one time.

Lew Meyers was born in Minden, Prussia; he died in Pottsville, Pa.,
July 11, 1875; age 40 years.

JAKE BUDD (Zebley), the old-time comedian, was with Buckley’s
Serenaders in England, about 1855; subsequently with Dan Howard
he ran Canterbury Hall in Harrisburg, Pa., for several years; in
1862 he rejoined Buckley’s; he also directed minstrel companies in
Baltimore and Washington. In 1872 he was part owner of Brant’s Hall
in Harrisburg, Pa.; in 1874 he was stage manager of the Comique in
Washington, D. C.; subsequently becoming the manager.

The distinction of bringing before the public that famous song and
dance team, Welch and Rice, in the 60’s, belongs to Mr. Budd, and while
it has been said that he was the first to do a monologue in minstrelsy,
the writer has no means of substantiating the assertion.

Jake Budd was born in Philadelphia; he died in Washington, D. C.,
October 11, 1888; age 53 years.

J. K. CAMPBELL (John Kelly), celebrated as a banjoist and comedian,
made his first appearance at Wright’s Music Hall in New York City, in
1846, as a youth, and playing under his own name. About 1851, George
Lea, the well-known variety manager, suggested that Kelly take the
name of Cameron, the same as the prominent theatrical printer; a
typographical error made it appear Campbell; and as Campbell it always
remained, except for a brief period in 1859 and 1860, when he was with
George Christy’s Minstrels at Niblo’s Saloon in New York; here he sat
on the opposite end to Christy, and was on the programme as J. K.
Edwards.

In 1870, he was a prominent member of Hooley’s Minstrels, in Brooklyn,
N. Y., and when Hooley opened in Chicago on January 2, 1871, Mr.
Campbell went with him; with this company he did a song and dance with
John Hogan, of Hogan and Hughes; the latter being unable to play on
account of illness.

He was many years associated with the late “Fatty” Stewart, and
identified with such prominent organizations as Moore and Burgess, in
London, England, and Buckley’s, in Boston, where he opened in August,
1864.

Mr. Campbell was one of the great cards of minstrelsy; as a banjoist
he ranked with the best; his “Essence of Old Virginny” was A1; he was
versatile to a degree, and wrote several sketches, amongst them “The
Rival Lovers” and “The Lawyer’s Clerk.”

Miss Fanchon Campbell, the talented young actress of the present, and
who was a clever child actress at the time of Mr. Campbell’s death, is
a daughter of his.

J. K. Campbell was born in New York City, 1835; he died in Pittsburg,
Pa., February 6, 1878.

JOE. BUCKLEY (Timothy Clancy), was a good general black-face performer.
In 1857, he was with G. N. Eldridge’s Great Southern Circus, and for
many years was associated with that style of entertainment.

In his earlier days he was associated with Joe Chatfield and Harry
Wells. Mr. Buckley, likewise, was in the stock at Tony Pastor’s at 585
Broadway, New York City, also with Harrigan and Hart’s Company. At the
time of his death he was not engaged in his profession.

Joe. Buckley was born in Philadelphia, September 7, 1835; he died in
New York City, July 19, 1884.

CHARLES HENRY, one of the oldest ballad singers in minstrelsy, was
living as late as 1886; he is said to have died in England.

CHARLES TEMPLETON (Broughton). This well-known popular vocalist of
minstrelsy, began his career in Dundee, Scotland, in 1857, with Tom
Lee’s Minstrels; other succeeding European engagements were with the
Pelham Bros.’ Minstrels and Templeton’s African Opera Troupe, the
latter in the Spring of 1859; it was here that he took the name of
Campbell, emulating the distinguished Sher. Campbell.

In the Fall of 1859 he came to America and was engaged by Dan Bryant
for Bryant’s Minstrels, at 472 Broadway, New York City; at the
suggestion of Bryant, he took the name of Glendale, so as not to
conflict with Sher. Campbell, a warm personal friend of Bryant’s.

Late in 1859 he joined Sanford’s Minstrels in Philadelphia, resuming
the name of Campbell; he remained there three years. Subsequently he
became a member of the following well-known minstrel organizations:
Hooley’s, in Brooklyn; San Franciscos, in New York, six years; a second
and third engagement at Bryant’s, also Hooley’s; Geo. Christy’s, one
year; Barlow, Wilson, Primrose and West’s; Cotton and Reed’s; Cool
Burgess’; Carncross, in Philadelphia; Neil Bryant’s and Cleveland’s.
Also with such operatic companies as Pauline Hall’s, and E. E. Rice’s;
his last engagement was with Camille D’Arville Company, about 15 years
ago.

Charles Templeton was born at South Kirby, England, January 1, 1835.

[Illustration:

JAS. HOLDEN

E. N. CATLIN

FRANK CARDELLA

BOB. HALL

EDDIE FOX

W. S. MULLALLY

E. J. CORNU

J. B. DONNIKER

CHAS. HUNNEMAN

SOME LEADING LEADERS OF MINSTRELSY.]

DENMAN THOMPSON, famous for many years for his unique characterization
of Joshua Whitcomb, in the “Old Homestead,” sat on the end with a
minstrel show many a time over 50 years ago; and at the Royal Lyceum,
Toronto, Canada, February 6, 1857, he played Uncle Tom, in “Uncle Tom’s
Cabin.”

“HANK” PARMLEY, the well-known old-time minstrel agent, died in Newark,
N. J., May 7, 1902; age 67 years.

NEIL BRYANT (Cornelius A. O’Brien), was the youngest and the last
of the three famous brothers of his name that organized Bryant’s
Minstrels, in 1857.

Oddly enough, less is known about the early career of Neil Bryant than
either of his brothers.

The earliest authentic record obtainable by the author is at the
American Hall, Hartford, Conn., June 25, 1851, as a member of Ordway’s
Aeolians, a famous Boston organization; it is highly probable that
Mr. Bryant was with this company prior to the above date in the
Massachusetts metropolis.

He continued with Bryant’s Minstrels in New York until the death of
his brother Dan, April 10, 1875; subsequently he organized Bryant’s
Minstrels, and gave intermittent performances on the road for a period
of about seven years. In 1851, the programme gave Neil Bryant as giving
an accordeon solo; in later years he was almost exclusively identified
with his performance on the flutina.

About 1882 he secured a government position in Washington, D. C., which
he retained until two years prior to his death.

July 11, 1859, Mr. Bryant married Miss Gertrude E. Ransom.

Neil Bryant was born in Keesville, N. Y., 1835; he died in Brooklyn, N.
Y., March 6, 1902.

JOE. MURPHY (Wm. L. Murphy). It is pretty well known to theatre goers
in general, that Mr. Murphy’s early career was spent as a minstrel in
California, where he drifted in the 50’s.

As late as 1858 he was with the California Minstrels, with whom he was
associated many months in San Francisco.

In 1860 with Billy Birch, a company bearing the name of Birch and
Murphy’s Minstrels toured. In 1864 Murphy and (Walter) Bray’s Minstrels
were in existence. Mr. Murphy then came East, and with Ben Cotton
formed Cotton and Murphy’s Minstrels, opening at Fall River, Mass.,
about March 1, 1865.

In 1867 he again went West, and late that year was with Dan and Neil
Bryant’s Minstrels, in San Francisco. A few months later he joined
Morris Brothers’ Company, in Boston, and on April 20, 1868, made his
appearance in New York with Kelly and Leon’s Minstrels.

Once more did Mr. Murphy take Horace Greeley’s advice, and went West,
where in August, 1869, at Salt Lake City, Utah, with Johnny Mack,
organized Murphy and Mack’s Minstrels.

His first appearance as a legitimate performer was made in San
Francisco, September 16, 1867, as Pat Murphy in “The Happy Man.”

It was in New York City, May 8, 1871, that Mr. Murphy first produced
his play of “Help,” in which he impersonated a negro and other
characters.

Subsequently “Shaun Rhue” and “Kerry Gow” brought him name and fame, as
well as wealth.

Mr. Murphy married Miss Martha Shattuck in the early 60’s.

At San Antonio, Texas, November 11, 1909, he wedded Miss May Firmier,
an actress.

Joe Murphy was born in Brooklyn, N. Y., May 16, about 1835.

J. W. HILTON was one of the favorite bass singers in minstrelsy.

He was with Bryant’s Minstrels in New York, in 1860, and continued with
them intermittently for several seasons. In the Summer of 1869 he went
to Liverpool, England, with Smith and Taylor’s Minstrels, opening there
June 21.

J. W. Hilton was born in the United States; he died in Liverpool,
England, January 2, 1871; age 36 years.

JAMES UNSWORTH, or just “Unsworth” as he was more familiarly known,
was one of those rare performers who were concededly away ahead of the
times in which they flourished.

The word “great” may be truly applied to him, for while he excelled in
all he undertook, he was famous for his stump speeches, for his banjo
solos, and for his singing of Irish songs on the end, of which he was
one of the first.

His professional debut was made with Sanford’s Minstrels, in
Philadelphia, August 10, 1857; he continued there until January 2,
1858, when he left and joined Bryant’s Minstrels in New York that same
month. After a few months with that company he went with Matt. Peel’s
Minstrels for a road tour, and opened with them in New York, October 5,
1858; a few weeks later the company was known as Sniffen’s Campbell’s
Minstrels, with whom Mr. Unsworth continued for several weeks.

December 6, he rejoined Bryant’s for the season; again opening there
the following Fall; he left September 19, 1859, and later joined
Anderson’s Minstrels, which had a brief existence. Early in 1860 he
opened with Hooley and Campbell’s Minstrels: here he met “Eugene,” and
a business alliance was formed which continued uninterruptedly until
death intervened, fifteen years later.

He closed with Hooley and Campbell in New York City, January 26, 1861,
and with “Eugene” and J. B. Donniker organized Unsworth’s Minstrels. A
few months later he sailed for Europe, and subsequently joined Rumsey
and Newcomb’s Minstrels in Liverpool; later going to Germany with them.
Mr. Unsworth remained abroad playing the Music Halls, also a long
engagement with Wilsom and Montague’s Minstrels, until the Spring of
1868, when he returned to America, and again joined Bryant’s Minstrels
in New York: he remained two years.

In the Fall of 1870 he joined Hooley’s Minstrels in Brooklyn, N. Y.,
and later went with that company to Chicago, opening January 2, 1871,
for the balance of the season.

Unsworth’s Minstrels again took the road, opening September 2, 1871,
at Paterson, N. J.; December 18, he returned to Hooley’s, in Brooklyn,
N. Y. In 1872, he was successively with Moran and Dixey’s; and Moran’s
Minstrels in Philadelphia.

In the Spring of 1873 he joined Moran and Manning’s Minstrels, and in
the Fall of that year again became a member of Bryant’s Company in New
York for the season. Mr. Unsworth sailed for England in 1874, opening
with Sam Hague’s Minstrels in Liverpool in the Fall of that year; he
remained with the company until his death.

James Unsworth was born in Liverpool, England, July 2, 1835; he died
there, February 21, 1875.

MAZZELLAH AINSLEY SCOTT is one of the oldest, and at the same time one
of the youngest looking minstrels. Mr. Scott, who has a keen sense of
humor, gravely declares that he was born in Nashua, N. H., July 26,
1820; he looks 60.

Mr. Scott sometime ago told the author that he (Scott) made his first
appearance on the stage at the age of three years as the child in
“Pizarro”; then Mr. Scott had to catch a train, the author caught a
cold, but managed to get the following data:

In 1858 he was with the New Orleans Opera Troupe (a minstrel company),
the following year he was at Bryant’s Minstrels in New York; he has the
distinction of being the only one living who was on the programme the
night that “Dixie” was first sung, September 12, 1859.

Mr. Scott was in partnership with Cool Burgess in a minstrel show in
1867; the same year he was with LaRue’s Minstrels, also Lloyd and
Bidaux’s Minstrels.

In 1862 he was with Sanford’s Minstrels; in 1864 at the opening of M.
C. Campbell’s Minstrels, in New York, June 27. He was with the San
Franciscos, also in New York, and with Duprez and Green’s Company.

In 1884 he was with the opera of “Princess Ida”; in 1892 with Miss
Sidonie, as Scott and Sidonie played a sketch in vaudeville, called
“Roundsey, the Copper.”

Mrs. Ainsley Scott died May 31, 1867.

When last heard of, a short time ago, Mr. Scott was a pedestrian.

WM. H. BROCKWAY was a well-known interlocutor of minstrelsy. He was
with Morris Bros; Pell and Trowbridge’s Minstrels in Boston in the
Spring of 1859, and continued with them practically until July 27,
1861, when in conjunction with Charley Morris and Jno. E. Taylor, they
formed a minstrel company, opening in Gloucester, Mass., on the above
date.

Mr. Brockway joined Kelly and Leon’s Minstrels in New York early
in 1868, and continued with them about a year. He joined Bryant’s
Minstrels in New York about 1871, and remained with them until the
death of Dan Bryant, April 10, 1875.

Mr. Brockway joined Hooley’s Minstrels in Brooklyn about December 1875.
He had not appeared professionally for about ten or twelve years prior
to his death.

W. H. Brockway was born in New York; he died in Boston, Mass., May 25,
1888, age 53 years.

JOSEPH GORTON, SR., entered the theatrical business in 1854, and has
the distinction of being the oldest manager, in point of service, of
any man in the annals of minstrelsy.

Mr. Gorton assumed the management of the New Orleans Minstrels in
November, 1867; the company subsequently became known as Gorton’s
Minstrels, and as such has continued up until the present year.

Joseph Gorton, Sr., was born in Friendship, N. Y., February 21, 1835.

[Illustration:

“EUGENE”
(1858)

“THE ONLY LEON”
(1860)

ROLLIN HOWARD

FRED. DART

THEY WERE FAMOUS IN FEMALE FRIVOLITIES.]

O. P. SWEET, or Dr. O. P. Sweet as it is now, began his professional
career as a member of Mrs. Matt. Peel’s Minstrels in 1860; at that time
he was known as Tom Leslie.

The next four years were given to concert work. Mr. Sweet joined
Haverly’s Minstrels late in 1864; March 17, 1865, he opened with
Arlington’s Minstrels, in Chicago; two years later he was also with
Arlington. Another two years saw him a member of Buckley’s Serenaders.

April 17, 1871, he opened in New York with Newcomb and Arlington’s
Minstrels; a year later he was with Mike Leavitt’s Minstrels.

Dr. Sweet has been practicing his profession for many years, but is
always glad to recall “Auld Lang Syne.”

Dr. Sweet has passed the allotted three score years and ten--and some
more.

THEODORE JACKSON, the old-time interlocutor, who in his day was
prominently identified with many famous minstrel organizations, is said
to have died in Brooklyn, N. Y., a few years ago.

WILLIAM CASTLE (J. C. Reeves), the great operatic tenor, and long
prominent in musical circles in Chicago, was with several famous
minstrel organizations, notably Hooley & Campbell’s in 1860-61, and
George Christy’s in 1862. Mr. Castle was born in England, December 20,
1836; he died in Chicago, Ill., March 31, 1909.

JAKE WALLACE, the famous old banjoist and black-face performer, is said
to be living on a ranch in Southern California, in the neighborhood of
San Diego.

The author is willing to admit he envies Mr. Wallace.

S. S. PURDY was a well-known and prominent comedian; he excelled in the
song and dance of “Nicodemus Johnson,” and as early as February, 1868,
in a controversy, he claimed to have been the originator of it.

In 1867 he was co-proprietor of Purdy, Coes and Converse’s Minstrels,
and in 1872 of Purdy, Scott and Fostelle’s Minstrels.

In 1863-64 he was with Hooley’s Minstrels in Brooklyn, and in
1867-68-69 with Kelly and Leon’s Minstrels.

About February 1, 1876, he took out a company called the Purdy
Combination, which had a brief existence.

S. S. Purdy was born in Troy, N. Y., February, 1836; he died in
Chicago, Ill., March 1, 1876.

LOW GAYLORD (Lowrenzo Gaylord) began his theatrical career at the age
of twelve as a ballad singer with Green’s Circus.

In the early 50’s he organized Gaylord and Dupont’s Minstrels in
Philadelphia, where they remained for several years.

With M. T. Skiff they organized Skiff and Gaylord’s Minstrels, giving
their first performance in 1864, and continued as an organization
intermittently until 1878.

Low Gaylord was born in Westfield, Mass., January 19, 1836; he died in
Philadelphia, April 7, 1878.

JOHN P. OBERIST was a well-known vocalist, and as a Tyrolean warbler,
was one of the best.

His first theatrical appearance was with the Twilight Serenaders at
Erie, Pa., June 25, 1860.

In 1865 he opened with Kelly and Leon’s Minstrels in New York, and
continued with them about three years.

Subsequently he was with Newcomb’s Minstrels in 1869, and in 1870
joined the San Francisco Minstrels for the season.

Later he joined Harrigan and Hart’s Company in New York, where he
remained until his death.

He was born in Buffalo, N. Y., 1836; he died in New York, January 17,
1882.

E. N. SLOCUM was one of the best interlocutors and actors in
minstrelsy. His first appearance was with an amateur company in Warren,
O., in 1849.

About 1855 he played on the Steamer “Banjo” with Ned Davis’ Minstrels;
subsequently he was with Hooley, in Brooklyn, N. Y., Duprez and
Green’s; Skiff and Gaylord’s and Carncross and Dixey’s Minstrels in
Philadelphia, where he remained several years. August 29, 1870, he
opened with Simmons and Slocum’s Minstrels at their own theatre in
Philadelphia, where he continued until 1877, when he joined Carncross’
Minstrels in the same city, and remained several seasons.

About 1887 he joined Dockstader’s Minstrels in New York; this was his
last professional engagement, after which he entered the mercantile
business.

E. N. Slocum was born in Columbus, O., April 26, 1836; he died in
Philadelphia, October 17, 1895.

CHARLES O. WHITE, the great theatrical manager, who had at various
times theatres in Washington, Memphis, Nashville, New Orleans, Brooklyn
and Detroit, began his professional career in 1852 in Washington, D.
C., as a member of the Cosmopolitan Minstrels; later he was with the
famous Euterpians, and Sweeney and Parrow’s Minstrels.

Mr. White was born in Alexandria, Va., December 25, 1836; he died in
Detroit, Mich., January 2, 1889.

“EUGENE” (Eugene D’ Ameli) was one of the most wonderful artists in his
line that minstrelsy ever knew; his delineations of female characters
were so finished, so true to life, that the Germans in Berlin during an
engagement there in April, 1862, were emphatic in their declarations
that he was a woman.

“Eugene’s” debut was made with Wood’s Minstrels in New York, May 16,
1853; five months later, George Christy joined the company, which was
known as Wood and Christy’s Minstrels until May, 1858. Eugene continued
as a member all during this period.

Early in May, 1858, he went to California with George Christy, and
several others; they opened in San Francisco, June 7, under the
management of Tom Maguire. In January, 1859, he left there, under the
management of R. M. Hooley and George Christy; returning to New York,
he opened May 23, and continued until July, when he went on tour with
the company; they subsequently returned to New York, where on January
28, 1860, they disbanded.

On February 6, Mr. Eugene opened with Hooley and Campbell’s Minstrels
in Boston, at their inaugural performance there; with this company
he met James Unsworth, and the two formed a business alliance that
continued until the death of the latter, just fifteen years later.

Early in 1861, Eugene, Unsworth and J. B. Donniker organized Unsworth’s
Minstrels; they disbanded at Ogdensburg, N. Y., in the Spring; shortly
after, Eugene and Unsworth sailed for Europe. On August 5, 1861,
they opened with Rumsey and Newcomb’s Minstrels in Liverpool, Eng.;
subsequently they played through the provinces and Germany.

Later they returned to London, where they played the music halls for
three years; after which they joined Wilsom and Montague’s Minstrels in
Liverpool, and played there for four years; their last engagement there
was April 7, 1868. Mr. Eugene and his partner arrived in the United
States on April 28, and a few weeks later opened the season of 1868 at
Bryant’s Minstrels in New York, and continued there for two years.

In the fall of 1870 he joined Hooley’s Minstrels in Brooklyn, and on
January 2, 1871, when the latter opened in Chicago, Mr. Eugene was with
him, and continued for several months.

September 2, 1871, he opened at Paterson, N. J., with Unsworth’s
Minstrels at their first performance. December 18, they reopened with
Hooley’s Minstrels in Brooklyn, remaining several weeks.

February 26, 1872, he began an engagement with Moran and Dixey’s
Minstrels in Philadelphia, and remained until the end of the season.

In August he opened a three-months’ engagement at the Howard Athenaeum,
in Boston, and on November 25, joined Frank Moran’s Minstrels in
Philadelphia. At the conclusion of the regular season, the company went
on tour; it was known as Moran and Manning’s Minstrels, and “Eugene”
was a member of the company.

The season of 1873-74 was spent with Bryant’s Minstrels in New York;
in 1874 he went to England and opened with Sam Hague’s Minstrels in
Liverpool, where he remained until the death of his partner, February
21, 1875.

“Eugene” returned to New York the same year, and on September 13,
commenced a short season there with Cotton and Reed’s Minstrels.
November 15 he began an engagement with Carncross and Dixey’s company
in Philadelphia, and continued there for four years; the last season
the company was known as Carncross Minstrels.

June 4, 1879, he sailed for England for a period of much needed rest,
playing but a few engagements.

In 1881 he returned to America, and on October 17, he opened with
Emerson’s Minstrels in San Francisco, closing in January, 1882;
subsequently sailing for a Trans-Pacific trip with a variety company,
opening at Honolulu, May 13. The company disbanded in Shanghai,
China, in August, and “Eugene” returned to the United States in March
following.

A year later he began his final engagement with the Leon and Cushman
company, and in May, 1884, he made his last appearance on any stage.

Thus after a successful career of exactly thirty-one years, this
brilliant luminary of the minstrel firmament retired to private life.

[Illustration:

ARCHIE HUGHES

HARRY TALBOTT

PETE LEE

JOHNNY ALLEN

THEY TICKLED THE TAMBOURINE.

“KERRY GOW” JOE MURPHY
(1865)

DAVE REED

E. F. DIXEY

FRED HUBER

THEY BANGED THE BONES.]

“Eugene” was born in New York City, June 4, 1836; he died in Brooklyn,
N. Y., January 18, 1907.

DICK PARKER, whose “banjoisms” attained wide popularity in the
Metropolis more than thirty years ago, began his professional career
about 1854.

He was stock comedian at various times in New Orleans, Baltimore,
Washington, St. Louis, Boston and New York.

In 1871 in conjunction with J. E. Edwards and Jack Talbott, he formed a
minstrel organization bearing their names.

In 1889 he went to Paris, opening there with the American Circus.
Appearing in evening clothes, preceded by four supers, and announced by
the ring-master, Mr. Parker created a sensation.

In 1879 he opened what is now known as Keeney’s Theatre in New York,
and controlled its destinies about four years.

Dick Parker was born in Troy, N. Y., in 1836; he died at Staten Island,
N. Y., August 28, 1908.

JOHN A. MACK was a well-known comedian and song and dance performer of
the genteel order. He was especially well-known in California.

He was born in Pittsburgh, Pa., in 1836; he died in San Rafael, Cal.,
July 23, 1870.

D. W. COLLINS (Carpenter), who was associated with Jack Haverly in
Toledo, O., in the latter’s early managerial days, died at Brooklyn, N.
Y., May 20, 1869; age 33 years.

WM. S. BUDWORTH was well known as a banjoist and comedian, and had some
repute for his Dutch delineations; his “Fight Mit Siegel” was best
known.

In the Spring of 1860 he was with Wood’s Minstrels on a road tour.

Mr. Budworth was with Hooley’s Minstrels in April, 1864, in Brooklyn,
and the following year he was also with Hooley at 201 Bowery, New York
City. He was stage manager for Tunison’s Minstrels in Philadelphia, in
the 60’s; with the Globe Minstrels at 728 Broadway, New York, in the
Fall of 1871, and in the same city with the San Francisco Minstrels in
1877.

Mr. Budworth was also with Emerson’s Minstrels, and played frequent
variety engagements. His last appearance was with Tony Pastor about
twenty-five years before his death.

Wm. S. Budworth was born in Philadelphia, November 25, 1836; he died at
Mount Vernon, N. Y., January 24, 1908.

SAM PRICE (Valleau), was a famous old-time comedian, and especially
clever in the old negro act of the “Haunted House.” He was a great
favorite in the South, where the colored folks would wildly enthuse
over his performances. Mr. Price was with Mrs. Matt. Peel’s Minstrels
in 1860, where he made a hit singing “Pretty Gal in Blue,” and playing
the tambourine end.

October 1, 1866, he opened with Kelly and Leon’s Minstrels in New
York at their initial performance there; he continued with them for a
lengthy period, subsequently joining Arlington, Cotton and Kemble’s
Minstrels in Chicago. Mr. Price was also associated with many other
prominent minstrel organizations, but had not appeared much for some
years prior to his death.

Sam Price was born in New York State, September 6, 1836; he died in
Brooklyn, N. Y., August 28, 1907.

CHARLES EDWIN REYNOLDS was one of the most original and unctuous
comedians.

As early as 1859 he was with the Metropolitan Ethiopean and Burlesque
Troupe, and about 1862 was associated with Cool Burgess, and later
Wally Thomas in a company of his own. Subsequently he was with Duprez
and Green, Duprez and Benedict’s; Lloyd and Bidaux’; Newcomb and
Arlington’s, and Sweatnam’s Minstrels.

He was with Haverly in 1869 and 1879.

Charles Edwin Reynolds was born in Belfast, Me., August 8, 1836; he
died in Vineland, N. J., May 19, 1910.

BILLY ARLINGTON (Valentine Burnell), was one of the great luminaries
of minstrelsy. He achieved fame as a comedian, as a stump speaker
and banjoist; he was a good all round performer. Mr. Arlington’s
professional career began in the 50’s.

February 20, 1860, he opened in New York with George Christy’s
Minstrels, and was associated with the latter practically until the
formation of Arlington and Donniker’s Minstrels in August, 1862; the
organization was subsequently known as Arlington, Leon, Kelly and
Donniker’s. Arlington’s Minstrels opened in Chicago in September, 1867.

October 3, 1870, Mr. Arlington commenced an engagement with Welch,
Hughes, and White’s Minstrels in Brooklyn, N. Y.

April 17, 1871, Newcomb and Arlington’s Minstrels opened in New York
for a run, subsequently for a road tour; November the same year,
Arlington’s Minstrels again opened in Chicago; the company subsequently
evolved into Arlington, Cotton and Kemble’s Minstrels, and as such
continued about three years. Mr. Arlington was with Emerson’s Minstrels
in Chicago in the Spring of 1875, subsequently touring with them.

About Mr. Arlington’s last minstrel engagement was with Bartlett’s
California Minstrels in November, 1898. Billy Arlington was born about
1836.

ED. H. BANKER, one of the old and tried, and “not found wanting”
black-face performers, began his professional career at the age of 10
years with Sam Stickney’s circus as a drummer; later he did nigger
business in the ring.

He made his first appearance in New York at “Daddy” Rice’s benefit in
1853, doing a bone solo.

Mr. Banker was with George Christy in 1865; and for some time stage
manager at Harry Enoch’s Varieties in Philadelphia, and subsequently at
the Olympic in New Orleans.

He was the author of several successful farces, notably--“Too Hot For
Comfort,” the “Wig Maker” and the “Colored Policeman.”

Mr. Banker is also credited with being the first performer of changing
from black to white and back again in a few seconds.

At the time of his death, which occurred under suspicious
circumstances, he was with “The Night Before Christmas” Company.

Ed. H. Banker was born in New Orleans, La., December 23, 1836; he died
at Minneapolis, Minn., October 3, 1902.

JAPANESE TOMMY (Thomas Dilverd), was a colored man, whose height of 37
inches made him a valuable acquisition to the many companies he was
associated with; he was not dependent on this for his success, for he
was a good comedian, and played male and female roles equally as well.

Some of his principal engagements were with the minstrel organizations
of Morris Brothers, Pell and Trowbridge; Kelly and Leon’s; Emerson’s
and Sam Hague’s. His last appearance was probably with the Criterion
Minstrels in Brooklyn, N. Y., March 5, 1887.

Japanese Tommy was born in Brooklyn, N. Y.; he died in New York City,
July 9, 1887; age about 50 years.

PROF. E. J. CORNU, the well-known and efficient musical director, came
to the United States in the late 60’s, and at once associated himself
with Hooley’s Minstrels in Brooklyn, N. Y. When the company went to
Chicago, opening there January 2, 1871, Mr. Cornu went with them, and
was with Mr. Hooley several years.

Mr. Cornu had been engaged by Mr. Hooley when the latter was abroad,
for Hooley’s “Opera House”; Mr. Cornu being under the impression he was
to be associated with a regular opera company. When he found he had to
put cork on his face, for a long time he was inconsolable.

Prof. Cornu was born in Brussels, Belgium; he died in Brooklyn, N. Y.,
March 28, 1889.

TOMMY JEFFERSON, an old-time banjoist and minstrel performer, who was
with Kelly and Leon’s Company in Chicago in 1869, as well as many other
like organizations, had been retired many years from the profession
prior to his death at Seattle, Wash., November 1, 1897; he was 70 years
of age.

JAMES ROOME was a fine banjoist and good general performer. He played
with various companies, notably Ned Davis’ Minstrels in 1867.

He was born in 1837, and died in Brooklyn, N. Y., February 3, 1885.

CLARK M. GIBBS was long recognized as an able black-face comedian.

His earliest professional appearance was with a circus when he was
eleven years of age.

He had been associated with some of the best minstrel companies, and
worked with several well-known comedians in acts, notably Cool. Burgess
and Lew Simmons.

He was twice married; a son, Clark Gibbs, Jr., who was also in the
profession for a time, is in Trenton, N. J.

Clark M. Gibbs was born in Chillicothe, Ohio, March 6, 1837; he died in
Trenton, N. J., August 20, 1901.

IRA PAINE, the famous sharpshooter, played several minstrel engagements
as a ballad singer, notably Carncross and Dixey’s in Philadelphia in
1862, and the San Franciscos in New York, in August, 1869.

[Illustration: A PROMINENT BOSTON COMPANY; 1859.

LON MORRIS

J. T. TROWBRIDGE

JOHNNY PELL

BILLY MORRIS]

[Illustration: A FAMOUS NEW YORK ORGANIZATION; 1865.

BILLY BIRCH

DAVE WAMBOLD

WM. H. BERNARD

CHARLEY BACKUS]

He was born at Hebronville, Mass., February 17, 1837; he died in Paris,
France, September 10, 1889.

W. W. PIERCE (Billy McMahon), was a well-known young comedian of
promise.

In the Spring of 1860 he played an engagement at Bob Butler’s Variety
Theatre in New York, where he made a pronounced hit dancing the “Essence
of Old Virginny.”

He died in Herkimer, N. Y., January 2, 1864; age 27 years.

AMBROSE A. THAYER, a young singer who was prominent with the Morris
Brothers, Pell and Trowbridge Minstrels, in Boston, died there, June 10,
1863; age 26 years.

BILLY QUINN was one of the best dancers of his day, and played
conspicuous minstrel engagements, notably with Bryant’s in New York,
commencing October 12, 1857.

He was the husband of the celebrated danseuse, Mary Blake, who
subsequently married Bobby Newcomb.

Billy Quinn died in New York City, November 29, 1863; age 26 years.

COOPER AND FIELDS were one of the very best double clog dancing teams in
minstrelsy, as well as one of the earliest.

In 1864 they were with the Raynor “Christy” Minstrels, and the
following year they joined the San Francisco minstrels in New York;
subsequently they were with Kelly and Leon’s, and Buckley’s Minstrels
in the same city. They played an engagement with Haverly’s Minstrels in
June, 1869.

James Cooper was in business in Paterson, N. J., several years prior to
his death. His last professional appearance was also in Paterson.

James H. Cooper died in Paterson, N. J., January 24, 1905, age 68 years.

William Fields died in New York City November 18, 1883.

SIG. RAPHAEL ABECCO gained distinction in minstrelsy chiefly for his
excellent performance on the harp; but was also a fine tenor singer,
and a composer of repute.

As early as October 20, 1857, he was with Matt. Peel’s Minstrels, and
continued with Peel until the latter’s death in 1859. August 27, 1860,
he began a season’s engagement at Sanford’s Minstrels in Philadelphia;
in the Spring of 1861 fulfilling a short season with Unsworth’s
Minstrels; he returned to Sanford’s for the season of 1861-62.

July 7, 1862, he opened with Wood’s Minstrels in New York City, and
in 1863 Birch, Cotton, Wells and Abecco’s Minstrels inaugurated their
season in San Francisco. In 1865 he sailed for Australia and remained
abroad until 1872. January 9, 1875 he opened with Simmons and Slocum’s
Minstrels in Philadelphia, and the following season was a member of
Simmons, Slocum and Sweatnam’s Minstrels in the same city. His last
engagement was with Emerson’s Minstrels, December 25, 1878.

Sig. Abecco was of foreign birth; he died in Chicago, Ill., January 3,
1879; age 42 years.

[Illustration:

HI. HENRY

LOW. GAYLORD

“JACK” HAVERLY

JOHN KING

CHAS. QUEEN

ALL GOOD DRAWING CARDS--=HI=, =LOW=, =JACK=, =KING= and =QUEEN=.]

FRANK B. CONVERSE. The name of Converse is indissolubly associated with
all that is great in banjo playing.

Mr. Converse began the study of music at the immature age of 6; at 14
he took up the banjo, devoting all his spare time to study. His first
professional appearance was with McFarland, in Detroit.

He joined Matt. Peel’s Minstrels in 1856, remaining until the Spring of
1858.

Subsequently he gave banjo lessons in Memphis, Tenn. Later he joined
Mrs. Matt. Peel’s Minstrels; March 19, 1867, with George Coes and Sam
Purdy, organized Purdy, Coes and Converse’s Minstrels. Mr. Converse at
various times had schools in St. Louis, San Francisco and New York.

He was the author of many high-class works on the banjo, including a
book for beginners.

Frank B. Converse was born in Westfield, Mass., June 17, 1837; he died
in New York City, September 5, 1903.

“CHUCK” (CHARLES H.) ATKINSON, one of the great bone players of
minstrelsy, when the artistic handling of them was an art, began his
professional career in 1847, being then known as Master Charles, a
singer with one of the early organizations; shortly afterwards he was
with the famous “Yankee” Locke for a period of five weeks. What might
be termed his regular career began a little later with John Carle
(Uncle John, the “Lively Flea”); he remained with Carle three years;
subsequently going to Boston, where he was several years in stock.

He played frequently with the Morris Brothers in Boston, and succeeded
Joe Murphy after the latter had separated from Ben Cotton; Murphy
himself was a great bone performer, and Atkinson simply had to be good
to hold the position he did with so much credit.

Other engagements were Boyce & Mudge’s Minstrels, 1866, and “Green’s
Mocking Bird Minstrels” in 1871; his last minstrel engagement was with
Sam Sharpley. He retired from the profession about 20 years before his
death.

Charles Atkinson was born at Limington, Maine, December 1, 1837; he
died at Brookline, Mass., February 2, 1909.

TOM MCNALLY was one of the premier “leaders” and violinists of
minstrelsy.

In 1859 he was at Burtis’ Varieties in Brooklyn, N. Y.; the following
year he joined Cool White’s Broadway Minstrels.

In 1861 he was with George Christy’s company, and the same year was
also with William Christy’s and Fox and Sharpley’s Minstrels.

October 28, 1861, he was with Hooley’s Minstrels at their first
performance in New York. Mr. McNally was with Hooley also when the
latter went to Brooklyn, N. Y., opening in September, 1862; he
continued with Hooley several seasons.

Early in 1866 he was with Wood’s Minstrels, and on October 21, that
year, he sailed for Europe with the American Minstrels; they opened in
London, December 5, 1866.

Subsequently Mr. McNally returned to the United States, and at various
times was associated with several prominent minstrel organizations.

Tom McNally was born in Albany, N. Y.; he died in Brooklyn, N. Y., May
25, 1872; age 35 years.

J. H. HAVERLY (Christopher Haverly) began his theatrical career in 1864
in Toledo, O., where he purchased a variety theatre, and conducted
until December, 1866.

There are many to-day who think that the great showman, who was the
first to place minstrelsy on a gigantic scale, began as a minstrel
manager with Cal. Wagner in 1870. Such is far from being the truth.

The first performance of Haverly’s Minstrels was given at Adrian,
Mich., August 1, 1864; the season terminated at Ypsilanti, Mich., on
the 25th of August, same year.

On October 8, 1864, Cool Burgess and Haverly’s Minstrels were
inaugurated at Toronto, Canada, and November 1, it was again Haverly’s
Minstrels; it remained as such until December 27, following, when
Charles Mallory, who had a minstrel company, formed an alliance with
Mr. Haverly, and on the above date at Titusville, Pa., Haverly and
Mallory’s Combination Minstrels gave their first performance.

In 1866 Haverly and (Dick) Sands’ Minstrels toured for several weeks,
and the following year Mr. Haverly assumed the management of Billy
Arlington’s Minstrels. Haverly’s Minstrels were again organized, and at
Peoria, Ill., November 11, 1868, gave their initial performance; the
season closed in the Summer of 1869.

In the Fall of 1870, he assumed the management of Cal. Wagner’s
Minstrels, and continued with them for three years, after which, in
November, 1873, at Kansas City, Mo., Haverly’s Minstrels began in
earnest. Not satisfied with one minstrel company, he purchased an
interest from Tom Maguire in Emerson’s Minstrels in October, 1875;
secured the New Orleans Minstrels in 1876, and Callender’s Colored
Minstrels in 1878. In the meantime he purchased the Adelphi Theatre in
Chicago, in 1876; the first of the very many he ultimately owned or
controlled.

October 21, 1878, he organized his famous Mastodons in Chicago; they
opened in London, England, July 30, 1880, at Her Majesty’s Theatre,
where they played seventeen weeks.

In May, 1884, they returned to London, and made a tour of the
Provinces, where the final performance was given in Glasgow, Scotland,
late in February, 1885.

Haverly’s Minstrels continued for several years after that; the last
company in which Mr. Haverly was directly interested began a season in
the Summer of 1898. His last amusement venture began in Brooklyn, N.
Y., May 11, 1901, where for a brief period he conducted a small museum.

“Jack” Haverly was a fine man and a lovable character; none did more
for minstrelsy than he, and some of the greatest names in theatricals
were once associated with him.

He was twice married; his wives being the Duval (Hechinger) Sisters,
well-known vocalists.

Mrs. Sara Haverly died at Toledo, O., March 1, 1867; subsequently he
married Eliza Duval, who died in New York, July 4, 1910.

[Illustration:

R. M. HOOLEY

CHAS. A. MORRIS

AL. G. FIELD

GEO. R. GUY

D. C. LA RUE

HARRY ROBINSON

HEADS OF FAMOUS MINSTREL ORGANIZATIONS; PAST AND PRESENT.]

J. H. Haverly was born in Bellefonte, Pa., June 30, 1837; he died in
Salt Lake City, Utah, September 28, 1901.

ADD RYMAN (John Addison Ryman) was one of the greatest burlesque actors
that minstrelsy ever knew.

He was likewise famed as a stump orator, in which he was different from
all of his contemporaries.

His debut as a minstrel was made in 1859. In 1871, Hart, Ryman, and
Barney’s Minstrels were organized. Subsequently he was with Emerson’s
Minstrels in San Francisco, and with the San Francisco Minstrels in New
York about six years.

He left the above company with George Thatcher, and opened Thatcher and
Ryman’s Minstrels in Philadelphia, December 20, 1880, as a permanent
organization.

In 1882 he took a minstrel company to Australia, remaining about two
years. He later re-engaged with Emerson’s Minstrels, and in September,
1887, with Wm. Henry Rice and John Hart, organized a company bearing
their names.

Mr. Ryman’s late years were with dramatic companies. Add Ryman was born
in Ohio; he died (suicide) in New York, June 27, 1896; age 59 years.

SID C. FRANCE, famous for many years for his drama “Marked for
Life,” in which he enacted a black-face part which was the principal
character, was born in Landsport, England, October 4, 1838; he died in
New York, May 25, 1895.

THE NORTON BROTHERS made their first appearance as the Norton Family in
Roxbury, Mass., in 1848 or 1849; accounts vary.

Wash. Norton subsequently went with Ordway’s Aeolians in Boston, where
he remained a long time. November 14, 1859, Wash. and Tim Norton opened
at Bryant’s Minstrels in New York.

When seventeen months later, Jerry Bryant died, it was Tim Norton who
took his place; Wash. having left New York about a month previous for
England, later visiting Africa and Australia; in the latter country
they declared he was the best burlesque dancer that ever visited their
shores.

Wash. returned to the United States in 1866, and remained six years; he
subsequently made two other trips to foreign lands. The Nortons were
good comedians, and great dancers.

Tim Norton died January 25, 1862, in New York, age 24 years.

John Norton died in Philadelphia, Pa., January 24, 1868.

Wash. Norton was born in New Orleans, La., February 22, 1839; he died
in Shasta Co., Cal., November 16, 1899.

DAN. SHELBY (Macher), who was the well-known manager of the Adelphi
Theatre in Buffalo, N. Y., and the Academy of Music and Columbia
Theatre in Chicago, at various times, began his professional career in
Paris, Ind., in 1853; it was there he first blacked up.

He played several minstrel and circus engagements until 1865, when he
launched Shelby’s Minstrels; in 1868 he again put a minstrel company on
the road. Mr. Shelby was subsequently a clown in a circus.

Dan. Shelby was born in Gettysburg, Pa., January 1, 1838; he died in
Wilkesbarre, Pa., February 4, 1895.

FAYETTE WELCH (Patrick Walsh). The career of this once celebrated
comedian which was suddenly and violently ended, commenced about fifty
years ago.

He joined Hooley’s Minstrels in the late 60’s, and became a great
favorite in the Brooklyn playhouse. In the Summer of 1869 he was with
Haverly’s Minstrels, and while with that company did an act which he
called the Musical Sensation, playing on a number of instruments,
concluding by dancing a jig, accompanying himself by playing a flute at
the same time.

Mr. Welch next went with Kelly and Leon’s Company, and in August, 1870,
joined Buckley’s Serenaders in New York.

The following month, commencing the 12th, he became co-proprietor of
Welch, Hughes and White’s Minstrels, a permanent company in Brooklyn,
N. Y.; they continued there about a year.

Mr. Welch subsequently appeared with Simmons and Slocum’s Minstrels in
Philadelphia. He was with Haverly’s when that gentleman organized his
company in November, 1873, and with Neil Bryant’s Minstrels five years
later. During an altercation between Mr. Welch and William Gould, a
vaudeville performer, the latter shot and immediately killed Fayette
Welch in Boston, Mass., March 6, 1892.

Mr. Welch was born in Galway, Ireland, about 1838.

JAMES W. LAMONT (Williams) was prominent for many years as a baritone
vocalist and interlocutor in minstrelsy. In 1864 he was with Sharpley’s
Minstrels, and in 1880 with Kyle’s “Christy’s” in Boston.

The major portion of his career was spent in Philadelphia, where he
went in the 60’s as a member of Carncross and Dixey’s Minstrels.

Mr. Lamont died in Philadelphia, December 24, 1894; age 56 years.

* * * * *

“Leon,” the dean of minstrel female impersonators, did a stump speech
with Kelly and Leon’s Minstrels, January, 1870.

* * * * *

PETE LEE (Shea) was conceded to be one of the greatest tambourinists in
minstrelsy; as a comedian, he was excellent.

As early as February, 1858, he was touring with Pete Lee’s Empire
Minstrels.

He joined Buckley’s Serenaders in the 60’s, and continued with them for
several seasons.

August 28, 1871, he made his first appearance in Philadelphia, as a
member of Simmons and Slocum’s Minstrels.

He was also prominently identified with the companies of Morris
Brothers, and Sharpley’s. In 1872 he opened Bishop’s Opera House in
St. Johns, N. B., renaming it Lee’s Opera House, and conducting it for
several years.

His last professional appearance was about 1878.

A son, Wilbor F. Shea, is manager of the Memorial Opera House,
Eastport, Me.

Pete Lee was born in Cambridge, Mass., January 6, 1838; he died in
Eastport, Me., October 11, 1896.

J. R. KEMBLE (Taylor), one of the best interlocutors of minstrelsy,
made his debut at Paterson, N. J., February 2, 1863, with Hart and
Simmon’s Minstrels, appearing under his own name.

Subsequently he joined the Morris’ Minstrels, remaining five years.

Later he became a member of Emerson and Manning’s Minstrels, and after
these artists separated early in 1870, Mr. Kemble cast his fortunes
with the latter in Chicago. In that same city (Billy) Arlington, (Ben)
Cotton and Kemble’s Minstrels were organized in 1871, and continued
there about three years.

In 1875 Mr. Kemble was with Emerson’s Minstrels in Chicago.

He was also a member of the Dearborn Minstrels in the Illinois
Metropolis, opening August 21, 1871.

Likewise in Chicago did he join Haverly’s Minstrels, March 11,
1878, and September 16, same year, he began a brief engagement with
Sweatnam’s Minstrels in Philadelphia.

Mr. Kemble then went to England, and was with Moore and Burgess’
Minstrels for about twenty years.

He married Miss Ella Turner, an actress, about 1870.

J. R. Kemble was born in Kent, England, 1838; he died in London,
England, June 11, 1908.

GEORGE W. CHARLES, the old-time wench dancer made his first appearance
at the International Theatre in New York in 1852; subsequently he was
with Dave. Reed’s Minstrels on Spalding and Rogers’ boat the “James
Raymond,” this was as early as July 18, 1856; after this he did
sketches with Billy Coleman. In 1869 he was with Carncross and Dixey’s
Minstrels in Philadelphia; he remained there several seasons, and was a
prime favorite.

Mr. Charles was among the earliest black-face prima donnas.

George W. Charles died in New York City, May 8, 1885; age 47 years.

KIT CLARKE (Morse Myers) is one of the oldest living minstrel managers.
His professional career began in 1858 as a programmer with the
Satterlee and Bell Circus; Mr. Clarke continued in the circus business
practically for twenty years.

In 1877 he became general manager for M. B. Leavitt’s attractions, and
continued until 1881, in which year he managed the Gigantean Minstrels.

His next engagement was with J. H. Haverly’s Minstrels, with whom he
remained three years.

Later he retired from theatrical life to enter mercantile business.

Kit Clarke was born February 21, 1838, in New York City.

BILLY ALLEN was a well-known jig and “Essence” dancer in the 60’s,
playing some of the principal minstrel organizations of that period,
such as Arlington’s; Fred. Wilson’s; Mrs. Matt. Peel’s; Skiff and
Gaylord’s; George Christy’s, and Carncross and Dixey’s. He subsequently
gave dancing lessons in Chicago. In his early career he was known as
one of the best dressed men in the profession.

[Illustration:

RAYMOND HITCHCOCK

GEO. FROTHINGHAM

JAS. J. CORBETT

IF YOU DON’T BELIEVE IT, ASK THEM.]

Billy Allen died in Chicago, August 19, 1890; age 52 years.

SAM COLE, the real old-time black-face comedian, is in no way related
to the old king of that name; though he has associated with them for
many years; also queens and jacks.

Mr. Cole is said to be amongst the living. But who has the address?

LEW SIMMONS has the distinction of being the oldest active black-face
performer in the world.

He commenced his career as an amateur in Warren, O., in 1849, playing
the banjo, in black-face.

In 1857 Mr. Simmons went to Jake Beler’s Music Hall in Detroit, Mich.,
where he did his little turn for one dollar per night, and four beer
tickets; which being a minor, he was unable to use.

In December, 1859, he made his first New York appearance at the popular
Melodeon. In 1861 he joined Hooley and Campbell’s Minstrels, and early
in 1863 in conjunction with Bob Hart organized a minstrel company
bearing their names.

Subsequently he played an engagement with the Morris Minstrels, and on
August 22, 1864, made his first appearance at Carncross and Dixey’s
Minstrels in Philadelphia, where he became a great local favorite. He
remained with that company until within a few months of the opening
of Simmons and Slocum’s Minstrels at the Arch Street Opera House in
Philadelphia (which was built for them), August 29, 1870. Mr. Simmons
continued at this house intermittently until 1878. In the fall of
1875, Billy Sweatnam was admitted as a partner, under the firm name of
Simmons, Slocum and Sweatnam’s Minstrels; in October, 1876, Simmons and
Slocum withdrew. September 11, 1886, Simmons and Slocum’s Minstrels
again opened at their old home in Philadelphia. In 1878 Mr. Simmons
visited England and South Africa professionally.

About twenty years ago he played Uncle Eph., an aged negro, in “Shiloh.”

He left the profession in the 80’s, vowing never to return, but he did,
in the early 90’s; Clark Gibbs, Tommy Harris and Frank H. White, with
whom he is now playing vaudeville, were his partners at various times.

Did I say that he was one of the owners of the Athletic Club of the
American Association, which won the championship in 1883? Well, he was.

Lew Simmons was born in New Castle, Pa., August 27, 1838.

J. H. SURRIDGE was one of the prominent singers of minstrelsy. His
first appearance was with Hart and Simmons’ Minstrels early in 1863.
That same year he joined the Morris Minstrels, and in 1865 was with
Raynor’s “Christy’s.”

In April, 1866, he opened with J. H. Clifford’s Great American
Minstrels; April 17, company closed at Troy, N. Y. September 10, 1866,
he opened with Sands and Herbert’s Minstrels.

With Sweeny, Hussey and Felton’s Company, he sailed for Hong Kong,
October 11, 1866; storm tossed he returned to New York five days later;
another five days he again set sail for Ireland and England, opening in
London, December 5, 1866. Early in 1867 he went to play an engagement
with “Pony” Moore and his associates, also in London.

Mr. Surridge arrived back in the United States, November 23, 1868,
and shortly after joined Kelly and Leon’s Company at their New York
theatre. He continued with them when they opened in Chicago, March
2, 1869, and subsequently was one of Kelly and Leon’s “Associated
Artists,” after these two performers went to England.

Later Mr. Surridge joined Hooley’s Minstrels in Brooklyn, N. Y.,
and with Susie Galton’s Opera Company played the Dutch comedy part,
succeeding W. H. Crane.

On April 17, 1871, he opened in New York City with Newcomb and
Arlington’s Minstrels.

January 22, 1872, he became a member of Arlington, Cotton and Kemble’s
Minstrels in Chicago, and continued with them about three years, after
which he joined E. M. Hall, E. M. Kayne and Ned Wambold’s Minstrels,
April 10, 1875. That same year Mr. Surridge rejoined Kelly and Leon’s
Company, and continued with them when in February, 1878, they sailed
for Australia. He returned in February, 1879, and joined M. B.
Leavitt’s Company in San Francisco.

In the Summer of 1879 he entered the hotel business at Rockaway Beach,
N. Y., and in the Fall of that year joined Pat Rooney’s Company as
manager.

The following season of 1880-81, was at the London Theatre in New
York. In the Fall of 1881 he went to Hopkins and Morrow’s Theatre in
Providence, R. I., for a brief stay, leaving there to join Haverly’s
Minstrels, where he remained but two weeks, when he joined M. B.
Leavitt and continued with him as manager for the latter’s attractions
until 1883, when he went to London, England, with “Evangeline,” in
which he played Catharine; this engagement was followed by one with
Moore and Burgess’ Minstrels, also in London.

Mr. Surridge returned to New York in February, 1884, and at once joined
the Leon and Cushman combination.

In the Fall of 1884 he assumed the management of Dick Gorman, in “The
Hand of a Friend.” He piloted the same attraction season of 1885-86,
after which he retired from theatricals and went into business in New
York.

J. H. Surridge was born in London, England, January 27, 1838; he died
in New York City, March 30, 1910.

ROLLIN HOWARD (Ebenezer G. B. Holder) was one of the most cultured and
capable female impersonators of minstrelsy.

He appeared on the legitimate stage for about five years previous
to his minstrel debut, which was made with Wood’s Minstrels in the
Spring of 1860. In the Fall of that year, for a brief period, he was
associated in the management of Howard and Campbell’s Minstrels.

February 4, 1861, he made his first appearance with Hooley and
Campbell’s Minstrels in New York, and for several seasons played
successful engagements with nearly every prominent minstrel company
there was.

About 1870 he left minstrelsy, and after a period in opera, played
several years in variety houses. In 1868 he played Topsy in “Uncle
Tom’s Cabin,” and in 1878 was manager of the Melodeon in Philadelphia.

His last appearance was with his own company.

Rollin Howard was born in New York City about 1840; he died in Boston,
Mass., June 19, 1879.

MASTER BARNEY (Bernard Scholar) was one of the greatest dancers in
minstrelsy. His first appearance was at Burtis’ Varieties in Brooklyn,
N. Y., about 1858; he met Add. Weaver here, and was associated with him
several years.

In 1859 he joined Campbell’s Minstrells, and subsequently with such
well-known organizations as Morris Brothers, Pell and Trowbridge, Mrs.
Matt. Peel’s, Hooley and Campbell’s and others.

July 17, 1869, was organized Dougherty, Wild, Barney and Mac’s
Minstrels; subsequently Hughey Dougherty retiring, the company
continued for a brief period.

In 1871 it was Hart, Ryman and Barney’s Minstrels.

About that time Master Barney formed a partnership with Sam Rickey,
playing sketches, of which “Bad Whiskey” was the most successful.

They separated about 1877, and later he formed an alliance with Barney
McNulty, being known as the Two Barneys.

“Master” Barney was born in Buffalo, N. Y., December 29, 1839; he died
in Brooklyn, N. Y., February 25, 1886.

JAMES GLENN (McDonald) was a well-known vocalist in the good old days
of minstrelsy.

His first appearance was made with Sam Sanford’s Minstrels in 1858; he
continued with him, chiefly in Philadelphia, until 1862, when he joined
Wood’s Minstrels in New York, with whom he remained a lengthy period.

Subsequently he was with the San Franciscos in New York, and Hooley’s
in Brooklyn, N. Y.

James Glenn was born in Philadelphia in 1839; he died in New York,
February 26, 1870.

BILLY MANNING. Minstrels may come and go, but like the brook, the name
and fame of this brilliant performer seems destined to live forever;
for while more than three decades have passed since Billy Manning
passed away, each generation in his native city seems as familiar with
his former stage triumphs as those that were contemporaneous with him.

His career started in 1859, on the boat “Dixie”; where Manning, who was
very proficient with the “bones,” played an end with a minstrel show.

In the fall of 1862 he was with Campbell’s Minstrels, and on November
23, 1863, he joined Morningstar’s company. The engagement was a brief
one, and he next opened with Rumsey’s Minstrels, with whom he closed
May 27, 1864; opening with Hooley in Brooklyn, three days later.

That same year he was with Morris and Wilson’s Minstrels, and in 1865
with Dan Shelby’s Company. Engagements with Kunkel’s Nightingales;
Haight and Chamber’s Circus and LaRue’s Minstrels followed.

[Illustration:

LUKE WEST

NED WEST

“LOOKING WEST.”

ARTHUR RIGBY

ARTHUR DEMING

A PAIR OF ARTISTIC ARTHURS

MASTER BARNEY

SAM RICKEY

THEY WERE ALWAYS MASTERS.]

In September, 1867, he joined Newcomb’s Minstrels, continuing with
this company until the following Summer, when he left Newcomb, and in
association with Billy Emerson and Johnny Allen, formed a minstrel
company bearing their names.

May 22, 1869, Mr. Allen dropped out of the organization, which was
thereafter known as Emerson and Manning’s. In January, 1870, in
Chicago, the partners separated, and Manning continued at the Dearborn
Theatre in that city with Manning’s Minstrels, where he remained
several months.

Under the financial management of Tom Foley, of Chicago, the company
went on tour in the Fall of 1871, giving their first performance at
Xenia, Ohio, October 19.

July 6, 1872, Mr. Manning severed his association as head of the
company, which subsequently was known as Newcomb’s Minstrels, in
Cincinnati. September 2, 1872, in that city, he began a brief
engagement with Wm. Henry Rice’s Minstrels, and on October 28 he opened
with Frank Moran’s Minstrels in Philadelphia.

At the end of the season Mr. Manning became associated with Moran,
and opened in Pittsburg, Pa., April 21, 1873, as Moran and Manning’s
Minstrels. Mr. Manning then went to San Francisco, where, June 30, he
began an extended engagement with Maguire’s Minstrels, terminating
February 21 following. April 6, he made his first appearance with
Simmons and Slocum’s Minstrels in Philadelphia, where he finished the
balance of that season.

His debut with Kelly and Leon’s Company in Chicago was made August 31,
1874, where, with only a slight break, he played all that season.

July 12, 1875, he commenced a brief engagement with Neil Bryant’s
Minstrels, and on November 8, Billy Manning, who was then far from
being a well man, began what was destined to be his last engagement,
with his old partner, Billy Emerson, with the latter’s minstrels.

January 9, 1870, he married Mollie Williams, a well-known actress.

Billy Manning was born in Piqua, Ohio, May 15, 1839; he died in
Chicago, Ill., May 19, 1876.

CHARLEY GARDNER (Bumberry), known as “Hop Light Loo” Gardner, from the
fact that he originated the black-face song and dance of that name for
the first time at an amateur minstrel performance in Augusta, Ga.; this
was in the late 50’s.

In 1861 he was with Duprez and Green’s Minstrels, and later with
Burgess, Prendergast and LaRue’s Minstrels. Early in 1867 he toured
with “Cool” Burgess with a minstrel company bearing their names.

Mr. Gardner played a brief engagement with the San Francisco Minstrels
in New York, and with Emerson and Manning’s Company in Chicago.

He was the author of the following songs: “Sift Sand Sal,” “Walk Dad
Lou” and “Over in Jersey.”

Charley Gardner was born in Toronto, Canada, July 24, 1839; he died in
Long Island City, N. Y., May 17, 1909.

DICK MCGOWAN was well-known as a banjoist and a comedian in the 60’s;
during which period he was with Yankee Hill’s Minstrels, Harris and
Smith’s, Dick McGowan’s, and some more. As Mr. McGowan failed to keep
his promise and give the author more data, this sketch must necessarily
be curtailed. Sorry. Mr. McGowan was born in New York, December 28,
1839.

JOHNNY “FROGGY” PIERCE (Owens) was a well-known comedian and had been
identified with various prominent minstrel companies, notably Ordway’s,
in Boston, in 1859; Lloyd’s, 1861; Rumsey’s, 1864; Coes, Purdy and
Converse’s, 1867; Emerson’s, 1870, and many others. He died in New
York, June 2, 1892; age 53 years.

JOHN W. THOMPSON (Fitzpatrick), known of late years as a manager
only in the South and Southwest; in his early days was a well-known
black-face performer, and a great jig dancer at a time when that style
of dancing prevailed.

Mr. Thompson’s first appearance was made in Buffalo, N. Y., about 1860.
At one time he was associated and did an act with Oscar Willis.

He was manager at various times of theatres in Memphis, Tenn.;
Vicksburg, Miss., and Dallas, Texas, covering a period of 28 years.

John W. Thompson was born in Dublin, Ireland, June 4, 1839; he died at
Dallas, Texas, February 27, 1907.

JAMES GAYNOR made his first professional appearance with Sharpley’s
Minstrels about 1859, as second violinist.

He played several engagements at Hooley’s Minstrels in Brooklyn, during
the 70’s, where his banjo playing met with pronounced success; he was
equally prominent during the same period at the Howard in Boston.
November 29, 1876, Gaynor and Mudge’s (Hank) opened at Butler, Pa.

Mr. Gaynor was also with Mrs. Matt. Peel’s Minstrels in May, 1860.

James Gaynor was born in Troy, N. Y., about 1839; he died in Brooklyn,
N. Y., May 29, 1906.

JOHN T. BOYCE was one of the best black-face comedians of his day, and
one of the earliest performers to sing an Irish song on the end.

His first appearance was with Birch, Bowers and Fox’s Minstrels in
California, about 1857; later he was a performer on the steamer
“Banjo,” which plied the Mississippi. Mr. Boyce afterward appeared
with such well-known organizations as Woods, in New York; Hooley’s, in
Brooklyn, and Sanford’s.

May 7, 1866, with Hank Mudge, he launched Boyce and Mudge’s Minstrels,
and later was a member of Griffin and Christy’s Minstrels.

His last appearance was in June, 1867.

John T. Boyce was born in Covington, Ky., about 1839; he died in
Brooklyn, N. Y., June 11, 1867.

“MARSH” ADAMS (Marshall Anderson), an excellent and most natural
delineator of the old Southern darky, began his stage career at the
Race Street Varieties, Cincinnati, in the late 60’s; he remained there
until 1871, when he joined the Hart, Ryman and Barney Minstrels;
for a brief period he did an act with Milt. Barlow. In 1873 he went
to the Metropolitan Theatre in Indianapolis, remaining until 1878;
subsequently he was identified with various circuses, also Haverly’s
Minstrels; and for a time with Walter Le Roy.

It is said that he was the first to sing “Old Black Joe” as a character
song.

His last appearance was April 15, 1885.

Marsh Adams was born in Louisville, Ky., January 11, 1839; he died in
Indianapolis, Ind., May 11, 1885.

CHARLES E. DOBSON was one of the great banjoists of minstrelsy.

His first appearance was at Winsted, Conn., in 1856, with Sam Hague’s
Concert Company.

Subsequently he played in the stock of the old Chatham Theatre, New
York, and later played in the orchestra of Wallack’s Theatre, same
city, at Thirteenth and Broadway.

In 1867 he went to Europe, under the management of Corbin and Wall;
while there he again joined Sam Hague’s Georgia Minstrels, playing
London and the provinces. On his return to the United States he played
all the principal variety houses, later organized the Dobson Bros.
Minstrels. Mr. Dobson was also associated in a business capacity with
the Worrell Sisters, the Chapman Sisters, and the Wallace Sisters:
with the latter he was with in 1878. March 29, 1879, he married Minnie
Wallace. They had a son, Frank Wallace, a clever black-face performer.

About twenty-five years ago Mr. Dobson won a gold medal in a banjo
tournament at Madison Square Garden, New York City.

Chas. E. Dobson was born in New York City, July 21, 1839; he died there
January 18, 1910.

LEW BENEDICT. The name of Lew Benedict is one of the most prominent in
minstrelsy; as an end man and stump speaker he excelled, but he was
equally at home in anything he undertook.

Mr. Benedict’s first appearance was in the late 50’s, when he danced
the “Essence”; he was then known as Johnny Hodson.

But his real professional career commenced April 6, 1861, when he
joined Duprez and Green’s Minstrels; he continued with them until 1865,
when he bought out Mr. Green’s interest; the organization was then
known as Duprez and Benedict’s Minstrels until 1876, when Mr. Benedict
and Mr. Duprez dissolved partnership.

Mr. Benedict then joined Kelly and Leon’s Minstrels in New York City in
the Spring of 1876; he remained until September 16; five days later he
opened at Newark, N. J., with Benedict’s Minstrels; the company closed
at Washington, D. C., December 30, 1876; he subsequently returned to
Kelly and Leon’s.

In 1878 he ran a variety theatre in Milwaukee, Wis.

Mr. Benedict was with Leavitt’s Gigantean Minstrels in 1881, and in
later years with Cleveland’s, Vogel’s, Gorman Bros., and Great Barlow
Minstrels.

April 17, 1871, he married Eva De La Motta, at Mansfield, Ohio, and on
February 17, 1881, in New York City, he married Miss Fanny Mouris.

Of late years Mr. Benedict has been playing vaudeville.

Lew Benedict was born in Kingston, Canada, December 6, 1839.

CARL RUDOLPH (Wilbur Fiske Barrell), one of the most prominent
balladists in minstrelsy, began his career in St. Louis, Mo., doing
concert work; from which it was but a short step to burnt-cork honors.

[Illustration:

LEW.--HAWKINS & COLLINS--BEN.

LAMONT & DUCROW

GEO. & WILLIE GUY
(1866)

JNO. P.--HOGAN & HUGHES--RUEY
(1871)]

Mr. Rudolph was one of the original members of Billy Emerson’s
Minstrels, February 11, 1870.

In the Summer of 1872 he was with Sam Sharpley in New York, and that
same year in the same city rejoined Emerson.

In August, 1877, Mr. Rudolph was with Barlow, Wilson, Primrose and
West’s Minstrels at the initial performance of that organization.

Season of 1873 he joined Bryant’s Minstrels in New York City; the
major portion of the balance of his theatrical career was spent in
Philadelphia with Carncross’ Minstrels.

Carl Rudolph was born in Aspenham, Mass., October 29, 1839; he died in
Brooklyn, N. Y., August 8, 1909.

J. K. BUCKLEY (Kiley), noted for his splendid execution on the banjo,
an the use of the supplementary fifth string, first played the banjo in
1861. On June 6, 1868, he launched Buckley’s Minstrels at Newark, N. J.

He was one of Haverly’s 12 banjoists, and went to Europe with the
Mastodons, opening at Drury Lane Theatre, London, July 31, 1880.

He was associated with the late John M. Turner for a considerable
period; the partnership dissolved November 11, 1876.

J. K. Buckley was born in New York City January 21, 1839.

JOSEPH H. CHILDS was equally well known to dramatic, variety and
minstrel patrons, and up to about ten years before his death was
considered one of the best clog dancers before the public.

In 1877-78 he was in the stock at the National Theatre, Cincinnati.

Jos. H. Childs was born in England; he died in Cincinnati, Ohio,
November 10, 1880; age 41 years.

WALLY THOMAS, prominent as a jig and clog dancer, a fine drummer and a
good all-round general performer of Sharpley’s Minstrels in the early
60’s, died at Lowell, Mass., May 29, 1864; age 25 years.

LEWIS J. DONNELLY, well-known in his day as a first-class black-face
female impersonator, died in New York City, October 26, 1869; age 30
years.

GUS HOWARD was a pupil of George Christy, and made his first appearance
with Wood and Christy’s Minstrels in New York in 1855.

He was an exceptionally versatile performer, and excelled as a banjoist
and tambourinist. He continued as a member of the above company until
May, 1858, Geo. Christy seceding and going to California. Howard
went with him, and continued with Christy until 1861, when he joined
Unsworth’s Minstrels, also Hooley and Campbell’s.

For about five years prior to his death he had been with the Wallace
Sisters Combination.

Gus Howard died in Alexandria, Va., March 27, 1874; age about 35 years.

WARREN RICHARDS (Richard A. Warren) was well-known as a tenor singer
with Duprez and Benedict’s Minstrels about forty years ago; he was with
them for a lengthy period. He was born in New Orleans, and died in New
York City, June 15, 1876.

L. MORRISEY (Morrisey B. Little), a well-known and capable song and
dance performer, joined Johnny Allen’s Minstrels about 1870.

He formed a partnership with Fred Emerson, and as Morrisey and Emerson
opened at Bryant’s Minstrels, New York, September 4, 1871, and
continued there until the Spring of 1873, when the team separated.

Mr. Morrisey played the variety houses until his death in New York,
February 8, 1881.

JAMES G. RUSSELL (Grant), the well-known vocalist, commenced his
minstrel career about 1870 in New York, and successfully appeared in
the companies of Carncross and Dixey in Philadelphia; Emerson’s, Geo.
Thatcher’s and Bryant’s.

He died in Richmond, Va., May 5, 1883.

J. K. SILVER, of the famous Silver Brothers, was prominent for many
years in minstrel and concert work.

He died at Williamsburg, Mich., May 11, 1885.

BILLY BURR (W. W. H. Burrows), an old-time performer, who was excellent
in negro acts, made his first appearance with Andy Williams in Gardner
and Hemming’s Circus. He played with various organizations until his
retirement about 1875.

He was born in Reading, Pa., November, 1840; he died at Gwynedd, Pa.,
January 30, 1881.

TOM. WARFIELD (J. B. Hersey), the old-time banjoist and black-face
performer, entered the profession in his native city.

He was with several minstrel shows, also had his own company, Warfield
and Wicks Minstrels.

He married Minnie Chapin in Baltimore, Md., in August, 1876.

Tom Warfield was born in New Orleans, La.; he died in Birmingham, Ala.,
November 12, 1899.

QUEEN AND WEST constituted one of the great song and dance teams in
minstrelsy. They formed a partnership about 1868, which was terminated
by the death of Mr. Queen.

Together they played several prominent minstrel engagements, and later
went to Harrigan and Hart’s in New York, where Mr. West remained, all
told, about twenty-two years.

Mr. Queen was an exceptionally clever black-face comedian, while
Mr. West, in addition to his ability as a dancer and comedian, was
proficient on the banjo.

John Queen made his first appearance as a clog dancer in Boston with
Morris Bros., Pell and Trowbridge’s Minstrels. While with that company,
he, in conjunction with R. M. Carroll, did the first double clog dance
ever seen in minstrelsy.

William West began his theatrical career in 1857 as a black-face
performer, and until about 1863 played mostly with circuses.

His first minstrel engagement was with Duprez and Green. Subsequently
he played with Hooley at the Novelty Theatre in Brooklyn; with the San
Franciscos in New York, and with Bryant’s, Wood’s, and Morris Brothers.

Mr. West’s last stage appearance was about 1901.

John Queen (McQueeny) was born in St. Albans, Vt., November 19, 1843;
he died in New York, February 11, 1884.

William West (Cox) was born in Leicester, England, May 3, 1837.

CHARLES E. GIBBONS, an excellent clog dancer, was with Carncross and
Dixey’s Minstrels in Philadelphia, in 1869; subsequently he joined the
San Franciscos in New York, where he remained several years. His wife
was Effie Germon, the well-known actress.

He died in New York City June 27, 1882; age 40 years.

NED REED was well-known mostly in the middle west, as a capable
comedian. His first appearance was made in his native city about 1860.

In 1862 he organized a minstrel company, and subsequently he traveled
with John Robinson’s Circus, remaining about four years, after which,
in 1866, he appeared with Kelly and Leon’s Minstrels in Chicago. About
1867 Mr. Reed married Miss Ada St. Clair.

He had at various times conducted theatres in Terre Haute and Ft.
Wayne, Ind.; Syracuse, N. Y., and Dayton, Ohio, where for eighteen
years he was a resident, during which period Mr. Reed’s hand was
frequently in his pocket to help those less fortunate than himself.

Ned Reed was born in Cincinnati, Ohio, September 27, 1840; he died in
Dayton, Ohio, November 27, 1891.

C. W. PRINGLE was for many years associated in the management of
Richard’s and Pringle’s Colored Minstrels, a popular organization. He
died in Marysville, Cal., March 18, 1893.

BILLY GRAY (Cornelius O’Donnell) was well-known as a versatile
black-face comedian. He entered the variety profession about 1862.

In 1873 he joined Harry Robinson’s Minstrels, and two years later was
with Hooley in Brooklyn, N. Y. Subsequently he joined the company of
Harrigan and Hart in New York, where he long remained.

Billy Gray was born in Ireland; he died in New York, November 21, 1882.

BILLY REMINGTON, a prominent black-face performer, who was an
especially clever bone player, died at Grand Rapids, Mich., April 16,
1870.

PEASLEY AND HUGHES were a well-known black-face song and dance team
of the variety and minstrel stage, where they played many notable
engagements.

Mr. Peasley was also of Peasley and Fitzgerald; they opened with the
Dearborn Minstrels in Chicago, August 21, 1871.

John A. Peasley died in Syracuse, N. Y., April 22, 1893.

Mark Hughes died in Chicago, Ill., February 6, 1882; age 34 years.

WILLIAM DWYER was a well-known tenor singer, and played successful
engagements with Bryant’s, and the San Franciscos in New York, and
Simmons and Slocum’s Minstrels in Philadelphia.

[Illustration:

BILLY DE RUE

BOBBY DE RUE

(DE RUE BROS.)

BERT. LEIGHTON

FRANK LEIGHTON

(LEIGHTON BROS.)

BILLY FREEZE

LARRY FREEZE

(FREEZE BROS.)]

He was born in Dublin, Ireland; he died in Washington, D. C., December
30, 1898.

* * * * *

In the author’s possession is a document dated July 17, 1850, wherein
one James Norris purchased a fourth interest in a prominent minstrel
company of that day for $200.00. Imagine what a similar interest in Lew
Dockstader’s Minstrels would cost to-day.

* * * * *

“COOL” BURGESS (Colin Burgess) was one of the most famous names in
minstrelsy. Tall and slender, with long, drooping moustache, he
provoked merriment at sight.

He first appeared professionally in his native city about 1857, at the
Melodeon.

Subsequently he was identified with many minstrel organizations,
amongst the earliest was Burgess and (J. E.) Green’s. About the closing
of the Rebellion he joined Hooley’s Company in Brooklyn, where he
became quite popular.

In 1865 he was one of the proprietors of Burgess, (T. B.) Prendergast,
(Archie) Hughes and (D. C.) LaRue’s Minstrels.

In 1867, in conjunction with his fellow townsman, Charley Gardner, he
organized Burgess and Gardner’s Minstrels.

In 1864 he was associated with J. H. Haverly in an organization bearing
their name.

In the Summer of 1867, Burgess and (Ainsley) Scott’s Minstrels had a
brief existence.

(Charley) Reynolds, (John D.) Newcombe and Burgess’ Minstrels gave
their first performance September 24, 1862.

On August 9, 1869, Mr. Burgess made his appearance with Sam Sharpley’s
Minstrels in Boston, and the following month, in the same city, he
joined Delehanty and Hengler’s Company.

In the Fall of 1879 he opened with Joe Norcross’ California Minstrels.

In 1875 he made his first appearance in England at Sam Hague’s
Minstrels in Liverpool; subsequently he played a successful engagement
with Moore and Burgess in London.

Like most prominent performers Mr. Burgess has a specialty in which he
was prominently identified--in his case it was “Nicodemus Johnson,” in
which he danced with abnormally long shoes, he being the first to adopt
the massive footgear.

Mr. Burgess married Miss Edna S. Taylor May 20, 1862.

In the passing of “Cool” Burgess, minstrelsy lost one of its most
brilliant stars.

“Cool” Burgess was born in Toronto, Canada, December 20, 1840; he died
there October 20, 1905.

HANK MUDGE (Henry Tyler Mudge) is one of the few old-timers left.

Mr. Mudge, who ranked with the great clog dancers of his day, made
his first appearance in minstrelsy with the Porter Opera Troupe at
Hartford, Conn., in 1857.

In 1859 he was at Captain John Smith’s Theatre in Albany, N. Y. Mr.
Mudge avers that this Smith was in no way related to the party in
Virginia that was smitten with the charms of one Pocahontas.

But to continue; in 1860 he joined Sam Sharpley’s Minstrels, and later
went to Boston, where he became identified with the famous Morris
Bros., Pell and Trowbridge Minstrels in that city.

Mr. Mudge was associated with A. C. Stone, and as Mudge and Stone were
rated as two of the best clog dancers in minstrelsy; likewise when with
Hooley’s Minstrels in Brooklyn, N. Y., did he do a great dancing act
with Archie Hughes.

In New York he played successful engagements with Wood’s, and Kelly and
Leon’s Minstrels.

October 11, 1866, Mr. Mudge with a party sailed for Hong Kong; October
16, 1866, Mr. Mudge arrived in New York. This might possibly strike the
average observer as a quick trip; but the fact is that owing to the
peevishness of old ocean, the minstrels floundered around on its huge
bosom for several days, finally landing them where they started.

In five days the party recovered, and on October 21 they again set
sail; this time for old England, where they arrived in due time, and
after engagements on Erin’s Isle, Hussey, Sweney and Felton’s Minstrels
opened in London, England, December 5, 1866.

Mr. Mudge subsequently played an extended engagement with Moore,
Crocker and Ritter’s Minstrels in the British metropolis.

In 1866 Boyce and Mudge’s Minstrels made a bid for favor; later Hogan
and Mudge’s troupe did likewise, and in 1876 Mudge and Gaynor’s
Minstrels toured.

Mr. Mudge’s last tour was in connection with Dave Reed’s New York
combination in 1887.

Hank Mudge was born in Troy, N. Y., March 12, 1840.

D. L. MORRIS, one of the greatest German comedians there ever was,
played with Haverly’s Minstrels in 1875; and as Haverly’s “Black
Dutchman” scored a big success; he was also with another minstrel
organization.

He died at Cape Girardeau, Mo., August 5, 1879.

ROBERT MCWADE, whose great characterization of Rip, in “Rip Van Winkle”
has made him world famous, wrote a burlesque on P. T. Barnum’s “What
Is It?” for Hooley and Campbell’s Minstrels in New York, which was
produced December 3, 1860.

During the week, owing to the indisposition of James Unsworth, Mr.
McWade assumed the title role of “Africanus Barnum O,” and played it in
black face; and ’tho fifty years have elapsed, Mr. McWade still speaks
of this occasion with evident relish and satisfaction.

JOHN H. WARD was a splendid dancer, and in the early 60’s partner of
Wm. H. Delehanty, prior to the latter’s association with Thos. Hengler.

He died in East Saginaw, Mich., March 15, 1874.

DAVE WILSON was a good comedian and gave a fine portrayal of the aged
darky, but his principal fame rested on his manipulation of the bones,
of which he was a master.

He was with Newcomb’s Minstrels in 1869, and Kelly and Leon’s in 1875;
he retired shortly after that, and is said to be living in Buffalo, N.
Y.

NEIL PRICE, a black-face performer, whose fame chiefly was gained as
author of “A Boy’s Best Friend Is His Mother,” died at Chattanooga,
Tenn., November 5, 1889.

HARRY G. RICHMOND (Augustus Von Boyle) was an exceedingly versatile
performer; a good vocalist, dancer and comedian. His principal minstrel
engagement was with Haverly in the Spring of 1878.

In Philadelphia, on October 29, 1879, during an altercation with an old
friend, Dan Archer, Richmond, in pure self-defense, killed Archer.

Mr. Richmond, in conjunction with his brother, Acland Von Boyle, took
out the play of “Our Candidate,” about 1879.

On May 1, 1880, he married Miss Florence Stover, an actress.

Harry G. Richmond was born in Brooklyn, N. Y.; he died in Camden, N.
J., October 21, 1885.

A. C. STONE was an exceptionally good clog dancer, and in the early
60’s a partner of “Hank” Mudge, under the team name of Stone and Mudge.

In 1865 he was with Sharpley’s Ironclads; at the time of his death with
LaRue’s Minstrels.

He died at Frankfort, Ky., November 13, 1866.

GEORGE WILKES (Miller), a well-known female impersonator of several
early minstrel organizations, was born in Philadelphia; he died in
Memphis, Tenn., October 1, 1870.

FRED SPRUNG was a well-known vocalist and “straight” man in the 60’s,
during which period he worked in acts with Billy Manning. In 1864 he
was with Rumsey’s Minstrels, and in September of the following year
with a small company, gave a show over the mountains of California,
being one of the first to do so.

He died in San Jose, Cal., February 26, 1890.

JOHN PENDY (Prendergast), a well-known black-face performer in the old
variety days, married Jeffreys Warner, and played as Pendy and Warner
for several years.

He died in New York City November 16, 1902.

FRANK GIRARD (Giraud). This well-known interlocutor and “straight man”
began his career with Hooley’s Minstrels in Brooklyn, N. Y., about
1863; he remained but a short period and then enlisted in the navy,
where he continued until the war was over.

In September, 1866, Mr. Girard was one of the 500 passengers bound for
New Orleans on the steamer “Evening Star,” which was wrecked about
300 miles off the coast of Florida (October 3, 1866); he was the only
male that survived, and was on the water for five days before he was
rescued. He subsequently returned to New York, and later was identified
with some of the principal minstrel companies.

[Illustration:

GUSTAVE BIDAUX

W. H. LEWIS (RICE)

FRANK KENT

GONSALVO BISHOP

EDWIN HOLMES

DUPREZ & GREEN’S MINSTRELS, 1863.

Some prominent members of the company at that time.]

About 1871 he became a member of Tony Pastor’s stock company in New
York, where he acted as stage manager and played in the farces for many
years.

His son is Edwin Girard, for many years manager of the Gotham Theatre,
Brooklyn, N. Y.

Frank Girard was born in Brooklyn, N. Y., July 7, 1840; he died there
November 1, 1900.

JAMES D. BOHEE a prominent colored performer and concededly great
banjoist, went to England about 1880, where he was a great success
until the time of his death in London, England, December 1, 1897.

JIMMY CLARK was one of the best jig dancers in the country, and equally
proficient in the manipulation of the banjo, and an all-round good
general performer.

He was with Kelly and Leon’s Minstrels in New York, also with the
Duprez and Benedict Company.

December, 1872, Welch, Clark and Hart’s Minstrels began a brief career.

Mr. Clark had not appeared professionally for some years. Prior to his
death he was employed in the manufacturing of the banjo.

Jimmy Clark died in New York City, February 27, 1880; age 40 years.

CHARLES L. MONROE, considered a very good impersonator of the old
Southern “darky,” died in Philadelphia, July 12, 1875; age 36 years.

JOHN BARTLEY, a good general performer in negro acts, and an
exceptionally fine performer with the tambourine and bones, died at
Buffalo, N. Y., April 17, 1895.

JERRY MCMILLAN, once known as “Master Jerry,” was one of the best jig
dancers of his day.

He was identified with the San Francisco Minstrels in New York City for
a considerable period.

He died in Philadelphia, September 9, 1873.

A. BAMFORD, a capable female impersonator who was prominent at one
time at Hooley’s Minstrels in Brooklyn, and also played a European
engagement in the 60’s, died at San Francisco, April 5, 1871. Mr.
Bamford also did specialties with Harry Norman.

HARRY J. CLAPHAM. This gentleman’s name will always rank with the great
managers of minstrelsy.

His career began on the 30th anniversary of his birth, at Syracuse,
N. Y., with Cal. Wagner’s Minstrels, as a balladist. Six weeks later
he was programme agent, and in six months was “press agent”; in 1910
we would call that “making good.” Later he became general agent,
continuing in that capacity for 18 months. When Haverly’s Minstrels
were organized in the Fall of 1873, he became agent; a year later he
was manager, in which capacity he served for several years.

Leaving Mr. Haverly he took a much-needed rest for six months, and
then assumed the management of Barlow, Wilson, Primrose and West’s
Minstrels; in about two years he turned into the company $100,000 in
profits; this was “going some” about 30 years ago.

John T. Raymond and Mr. and Mrs. McKee Rankin claimed his executive
attention for three years; he then assumed management of the Barlow,
Wilson & Co. Minstrels, remaining three years.

After the Barlow, Wilson & Co. Minstrels, Mr. Clapham took out a
repertoire company; his leading man being no less a personage than
that excellent actor of to-day, Mr. Thos. E. Shea, who had previously
occupied a mercantile position in Boston.

A four years respite found Mr. Clapham equal owner with Lew
Dockstader’s Minstrels (road company); the alliance lasted three
seasons, which were very successful; the first 40 weeks profits were
$24,000.

Mr. Clapham speaks in the highest terms of praise of his first manager,
Col. Haverly, because he gave him (Clapham) the opportunity.

Harry J. Clapham was born in Lincoln, England, November 16, 1840.

KELLY AND LEON was a great trade-mark in minstrelsy forty years ago.

Edwin Kelly was a vocalist and an actor; Leon was a female
impersonator; and none were more successful than he. Together they were
famous for their burlesques, which they put on in a lavish manner.

In 1860 each were members of Geo. Christy’s Minstrels; the following
season they joined Morris Bros., Pell and Trowbridge’s Company in
Boston, and in 1862 they were with Arlington and Donniker’s Troupe.
A year later Kelly and Leon were interested in the management of the
company, which soon after was known as Kelly and Leon’s Minstrels in
Chicago.

October 1, 1866, the company opened at Hope Chapel, New York, and
for more than two years they were established there, meeting with
pronounced success.

January 9, 1869, they gave their final performance, and shortly after
sailed for London, England, opening with Montague’s “Christy’s,”
May 9. After a brief engagement they organized Kelly and Leon’s
“Christy’s” Minstrels, giving their initial performance July 6, 1869.
Six weeks later, August 16, they appeared with Delehanty and Hengler’s
Combination in Boston. They made their first appearance in San
Francisco November 7, 1871.

August 26, 1872, they began an engagement at Bryant’s Minstrels in New
York, which terminated November 16. Kelly and Leon then reorganized
their own company, opening at their old stand, November 25, three days
later, November 28, 1872, the theatre was destroyed by fire.

The following Summer they returned to California, where they played an
engagement in San Francisco with Maguire’s Minstrels.

Returning East they opened in Philadelphia with Simmons and Slocum’s
Minstrels, closing November 8, 1873.

The following year they were with Haverly; in 1875 Kelly and Leon’s
Company took the road, under the management of Surridge and Melville.

In the Spring of 1876 their company opened at Bryant’s old minstrel
hall in New York, where they continued several months.

December 10, 1877, with their company, they began their third
engagement in San Francisco, and on February 2, 1878, they sailed
for Australia, where about two years after their arrival their long
partnership was dissolved. For a time each headed their own company
in the Antipodes. Leon later returned to the United States; Mr. Kelly
remained in Australia until his death.

Prior to 1860 Edwin Kelly was a balladist with Ordway’s Aeolians in
Boston. In May, 1858, “Master” Leon joined Wood’s Minstrels in New
York; the year following he was with Campbell’s Minstrels.

Shortly after Leon’s return to America, he joined Haverly’s Minstrels;
he severed his association with that company in February, 1883. He then
formed an alliance with Frank Cushman, and in April began an engagement
with Barlow, Wilson’s Minstrels.

September 3, 1883, he opened with Birch’s San Francisco Minstrels in
New York. Leon and Cushman sailed for Australia about January 1, 1886;
they played several months in Melbourne; shortly after their return to
the United States they separated, August, 1887.

“Leon” began an engagement with Emerson’s Minstrels January 19, 1889.

Since then Mr. Leon has been identified in minstrel, vaudeville and
concert work, until his retirement about eight years ago.

Edwin Kelly was born in Dublin, Ireland, in 1835; he died in Adelaide,
Australia, December 24, 1898.

“Leon” (Patrick Francis Glassey) was born in New York City, November
21, about 1840.

JACK TALBOTT (Arthur J. Talbott), well-known as a comedian, began his
theatrical career in the late 50’s.

In 1860 he was with Hooley and Campbell’s Minstrels, that same year
joining Sanford’s Company in Philadelphia, in which city he remained
altogether about ten years with Carncross and Dixey’s, and Carncross’
Minstrels. Early in 1887 he was one of a company at the Criterion
Theatre, Brooklyn, N. Y., in an attempt to revive permanent minstrelsy
in that city.

Mr. Talbott was an excellent marksman, and was the first to shoot an
apple from the head in a theatre.

He first performed this feat at the New Idea in San Francisco, October
21, 1864; Johnny De Angelis, father of the comedian, Jeff De Angelis,
held the apple.

Mr. Talbott was a brother of Harry Talbott, the minstrel, and the
husband of Emma Miles, danseuse, whom he married in the 60’s.

Jack Talbott was born in Baltimore, Md., October 3, 1840; he died in
New York, April 5, 1910.

J. HENRY MURPHY, the well-known minstrel tenor, was with Mead’s
Minstrels in New London, Conn., September 8, 1862.

About February, 1864, he joined Buckley’s Serenaders in Boston, Mass.,
and was associated with them for several seasons. April 17, 1871, he
commenced an engagement with Newcomb and Arlington’s Minstrels in New
York, and on January 29, 1872, joined Simmons and Slocum’s Company in
Philadelphia.

Later he identified himself with Cal. Wagner’s Minstrels, and was with
him some time. Mr. Murphy had not appeared professionally for many
years.

J. Henry Murphy died in New London, Conn., April 10, 1910; age about 70
years.

[Illustration:

JOHN E. CAIN

NEAL ABEL

GEO. W. ROCKEFELLER

JULIA GOULD

GREG. PATTI

HARRY LEHR

CAIN & ABEL; ROCKEFELLER & GOULD; PATTI AND HARRY LEHR; THEY ALL
“BLACKED UP.”]

CHARLES D. BURNHAM, an old-time comedian, was with Green’s Mocking Bird
Minstrels in 1871, also various other companies.

He married Miss Jennie Davis at Kingston, Canada, January 5, 1872.

He died at Bay City, Mich., August 1, 1902.

“ENGLISH TOMMY PEEL” (William Howe), a jig dancer of some reputation,
died in New York, January 31, 1868.

WALTER BRAY (Baker) was a versatile black-face performer, whose career
began about fifty years ago.

In 1864, in conjunction with Joe Murphy, he had a minstrel company
bearing their names. Mr. Bray made his first New York appearance
September 6, 1869, doing a black-face song and dance called “Sugar Bob.”

In 1872 he was with Wm. Henry Rice’s Minstrels in Cincinnati, where his
“Corkographs” received well-merited applause. Subsequently he played
many minstrel and variety engagements.

He died at Fort Worth, Texas, February 25, 1891.

“HAPPY” CAL. WAGNER was not born with that handle to his name, but just
plain Calvin Wagner.

Mr. Wagner began comicalities at the age of 17, and at 70 is still
“happy.” Of course he played other minstrel engagements before
appearing with Charley Morris’ Company in 1864.

In 1865 he was with Sam Sharpley’s Ironclads, and the following year
Wagner and (Sam) Hague’s Minstrels could readily be seen--if you had
the price.

In 1867, January 21, to be exact, he joined Lloyd and Bidaux’
Minstrels; the following year found him with Fred Wilson’s Minstrels,
and on March 6, 1869, he left Wilson in St. Louis; that is, he left
Wilson’s company. It was getting time for “Happy” Cal Wagner’s
Minstrels, and accordingly that organization soon sprang into being.

In the Fall of 1870 this company came under the able direction of
“Jack” Haverly; the partnership was dissolved November 8, 1873. Mr.
Wagner’s Minstrels went on touring.

In 1878 Wagner and (Ben) Cotton’s Minstrels happened; that same year
they unhappened. A year or so later Mr. Wagner joined Barlow, Wilson,
Primrose and West’s Minstrels, closing with them in February, 1881.

Mr. Wagner’s last appearance in minstrelsy was with Quinlan and Will’s
Company, about five years ago.

Cal. Wagner was born in Mobile, Ala., July 4, 1840.

HORACE RUSHBY, well-known as a character actor, made his first
appearance in the United States with Case and Kernan’s Minstrels in
1869.

A year later he joined Blaisdell Bros. and Courtright’s Minstrels; in
1872 he was a member of Wm. Henry Rice’s organization in Cincinnati.
Subsequently he appeared successfully with the minstrel companies of
Harry Robinson; Haverly; I. W. Baird’s; Birch, Hamilton and Backus;
Hooley and Emerson’s Megatherians; Carncross’, in Philadelphia, and
several others.

Some years ago Mr. Rushby decided to enter the legitimate field, where
as Cy. Prime in the “Old Homestead” and John Todd in “Old Jed Prouty”
he achieved success.

Horace Rushby was born in Hull, England, November 14, 1840.

JOHN CROSHER, a well-known ballad singer who was with Cotton and
Murphy’s Minstrels in 1865, and with Simmons and Slocum’s Company in
Philadelphia, Pa., from 1871 to 1874; died in Toronto, Canada, January
15, 1880.

DICK SANDS (George R. Sands), famous for many years as Barnum’s “Old
Woman in the Shoe,” was one of the world’s greatest clog dancers.

His first appearance was made at Pierce’s Varieties in Providence, R.
I., in 1857. Late that same year he joined Bryant’s Minstrels in New
York, and in February, 1859, reappeared there.

In 1866 he was associated with Jack Haverly in a minstrel company
bearing their name. Mr. Sands played important engagements with the
Morris Bros., Pell and Trowbridge Minstrels in Boston, and many other
high-class minstrel and circus companies.

Dick Sands was born at Mill Bridge, England, May 2, 1840; he died in
New York, March 28, 1900.

CHARLES B. HICKS, one of the proprietors of Hicks and Sawyer’s Colored
Minstrels, died at Suraboya, Java, in 1902.

W. H. HAMILTON, who was a well-known baritone singer, was with Simmons
and Slocum’s, and Frank Moran’s Minstrels in Philadelphia in the early
70’s, and in 1882 was part proprietor of Birch, Hamilton and Backus’
Minstrels in New York. He died in Los Angeles, Cal., April 17, 1897.

GUSTAVE GEARY, a well-known vocalist of Hooley’s and other minstrel
companies during the 60’s, died in New York, April 25, 1877.

W. H. STRICKLAND, the well-known minstrel agent, who was long
associated with Haverly’s Minstrels, died in New York, February 27,
1903.

CHARLES LOCKWOOD, a famous singer of Hooley’s Minstrels in Brooklyn, N.
Y., and other prominent organizations, died in Brooklyn, N. Y., April
28, 1887.

He was the author of “A Handful of Earth,” made famous by Joe Murphy in
the Irish drama.

J. H. CLIFFORD, an excellent dancer of the 60’s, during which period he
was associated with Rumsey’s, Hooley’s, Campbell’s and other well-known
minstrel organizations.

He was especially well remembered for his song of “Hot Corn.”

He was on the police force in New York for some time.

He is said to have died about ten years ago.

BILLY SHEPPARD was equally famous for his neat and artistic songs and
dances, and for his rendition of the “Anvil Chorus” on the banjo.

He had been with many prominent minstrel companies, notably with the
San Franciscos in California in 1865; Griffin and Christy’s in New
York, two years later, and in the Summer of 1869 played in England
with Smith and Taylor’s Minstrels; in 1870 he was with Hooley in
Brooklyn, N. Y., and with Hooley’s in Chicago in 1871. His wife was
professionally known as Sallie Clinetop, of the Clinetop Sisters.

Mr. Sheppard died at Ft. Washington, N. Y., July 8, 1872.

JAMES A. HERNE, the late well-known actor and author, whose portrayal
of the lighthouse keeper in his play of “Shore Acres” will long be
pleasantly remembered, played Samson, a heavy, black-face character
part in the “New South,” commencing at the Broadway Theatre, New York,
January 2, 1893.

James A. Herne was born in Troy, N. Y., February 1, 1840; he died in
New York City, June 2, 1901.

D. R. HAWKINS was well known as a capable interlocutor, and
co-proprietor with Billy Courtright with a permanent minstrel company
in Philadelphia bearing their names; they opened about September, 1882.
He was also with Emerson’s Minstrels.

He was born in Philadelphia, and died in San Francisco, September 5,
1888; age 47 years.

HEN. MASON (Martin), was a well-known black-face performer. His wife
was Celia Iferd, an actress.

He was the author of several sketches, notably, “A Night at a Free and
Easy.”

He died in New York, February 22, 1873; age 33 years.

FRANK PELL, a well-known and favorite comedian of many years ago, who
was with Mrs. Matt. Peel’s Minstrels, in 1860; Newcomb’s Minstrels, in
1867, and other well-known companies, died in St. Paul, Minn., August
26, 1871.

TOMMY PEEL (O’Reilly) was one of the world’s great jig dancers. He made
his first professional appearance in his native city at the age of
twelve years.

About 1855 he became a member of a minstrel company in which Matt Peel
was interested. Mr. Peel adopted him, and young O’Reilly thereafter was
known as Tommy Peel.

He continued with Matt Peel practically until the latter’s death, in
1859, after which he joined Bryant’s Minstrels in New York, where he
remained about three years.

Tommy Peel was born in Albany, N. Y., September, 1841; he died in
Melbourne, Aus., July 31, 1869.

J. F. SULLIVAN, prominent as a balladist at various times with the
minstrel companies of Duprez and Green; Sharpley’s; Buckley’s, and
Skiff and Gaylord’s, died in Boston, Mass., August 20, 1866; age 25
years.

FRANK HOWARD (Hurd), an old-time general minstrel performer of several
early companies, was born in Boston, Mass.; he died in Chicago, Ill.,
January 4, 1897; age 56 years.

[Illustration:

DAN. BRYANT

“HANK” MUDGE

S. S. PURDY

A TRIO OF TROJANS.

TOM ENGLISH,
Born in Ireland

SID. C. FRANCE,
Born in England

CHAS. K. FRENCH,
Born in the United States

ISN’T THIS THE FUNNY OLD WORLD?]

J. K. “FRITZ” EMMETT (Kleinfelter), the famous singing Dutch comedian,
played several minstrel engagements before coming East; but always in
white-face.

On June 1, 1868, at De Bar’s Opera House, St. Louis, Mo., (R. M.)
Carroll and Emmett’s (J. K.) Minstrels began a brief engagement. Late
in the same month he made his first New York appearance in _black-face_
at Bryant’s Minstrels, and this was not the only time Mr. Emmett
ever appeared in corked features. The engagement terminated in July
following.

J. K. Emmett was born in St. Louis, Mo., March 13, 1841; he died in
Cornwall, N. Y., June 15, 1891.

BEN HAYES (J. C. Allian) the old-time comedian and general performer,
made his first appearance with the Sands & Mazzoni Company, in 1863.

That same year he joined the Morris Bros., Pell and Trowbridge Company,
subsequently appearing with Cal. Wagner’s Minstrels for three years.

With Frank Wild in Buffalo, he was associated three years, also in many
other variety houses did he play long stock engagements.

Ben Hayes was born in New York City, October 26, 1841.

JOSEPH M. NORCROSS, for many years known as Joseph Norrie, is one of
the oldest and most prominent interlocutors in minstrelsy.

He first appeared professionally with the late Fred Sharpley and his
own minstrel company in 1857.

In 1862 he joined Carncross and Dixey’s Minstrels in Philadelphia, and
in 1870 joined Simmons and Slocum in the same city, and remained two
years with that company, including a trip to California.

Subsequently Mr. Norcross joined Birch, Wambold and Backus’ Minstrels
in New York, continuing there two years, after which he joined Bryant’s
Minstrels, also in the Metropolis, and remained until the death of Dan
Bryant.

Mr. Norcross was two years with Emerson’s Minstrels in San Francisco,
and a like period with Buckley’s Serenaders. He was with Haverly seven
years, including a trip to England, in 1884.

Mr. Norcross was with “Our Goblins” for four seasons, appearing in
white-face. For the past few years he has intermittently appeared in
vaudeville with a unique tabloid minstrel show of his own design.

Mr. Norcross married Miss Mamie Wambold at Newark, N. J., March 17,
1878.

Jos. M. Norcross was born in New York City July 5, 1841.

HUBERT W. EAGAN is one of the few old-time black-face performers whose
active career began over half a century ago.

Mr. Eagan’s professional life began in Buffalo, N. Y., in 1857; three
years later he sat on the end for the first time in Baltimore, Md., at
the Melodeon, the present site of the Monumental Theatre.

He played many variety engagements before he went with LaRue’s
Minstrels in 1866.

Mr. Eagan joined James Edwards in the middle 60’s, and as Eagan and
Edwards were highly popular in the variety houses.

In 1863 he married Miss Jennie Williams, and after playing numerous
variety and circus engagements, he retired about 1898.

Hubert W. Eagan was born in Castleragh, Ireland, December 18, 1841.

LEW BRIMMER (Leslie Chase Brimmer) was not only a great banjoist, but a
clever comedian as well.

In July, 1864, he was with Sanderson’s Minstrels; the same year he
joined Hooley in Brooklyn, N. Y.; December 5, 1865, at Binghamton, N.
Y., was given the first performance of Brimmer, Whiting, Gaynor and
Clark’s Minstrels.

He was with Emerson and Manning’s Minstrels in 1869, and the following
year with Emerson’s Minstrels; in the Summer of 1871 he had out
Lew Brimmer’s Banjo Minstrels, and in September, 1872, he began an
engagement with Moran and Dixey’s Minstrels in Philadelphia.

He was also with the San Francisco Minstrels in New York, and with
Wood’s Company in the same city. His last engagement was at Sandy
Spencer’s, in New York City.

Lew Brimmer was born in Cooperstown, N. Y.; he died in Fonda, N. Y.,
September 15, 1883; age 42 years.

GEORGE GRAY, a well-known minstrel singer of the 60’s and 70’s, was
identified with the companies of Hooley, Fox and Sharpley; Campbell’s
and many others.

About 1880 he played Uncle Tom, and continued in that character until
his death.

He was the first husband of Minnie Oscar Gray.

He was born in New York, September 25, 1841; he died in Minneapolis,
Minn., March 13, 1882.

TIM. HAYES was one of the foremost clog dancers of minstrelsy. His
first professional appearance was with Wild’s theatrical show under
canvas in 1851.

In 1860 he came to the United States, and made his debut at the
Melodeon in New York. After that he joined Hooley and Campbell’s
Minstrels, and subsequently appeared with Unsworth’s; Carncross and
Dixey’s, in Philadelphia; George Christy’s, and M. C. Campbell’s
Minstrels.

Tim Hayes was born in Dublin, Ire., September 22, 1841; he died in
Washington, D. C., May 12, 1877.

BILLY HART arrived in the United States on his eighth birthday. He made
his first appearance professionally in New York, January 26, 1862. In
April, same year, he appeared in black-face for the first time, and
sang “Ham Fat”; subsequently and for many seasons he appeared with many
prominent minstrel companies.

A few years before his death he essayed Irish characters, and was very
successful.

He was born in County Tipperary, Ireland, March 17, 1842; he died in
New York, July 9, 1879.

CHARLES H. DAY spent nearly all of his life in the amusement world. He
was well known as an author, agent and journalist; he was connected in
an executive capacity with such minstrel organizations as Cleveland’s
and Newcomb and Arlington’s.

About forty years ago he was interested in Sharpley, Sheridan, Mack
and Day’s Minstrels; later this company was known as Sheridan, Mack and
Day’s Minstrels.

Charles H. Day died in New Haven, Conn., October 3, 1907; age 65 years.

HARRY STANWOOD (Stevens) was famous as a banjoist and comedian for many
years.

In 1863 he was with Duprez and Green’s Minstrels; in 1871 with Newcomb
and Arlington’s Company in New York. He was also with Bryant’s
Minstrels in the same city, as well as many other first-class
organizations during the twenty-five years or so he was before the
public. Harry Stanwood was born in Cobourg, Canada, November 2, 1842;
he died there September 21, 1886.

BOB FRASER was equally well-known as a minstrel and pantomimist.

Originally a scene painter, it was while employed in that capacity with
Carncross and Dixey’s Minstrels in Philadelphia, that he made his debut
as an end man. He invariably arranged the Christmas pantomimes with the
company in which he was identified; and in that way gradually forsook
cork for chalk.

On Christmas Day, 1876, he became associated in the management of
the minstrels with Billy Sweatnam at the Arch Street Opera House,
Philadelphia; the organization was then known as Sweatnam and Fraser’s
Minstrels.

Bob Fraser was born in Philadelphia; he died in New York City, August
4, 1896; age 54 years.

SAM. DEVERE was one of the best-known black-face banjoists before the
public. He first applied cork to his features when twenty years of age,
in a music hall in Brooklyn, on the site now occupied by the Court
Theatre.

In 1879 he starred in “Jasper,” a play in which he played one of the
principal characters, in black-face. One year later he went to Europe
with Haverly’s Minstrels, opening in London, July 31, 1880.

September 15, 1890, at the Gayety Theatre, Albany, N. Y., the first
performance of Sam Devere’s Own Company was given, and the company
continued on the road ever since. Even at the present date, the
trade-mark is still in use.

Mr. Devere achieved wide popularity by singing the famous ditty, “The
Whistling Coon.”

Sam Devere died in Brooklyn, N. Y., March 1, 1907; age about 65 years.

SANFORD AND WILSON are credited with being the original musical mokes;
they certainly were among the earliest double acts of this kind.

Both were big men, and both capable comedians. The violin and banjo
were about the only instruments they played; but they could play them,
and no two performers ever got more comedy out of these instruments
than they.

They formed a partnership in August, 1873, and during their many
years on the stage they played all the principal variety houses, and
engagements with Bryant’s, also Haverly’s Minstrels.

Mr. Wilson retired from theatricals in May, 1892.

[Illustration:

JAS--MACKIN & WILSON--FRANCIS
(1875)
(Courtesy of Chapin & Gore, Chicago)

“KERRY GOW” JOE MURPHY
(1862)

DAVE--MONTGOMERY & STONE--FRED
(About 1898)

THOSE WERE THE HAPPY DAYS.]

James Sanford (Thos. Pynes), was born in Milbury, Mass., in 1843; he
died in Cohoes, N. Y., December 23, 1891.

Charles Wilson (Neiman), was born in Milwaukee, Wis.; he died in
Brooklyn, N. Y., February 15, 1893; age 51 years.

JOHN BOWMAN. This prominent song and dance artist began his regular
career at Graham’s Concert Hall on Market Street, near Second, St.
Louis, Mo., in October, 1863, where he met with much success doing
an “Essence.” It was there that he met his future partner, William
Harris, though he did not join him in partnership at that time. After
Graham’s he went to Jake Esher’s Bowery, same city, doing “ends” and
comedy; traveling engagements followed until he met Harris again at
Deagle’s in St. Louis, 1866, when the partnership was formed; they
remained at Deagle’s Varieties one year, played many variety theatres,
and engagements in St. Louis with Fred Wilson’s Minstrels, also Simmons
and Slocum in Philadelphia. Bowman and Harris dissolved partnership in
Canada in 1873 while with the L. B. Lent’s Circus.

After separating from Mr. Harris he opened in Providence, R. I., with
Archie Stalker, and played other dates, later taking out the Bowman
Brothers Minstrels; a wagon show.

In 1881 he went to work for William Harris, in Boston, and has been
with him ever since.

John Bowman was born in Mobile, Ala., November 16, 1842.

WILLIAM HARRIS, famous in professional circles for many years as a
member of the great theatrical syndicate, began his career in St.
Louis, Mo., in the early days of the Civil War, as a black-face song
and dance man, playing the variety houses until 1866, when he formed
a partnership with John Bowman, which lasted until 1873, when they
separated. Mr. Harris next allied himself with William Carroll, a
good comedian and banjoist, and as Harris and Carroll played many
first-class engagements, including Tony Pastor’s Road Company; they
separated in 1879. Later he went to Boston at the Howard Athenaeum,
as stage and acting manager for Josh. Hart, subsequently taking the
house himself, and retaining it for several seasons. Afterwards, in
conjunction with Isaac Rich, they had many stars under their banner,
including George Thatcher, Andrew Mack and many others.

Mr. Harris is one of the youngest looking men in the profession,
retaining the appearances of youth to a remarkable degree; he hails
from St. Louis, Mo. I didn’t get his age, but I am sure he must be
younger than he would admit that he is.

(Overture--“Apple of My Eye.”)

JOE. LANG, the old-time black-face performer, made his first appearance
with the Morris Brothers, Pell and Trowbridge’s Minstrels, at an early
age. Subsequently he played an engagement with Morris and Wilson’s
Minstrels in St. Louis.

Mr. Lang had the management of the Adelphi Theatre in Buffalo for
several seasons, and the Halsted Street Theatre in Chicago.

He was also associated professionally with “Hank” Mudge, the old time
clog dancer.

Joe Lang was born in New York, September 21, about 1843.

MIKE FOLEY was a well-known black-face comedian, and during the 70’s
did an excellent black-face act with Buck Sheffer, as Foley and
Sheffer. He was also of the team of Foley and Wade.

He had retired from active theatricals about nine years prior to his
death, which occurred at Syracuse, N. Y., September 10, 1888, at the
age of 45 years.

THOMPSON AND KERNS were the first black-face double song and dance team.

Prior to their advent, performers invariably worked singly. Their
first joint appearance was made in Washington, D. C., in 1861; a year
previous Mr. Kerns had made his professional debut at Long’s Varieties,
Philadelphia. Thompson and Kerns continued in partnership for several
years, playing the variety theatres almost exclusively.

After separating, Mr. Thompson joined Newcomb’s Minstrels in
Cincinnati, August, 1867.

About 1871 he produced “On Hand,” a sensational drama, in which Mr.
Thompson portrayed twelve distinct characters; black, white and yellow;
male and female; of various nationalities. At last accounts he was
still playing “On Hand,” early in the current year.

Mr. Thompson is the father of Mollie Thompson, the favorite dancer of a
decade ago; and the father-in-law of Eddie Garvie, who has played more
than one black-face part.

Mr. Thompson was also the oldest living musical moke.

Johnny Thompson was born in New York, July 4, 1843.

Frank Kerns was born in Philadelphia, 1844; he died in New York,
September 21, 1877.

CHARLES BORTELL was well-known as a capable and bass singer and
interlocutor. His last minstrel engagement was with I. W. Baird’s
Company.

At one time he was a member of the police force in Saratoga, N. Y.; he
died there November 26, 1888; age 45 years.

OSCAR WILLIS (McLain) was well-known as a banjoist and comedian chiefly
on the variety stage.

His first appearance was made in his native city in 1858.

In 1871 he was end man and comedian with Unsworth’s Minstrels.
November 16, 1867, he married Gussie Lamoreux, a well-known dancer, at
Baltimore, Md.

Mr. Willis was born in Pittsburg, Pa., July 14, 1843; he died at
Bismarck, Dakota, August 19, 1881.

JOHN WILD. This truly great impersonator of the colored man was rather
an unique performer; for whereas most of his contemporaries portrayed
the black man of the plantation, John Wild’s characterizations were
generally those of the town negro, of which he made an especial study
from New York City life.

About 1857 Mr. Wild met Billy Arlington, and became a member of
Arlington and White’s Minstrels; the company consisted of the three
already named, and lasted one week. The next three years were mostly
circus and variety engagements. Early in 1863 he went to Carncross
and Dixey’s Minstrels in Philadelphia, occupying the tambo end; he
subsequently played the variety theatres with Blanche Stanley in an act
called “Nerves,” in which he created a sensation.

Mr. Wild afterwards was with the minstrel companies of Emerson, Allen
and Manning’s, and the Morris Brothers in Boston, which company he
left to become one of the proprietors of Dougherty, Wild, Barney and
Mac’s Minstrels in 1869. He joined Harrigan and Hart’s Company, January
28, 1878, and continued with them until and after Tony Hart left the
organization, remaining until 1889, when he starred in “Running Wild.”

The following year he was with George Thatcher’s Minstrels, and on
December 29, 1890, he rejoined Harrigan, continuing with him until 1895.

In conjunction with Mrs. Annie Yeamans and Dan Collyer, he began a tour
in vaudeville, January 10, 1898.

John Wild’s death was a distinct and irreparable loss to the profession
he so ably graced.

Mr. Wild was twice married; his second wife, Ada Wray, was well-known
in the profession several years ago.

John Wild was born in Manchester, England, December 29, 1843; he died
in Averill Park, N. Y., March 2, 1898.

GEORGE W. ROCKEFELLER, well-known as a vocalist and banjoist, opened
with the 5th Engineer Minstrels at Auburn, N. Y., September 4, 1865;
shortly after this company was known as Wagner and Hague’s Minstrels.
Subsequently he was with Lloyd’s Minstrels in New York, and Tunnison’s
Minstrels in Philadelphia; he joined Bryant’s Company in New York in
1868, and was with them for quite a while.

He was with Buckley’s Serenaders, also in New York, in the Summer of
1870; in the Fall he joined the San Francisco Minstrels, likewise in
New York.

He opened with Emerson’s Minstrels in San Francisco, August 19, 1872;
May 12, following he sailed for Australia with that company, and
remained in the Antipodes after leaving Emerson, finally returning to
the United States in the Summer of 1879.

He again went to California, where he died at Colton, that State, March
18, 1886. Mr. Rockefeller was born at Penfield, N. Y., March 14, 1843.

CHARLEY PETTENGILL. Minstrelsy suffered an irreparable loss in the
untimely death of this brilliant comedian; a comedian in fact, and
versatile to a degree.

August 1, 1864, he opened with Buckley’s Serenaders in Boston, and
became a great favorite at once. Subsequently he joined the Morris
Bros. Minstrels in the same city, where he remained until February
13, 1866. September 10, following, he played a brief engagement with
Sands and Herbert’s Minstrels, and the same month returned to his
home in Albany to organize Pettengill’s Minstrels, which continued
intermittently until September 22, 1869, when in conjunction with
Johnny Allen and Delehanty and Hengler, a company bearing their names
was launched at Brooklyn, N. Y.

In November following they opened for a run in New York, that
terminated June 1, 1870.

[Illustration:

JOHN GORMAN

JAMES GORMAN

GEO. GORMAN

THE GORMAN BROS.; ALWAYS ON TOP.

AMOS ARNOLD

BILLY ARNOLD

FRANK ARNOLD

THE FAMOUS ARNOLD BROS.; A GREAT TREAT FOR BILLY.]

Mr. Pettengill is declared to have been the original “Nicodemus
Johnson”; if he wasn’t, he certainly was the greatest. All honor to his
memory.

Charley Pettengill was born in Albany, N. Y., where he died October 10,
1870; age 27 years.

M. B. LEAVITT (Michael Bennett Levy) commenced his professional career
as a minstrel in 1859; he was one of the end men, and appeared under
his own name as M. B. Levy; Mr. Leavitt has been a comedian ever
since--but not always on the stage.

To name all the minstrel companies he has been with would be a
difficult matter, also all the things he did in them.

In 1867 he was a clown and comic vocalist; in 1872 he did a stump
speech on the occasion of his last appearance as a “black-face”
performer. There were any number of “Leavitt’s Minstrels” in the 60’s.

About forty years ago he became associated with Mme. Rentz’s Female
Minstrels; when the fall season opened, September 18, 1871, Mr. Leavitt
was treasurer of the company. This organization subsequently developed
into the Rentz-Santley Troupe, the burlesque show of many years’
standing. Most of the Leavitt millions were made with this company.

In 1881 Leavitt’s Gigantean Minstrels were organized, and in 1889
Leavitt’s European Minstrels toured.

Mr. Leavitt has broken into the ranks of authors, and an interesting
volume from his pen may shortly be expected.

M. B. Leavitt was born in Boston, Mass., June 24, 1843.

ARTHUR COOK, the well-known minstrel tenor who made popular “Ring
the Bells Softly,” “Essie Dear” and other favorite compositions,
came to America about 1853, and was prominently identified with such
well-known minstrel organizations as Bryant’s, in New York; Carncross’
and Thatcher and Ryman’s in Philadelphia; Hooley’s in Brooklyn; San
Franciscos in New York; Primrose and West; also with Edward Harrigan,
“The County Fair” and “The Man From Boston.”

Arthur Cook was born in London, England; he died in Boston, Mass.,
November 1, 1893; age 50 years.

BILLY MCALLISTER’s career began at the age of sixteen, singing in
concerts.

In 1862 he joined the Fuller New York combination Minstrels as a
comedian, and as a comedian no one has ever been able to justly gainsay
his right to that term.

In 1864 he organized the Cross, Fay and McAllister’s Minstrels,
and until 1870 he was associated with various companies; in the
fall of that year he joined Cal. Wagner’s Minstrels; Mr. McAllister
demonstrated his versatility with this company by performing at various
times the duties of balladist, interlocutor and comedian.

In 1872 he was with Harry Robinson’s Minstrels, and most of the period
from then until 1880 was identified with his own companies.

Commencing in that year with I. W. Baird’s Minstrels, he remained two
seasons. In 1882 he became a member of Haverly’s Mastodon Minstrels,
and in 1883 Robinson and McAllister’s Minstrels took the road, but gave
it back the following year.

July 30, 1885, Mr. McAllister opened with McNish, Johnson and Slavin’s
Minstrels in his native city, at the initial performance of that
company; early in 1886 he joined Carncross’ Minstrels in Philadelphia,
sitting opposite to Lew Dockstader.

Mr. McAllister has been a prominent citizen of Troy, N. Y., where he
has been engaged in business for more than twenty years.

Billy McAllister was born in Paterson, N. J., March 15, 1843.

FRANK BELL (Peter Jaggers), best known as a unique stump-speaker, made
his first appearance in Olean, N. Y., in September, 1864, and shortly
after joined Wood’s Minstrels in New York, as a clog dancer.

Subsequent minstrel engagements were with the original New Orleans
Minstrels, Simmons, Slocum and Sweatnam’s, Armstrong Bros., George
Clapham’s Minstrels, Barlow, Wilson, Primrose and West’s, Haverly’s,
Harry Robinson’s, and Lester and Allen’s. The crowning success of his
career was with “Way Down East,” in white-face, playing the constable,
and singing “All Bound Round With a Woolen String;” Mr. Bell also
played a character part with Otis Skinner in “Your Humble Servant,” in
1910.

Frank Bell was born in Thurle, Can., September 17, 1843.

MAJOR (John E.) BURK, known far and wide for his famous gun drill, has
been with many prominent minstrel organizations in the United States
and England, usually appearing in black-face, the act seemingly being
enhanced in appearance at least, by the addition of burnt cork.

He first appeared with Hooley’s Minstrels in Brooklyn, in 1868, also
played engagements there in 1869 and 1870. Subsequently he was with
San Sharpley, season 1872-73; first appearance in England at Hague’s
Minstrels, London, April 17, 1876; also played at Hague’s, Liverpool,
and Moore and Burgess in London; Hooley & Emerson’s Megatherians,
season 1879-80; Livermore Bros. in England; Frank Moran’s Minstrels,
Carncross’ Minstrels in Philadelphia, and the Big 4 Minstrels, 1880-81.

Major Burk was born in New York City, June 21, 1845, and now resides
there.

MILT. G. BARLOW was one of the greatest “old darky” delineators that
minstrelsy has known, and probably did more to popularize “Old Black
Joe” than any other performer.

Mr. Barlow originally aspired to be a Dutch comedian. His first
minstrel engagement was with the Jackson Emersonians in 1870; the
tour lasted about four weeks; subsequently he returned to the variety
business, doing black-face, Dutch and Irish.

Shortly after this he played an engagement with Harry Robinson’s
Minstrels, also Benjamin’s New Orleans Minstrels.

Mr. Barlow became a member of Haverly’s Minstrels about 1874, and
continued with them until March 24, 1877; two days later joining
Sweatnam and Fraser’s Minstrels in Philadelphia.

On August 20, 1877, the first performance of Barlow, Wilson, Primrose
and West’s Minstrels was given; the last was at Poughkeepsie, N. Y.,
June 10, 1882. In the latter year Barlow, Wilson & Co.’s Minstrels were
organized, and later Barlow, Wilson and Rankin’s Minstrels.

Afterwards Mr. Barlow was with Thatcher, Primrose and West’s, and
Primrose and West’s Minstrels.

In August, 1894, Barlow, Dolson and Powers’ Minstrels took the road.
For several years after this he was with “The White Slave” Co., and
“Uncle Tom’s Cabin,” playing the title role.

Milt. G. Barlow was born in Lexington, Ky., June 29, 1843; he died in
New York City, September 27, 1904.

WM. A. HUNTLEY (Penno) made his first appearance on the stage in his
native city at the age of six years, playing little Tom Bruce, in “Nick
of the Woods.” His first minstrel engagement was with Mead’s Euterpean
Minstrels, in 1862, at New London, Conn. In 1865 he joined the Campbell
and Huntley Minstrels, remaining some years.

Minstrelsy lost him from 1868 to 1870. In September, 1871, he made his
first appearance in white-face at the Howard in Boston; subsequent
engagements were with the Lauri English Pantomime Troupe and the
Martinetti French Ravel Pantomime Co. In the Spring of 1873 he joined
the McKee and Rogers Co., afterwards rejoining the Martinetti Troupe.

In 1874 he became co-partner with Dr. Huntley in the management of
Huntley’s Minstrels; then came engagements extending some years in the
principal theatres of the country.

Mr. Huntley was especially engaged for Haverly’s Minstrels in London,
to lead the big banjo act in which twelve performers appeared at one
time; he opened at Her Majesty’s Theatre, July 31, 1880, and remained
three months. It was during this period that Mr. Huntley had the honor
of appearing before the Royal Family; he subsequently played in the
principal cities of England, also in Paris, and returned to the United
States to fill out his contract with one of Mr. Haverly’s organizations
here.

From 1881 to 1884 he was with Whitmore and Clark’s Minstrels, and later
formed a partnership with John H. Lee, formerly of Adams and Lee;
subsequently they opened a studio in Providence, where they met with
much success, especially in the introduction of the banjeaurine and the
bass banjo. Mr. Huntley has long since retired from minstrelsy, but the
appellation of the “Classic Banjoist” he so justly earned years ago, is
still his.

Wm. A. Huntley was born in Providence, R. I., November 2, 1843.

J. J. KELLY was one of the best known vocalists in minstrelsy. He
entered the profession about 1853, and had been with such famous
companies as Emerson’s, Haverly’s, Bryant’s, in New York; Barlow,
Wilson, Primrose and West’s; and Morris Bros., Pell and Trowbridge’s in
Boston. Mr. Kelly died in Boston, Mass., July 20, 1902.

WM. J. ASHCROFT was one of the most versatile performers that ever
blacked their face. His first professional appearance was in Pawtucket,
R. I., as a member of the Julian Minstrels.

In 1866 he was with Seaver’s Minstrels, in Brooklyn, N. Y. He was also
with Lloyd’s Minstrels. About 1872 he went to England, and later when
returning to the United States, he brought over and was the first to
produce in this country, an eccentric black-face specialty called the
“Funny Old Gal;” in this he was phenomenally successful.

[Illustration:

TOMMY GRANGER

BILLY RICE

“JIM” BUDWORTH

“HAPPY” CAL. WAGNER

J. W. McANDREWS
(The “Watermelon Man”)

A QUAINT QUINTETTE.]

Prior to this he was a partner for several months of J. W. Morton.

Mr. Ashcroft again visited England in 1875, where he became one of
the greatest favorites the old world ever knew, appearing chiefly in
white-face character work.

W. J. Ashcroft has resided in Europe for many years.

MATT. WHEELER (Mathias Wittenwiler) is still with us. His first
professional appearance was at Sanford’s Opera House, Harrisburg, Pa.,
with Joe. Miller’s Minstrels in 1864. For several years following he
played successful stock engagements at Baltimore, Philadelphia and
other cities.

Season of 1871-72 Mr. Wheeler was with Bishop’s Serenaders; the
following year he joined the Morris Bros. Minstrels for a road tour.

In 1873 he began a season’s engagement with Simmons and Slocum’s
Minstrels at their theatre in Philadelphia; the following season was
also spent in the Quaker City with Carncross’ Minstrels.

Mr. Wheeler was with Haverly’s Minstrels early in 1877, and in the Fall
of that year returned to Carncross’ Co., and remained there until the
retirement of the latter, January 25, 1896. Mr. Wheeler continued with
Frank Dumont when the latter took the management of the house two days
later, and has since played several engagements there.

While a member of stock in the Maryland Institute in 1869, Mr. Wheeler
was very successful in the portrayal of such black-face character parts
as Wool, in the “Hidden Hand”; Pete, in the “Octoroon,” and “Uncle
Tom’s Cabin.”

Matt. Wheeler was born in St. Gaul, Switzerland, March 4, 1843.

CON. T. MURPHY (John D. Murphy), who was widely known as an actor,
author and song-writer, was also very much of a minstrel, and a good
interlocutor.

He was with Bryant’s Company in New York at the opening of the season,
September 1, 1873, and was identified with several other organizations.

He was born in Cork, Ireland, in 1844; he died at Lake Bluff, Ill.,
July 26, 1907.

LITTLE MAC (Ebenezer Nicholson) was a dwarf scarcely more than three
feet high. He took the name of Little Mac during the Civil War out of
compliment to Gen. McClellan, who was very popular at that time. The
major portion of his professional career was spent in New York with
Bryant’s Minstrels, where he made his first appearance, November 27,
1865.

In the summer of 1869 with Hughey Dougherty, John Wild and Master
Barney, he headed a minstrel company bearing their names.

He subsequently returned to Bryant’s, where he remained until late in
1871.

Thereafter his engagements were desultory; his last regular appearance
was with Daly Brothers in “Upside Down.” He was a clever comedian, and
was prominently identified with his “Essence” and “Big Shoe Dance.”

Little Mac was born in Brockville, Canada, July 11, 1844; he died in
New York, April 7, 1890.

TOMMY GETTINGS was a well-known jig dancer, and during his brief career
had been with the Bryant’s in New York, and other well-known minstrel
companies.

He died in New York, November 25, 1866; age 22 years.

BILLY RICE (Wm. H. Pearl). Minstrelsy knew no greater favorite than
this once well-known comedian, who made his professional debut in
Brooklyn, N. Y., in 1865, at Poole and Donnelly’s Theatre, appearing in
black-face, and assuming the name by which he was always identified.

He continued in the variety business mostly until 1869, when he joined
Newcomb’s Minstrels; the following year he was with Hooley’s, in
Brooklyn, and when that company made their first appearance in Chicago,
January 2, 1871, Mr. Rice was a member.

Late that year he became identified with Manning’s Minstrels in the
same city, continuing there until about February 1, 1872, when he again
joined Hooley in Brooklyn. Subsequently he was with Arlington, Cotton
and Kemble’s Minstrels in Chicago, and later opened a variety theatre
there.

In 1874 he was with Emerson’s Minstrels in San Francisco and on tour,
remaining several months. January 29, 1877, Rice and Hooley’s Minstrels
opened in New York; later he rejoined Emerson, and the following year
he became a member of Haverly’s Minstrels, with whom he continued
several seasons.

In 1882 Rice and Hooley’s Minstrels again was formed, terminating as
Billy Rice’s Minstrels the following January, when he opened with
Thatcher, Primrose and West’s Minstrels, and remained with them until
1887, when Sweatnam, Rice and Fagan’s Minstrels were organized. Rice
and Sheppard’s Minstrels in 1888, and subsequently with Cleveland’s
Minstrels; Primrose and West’s and a return to Haverly’s Minstrels in
1898 practically completed the minstrel career of the great end man and
stump-speaker.

Mr. Rice married Blanche Carman, an actress, April 8, 1871, in Chicago.

Billy Rice was born in Marion, N. Y., December 12, 1844; he died in Hot
Springs, Arkansas, March 1, 1902.

* * * * *

The Three Arnold Brothers were prominent in the 70’s and 80’s, but away
back, March 21, 1862, there was another set with Mrs. Matt. Peel’s
Minstrels; Herman, Frank and Richard Arnold respectively.

* * * * *

WM. HENRY RICE made his first professional appearance as a boy singer
in Pittsburgh, Pa., December 6, 1856.

His first minstrel engagement was at Johnson’s Hall, Norfolk, Va.,
September 19, 1859, with Sanford’s Minstrels, where he sang in the
first part, did a dance in the olio, and otherwise was useful.

At this time and until 1865 he was known as Master Lewis, and later, W.
H. Lewis, the latter being the maiden name of his mother.

In 1860 he was with Wood’s Minstrels, and Wm. A. Christy’s Minstrels.

About July, 1861, he made his first appearance in New York as a variety
performer at the Melodeon.

In the fall of 1861 he joined Mrs. Matt. Peel’s Minstrels, and about
March 1, following, he became a member of the famous Peak Family of
Bell Ringers for a brief period, subsequently re-joining Mrs. Peel’s
Company.

In June, 1862, he was with George Christy’s Minstrels in New York, and
soon after joined Duprez and Green’s Company, and Mead’s Minstrels.

October 13, 1862, he made his first appearance with Hooley’s Minstrels
in Brooklyn, N. Y.; in the spring of the following year he was with
Horn and Newcomb’s Minstrels, the company subsequently was run by
Newcomb alone.

He left the latter and re-joined Duprez and Green in the fall of 1863.

In March, 1864, he was with Yankee Hill’s Minstrels, and the next month
re-joined Hooley for the balance of the season, again opening with him
August 22, following.

About March 1, 1865, he became a member of Cotton and Murphy’s
Minstrels, opening at Fall River, Mass.; he left this company in the
Fall of that year.

November 20, 1865, he joined the famous San Francisco Minstrels of
Birch, Bernard, Wambold and Backus, taking and using for the first time
his own name. He remained with this company four years, in New York
City. On June 14, 1869, he played his first engagement with Haverly’s
Minstrels, opening at Baltimore; a few weeks later he was with
Sharpley’s Minstrels in Boston.

August 23, 1869, he began a season’s engagement with Carncross and
Dixey’s Minstrels in Philadelphia, and July 2, following, he sailed for
Europe, but did not play there.

September 2, 1870, he opened with Welch, Hughes and White’s Minstrels
in Brooklyn, N. Y.; at the initial performance of that organization; he
closed there October 8, and two days later began a season’s engagement
with Simmons and Slocum’s Minstrels in Philadelphia.

April 17, 1871, he opened in New York with Newcomb and Arlington’s
Minstrels, continuing with them there and on tour several months.

The following August he made his first appearance with Bryant’s
Minstrels in New York; he remained the season, and in June, 1872,
played an engagement in the same city with Sharpley’s Minstrels, after
which he went to Cincinnati, and joined Newcomb’s Minstrels. In that
city, September 2, 1872, the first performance of Rice’s Minstrels was
given at Melodeon Hall; subsequently moving to Thom’s Hall, and later
taking the road, where they disbanded about December 1.

January 27, 1873, he re-appeared at Bryant’s, and finished the season
there.

He re-joined Simmons and Slocum in Philadelphia, August 25, 1873, and
barring a brief interval, was with them all season.

June 13, 1874, he sailed for England, making his first appearance there
in Liverpool with Sam Hague’s Minstrels, July 13.

August 31, following, he again joined Bryant’s Minstrels in New York,
and continued there until the death of Dan Bryant, April 10, 1875; the
following month he joined Emerson’s Minstrels in Chicago.

August 12, 1876, he again sailed for England where he played a few
weeks in the music halls.

Returning to America he joined Simmons and Slocum’s Minstrels for a
tour, commencing November 20, 1876.

After this engagement he played the variety houses principally until
the Spring of 1878, when he engaged again with Haverly, opening in
Chicago, and going to San Francisco; he left Haverly there and opened
at the Bella Union, May 13.

In the fall of 1878 he was with Neil Bryant’s Minstrels, and the
following year with Joseph Norcross’ California Minstrels.

[Illustration: QUARTETTE WITH BRYANT’S MINSTRELS, NEW YORK CITY, 1870.

Sig. J. Brandisi, Harry Norman, Jas. G. Russell, W. P. Grier.]

[Illustration: KELLY AND LEON’S MINSTRELS; NEW ZEALAND, 1878.

From left to right--Chas. Kelly, J. H. Surridge, C. Fredericks, Wm.
Ball and Billy Courtright.

Wm. Blakeney, “Leon,” Edwin Kelly, “Japanese Tommy,” Beaumont Read.]

January 3, 1881, he began one of the most successful engagements of his
career, when he opened in his native city with Thatcher and Ryman’s
Minstrels, playing the title role in a burlesque on Sarah Bernhardt,
called “Sarah Heartburn;” his success was phenomenal; so much so that
the great French actress expressed a desire to see the caricature
of herself, and accordingly, on the afternoon of January 7, 1881, a
special performance was given for her benefit; on this occasion the
Philadelphia _Times_ of January 8, 1881, said: “Bernhardt looked up,
blushing slightly as she perceived an enormous pair of glass bottles
leveled at her in place of opera glasses by the cork female. Every eye
in the house was riveted upon the woman whose characteristics were
to be burlesqued, and the appearance of Rice was scarcely noticed
for the second until Sarah herself showed her appreciation of the
caricature by bursting into a fit of uncontrollable laughter. The agony
displayed by Sarah Heartburn and her tumble on the stage only added to
the merriment of Bernhardt. The fun continued and reached its climax
when Rice and Ryman impersonated Camile and Armand. The imitations of
Bernhardt’s stage attitudes, and gestures caused Sarah to laugh to an
extent almost painful. She seemed unable to stop, although she placed
her handkerchief over her mouth and leaned forward in the effort to
restrain herself. She abandoned all attempts, however, when the death
scene ensued and Heartburn threw herself upon the sofa, after the
manner in which a diver starts for the bottom of the sea. Sarah gave
vent to her sense of the ludicrous until her eyes were full of tears.
There might have been danger of hysterics had not an attack of coughing
interfered and had not George Thatcher made himself known as Victor,
Heartburn’s son, blowing a horn and crying lustily. The concluding
scene, however, again amused her, and she clapped her gloved hands
right heartily, seemingly sorry when the curtain finally descended.”

Mr. Rice went to London, England, with the act, where he produced it
at Moore and Burgess’ Minstrels, opening June 20, 1881. Returning
in August following, he joined Barlow, Wilson, Primrose and West’s
Minstrels for the season.

August 21, 1882, he opened with Billy Rice and R. M. Hooley’s
Minstrels; and in June following he played a special engagement with
Haverly’s Minstrels in Chicago, after which he organized Rice’s
Pleasure Party in “Our Goblins” for the season of 1883-84, playing a
part in the play in black-face.

August 25, 1884, he opened with the Standard Minstrels in San Francisco
for a few weeks, closing October 4.

July 30, 1885, he began the season with McNish, Johnson and Slavin’s
Minstrels; he was with this company part of the season of 1886-87 also.
September 12, 1887, in conjunction with John Hart and Add. Ryman, he
organized a company bearing their names.

December 24, 1888, he assumed the business management of the Star
Theatre in Buffalo, N. Y., on the opening of that theatre; he resigned
the position and soon after joined Johnson and Slavin’s Minstrels.

In 1890 he organized the World’s Fair Minstrels, opening July 17,
at Elizabeth, N. J. Season of 1891-92 he was with George Wilson’s
Minstrels. May 16, same year, he played his first performance with
Cleveland’s Minstrels, and continued with them intermittently until May
1, 1896.

In November, 1898, he opened with Bartlett’s California Minstrels for a
brief season.

July 31, 1899, he began a special engagement of four weeks with Wm. H.
West’s Minstrels; October 9, same year, he opened with Harry Davis’
Minstrels in Pittsburgh, Pa., in an attempt at making a permanent
company in that city; he finished the season with Primrose and
Dockstader’s Minstrels. About January, 1900, he began a series of
annual engagements with Frank Dumont’s Minstrels in Philadelphia.

His last traveling engagement was with the “Great Lafayette” Company in
November, 1902.

His last stage appearance was at Atlantic City, N. J., November 30,
1907. The author has no exact knowledge of engagements said to have
been played with Haverly, at Chicago in 1892; Kelly and Leon in New
York in 1876, and with Duprez and Benedict’s Minstrels.

It is obviously a delicate matter for one to speak of the talents,
capabilities, etc., of one’s own father; but a reproduction of some
notices from the press of the country, may not be considered bad form.

The _Daily Commercial_ (Cincinnati) of July 29, 1863, said: “The
singing of Mr. Lewis surprises us more and more. His imitations of the
Prima Donna are superb, and the brilliant qualities of his singular
voice are an unfailing theme for wonder among his hearers. The first
time he breaks into a song he invariably startles his audience, who
are simply prepared to hear the strained falsetto, to which the mock
crinoline of minstrelsy has heretofore been committed.”

The _Sun_ (Baltimore), July 11, 1865, said: “The voice of W. H. Lewis,
the Prima Donna, is something remarkable, and it strikes us could be
better employed than mere burlesquing.”

The Philadelphia correspondent of the _New York Clipper_, September
4, 1869, said: “This is Mr. Rice’s first appearance in his native
city, and he has made a big hit, for on the night we were present, he
received the only third encore, and a fourth was demanded, but not
given.”

The _Evening Post_ (Albany, N. Y.), of June 13, 1871, said: “Wm. Henry
Rice does the Prima Donna capitally; he is one of the best grotesque
singers we ever saw--Rice is a star of the first magnitude, and can
infuse more low comedy into an operatic song than any other artist.”

The _Stage_ (New York), November 13, 1871, said: “Nillson is capitally
burlesqued by W. H. Rice, who never descends to vulgarity, and who
displays his peculiar talents to the best possible advantage.”

The _Era_ (New York), June 15, 1873, said: “One noticeable feature
about the performance was the gorgeous dress of Mr. W. H. Rice, prima
donna of Bryant’s company. The dress could not have cost less than
nine hundred dollars. The workmanship was far superior to anything we
have yet seen upon the stage. Neither Morris, Davenport or Ethel can
boast of such rich apparel. * * * * * Rice deserves great praise for
his painstaking endeavors. He is an excellent singer, and conscientious
actor, and would only acquire the distinction he has already made
but by application and study. To-day he is without a peer in the
profession, and undoubtedly one of the best that ever appeared upon the
minstrel stage.”

An advertisement in a Liverpool, England, paper, of Hague’s Minstrels,
July 20, 1874, reads, “Second week of the star Burlesque Prima Donna
of the world, Mr. W. Henry Rice, whose success with the Hague’s is
unprecedented in the history of minstrelsy in Liverpool. Each night
at the conclusion of his performance Mr. Rice has received a most
enthusiastic _call before the curtain_, an instance of popularity
seldom equaled.”

The _Times_ (Philadelphia), of December 17, 1901, said: “Wm. Henry Rice
again made his appearance as a special member of the Dumont troupe, in
the Eleventh Street Opera House, and duplicated his hit of last season
in a new skit, “Roosevelt’s Reception,” in which he gave a grotesque
feminine impersonation along the lines long ago made familiar by him.
He is the best and one of the very last exemplars of an older style of
burnt-cork fun-making than obtains to-day, and was wholly successful
with last evening’s audience.”

Frank Dumont, in an interview in the _North American_ (Philadelphia),
Dec. 29, 1907, said: “* * * To my dying day I will not forget his scene
where Camille writes to the father of Armand that she will give him up.
Talk about acting! Why, he had Bernhardt beaten a mile in that scene.
It was the purest burlesque I have ever seen. For more than twenty
minutes he would keep the audience in convulsions of laughter. No end
man ever equaled him as a genuine comedian.

“I really think he ought to be classed among the greatest of actors. I
mean the really great ones, for his work was as much of an art as that
of the most classic actors that are world-famous. * * * He deserves
to live in the traditions of the stage. * * * ‘Bill’ was too fond of
Philadelphia to remain long away from it. Here he wanted to live and
die; and he had his wish.”

Wm. Henry Rice was born in Philadelphia, June 1, 1844; he died there
December 20, 1907.

* * * * *

Frank Cushman’s life’s ambition was to be associated with a minstrel
company in his native city. He died as it was about to be realized.

* * * * *

G. WASHINGTON (“Slim Jim”) DUKELAN. Probably no active musician in
theatredom has had a more varied and lengthy career than “Slim Jim,”
so named in 1864, by G. Brooks Clark, the well-known ring master; Mr.
Dukelan was about six feet high, and 130 in avoirdupois then; he has
filled in considerably since, but he’s still “Slim Jim,” and probably
always will continue so. As Will Shakespeare once remarked, “A Rose
with any other name, etc.”

His very first public appearance was with an amateur minstrel show,
doing a song and dance, about 1862, at Fulton, N. Y. Two years later
he began his professional career as member of the band in A. P. Ball’s
American Coliseum Circus; with this troupe G. W. once did an “end.”

Mr. Dukelan was with various organizations until 1868, when he joined
the Flint (Mich.) band; he remained there some time, subsequently
allying himself with several well-known miscellaneous companies until
September 15, 1877, when he joined Harry Saxton’s famous theatre
orchestra at Mitchell’s Theatre Comique, St. Louis, Mo.; he continued
there for three years, then going with Mr. Saxton to the old Howard
Athenæum, in Boston, Mass., where he remained four years; at the end
of this period, with this same Saxton at the Grand Central Theatre in
Philadelphia, he commenced an engagement that lasted three years.

Now comes the “Slim Jim” we all know. From 1887 to 1889 he was with
Thatcher, Primrose and West’s Minstrels; following season with Primrose
and West. In 1890 he was with George Thatcher’s Minstrels, and the
following year with Thatcher in “Tuxedo” (here “slender James” enacted
a “rube”). In 1892 he was with Hughey Dougherty’s “Tuxedo” and Minstrel
Company.

It was not until 1893 that our friend qualified as a “real trouper;”
he then joined Stowe’s “Uncle Tom’s Cabin” Company. He played in the
first performance of Primrose and Dockstader’s Minstrels in 1898, and
continued with them two seasons; in 1900 he was with William H. West’s
Minstrels, subsequently he returned to Primrose and Dockstader, and
remained with them until the dissolution of the organization in 1903.

[Illustration:

JOE. B. McGEE

ALF. GIBSON

JERRY HART

EDDIE CASSADY

BILLY VAN

OUR ENGLISH COUSINS WOULD CALL THEM GOOD CORNER MEN.]

He played at the inaugural performance of Cohan and Harris’ Minstrels
in 1908, and is at present with George Evans’ Minstrels.

G. Washington (Slim Jim) Dukelan was born at Smith’s Falls, Canada,
January 12, 1844; but you’d never believe it--the year, of course.

HUGHEY DOUGHERTY--if you never heard of him, better get acquainted now.

His real career began Monday evening, January 4, 1858, at the famous
11th Street Opera House, in his native city, with Sanford’s Minstrels;
it was Sam Sanford who christened him “Young America,” and the title
stuck to him for many years; other performers appropriated it, but it
originated with Hughey Dougherty; “stick a pin in dar, Brudder Bones.”
He continued with Sanford until 1860, when he went to Frank River’s
Melodeon, also in the Quaker City.

Mr. Dougherty’s greatest success was made as a stump-speaker, when the
art had its greatest vogue thirty odd years ago; though he occasionally
gives a speech, and is apparently as good as ever.

He has been associated with the greatest minstrel companies of the
past and present, such as Skiff and Gaylord’s; Simmons and Slocum’s,
(Philadelphia); Thatcher, Primrose and West’s; Hooley’s (Brooklyn);
Cleveland’s; Morris Brothers (Boston), three years; Carncross’, and
Carncross and Dixey’s (Philadelphia); Johnson and Slavin’s; Moore and
Burgess’ (London, Eng.); Barlow, Wilson’s; Barlow, Wilson and Rankin’s;
Haverly; and Duprez and Benedict. In addition there was Dougherty, Wild
(John) Barney (Master) and Mac’s (Little) Minstrels, who gave their
first performance July 12, 1869.

About three years later he formed an alliance with Messrs. Harvey,
Leslie and Braham; they organized a minstrel show and made an extensive
tour of Africa. June 18, 1877, he opened the Alhambra Palace, a variety
theatre in Philadelphia. Mr. Dougherty also has a record, unique in
minstrelsy--just about one-half of his professional career was spent
at the theatre in which he made his debut; and one-half of the total
number was with Dumont’s Minstrels.

Hughey Dougherty was born in Philadelphia, July 4, 1844.

BILLY EMMETT (George Busteed) was known chiefly in his later years as a
manager, notably of the Academy of Music in Chicago.

While yet in his teens he became stage struck, and after a few
inconspicuous engagements, began playing dates in the variety houses,
doing a black-face specialty. In 1864 he went to Carr’s Melodeon,
Buffalo, N. Y., and with Nick Norton, did Dutch character sketches.
The following year he was with Green’s “Mocking Bird” Minstrels, and
in 1866 went to New York, where he played several seasons with the San
Francisco Minstrels. He was associated at various times with John L.
Sullivan, Callender’s Minstrels and Sam Hague’s Minstrels, the latter
in the early 80’s.

Mr. Emmett was noted for his philanthropy; at one time he was reputed
to have left word in the Chicago hospitals, that in the event of the
death of any improvident variety or minstrel performer, not to give a
pauper burial, but to notify him (Emmett) at once.

A few more “Billy Emmett’s” and the Actor’s Fund would not be so
heavily burdened.

Billy Emmett was born in New York City, in 1844; he died in Chicago,
June 4, 1886.

MCKEE and ROGERS joined forces in the Fall of 1871, and during the
first years of their co-partnership played the principal variety houses
and specialty companies of their day.

Their first joint appearance was in St. Louis, Mo., where they gave
their original song and dance “Rebecca Jane;” with it they were ever
after identified, as well as “Mischief,” “Lucinda” and several others.

About 1874 they went to London, England, where they played a most
successful engagement with Moore and Burgess’ Minstrels.

On their return to the United States in 1875, they joined Tony Pastor’s
road company, and continued with it until the death of Rogers.

Stevie Rogers, or “Little Stevie,” as he was generally called, was one
of the most lovable characters in minstrelsy. As a clog dancer he was
second to none in his day.

His first professional appearance was with the 50 Engineer Pontoon
Minstrels, September 5, 1865; this company in the spring of the
following year was known as Sam Hague’s and Cal. Wagner’s Minstrels.
With that company he had a partner by the name of John O’Brien.

Stevie Rogers’ success was so pronounced that he quickly obtained a
metropolitan engagement with Charley White.

Subsequently he was with Kelly and Leon’s in New York, and Hooley’s
Minstrels in Brooklyn, N. Y.

In 1870 he joined Manning’s Minstrels, and on August 21, 1871, he
opened with the Dearborn Minstrels in Chicago. About this time he met
Andy McKee, and the rest has been told.

Stevie Rogers was born in Elmira, N. Y., December 11, 1853; he died in
New York City, March 3, 1876.

Andy McKee first appeared professionally in 1865 at Cairo, Illinois.

Mr. McKee’s success was so pronounced with his eccentric dancing,
that he had little trouble in obtaining other variety engagements in
Memphis, New Orleans, Cincinnati and St. Louis.

In 1867 he played his first minstrel engagement with Skiff and Gaylord;
other prominent engagements were with Hooley, and with Simmons and
Slocum. Later he joined Manning’s Minstrels, and subsequently met and
joined forces with Stevie Rogers.

After the death of the latter he went to Europe with Hall’s New York
Minstrels, playing Scotland and Ireland; subsequently re-organizing
with Lew Simmons and Charley Sutton, they went to South Africa, opening
at Cape Town, March 17, 1879; thus preceding Colonel Roosevelt in the
exploration of that country just thirty years. Afterwards Mr. McKee
formed a partnership with John F. Byrne, of the Brothers Byrne.

And here’s two more little items. After Stevie Rogers’ death, Mr. McKee
doubled with Charley Walters for a brief season, opening at the Olympic
Theatre, New York, August 28, 1876, and--that same year at the Globe
Theatre, also same city, Mr. McKee created the character of Cy. Prime,
in “Josh Whitcomb;” the latter subsequently evolutioned into the “Old
Homestead.”

Andy McKee was born in Little Rock, Arkansas, May 11, 1844; and is now
a citizen of Seattle, Washington.

GEORGE WILSON. Few monologue performers have worn so well with the
public as George Wilson, whose minstrel career began about forty years
ago in San Francisco, as co-proprietor of Courtright (Billy), Farren
(T. S.) and Wilson’s Minstrels; Mr. Wilson was the song and dance
performer with this company.

It was not until the fall of 1871 that he decided to adopt minstrelsy
as a regular profession, which he did in Chicago.

Mr. Wilson’s talents must have been thoroughly appreciated, for when
later he accepted an engagement of four weeks at the Theatre Comique,
in Detroit, his success was so pronounced that he remained nine months.

Then came a season with Fred Wilson’s (his brother) Minstrels in St.
Louis; by this time his fame had reached Jack Haverly, who engaged Mr.
Wilson for his company; this was at Kansas City, Mo., in November,
1873; he remained under the Haverly banner until August, 1877, when
in conjunction with Milt. Barlow, George H. Primrose and William H.
West, the big company bearing their names gave their first performance,
August 20, same year.

Barlow, Wilson, Primrose and West’s was one of the greatest minstrel
companies that ever performed; the dissolution of this alliance
occurred in the summer of 1882.

Thereafter Mr. Wilson and Milt. Barlow organized Barlow, Wilson and
Co.’s Minstrels; subsequently Barlow, Wilson and Rankin’s, and lastly
George Wilson’s Minstrels, which were instituted in 1888; the final
performance of the latter was at Danbury, Conn., February, 1892.

Subsequently Mr. Wilson played under the management of Primrose and
West for a period of about five years; one season, 1894, he appeared in
white-face, as well as black, in the musical play of “Monte Carlo.”

In the summer of 1898, Mr. Wilson, in conjunction with W. S. Cleveland,
organized the Wilson-Cleveland Minstrels; this was his last minstrel
venture; since then he has played vaudeville exclusively, until the
Spring of 1910, when he joined George Primrose’s Minstrels for a few
weeks. August 15, same year, he played his first engagement in his
native city at The Empire.

Mr. Wilson may justly look with pride on his long career as a
black-face star.

George Wilson was born in London, England, September 28, 1844.

HI HENRY (Hiram Patrick Henry). For three decades Hi Henry’s Minstrels
have been an institution that has been known nearly all over the United
States.

Mr. Henry is an accomplished cornettist, and before he entered the
ranks of minstrel proprietors, he was many years in the dramatic
business, notably as leader of the band with the Wallace Sisters
combination in 1872.

On May 4, 1875, he joined Sam Price’s Minstrels, and in September,
1879, the first performance of Hi Henry’s Minstrels was given, and
barring the season of 1889-90, when he directed a tour of Estelle
Clayton’s, the company has made an annual tour ever since.

The past few years Mr. Henry has not been actively engaged with his
company, owing to ill health.

Hi Henry was born in Buffalo, N. Y., August 22, 1844.

[Illustration:

WM. E.--HINES & BLOSSOM--NAT.
(Portraits reversed)

LEW.--SIMMONS & WHITE--FRANK H.

JNO.--QUEEN & WEST--WM.
(Portraits reversed)

JAS.--TIERNEY & WAYNE--CHAS.]

WILLIAM FOOTE, the well-known minstrel manager, began and ended his
career in that branch of theatricals.

In 1861 he was treasurer with M. C. Campbell’s Minstrels; and in 1864
was agent for Haverly and Mallory; this being one of Haverly’s earliest
minstrel ventures.

Subsequently he was associated with Sam Sharpley, La Rue and many of
the earlier burnt cork troupes.

In conjunction with Mr. Haverly, on January 1, 1876, he re-organized
the New Orleans Minstrels, and when Haverly amalgamated the famous
Mastodons in 1878, Mr. Foote was manager, and continued in that
capacity for several years.

William Foote was born in Utica, N. Y., February 22, 1844; he died in
Albany, N. Y., March 2, 1899.

J. C. CAMPBELL (George Keller St. John), better known as “Pomp”
Campbell, from the fact that he portrayed the character of “Pomp” in
the play of that name in 1871, was a printer by trade, in Dayton, Ohio.

He was an excellent comedian and equally clever as a tambourine or bone
player. His first important engagement was with the Morris Minstrels in
the middle 60’s; subsequently he was with Kelly and Leon in New York,
opening there August 31, 1868; also with John Hooley and Hawxhurst’s
Minstrels in Brooklyn, N. Y., in 1873.

J. C. Campbell was born in Frederick, Md.; he died in Brooklyn, N. Y.,
January 26, 1875; age 31 years.

GEO. FROTHINGHAM, the famous basso, who created and played Friar
Tuck in “Robin Hood,” more than 3,000 times, was many years in the
minstrel profession, and as far back as 1869 was with Dougherty, Wild,
Barney and Mac’s Minstrels, also Sharpley’s, Billy Morris’ and Swayne
Buckley’s Minstrels.

In the late 70’s and early 80’s he sat in the middle with Carncross and
Dixey’s and Carncross’ Minstrels, respectively, in Philadelphia.

An interesting photo of Mr. Frothingham will be found elsewhere in the
book.

George Frothingham was born in Boston, Mass., April 12, 1844.

DICK RALPH. This good old-timer made his first appearance at Burtis’
Varieties, Brooklyn, N. Y., under the name of Master Tommy, in 1860,
doing a jig and the “Essence”; in 1861 he was with Christy’s Minstrels
under the name of Mast. Dick Reynolds; a year later he was “Mast.
Brigg” with Campbell’s Minstrels, in New York City.

In 1863 he decided that his own name was good enough, and as such he
opened at Hooley’s Minstrels, Brooklyn, N. Y. Other minstrel companies
he was identified with were--Cool White’s Broadway Minstrels; Hooley’s,
New York City (201 Bowery); Cotton and Sharpley’s, New York City;
return to Hooley’s, Brooklyn, 1869; Kelly and Leon’s, New York City;
Sam Sharpley’s, and Kelly and Leon’s, Chicago.

Mr. Ralph was a popular end man, being equally proficient with the
bones or tambourine; but it was as a dancer that he excelled; his
“Essence” and “George, the Charmer,” are well remembered by many; he
was likewise a versatile musician.

Mr. Ralph appeared some years ago in the drama, “Our South,” with
success.

Dick Ralph was born in Brooklyn, N. Y., March 22, 1844--but not on Good
Friday, as he avers; that day fell on April 5, that year.

MELVIN S. KURTZ was a comedian and song and dance performer; his first
appearance was in Philadelphia about 1862.

He was the husband of Marie Van Zandt, actress, whom he married about
1874.

Mr. Kurtz’s last appearance was October 15, 1881.

He was horn in Lancaster, Pa., July 29, 1844; he died in Philadelphia,
March 20, 1882.

“RICARDO” (Foley McKeever) well and favorably known as a clever female
impersonator, was with Mrs. Matt. Peel’s Minstrels about 1863.

Subsequently he appeared with the Associated Artists of Kelly and Leon
in 1869. Early in 1870 he joined Billy Emerson’s Minstrels, and on
April 10, 1871, made his debut with Manning’s Minstrels in Chicago.

He was a member of Haverly’s Minstrels in November, 1873, after the
latter withdrew from Cal. Wagner. Later he was associated with some of
the principal minstrel organizations.

“Ricardo” was born in Ireland, about 1844; he died in New York City,
October 30, 1883.

JOHN UNSWORTH is the only living representative of Anderson’s
Minstrels, organized in Boston late in 1859.

Mr. Unsworth was associated with his brother, James Unsworth, and
“Eugene” practically their entire professional careers.

He was born in Liverpool, England, January 12, 1844--and is not sorry.

JOHNNY ALLEN (George Erb) was an excellent comedian and dancer, and
especially well remembered for his “Nicodemus Johnson,” a song and
dance. His first appearance in black-face was in 1861. October 23, 1865
he joined Hooley’s Minstrels in Brooklyn, N. Y. March 5, 1866 he was
at the opening of Seaver’s Minstrel Hall, same city, and October 1,
he was also at the initial performance of Kelly and Leon’s Minstrels
in New York; Emerson, Allen and Manning’s Minstrels gave their first
performance in Brooklyn, N. Y., in June, 1868. Mr. Allen seceded
from the organization May 22, following, and a month later helped to
organize Allen and Sam Sharpley’s Minstrels.

Brooklyn, N. Y., also saw the first performance of Allen, Pettengill,
Delehanty and Hengler’s Minstrels, September 22, 1869; a few months
later it was Johnny Allen’s Minstrels. Mr. Allen next branched out as
a German comedian in the play of “Schneider.” He continued alternately
with this and minstrel engagements until the early 80’s; the first
performance of “Schneider” was on March, 24, 1871. April 6, 1874, he
opened with Hart and Ryman’s Minstrels and a few weeks later Johnny
Allen’s Cosmopolitan Minstrels toured briefly. When Dan. Bryant died,
April 10, 1875, Mr. Allen sat in the latter’s chair in New York, and
when May 3, following, Neil Bryant’s Minstrels were organized, Johnny
Allen was with them. September 18, 1876, he re-appeared with Kelly and
Leon’s Minstrels in New York. Johnny Allen was born in Newark, N. J.,
April 20, 1844; he died there January 16, 1885.

CHARLEY SUTTON (Leman). This well-known performer of the past was
a member of the “Young Campbell’s Minstrels,” a famous amateur
organization of Boston, about 1860.

Mr. Sutton was a comedian of unquestionable ability, and had been with
most of the prominent minstrel organizations of his time, notably
Emerson’s Minstrels in San Francisco, later going to Australia with
that company, opening at Melbourne, August 2, 1873. He was with Charley
Morris’ Minstrels in 1877, and afterwards with Hooley’s.

He sailed for Europe April 24, 1880, and joined Moore and Burgess’
Minstrels, in London, and remained there for some time. About 1885 he
became one of the team of Bunth and Rudd, doing a grotesque act in
white-face; he was thereafter known as Hugo Bunth.

Charles Sutton was born in Boston, Mass., in 1844; he died in Moscow,
Russia, January 27, 1904.

BILLY WILD, the old-time black-face performer, made his first
professional appearance at the Bella Union Theatre, San Francisco,
about 1866, doing a black-face song and dance. In 1871 he was with
Unsworth’s Minstrels. Later he formed a partnership with Charley
Armstrong; they played an engagement with Simmons and Slocum’s
Minstrels about 1873, in Philadelphia.

Mr. Wild’s last black face appearance was at the Howard Athenæum, in
Boston, in 1886. Billy Wild was born in New York, January 21, 1844.

NEIL ROGERS, a capable and clever comedian, and a brother of Stevie
Rogers, had a comparatively brief career as a minstrel.

His last appearance was at Pastor’s Theatre in New York. He was born in
Elmira, and died in New York, February 28, 1873.

HARRY BLOODGOOD (Carlos Moran) was one of the most accomplished and
versatile performers that ever blacked his face; good in everything he
undertook; he could sing, dance and act.

He made his first New York appearance at the American Theatre, and
remained there one year. In May, 1866, he joined Boyce and Mudge’s
Minstrels; subsequently appearing with Sam Sharpley’s, and later with
Joseph Trowbridge, he had the Bloodgood and Trowbridge’s Minstrels;
their season ended July 16, 1871; Mr. Bloodgood then taking his own
show, with which he traveled intermittently for several seasons.

In 1869 he also was associated with Delehanty, Hengler and Bloodgood’s
Minstrels.

Mr. Bloodgood was without exception the most pronounced favorite that
ever played the old Howard Athenæum in Boston; he was in the stock
there at various times, covering a period of several years.

About 1881 he wrote and appeared in the play, “Hix’s Fix,” sharing the
lead with W. A. Mestayer; the piece was afterwards called “Wanted, A
Partner.”

Mr. Bloodgood married Helene Smith, the danseuse, about 1864; they were
divorced in the spring of 1867; and on January 20, 1870, in Boston,
he married Clara Gettis, also a dancer. It was not until about three
years later that he found connubial blessedness, when he married Lisle
Riddell, with whom he lived most happily the balance of his life.

[Illustration:

FRANK GEYER
(of Turner & Geyer)

HEN. ALLEN
(of Devere & Allen)

ARTIE HUGHES
(of Foster & Hughes)

EDW. SANDS
(of Keating & Sands)

JOHN BOWMAN
(of Bowman & Harris)

TOMMY TURNER
(of Three Turner Brothers)

FRED BRYANT
(of Bryant & Hoey)

EDDIE BOGERT
(of Bogert & O’Brien)

BILLY WILLIAMS
(of Williams & Sully)

CHARLEY SEAMON
(of Seamon & Sommers)

JOHN D. GILBERT
(of Courtright & Gilbert)

EDW. KENNEDY
(of Cheevers & Kennedy)

“ALL ALONE”; THEY PINE FOR THEIR PARTNERS.]

Mr. Bloodgood made a distinct hit playing Uncle Tom at the Boston
Theatre, with an all-star cast.

Harry Bloodgood was born in Savannah, Georgia, March 31, 1845; he died
in N. Conway, N. H., June 12, 1886.

LUCIUS M. PHELPS, of the well-known song and dance team of Stiles
and Phelps, also Armstrong, Stiles and Phelps, had been out of the
profession about four years prior to his death, which occurred in
Springfield, Mass., about August, 1876.

He had been with Unsworth’s Minstrels in 1871; Moran and Dixey’s in
1872, and also with the companies of Skiff and Gaylord, Carncross and
Dixey, and Hooley’s.

NED FOX was a brother of Jim Fox, of Goss and Fox, and was very well
known during his comparatively brief career, as a comedian of more than
ordinary merit.

After his death, the following lines by Billy Devere, were dedicated to
his (Fox’s) widow:

“Another old-timer gone they said.
As I came to the green-room door to-night;
Another “old pard” has passed away
To that beauteous land of joy and light--
Buoyed aloft by a Saviour’s love,
Searching the home of the good and true
As Noah from the Ark sent the carrier dove
Out of the old world into the new.”

Ned Fox died at Hartford, Conn., March 28, 1875; age about 30 years.

W. S. MULLALLY was one of the best and most prominent of minstrel
leaders.

As early as when he was fifteen years of age he was leader at a Boston
theatre. His final minstrel engagement was about 1864 with Hy. Rumsey’s
Company.

The following year he joined the San Francisco Minstrels in New York,
and continued with them about fifteen years. In the summer of 1869 he
played in Liverpool, England, with Smith and Taylor’s Minstrels. He was
with Charley Reed’s Minstrels in San Francisco in 1884.

Subsequently he played an extended engagement with Dockstader’s
Minstrels in New York, and later was with several legitimate and
farcical attractions. He had composed considerable dramatic and popular
music, and was the author of “Mottoes That Are Framed Upon the Wall.”

He was born in Manchester, England, in 1845; he died in Westboro,
Mass., August 2, 1905.

HARRY PERCY (John H. Peabody) a prominent vocalist of many important
minstrel companies, died at Jersey City, N. J., January 2, 1880.

CHARLES GOODYEAR was well-known as a capable and clever comedian.

He entered the profession when a boy, and had been prominently
associated with such well-known minstrel organizations as Haverly’s,
Primrose and West’s, and Cleveland’s. He was also co-proprietor of
Goodyear, Cook and Dillon’s, and Goodyear, Schilling and Elitch’s
Minstrels.

He was especially instrumental in the planning and building of Elitch’s
Garden in Denver, Colorado, and had been connected with it since its
opening.

Charles Goodyear was born on Staten Island, N. Y., February 18, 1845;
he died in Denver, Colorado, May 13, 1897.

JOHNNY SHAY, who excelled in the delineation of negro characters, began
his professional career in Louisville, Ky.

He was several seasons with Harrigan and Hart in New York, where he
enjoyed wide popularity.

He was born in Liverpool, England, in 1845; he died in New York,
October 20, 1879.

JOHNNY MCVEIGH entered the variety profession about 1858; he was a good
black-face performer and dancer.

He was born in Bambury, England, in 1845; he died in New York, January
20, 1883.

“LOTTA” (Lotta Crabtree), one of the greatest and most famous
soubrettes of the American stage, “blacked up” many times in her early
career. In October, 1863, she was a member of a minstrel company
playing Virginia City, California, at Maguire’s Theatre.

* * * * *

Barry Maxwell says that when he was with Spalding and Manning’s
Minstrels more than four years ago, a colored boy in Columbia, Tenn.,
came up and asked for the boss; having found him, he inquired if he
wanted anyone to “tote catalogues.” He wanted to pass bills.

* * * * *

WILLIS PALMER SWEATNAM, long known to his familiars as “Billy,” began
his theatrical career at the age of seven years, playing comedy parts
in white-face with a juvenile company called the Union Children.

His first black-face appearance was at the Western Museum in
Cincinnati, four years later, occupying the bone end in a minstrel show.

Mr. Sweatnam entered minstrelsy proper at the age of fifteen, when he
was a member of a boat show plying the Little Miami Canal in Ohio;
the boat was the “Huron,” and was the fastest boat of that name that
traveled the canal. Mr. Sweatnam shortly after this went South, and
became lessee of the Savannah Theatre, where minstrel performances were
given.

Subsequently he became a member of Fred Wilson’s Minstrels in St.
Louis, Newcomb’s Minstrels in Cincinnati, Skiff and Gaylord’s, and
Morris Brothers.

Mr. Sweatnam was the principal comedian of Simmons and Slocum’s
Minstrels at the opening of that famous organization in Philadelphia.
September 6, 1875, he was taken in as a partner, the firm name being
Simmons, Slocum and Sweatnam’s Minstrels, by which it was known until
October 28, 1876, after which it became Sweatnam’s Minstrels, and
later, December 25, 1876, Sweatnam and Fraser’s Minstrels. Mr. Sweatnam
played several engagements in San Francisco with Charley Reed’s,
Emerson’s, and Maguire’s Minstrels; with Dockstader’s, and Birch and
Backus in New York; with Haverly in Chicago, also in Europe; Moore and
Burgess in London, England, and Carncross in Philadelphia.

In 1887, commencing July 25, at Albany, N. Y., Sweatnam, Rice and
Fagan’s Minstrels were organized; this was one of the most magnificent
companies of its kind the world ever saw.

Mr. Sweatnam subsequently played an extended engagement with
Cleveland’s Minstrels, and shortly afterwards made his appearance
in the “City Directory,” a famous farce of twenty years ago; he was
with this company three seasons; several more under the management of
Charles E. Blaney, and then with the “County Chairman” for three years.

He was next seen in “George Washington, Jr.”; in all of these plays Mr.
Sweatnam’s art shone forth resplendently.

As a delineator of the negro character he is alone and without a peer;
there is but one Sweatnam, nor is it likely we will ever have another.
During the present season of 1910 he played a black-face part with the
“Summer Widowers.”

Willis P. Sweatnam was born in Zanesville, Ohio.

FRANK HOWARD (Martindale), famed as one of minstrelsy’s greatest
tenors, and who was with McNish, Johnson and Slavin’s; Thatcher,
Primrose and West’s, and Barlow, Wilson, Primrose and West’s Minstrels
in the 80’s; is said to be living in Chicago.

CHARLES FOSTELLE (Stephens) of late years was best known for his
portrayal of eccentric female characters, but long before--well, just
read on.

His first appearance was made in Detroit, Mich., in dramatic stock. The
year following he made his first appearance in black-face with Cal.
Wagner’s Minstrels, as a wench dancer.

Subsequent minstrel engagements were with Billy Arlington’s; Dingess
and Green’s; Harry Robinson’s; Simmons and Slocum’s, (Philadelphia);
(Wm. Henry) Rice’s, in Cincinnati; Purdy and Vincent’s; Arlington,
Cotton and Kemble’s; Allen, Delehanty and Hengler’s, and his own
company, Purdy, Scott and Fostelle’s Minstrels, opening at Denver,
Colorado, March 4, 1872. His last minstrel engagement was with
Sweatnam, Rice and Fagan’s Minstrels, season of 1887-88.

Since then Mr. Fostelle has appeared with Corinne for ten years;
starred in “Mrs. Partington” for five years, and for a season was
located in New York City with the Weber & Field’s Company.

Charles Fostelle was born in New York City, and he’s there now.

JOHN S. STOUT (Shafer) is one of the best-known singers in minstrelsy.

He first appeared with Rumsey’s Minstrels in 1864, and has appeared
successfully, if not successively with such well known companies as
Skiff and Gaylord’s; Buckley’s; Simmons and Slocum’s; Haverly’s;
Barlow, Wilson, Primrose and West’s; Sharpley’s; Duprez and Benedict’s;
Cal. Wagner’s and many others.

His last minstrel engagement was with the Barlow, Wilson Company.

John S. Stout was born in Dayton, Ohio, July 4, 1845.

[Illustration:

JOE. BUCKLEY

BOB. SHEPPARD

JOHN L. CARNCROSS

BOB. FRASER

JAMES GLENN

EPH. HORN

A PAGE OF PHILADELPHIANS.]

ROBERT J. FILKINS, at one time one of Haverly’s most valued executives,
got his early schooling with John Robinson’s circus; with which
organization he became identified with in about 1867.

In 1874 he met Col. Haverly in New Orleans, and at once joined the
latter’s forces, and continued under the Haverly banner for three years.

In 1879 he was in charge of the business management of the present 14th
Street Theatre, New York, at that time Haverly’s Theatre.

Grace Filkins, the present well-known actress, was his wife.

Robert J. Filkins was born in Michigan; he died in Wichita, Kansas,
April 19, 1886; age about 40 years.

IKE WITHERS was one of the early ones to do a musical act in a minstrel
show.

His first professional appearance was with Bryant’s Minstrels in New
York in 1862.

Subsequent minstrel engagements were with Wilson’s Minstrels in St.
Louis; Kelly and Leon’s; Newcomb and Arlington’s; Skiff and Gaylord’s;
Sharpley’s; Simmons and Slocum’s, and the San Franciscos, in New York,
where he remained thirteen years.

Ike Withers was born in Palmyra, N. Y., July 29, 1845; he is now a
guest at the Actors’ Home, Staten Island, N. Y.

JAMES SHARPLEY was the last surviving member of the three Sharpley’s;
Fred, Charles and James; a prominent musical act of the 70’s.

Mr. Sharpley, who had been blind some time previous to his death, was
an exceptionally clever performer on the concertina.

He was born in Liverpool, England, and died in New York City, May 12,
1902; age 57 years.

WILLIAM H. CRANE, one of America’s foremost legitimate comedians,
appeared in black-face with an amateur organization called the “Young
Campbell” Minstrels; Mr. Crane fixes the date in the fall of 1860.

The little band were offered $2.50 a piece to play the small town of
Stoughton, Mass., irrespective of the fact that the comedians services
might possibly be rated higher than one of the musicians. Nevertheless
the juvenile “corkers” accepted; the $30.00 went into the coffers of
the most popular restaurant to be found that same evening.

William H. Crane was born in Leicester, Mass., April 30, 1845.

R. G. (“BOOTS”) ALLEN was an excellent banjoist and in conjunction with
Fred. Huber in 1878-79, played the principal variety houses.

In the Spring of 1880, with Harry Woodson, he formed Woodson and
Allen’s Minstrels, which continued at intermittent periods for about
two or three years.

In December, 1881, he played an engagement with Emerson’s Minstrels
in San Francisco, and in the summer of 1886 Allen’s Banjo Minstrels
inaugurated a brief season.

R. G. Allen died May 21, 1892; age 47 years.

B. C. HART, who has so long and ably represented the New York _Morning
Telegraph_, and who is personally known to nearly every vaudevillian
in the country, did a black-face act with the late Billy Barry in
Memphis, Tenn., in 1868; that was the first. Since then and as late as
1881, Mr. Hart met with flattering success in his portrayal of “Old
Black Joe” and in the sketch of the “Old Servant’s Return.”

As a “bingler on the bones,” and “thumber of the tambourine,” Mr. Hart
has often responded to “Gentlemen, be seated.” Now for a secret. B. C.
Hart was born in Cincinnati, Ohio, September 10, 1845. Wouldn’t believe
it would you?

SHERIDAN AND MACK were a great protean character sketch team. They
never had their superiors, and it is doubtful if their equal was known
during their partnership, which was formed in the middle 60’s, doing
black-face songs and dances. They soon left off burnt cork and were
the first recognized black-face team to do so. They played innumerable
minstrel engagements, and were always in demand. Mr. Sheridan’s first
professional appearance was April 12, 1864. After separating from Mr.
Mack he played minstrel engagements, doing a single specialty. Later he
went to Australia where he met with phenomenal success playing a female
Irish part in “Fun on the Bristol.”

John F. Sheridan was born in Providence, R. I.; he died in Sydney,
Australia, December 25, 1908.

James H. Mack (McGrath) was born in Providence, R. I.; he was the
husband of Ada Boshell, the well-known actress.

Mr. Mack died in New York, December 24, 1889; age 41 years.

E. M. HALL was one of minstrelsy’s greatest banjoists, and a good
comedian. His career began in 1865, doing a song and dance with
Sharpley’s Minstrels; subsequently he did banjo duets with Harry
Stanwood. Later he was identified with such well-known minstrel
organizations as Emerson’s, in San Francisco; Manning’s, in Chicago;
Carncross’, in Philadelphia; and Moore and Burgess’, in London,
England, in 1880. In the latter city he joined Haverly’s Minstrels,
with whom he was a star feature for several seasons. In 1875 he was
associated with E. M. Kayne and Ned. Wambold in a minstrel venture
bearing their names. December 30, 1903, Mr. Hall purchased a ticket for
the matinee performance at the Iroquois Theatre in Chicago; that was
the date of the fearful holocaust, and he has never been seen since.

E. M. Hall was born in Chelsea, Me., about 1845.

JOHN LANG, a well-known and popular tenor vocalist, who was with
Arlington, Cotton and Kemble’s Minstrels in Chicago, died in that city,
December 5, 1874.

HUGH HAMALL was the fourth son of the late Arthur Hamall, and a singer
of more than ordinary merit. Previous to his death he had been a member
of Hamall’s Serenaders.

Mr. Hamall died in Montreal, Canada, October 10, 1875.

J. C. (“TOOTHLESS”) MURPHY, the old-time comedian and “Excelsior
Bone Player,” was with Harry Robinson’s Minstrels in 1874, and other
prominent organizations subsequently. Mr. Murphy was the husband of
Marie De Von, from whom he separated in Chicago, April 6, 1877. Mr.
Murphy is still active, and a resident of Nashville, Tenn.

DELEHANTY AND HENGLER--These truly wonderful artists were the greatest
in their line that the world ever knew, or ever will know, in all
probability.

William H. Delehanty made his first appearance in his native city at
the old Green Street Theatre, at the age of 14; he did a bone solo, and
incidentally it may be remarked that in their manipulation he ranked
with the best in minstrelsy.

About 1865 he joined Skiff and Gaylord’s Minstrels, where he did songs
and dances with John H. Ward, under the team name of Delehanty and
Ward; they continued with this company until November 11, 1866, when
Mr. Delehanty severed his business relations with Ward, and just one
week later, joined T. M. Hengler with Dingess and Green’s Minstrels at
Champaign, Ill.; this season closed at Penn Yan, N. Y., January 7, 1867.

Their first New York appearance was with Kelly and Leon’s Minstrels,
August 12, 1867.

On September 22, 1869, (Johnny) Allen, Delehanty, Hengler and
Pettengill’s (Charley) Minstrels gave their first performance in
Brooklyn, N. Y.

Previous to this, and for several years subsequent, they had their own
variety companies; in addition to playing the best variety theatres
in the land; likewise were they identified with some of the foremost
minstrel organizations; they also made a trip to Europe, playing
England and Ireland.

In the Summer of 1875, Delehanty and Hengler separated in Pittsburg.
Mr. Delehanty then formed a partnership with James Cummings, and as
Delehanty and Cummings they made their first appearance at the Theatre
Comique, New York, August 23, 1875.

December 4, 1876, Delehanty and Hengler, who were something more than
business associates, again formed a partnership, reappearing at the
Howard Athenaeum in Boston; the alliance was broken by the death of
Delehanty.

William H. Delehanty was more than a good dancer; he was a thorough
musician, and a man of intellect. He composed most of the songs and
dances that the team used, notably “Little Bunch of Roses,” “Apple of
My Eye,” “I Hope I Don’t Intrude,” “Strawberries and Cream” and many
others. Delehanty and Hengler were the original “Happy Hottentots,”
though this act was extensively copied.

T. M. Hengler came to this country at the age of three months, and at
the age of two years his family settled in Albany, N. Y., where ten
years later he made his first public appearance at the Green Street
Theatre; subsequently he was with W. W. Newcomb’s Minstrels for three
seasons; later he was with Sharpley’s Minstrels.

He joined W. H. Delehanty in 1866, and continued as his partner until
1875, after which time he did a single act, and was known as “The Merry
Minstrel.”

In December, 1876, he rejoined Delehanty, and continued with him until
the latter’s death.

When Mr. Delehanty died, Mr. Hengler seemed to lose all ambition
for the stage; he mourned his old friend sincerely, and played
infrequently; in the name only was he the “Merry Minstrel.”

Tom Hengler was likewise the author of several songs, notably “Sweet
Aleen” and “My Pretty Little Kittie,” also the musical sketch “Fun in
the Kitchen.”

Mr. Hengler married Miss May Fanning in 1870; they had two daughters
who have helped to perpetuate their father’s name and fame--Flo and May
Hengler.

[Illustration:

FIRST PERFORMANCE OF “I WISH I WAS IN
DIXIE”

OLD LIVERPOOL, ENG., BILL

TWO RARE PROGRAMMES.]

William H. Delehanty was born in Albany, N. Y., September 25, 1846; he
died in New York City, May 13, 1880.

T. M. Hengler (Slattery) was born in the town of Cashel, Ireland, in
1844; he died in Brooklyn, N. Y., August 21, 1888.

BILLY EMERSON (Redmond) was a unique figure in minstrelsy, for he stood
absolutely alone in his chosen profession; never before his advent had
his equal been seen, nor will we ever again.

The acme of versatility, the personification of grace, the quintessence
of greatness, such was Billy Emerson, who was gifted with a voice that
an opera singer might have envied, and endowed by Nature with talents
that are but seldom given to man.

His very early days were spent in Oswego, N. Y., but soon with his
family moved to Washington, D. C., where he made his first professional
appearance with Joe Sweeney’s Minstrels about 1858. From 1860 to 1864
he played chiefly in the music halls; in that year he joined Robert’s
and Wilson’s Minstrels; also in 1864 he was with Sanderson’s Minstrels.

His first prominent minstrel engagement was with Newcomb and Arlington
in 1866. December 3, 1866, he made his initial New York appearance at
Pastor’s Theatre. In 1867 he joined Newcomb’s Minstrels, and continued
with them (barring a brief interval when he was with Spalding and
Bidwell) until the organization of his own company, June, 1868, when
Emerson, Allen and Manning’s Minstrels gave their initial performance
in Brooklyn, N. Y.

May 22, 1869, Johnny Allen withdrew, and the company continued as
Emerson and Manning’s Minstrels until January, 1870, when the two
partners separated. February 11, 1870, the first performance of
Emerson’s Minstrels was given, and on November 23, same year, he made
his bow under the astute management of Tom Maguire, in San Francisco,
the city which to this day reveres the memory of Billy Emerson.

Later the company moved to the Alhambra, and after a trip East, he
returned and the name was changed to Emerson’s Minstrels.

May 12, 1873, with his company, he sailed for Australia, opening at
Melbourne, August 2; subsequently Mr. Emerson made two other trips to
the Antipodes.

On January 14, 1878, he took the management of the Olympic Theatre, New
York, installing his company; the engagement was a brief one, and on
the following February 28, in conjunction with Smith, Waldron, Lester
and Allen, “Emerson and the Big Four Minstrels” were organized and
traveled for several months.

In Chicago, June 30, 1879, with R. M. Hooley, the famous Megatherian
Minstrels gave their first performance, and continued for a season.

Mr. Emerson was a member of Haverly’s Minstrels when they opened in
London, England, July 31, 1880.

San Francisco welcomed its idol on October 17, 1881, when Emerson’s
Minstrels opened at the Standard Theatre, and remained until the Spring
of 1884.

Later he was with the Haverly-Cleveland Minstrels, and afterwards the
Cleveland organization.

April 2, 1888, he became an equal partner with Frank McNish and Carroll
Johnson with McNish, Johnson and Slavin’s Minstrels, owing to the
indisposition of Bob Slavin, who was not appearing with the company.
August 6, 1888, he again opened in San Francisco with Emerson’s
Minstrels.

In the Summer of 1898 he was with the Wilson-Cleveland Minstrels a few
weeks, and then played an engagement with William H. West’s Minstrels.
Emerson’s career practically ended with this company.

Let us think of him only for his neat songs and dances, of which he was
one of the pioneers, and in which he never had an equal.

Let us remember him for his “Big Sunflower,” written by another, but
popularized by Emerson; for “Moriarity” will never be forgotten, and
we hope that after the trials and vicissitudes of this world, he has
“Backed the Winner” in the next.

He married Miss Maggie Homer, at Covington, Ky., June 25, 1869.

Billy Emerson was born in Belfast, Ireland, July 4, 1846; he died in
Boston, Mass., February 22, 1902.

E. M. KAYNE (Kerr), was a well known and capable interlocutor and bass
singer.

His professional career began about forty years ago when he appeared
under his own name. April 10, 1875, in conjunction with E. M. Hall
and Ned. Wambold, he organized a minstrel company which had a brief
existence.

Mr. Kayne was one of Haverly’s original Mastodons in 1878, and
continued with Haverly for several seasons.

For some time prior to his death, which occurred in Chicago a few years
ago, he was employed in that city in a mercantile establishment.

HARRY KERNELL, one of the greatest Irish comedians the variety stage
ever knew, was an end man with Hyde and Behman’s Minstrels in 1885; and
for many years before that. He died in New York, March, 1893.

ED. MARBLE came from an old theatrical family of the legitimate stage.

He joined Thatcher, Primrose and West’s Minstrels in 1884 as
interlocutor, and continued with them several seasons.

He subsequently wrote and produced “Tuxedo” for George Thatcher, and
it was a pronounced success. Mr. Marble later played with Mr. Thatcher
in vaudeville. His daughter is Mary Marble, well known in vaudeville
circles.

Ed. Marble was born in Buffalo, N. Y., September 6, 1846; he died in
Brooklyn, N. Y., August 9, 1900.

J. MELVILLE JANSEN entered the profession in 1874 at Fall River,
Mass., with Gus Bruno, and as Johnson and Bruno, they continued as a
black-face acrobatic song and dance team for five years; and they were
rated with the best. They played the principal variety houses and some
of the best minstrel companies, notably Sweatnam’s in 1878.

Mr. Jansen separated from Mr. Bruno about 1879, and afterwards worked
alone, and did a stump speech; he then took his own name, so as not to
conflict with Carroll Johnson, who was at that time also known as James
Johnson.

About 1882 he formed a partnership with Sam Swain, doing a black-face
act, and a few months later he made his appearance at Carncross’
Minstrels in Philadelphia; he remained seven years, after which he
joined Primrose and West’s Company, and continued with them for a
considerable period.

Mr. Jansen was a fine end man, and very clever in his imitations of a
monkey.

J. Melville Jansen was born in Quebec, Can., he died at Downingtown,
Pa., November 23, 1896; age about 50 years.

* * * * *

The season of 1882-83 there were thirty-two minstrel companies on the
road.

* * * * *

BEN BROWN was one of the great jig dancers of his day, when dancers
were plentiful and efficient.

Very early he saw his name on the billboards, he said; and in 1865 he
won a diamond studded cross containing eleven stones; the contest was
at Bryan’s Hall, Chicago; among the competitors were “English” Tommy
Peel, Johnny Boyd and Alex Ross; all passed away.

But I’m ’way ahead of my story. His first regular appearance was with
Billy Wray at Beller’s Music Hall, Detroit, Mich., playing “Young
Scamp.” He was with the Mrs. Matt. Peel’s Minstrels in 1861. Leaving
them he joined Booker and Evart’s Minstrels at Jackson, Mich., taking
the place of the famed Dick Sliter, who had just died; this was May 21,
1861.

Subsequently he joined the DeHaven and Hutchins Show, touring Europe;
other circus engagements were the John Robinson Company and Mike
Lipman’s.

In 1870 he joined Cal. Wagner’s Minstrels at Syracuse, under “Jack”
Haverly’s management; three years later Haverly started his own
organization; but Mr. Brown remained faithful to his first love; and
subsequently he toured with his own organization.

One of Mr. Brown’s feats in his earlier days was to do a jig with a
glass full of water on his head, without disturbing the water--or his
head; later on he danced with a plough on the same place where the
glass was wont to rest.

In 1878 he married, and a couple of years later he settled down in St.
Louis, Mo., where he resided until his death.

Ben Brown was born in Chicago, March 17, 1846; he died in St. Louis,
Mo., June 10, 1910.

NEIL BURGESS, who won fame and fortune as Aunt Abigail in the “County
Fair,” was a black-face performer for several years.

In 1875 he made a brief tour with Neil Burgess’ Minstrels; they closed
at Brockville, Canada, June 14, that year.

Neil Burgess was born in Boston, Mass., June 29, 1846; he died in New
York, February 19, 1910.

JOHN PRENDERGAST was a clever song and dance performer, and the first
partner of John Hogan, with whom he played a season’s engagement at
Bryant’s Minstrels in New York City.

He joined Hogan in 1865. He died in Pittsburg, Pa., August 15, 1869;
age 23 years.

GEO. THATCHER

has just rounded out forty-seven years of active theatrical life; for
it was in September, 1863, that he made his first stage appearance,
doing a jig (wonder if he can do it now?), and appearing in black-face;
this was in Baltimore. Subsequently he came near being a Dutch
comedian.

[Illustration: HARRY ROBINSON’S MINSTRELS.

Middle 70’s.]

A year later Mr. Thatcher’s hopes of being a great song and dance
performer received a severe jolt; Billy Emerson was the unconscious
cause. Realizing that Emerson excelled him so far; Mr. Thatcher in his
next engagement told gags between songs that he sang, and claims that
then and there he originated the monologue.

Mr. Thatcher says his first important engagement was at Tony Pastor’s
in New York in 1873. On November 10, that year, he made his first
appearance with Simmons and Slocum’s Minstrels in Philadelphia,
continuing with that organization and that of Simmons, Slocum and
Sweatnam about four years.

August 20, 1877, he made his initial appearance with Haverly’s
Minstrels in Philadelphia; in the Spring of the following year he
played a brief engagement with the same company.

Mr. Thatcher joined the San Francisco Minstrels in New York, December
10, 1877; his last appearance there was December 11, 1880. Nine days
later he opened in Philadelphia at the Arch Street Opera House with
Thatcher and Ryman’s Minstrels, and continued under that trade-mark
until the Spring of 1881. Season of 1881-1882 saw George Thatcher’s
Minstrels at the same house. At Elmira, N. Y., August 3, 1882, the
first performance of Thatcher, Primrose and West’s Minstrels was given;
the organization disbanded in the Spring of 1889. The following season
he was a feature with the Howard Athenaeum Company, doing his famous
monologue.

In 1890 Thatcher’s Minstrels took the road; the three succeeding
seasons produced “Tuxedo,” “Africa” and “About Gotham” respectively.

Then for two years with Carroll Johnson he headed Thatcher and
Johnson’s Minstrels, terminating in the Spring of 1897.

Mr. Thatcher has since been in vaudeville singly, also at various
periods with Ed. Marble, Charley Ernest, Banks Winter, Mrs. Zenaide
Thatcher and Will Phillips.

Also did he play an engagement with Moore and Burgess’ Minstrels in
London, England, about twenty-five years ago; his success there was
nothing short of phenomenal.

Mr. Thatcher is a natural wit, always original, and an actor as well
as a performer, as evinced by his clever interpretations of black-face
characters in “The County Chairman” and “Cameo Kirby.”

In 1908 he was with Cohan and Harris’ Minstrels, and in 1909 the
feature of Eddie Leonard’s Minstrels.

George Thatcher was born in Baltimore, Md., July 15, 1846.

JOHN P. HOGAN, besides being a great dancer himself, has the ability to
impart his skill to others.

Mr. Hogan began his professional career doing a song and dance with
Stanley and Mason’s Minstrels in 1862.

In 1865 he joined Raynor and Christy’s Minstrels, with Johnny
Prendergast doing a neat song and dance, which by the way they were
probably the _first_ team to do such an act. That same year they joined
Bryant’s Minstrels in New York, and the following season he formed a
partnership with Ruey Hughes at Bryant’s Minstrels. In 1867 they were
with Griffin and Christy’s Minstrels, located in New York.

Their next minstrel engagement was with Bryant’s in 1868, also in the
metropolis.

In 1869 the pair joined Buckley’s Serenaders, and the following year
they were with Billy Manning’s Minstrels, located in Chicago, where in
the Spring of 1871, Hogan and Hughes severed their business relations,
owing to the illness of the latter.

In May, 1871, Mr. Hogan joined the Hooley Minstrels in Chicago for a
supplemental traveling season; with this company he did a specialty
with J. K. Campbell.

Subsequently with Jimmy Cummings, he played an engagement at Moran and
Dixey’s Minstrels in Philadelphia, closing there about February 1,
1872, after which in a variety theatre in the same city he did “Let Me
Be” with Harry Kernell, who afterward gained fame as an Irish comedian.

Hogan and Mudge’s Minstrels toured in 1872, likewise Hogan and Ella
Chapman played in the principal variety houses.

In 1874 Mr. Hogan returned to Bryant’s Minstrels, and continued there
until the death of Dan Bryant, April 10, 1875. A few months later
he joined hands with Charley Lord, and as Hogan and Lord played an
engagement with Kelly and Leon’s Minstrels.

John Hogan was born in Montreal, Canada, March 14, 1847.

ARTHUR MORELAND. Instances of black-face performers going from the
minstrel to the dramatic stage are of very frequent occurrence, but
when a legitimate performer goes into minstrelsy, we are inclined to
rub our eyes, sit up and take notice.

Such was the case of the subject of this sketch, whose professional
debut was made in Troy, N. Y., at the Griswold Opera House, April
14, 1865, in the “Lady of Lyons”; this was not an animal show, as
unthinking persons might surmise.

Mr. Moreland next went to London, England, where for five months,
commencing in 1865, he played a stock engagement at the Sadler’s Wells
Theatre. Returning to the United States extended engagements followed
at St. Louis, New Orleans, Louisville, Cincinnati and New York City. In
1872 he assumed the management of Johnny Thompson, in “On Hand.”

Mr. Moreland’s next move was to the Olympic Theatre, in Brooklyn, N.
Y., 1873; it was here that Mr. Moreland first became a “corker,” though
he had been a corking good fellow fully a quarter of a century prior to
that date--and ever since.

His first minstrel engagement was with Hooley in 1876; the following
year he was with Maguire’s Company in San Francisco, and later with
Emerson’s Minstrels, same city. In 1880 Mr. Moreland became a member of
the San Francisco Minstrels in New York City, where he remained four
years.

In 1884-85 he did “nigger acts” with Dan Collyer; the following season
he was a member of Harrigan’s Company in New York City. Mr. Moreland
was one of the members of Lew Dockstader’s permanent minstrel company
in New York, commencing September 17, 1886, and continuing with them
during the existence as an organization, terminating in 1889.

As Col. Risener, in “Blue Jeans,” appearing in white-face, season of
1891-92, Mr. Moreland once more showed his versatility.

Mr. Moreland has long been recognized as the premier interlocutor in
minstrelsy, and the legitimate successor of Wm. H. Bernard, who retired
in 1872.

Arthur Moreland was born in New York City, November 12, 1847.

GEORGE W. POWERS ran away from home in 1861; there was really no
necessity for this, as the home was securely fastened. However, that’s
not the argument. He boarded the steamboat “Charley Bowers,” did
George Powers, and for several hours continued as a passenger, finally
landing at Cairo, Ill., where he immediately sought out the manager,
and was at once engaged to do a jig, in black-face; subsequently he
was apprenticed to old Frank Howard, with whom he did “nigger acts” in
the variety houses of St. Louis, Milwaukee, Chicago, Louisville and
Memphis; at the latter place he appeared in Morningstar’s Varieties; it
is now 1863, and all is well.

Mr. Powers next joined Castello’s Circus, and late in 1863 made his
first appearance in minstrelsy; the honor belongs to the Weed and
Morris Company.

The following year he was with LaRue’s Minstrels; the next burnt-cork
aggregation to claim him was the Morris Bros. in Boston.

September 5, 1870, with Hooley’s Minstrels in Brooklyn, Johnson and
Powers made their first appearance as a team, doing acrobatic songs
and dances and high kicking--this man Johnson was Carroll Johnson, the
present Beau Brummell of minstrelsy, but at that time known as James
Johnson; for thirteen years did this duo do dances and other doings.

January 2, 1871, they opened with Hooley’s Minstrels in Chicago, at the
first performance of that company in the Big Lake City.

In the Summer of 1872 Mr. Powers and his partner joined the famous
San Francisco Minstrels in New York, and continued with them until
1882, barring the season of 1874-75, which was spent in Philadelphia
with Carncross and Dixey’s Minstrels. In the Fall of 1882 they became
members of Courtright and Hawkins’ Minstrels, also in Philadelphia,
and the following January went to San Francisco, where they opened
with Billy Emerson’s Minstrels on the 22d; they remained about three
months and then joined Haverly’s Minstrels, and in June, 1883, the long
partnership of Johnson and Powers was dissolved.

Mr. Powers subsequently gave most of his attention to the banjo,
on which instrument in the execution of which he has no rival in
minstrelsy; his rendition of “Home, Sweet Home,” with variations, is
alone worth going miles to hear.

From 1885 to 1893 Mr. Powers appeared successfully with McNish, Johnson
and Slavin’s; Thatcher, Primrose and West’s; Lew Dockstader’s, and
Thatcher and Johnson’s Minstrels.

Early in 1910 he married the widow of the late John W. Thompson, of
Dallas, Texas.

George W. Powers was born in Louisville, Ky., April 3, 1847.

LUKE SCHOOLCRAFT was naturally a great performer; born in the South
amidst environments that gave him opportunities for noticing the
peculiarities and idiosyncrasies of the negro character, he imbibed
them without being aware of so doing.

At the age of five he made his first appearance, playing child parts;
two years later he “blacked up” for the first time, in the play of
“Masked Faces.”

[Illustration:

FRANK HOWARD

BANKS WINTER

MANUEL ROMAIN

GEO. GALE

RICHARD J. JOSE

FRANK MORRELL

SIX SINGERS.]

Late in the 60’s at Memphis, Tenn., a butcher with the unminstrel name
of Wiets, tiring of dispensing steaks, chops and sundry animal flesh
to a ravenous clientele, and with visions of perhaps becoming a future
burnt cork impressario, he organized the Great Western Opera Bouffe
Company; a painfully short time later it disorganized itself.

It is an odd fact that this gifted performer, whom nature endowed with
the ability to portray so faithfully the Southern “darky,” aspired to
be a Dutch comedian: indeed, he appeared as such intermittently for
several years in the variety houses.

July 29, 1872, at Cincinnati, he made his first appearance with
Newcomb’s Minstrels, sitting on the end and doing an act in the olio
with Andy McKee and E. M. Hall; a few weeks later he began a brief
engagement with Simmons and Slocum’s Minstrels in Philadelphia,
commencing August 18.

Mr. Schoolcraft formed a partnership with George H. Coes, in 1874,
and on August 31 they opened with Kelly and Leon’s Minstrels in
Chicago. They played various minstrel and variety engagements until
April 2, 1877, when Schoolcraft and Coes’ Minstrels gave their first
performance; the tour was of short duration. January 14, 1878, the team
joined Emerson’s Minstrels at the Olympic Theatre in New York, and in
the Summer of the following year they opened with Hooley and Emerson’s
Megatherian Minstrels.

Season of 1881-82 they were with Barlow, Wilson, Primrose and West’s
Company; a year later they joined the Barlow, Wilson & Co.’s Minstrels,
and on September 3, 1883, they opened with the San Francisco Minstrels
in New York City.

Schoolcraft and Coes dissolved partnership in 1889, and in the Spring
of that year Mr. Schoolcraft joined Dockstader’s permanent minstrel
company in New York City; this was his last minstrel engagement.

About a year later he became a member of the famous “City Directory”
Company, under the management of John Russell, and continued with that
organization until the time of his death.

Beyond all dispute Luke Schoolcraft ranked high with the great
black-face performers of the land; he is one of the immortals of
minstrelsy. While he was great in everything he ever did, his “Mrs.
Dittimus’ Party” was a gem of purest ray serene.

Luke Schoolcraft was born in New Orleans, La., November 14, 1847; he
died in Cincinnati, Ohio, March 10, 1893.

BOBBY NEWCOMB (Robert Hughes) stood alone in his particular line in
minstrelsy, inasmuch as he wrote all the songs and dances he executed
so admirably, as well as producing for many other performers, notably
the “Big Sunflower” for Billy Emerson, which did so much to establish
the popularity of that great artist.

The earliest record of Newcomb’s professional appearance was at Quebec,
Canada, where on May 3, 1856, he appeared as Master Hughes with
Perham’s Great Ethiopian Minstrel Opera and Burlesque Troupe.

The following year he was with Buckley’s Serenaders in New York; it
was here that he attracted the attention of W. W. Newcomb, who, with
Hy. Rumsey was about to organize Rumsey and Newcomb’s Minstrels; and
Bobby Newcomb became a member, and continued with them for about five
years; between seasons accepting other engagements with Geo. Christy’s
(Hooley) Minstrels, in June, 1859, and a year later with Minor’s
Ethiopian Minstrels. Early in 1861 he went to England with Rumsey and
Newcomb, subsequently to Germany and back to England, where the company
disbanded.

Mr. Newcomb joined Wood’s Minstrels in New York, March 9, 1863, as
“Little Bobby,” the ladies’ pet. In 1860 he was billed as Master Robert
Langlois.

In the Fall of 1863 he joined Christy’s Minstrels in New York; in 1865
he was with Raynor’s “Christy’s.”

December 9, 1869, he made his re-appearance with the San Francisco
Minstrels in New York; the following year he was a member of Carncross
and Dixey’s Minstrels in Philadelphia. It was with the latter company
he first appeared as an end man, in Pittsburgh, Pa., May 15, 1871.

August 28, 1871, he rejoined the San Francisco Minstrels in New York
for the season; subsequently he was with Arlington, Cotton and Kemble’s
Minstrels in Chicago for a lengthy engagement.

He joined Maguire’s Minstrels in San Francisco, April 18, 1874; the
following year he returned to Carncross and Dixey.

Mr. Newcomb played Topsy in “Uncle Tom’s Cabin” in 1876.

In 1877 he was with Haverly, and in 1881 played an engagement with
Moore and Burgess’ Minstrels in London, England.

In 1883 he was again with Haverly. About 1885, with his wife and three
talented daughters, he organized the Newcomb Family, and as such he
traveled until his death.

In New York, September 28, 1867, he married Miss Mary Blake, a famous
danseuse of that time. Blanche Newcomb, in private life, Mrs. John
Cain, a clever soubrette, is his daughter.

Bobby Newcomb was born November 13, 1847; he died at Tacoma, Wash.,
June 1, 1888.

EDDIE FOX is known wherever minstrelsy is spoken.

Mr. Fox’s career began at the tender age of five years, and continued
up until about 1897, when he “laid down the fiddle and the bow”--not
because “there was no more work for poor Uncle Ned”--no, indeedy--for
Mr. Fox refuses to grow old, and he could have work aplenty if he so
desired.

Newcomb and Arlington’s Minstrels engaged him about 1867; subsequently
he was with Newcomb’s Minstrels.

When Simmons and Slocum opened their minstrel house in Philadelphia
in 1870, Eddie Fox was leader, and remained there several seasons.
Likewise was he identified with Barlow, Wilson, Primrose and West’s
Minstrels at their inception in 1877, and continued with them during
their existence as an organization, terminating in June, 1882.

Other prominent minstrel engagements were Barlow, Wilson Company,
George Wilson’s, Cleveland’s, and his last--Al. G. Field’s.

Mr. Fox composed some of the most popular music in minstrelsy, notably
the “Big Sunflower,” immortalized by Billy Emerson; “Kaiser, Don’t You
Want to Buy a Dog?” for Gus Williams; “Noreen Moreen,” “Goodbye, Liza
Jane,” “Carry the News to Mary” and scores of others.

As a jig and reel player he is without a peer.

[Illustration:

DAVE MONTGOMERY

FRED STONE

PERCY G. WILLIAMS

RAYMOND HITCHCOCK

JOE. CAWTHORNE

CORSE PAYTON

FRED. BAILEY

RALPH AUSTIN

CHAUNCEY OLCOTT

RICHARD CARLE

BILLY JEROME

JAS. J. CORBETT

MACLYN ARBUCKLE

JOHN L. SULLIVAN

BILLY S. CLIFFORD

NAT. GOODWIN

JERRY COHAN

DE WOLF HOPPER

GEO. M. COHAN

NAT. WILLS

JOHN C. RICE

BARNEY GILMORE

EDDIE FOY

BERT. LESLIE

SAM BERNARD

WM. HARRIS

CHAS. FROHMAN

DAN. FROHMAN

JOHN E. KELLERD

HENRY E. DIXEY

OTIS SKINNER

BILLY B. VAN

WILTON LACKAYE

WILLIE COLLIER

WM. H. CRANE

“HAP.” WARD

HARRY VOKES

ANDREW MACK

FRANCIS WILSON

HARRY BULGER

JAS. T. POWERS

GEO. BEBAN

JEFF D’ANGELIS

DENMAN THOMPSON

DAVID BELASCO

JOE. WEBER

LEW. FIELDS

CHAS. K. HARRIS

CHAS. HORWITZ

FRED V. BOWERS

THE “FAMOUS 50”; THEY ALL “BLACKED UP,” OR WERE ASSOCIATED WITH
MINSTRELSY.]

Mr. Fox likewise enjoys the distinction of having been always the
highest salaried “leader” in minstrelsy.

Eddie Fox was born in Glens Falls, N. Y., October 28, 1848; a letter
addressed care of any minstrel show playing Philadelphia will always
reach him.

THOMAS B. DIXON. The name of Tom Dixon will go down in the annals of
minstrelsy for his magnificent rendition of the old ballad “Sally in
Our Alley.”

Mr. Dixon joined Lew Benedict’s Minstrels in July, 1872, and again
at Newark, N. J., September 21, 1876. In 1878 he was with Simmons
and Slocum’s Minstrels in Philadelphia, and that same year became a
member of the original Haverly’s Mastodons in Chicago, opening October
21, 1878. He went to London, England, with that company, opening at
“Her Majesty’s” Theatre, July 31, 1880; the following year he was
with Emerson in San Francisco; he was likewise identified with other
prominent organizations. Mr. Dixon was one of the original California
Quartette.

Thos. B. Dixon was born in 1847; he died in Nashua, N. H., November 25,
1890.

LEW. SPENCER (James Erhardt), well known as a black-face performer,
began his professional career in his native city about 1865 as a Dutch
comedian. He was with Duprez and Benedict’s Minstrels about 1869,
and subsequently with the companies of Cal. Wagner; Barlow, Wilson;
Haverly; Al. G. Fields and others as prominent.

He was born in Baltimore, Md.; he died in Chicago, Ill., December 7,
1904; age 56 years.

FRANK DUMONT is one of the most intellectual men in minstrelsy;
originally a ballad singer, he has been connected with every branch of
the black-face profession.

In the Fall of 1862, as Master Dumont, he was with Arlington and
Donniker’s Minstrels, subsequently he was associated with John Cross
and Tom Fish with Cross, Fish and Dumont’s Minstrels; this was in 1866.

The following year he was with Ned Davis’ Minstrels; early in 1869 he
was with Dashington and Kling’s Minstrels and that same year he joined
Duprez and Benedict’s Minstrels, and continued with them about eleven
years.

Subsequently Mr. Dumont was with Carncross in Philadelphia, the San
Francisco Minstrels in New York, and with Lew Dockstader’s Company.
While with Sweatnam’s Minstrels, August 22, 1879, he sang “The Old
Family Table.”

Mr. Dumont is the author of innumerable songs, sketches and plays,
and produced all the shows at the Eleventh Street Opera House,
Philadelphia, since the inception of Dumont’s Minstrels there January
27, 1896.

Frank Dumont was born in Utica, N. Y., January 25, 1848.

WILL G. MACK, once of the team of Mack and O’Day, had been in the
profession about twenty-five years, and with Al G. Fields’, Barlow
Bros., and other minstrel companies prior to his death, November 12,
1897.

CHARLES HEYWOOD (Frank Haffner), who has an international reputation
in minstrelsy as a female impersonator, possesses a remarkably fine
cultivated voice, which long experience has taught him to use to the
best advantage.

Mr. Heywood made his debut with an amateur minstrel company in Newark,
N. J., in 1867, at the famous old Library Hall.

In January, 1868, he appeared professionally in New York with Kelly and
Leon’s Minstrels.

Later he was identified with Buckley’s, Duprez and Benedict;
Emerson’s; Simmons and Slocum’s; Haverly’s, and several other notable
organizations.

In 1881 he was with Thatcher and Ryman’s Minstrels in Philadelphia,
and the following year with Clark and Ryman’s Minstrels he went to
Australia--with his pigeons; for Heywood wouldn’t travel without his
pigeons, and the pigeons wouldn’t travel without Heywood; so there you
are.

After the pigeon engagement, which lasted sixty weeks, Mr. Heywood
joined Haverly’s Mastodons in London, in 1884; again using the pigeons,
100 strong, as a feature of his act.

After several notable engagements in the music halls on the Continent,
he returned to this country, and subsequently built a theatre in
Newark, N. J. As a builder Mr. Heywood admits he wasn’t a success, but
as a hustler he is second to none. And then he opened a conservatory,
where several who since achieved success in their profession received
their tuition. Of late years Mr. Heywood’s talents have been devoted
chiefly to concert work.

Charles Heywood was born in New York City, October 24, 1848.

BARRY MAXWELL (Maxey) has been famous for many years for his
delineation of the aged “darky,” of which he is a master.

His stage career began in his native city as a member of the Crescent
City Serenaders, in which he was one of the end men.

With Ed Gibson, as Gibson and Maxwell, he joined Spalding and
Manning’s Minstrels; other minstrel organizations he was identified
with were Hooley’s; Haverly’s; Emerson and Reed’s, in San Francisco;
Dockstader’s, in New York, from 1886 to 1889, and Schoolcraft and
Maxwell’s Minstrels.

Mr. Maxwell was also of the team of Maxwell and Carroll.

For ten years he appeared successfully with the Chas. H. Hoyt shows,
where he was called upon to play both white and black face characters,
which he did with equal facility.

His portrayal of the black-face character of Othello, in the “Texas
Steer,” and Sassafras Livingstone, in the “County Chairman,” received
the highest encomiums from press and public.

Barry Maxwell was born in New Orleans, La., October 29, 1848.

QUILTER and GOLDRICH ranked with the best song and dance teams of
minstrelsy.

They made their first appearance in 1869 at Pittsburgh, Pa., with Harry
Williams.

During their partnership they played practically every first-class
variety house in the country, as well as many of the principal minstrel
companies, including Harry Robinson’s, Neil Bryant’s, and Kelly and
Leon’s.

July 19, 1874, they sailed for England, where on August 10 they made
their first appearance in Liverpool with Sam Hague’s Minstrels;
subsequently going to Moore and Burgess’ Minstrels in London, in each
city meeting with pronounced success.

They played an extended engagement with Harrigan and Hart’s Company in
New York, and after the dissolution of that famous organization, June
13, 1885, they cast their fortunes with Edward Harrigan.

Mr. Goldrich’s demise occurred during this period, since when Mr.
Quilter has appeared mostly in dramatic and musical productions. Some
of the principal black-face parts portrayed were in “Princess Bonnie”
and the “Traveling Salesman.”

Richard (“Dick”) Quilter was born in the County Kerry, Ireland, August
16, 1848.

Peter Goldrich (MacGoldrick) was born in Trenton, N. J., he died in New
York City, June 4, 1891; age 42 years.

CHEEVERS and KENNEDY, originally known as the “Buffalo Boys,” a title
given to them by Dan Bryant, when as the “infant wonders” they made
their first appearance in New York, with Bryant’s Minstrels, doing a
double clog reel April 25, 1864.

The following year they went to Carncross and Dixey’s Minstrels in
Philadelphia, where they remained until 1871; part of this time they
were billed as Masters Joseph and Eddie. August 28, 1871, they opened
with the San Francisco Minstrels in New York for the season; that same
week they, in conjunction with Charley Gibbons and Bobby Newcomb,
formed a dancing quartette, which was then considered quite a novelty.

The following year they returned to Philadelphia as members of Frank
Moran’s Minstrels. July 2, 1874, they sailed for England, opening at
the London Pavilion July 19. Subsequently an engagement of fourteen
months at the Cambridge, same city, followed.

Their success at this house was so pronounced that an extra gallery had
to be built to accommodate the patrons of that popular establishment.
Equally successful engagements in Dublin and Paris followed. It will be
readily seen that these boys were “capital” performers.

Returning to the United States they rejoined Carncross and Dixey in
Philadelphia.

Early in 1877 they began a brief engagement with Emerson’s Minstrels
in San Francisco, and in the Spring of that year sailed for Australia,
where they remained about four years.

A brief separation followed, during which time Mr. Cheevers worked
alone; they subsequently came together again, playing successful
engagements in the music halls.

August 27, 1886, they arrived in New York City; they played several
engagements in the United States, subsequently returning to England;
later their business relations were again severed; Mr. Cheevers
assuming the management of the Phoenix Music Hall, Dover, England, and
some years later entering the hotel business.

After a separation of about nine years, in the Fall of 1904 they once
more reunited and for two or three years renewed former triumphs.

[Illustration:

BURTON STANLEY

GEO. WILKES

“RICARDO”

GUS. MILLS

HARRY LANSING

STUART

JAMES MACK

HARRY CONSTANTINE

ARTHUR DOTY

FAMED FAVORITES WHO FEATURED FEMININE FANCIES.]

Following their final separation, Mr. Cheevers returned to the United
States, where he has mostly remained.

Mr. Kennedy is a boniface in England.

Cheevers and Kennedy enjoyed a well-merited reputation for originality;
their quick character changes and diversified dancing gave them a
standing in their profession that any performer might envy.

Joseph E. Cheevers was born in Buffalo, N. Y., May 25, 1848.

Edw. J. Kennedy was born in Buffalo, N. Y., July 10, 1844.

GUS BRUNO made his first appearance professionally in his native city
with Rentz’s Circus, in 1866, doing a hurdle act.

He came to the United States a few years later, and as the Limber Boy
he played an engagement at Woodward’s Garden in San Francisco.

Charley Armstrong was his first partner; next came Clark and Bruno,
and then Johnson and Bruno, who for five years did one of the greatest
black-face acts in the country, playing the principal variety houses
and minstrel organizations.

Mr. Bruno subsequently allied himself with the foremost farcical
organizations; he is now playing vaudeville.

He is probably the best dialectician in America, and was the first to
give the Swedish and Low Dutch dialects on the stage.

Gus Bruno was born in Copenhagen, Denmark, May 4, 1848.

RUEY HUGHES (James Quigg) was a fine dancer and a good general
performer.

He appeared at the Green Street Theatre in Albany, N. Y., as early as
1863. The following year he was with A. P. Ball’s American Coliseum
Circus.

In 1866 he formed a partnership with John Hogan, and as Hogan and
Hughes they did neat songs and dances, and quickly made reputations for
themselves.

Early in 1867 Mr. Hughes and his partner joined Griffin and Christy’s
Minstrels in New York. Subsequently they appeared successfully with
Hooley’s Minstrels in Brooklyn, N. Y., and with Bryant’s, also Kelly
and Leon’s in New York. In 1869, with Mr. Hogan, he joined Buckley’s
Serenaders for the season.

In 1870 Mr. Hughes began an engagement with Manning’s Minstrels in
Chicago, where a few months later he was taken sick and finally forced
to separate from Mr. Hogan.

The death of Mr. Hughes on the threshold of manhood robbed minstrelsy
of one of its most brilliant luminaries.

Ruey Hughes was born in New York City; he died there, November 10,
1871; age 23 years.

SAGE RICHARDSON began his professional career as a member of the
famous Holman troupe in 1864, at Toronto, Canada. His first minstrel
engagement was with Cool Burgess’, later appearing with LaRue’s
Minstrels.

Subsequently he joined hands with his brother John, and they played the
variety houses until 1880, when he doubled with Charley Young, later
playing an engagement with Cal. Wagner’s Minstrels; at the end of the
season Mr. Richardson returned to California, and afterward reappeared
in variety houses with his brother.

Sage Richardson was born in New York City: he died in San Francisco,
March 8, 1883; age about 35 years.

I. W. BAIRD, who was proprietor and manager of the organization that
bore his name for several seasons, commenced his professional career as
a trick bicycle rider in 1866. In 1867 he joined Johnson’s Circus at
Galesburg, Ill., and in 1872 was part proprietor of Smith and Baird’s
Circus; in 1874 he controlled the privileges of the Great Eastern 6
Tent Shows.

In 1875 he organized the Baird-Howell Show, and the following year
the first performance of I. W. Baird’s Mammoth Minstrels was given,
and continued as an organization until 1889; Mr. Baird subsequently
engaging in the real estate business in Portland, Ore.

I. W. Baird was born in Salem, Ohio; he died in Portland, Ore., January
2, 1908.

JERRY COHAN. It will be a surprise to most of the present generation
to know that the daddy of the famous George M. Cohan ever appeared in
black-face, but he did, and as a general dancer he ranked with the
best; Mr. Cohan also could do things with the tambourine.

His first minstrel engagement was with Campbell and Huntley’s Minstrels
as late (or early) as May, 1868. He joined Kelly and Leon’s Associated
Artists in Baltimore, in the Summer of 1869; other engagements of a
“dark” nature were Sam Sharpley’s and LaRue’s.

His last offense was the California (Joe Norcross’) Minstrels, which he
joined at Springfield, Mass., December 5, 1879.

Jerry Cohan was born in Boston, Mass., January 31, 1848.

W. W. BARBOUR, well and favorably known as one of the prominent
“leaders” of minstrelsy, began with Cal. Wagner’s Minstrels in the
70’s; subsequently he joined Haverly, and was with him for twelve
years. Later he was a member of Cleveland’s Minstrels for two years,
and with Geo. Wilson for three years.

He was also leader at Sam Jack’s Theatre in Chicago, and Frank Hall’s
Casino in the same city.

His last engagement was at the Grand Opera House, New York.

W. W. Barbour died in Brooklyn, N. Y., September 5, 1899; age 51 years.

BILLY COURTRIGHT (Albert Courtright), the original “Flewy Flewy,” and
one of the most versatile performers on the minstrel stage, began his
professional career more than forty years ago. He was part owner of
Blaisdell Bros. and Courtright’s Minstrels, who gave their initial
performance at Rock Island, Ill., March 8, 1871.

Mr. Courtright subsequently joined John D. Gilbert in a black-face
act called “Big and Little,” of which they were the originals; their
first appearance in New York was at Charley White’s October 12, 1872.
In November, 1873, Mr. Courtright joined Haverly’s Minstrels, and a
few months later became a member of Arlington, Cotton and Kemble’s
Minstrels in Chicago. Mr. Courtright was with Kelly and Leon’s
Minstrels in 1877, and the following year went to Australia with them.

He subsequently rejoined Haverly’s. In the Fall of 1882, Courtright and
Hawkin’s Minstrels opened in Philadelphia, as a permanent company. Mr.
Courtright has been giving white face specialties in vaudeville for
several years.

Billy Courtright was born in New Milford, Ill., March 10, 1848.

ROWLAND H. MAYLAND was well known as a flute soloist with many of the
best minstrel organizations.

His first professional engagement was at Mrs. John Wood’s Theatre,
New York, in 1864. Subsequently he joined M. C. Campbell’s Minstrels,
later appearing with Hooley’s in Brooklyn, N. Y.; Buckley’s; Kelly and
Leon’s; Geo. Christy’s, and Seaver’s Minstrel Hall, Brooklyn, N. Y.

He last appeared professionally with Neil Bryant’s Minstrels about
thirty years ago.

Rowland H. Mayland was born in New York, February 16, 1848.

LEW PARKER, the present manager of the Crescent Theatre in Brooklyn, N.
Y., 1910, was an acrobat in 1860. Doesn’t time fly?

This 1860 “affair” was with the Myers and Madigan Circus, which, Mr.
Parker declares, was the first railroad show in America.

About 1863 he joined Skiff’s Minstrels; subsequently Mr. Parker was
with the Oriental Minstrels; as might be surmised, this was a “turkey”
show.

A tour of South America with Pickering’s Minstrels followed.

Other black face organizations that were graced by the presence of Mr.
Parker were Johnny Thompson’s Minstrels, and the California Minstrels;
with the latter he sat on the end opposite “Kerry Gow” Joe Murphy.

The team of Lew and Pauline Parker played the variety houses from 1873
to 1885.

About twenty-five years ago Mr. Parker became general agent for the
Buffalo Bill Wild West Show, in which capacity he traveled for several
seasons.

Lew Parker was born in Savannah, Ga., May 12, 1849.

WALTERS and MORTON formed a partnership at East Saginaw, Mich.,
where they first performed August 12, 1872. As an acrobatic song and
dance team they were ranked with the best. They played engagements
with Arlington, Cotton and Kemble’s Minstrels in Chicago in 1874;
subsequently with Neil Bryant’s Company.

Early in 1876 they were with Kelly and Leon’s Minstrels, where they
continued about two years. In the Summer of 1876 they separated
briefly, Mr. Walters joining Andy McKee August 28, that year, for a few
weeks. Subsequently they came together, and continued until July 25,
1877, when they last performed jointly in Buffalo, N. Y.

Mr. Walters’ first appearance were with circuses; in 1864 he joined
Rumsey’s Minstrels.

After separating from Mr. Morton he formed a partnership with Mark
Hughes, making his last appearance with him at Cincinnati September 15,
1877. J. W. Morton formed a partnership with Billy Ashcroft about 1870,
doing black-face song and dances for about one year. August 11, 1876,
he became one of the Big Four, and continued as such about five years,
part of which the Big Four Minstrels toured. Later, Mr. Morton had his
own organization.

[Illustration:

HARRY WOODSON

ARCHIE WHITE

CARROLL JOHNSON

NO DEARTH OF “DARKYS” HERE.]

He subsequently went to England and Australia, and formed a partnership
with Tom Sadler. In 1890 he was conducting a hotel in New Zealand.

Charley Walters was born in Cardiff, Wales, May 17, 1849; he died in
New York City January 31, 1878.

J. W. Morton (Sheppard) died March 30, 1907.

WELCH and RICE were two of the best exponents of neat songs and dances
in minstrelsy.

About 1863 they attracted the attention of Jake Budd, who adopted them
professionally, and named them Johnny and Willie Budd, the “Empire
Boys.”

They had appeared before the public individually prior to the above
event, each with Sanford’s Minstrels in Harrisburg, Pa.; Johnny Rice
was with Charley Petrie before joining Welch.

With Jake Budd they played several seasons with Skiff and Gaylord’s
Minstrels, and Buckley’s Serenaders.

They then left Budd, and opened with Simmons and Slocum’s Minstrels in
Philadelphia, March 6, 1871, and continued intermittently with that
company about six years.

They were with Haverly’s Minstrels in the Spring of 1878, and in the
Fall of that year they were members of the original Mastodons, with
whom they went to London in 1880, where they separated.

Mr. Welch embarked in the hotel business in England for awhile, but
later returned to the United States, and assumed the management of
Callender’s Minstrels for the proprietors, Charles and Gustave Frohman.

Mr. Welch’s last engagement was with Dockstader’s Minstrels in New
York, April 29, 1887.

He was the author of several musical sketches, and was an intellectual
performer.

Johnny Rice played variety and minstrel engagements after separating
from Welch.

Billy Welch was born at sea, December 20, 1849; he died in New York
City, May 7, 1887.

John Cornelius Rice was born in Harrisburg, Pa., November 6, 1852; he
died in Chicago, November 23, 1887.

MASTER TOMMY (Thomas Henry Ryan) gave promise of attaining a high
position in his chosen profession.

As a dancer and comedian he had already achieved prominence.

He died in New York, June 22, 1869; age 20 years.

GEORGE W. WOODS, famous as a great bone player with Haverly, also the
San Francisco Minstrels, and who in 1892 did an act with J. H. Mack
with the Muldoon Specialty Company, died in New York City, June 19,
1898; age 50 years; he was born in England.

* * * * *

BILLY WEST, BILLY EMERSON and BILLY RICE, minstrelsy’s three great
“Billy’s,” died within fourteen days--exactly one week apart in 1902.

* * * * *

CHARLES F. LORRAINE made his first appearance on the stage in pantomime
at the Brittania Theatre, London, England, in 1855, as a child, and
while still a child gave a season of popular concerts at the Music
Hall, Leeds, England.

His minstrel career began in 1867 as a member of Charles Christie’s
Minstrels; next season he piloted his own troupe; other organizations
were the Livermore Bros. Minstrels, where he remained some time;
subsequent minstrel engagements were with Matthews Bros., and Sam
Hague’s, all in England.

In 1882, Thatcher, Primrose and West; then Carpenter and Lorraine’s
Minstrels; Barlow and Wilson; Barlow, Wilson and Rankin’s; Emerson’s;
Cleveland, and Haverly’s.

Mr. Lorraine, in addition to being a vocalist, was an interlocutor of
merit.

He married Miss St. George Hussey, who died in Detroit, Mich., October
9, 1910.

Charles F. Lorraine was born December 11, 1849.

GEORGE T. CLAPHAM, brother of Harry J. Clapham, joined Haverly’s
Minstrels in 1875 as advance agent, remaining about one year;
subsequently going to Haverly’s Adelphi Theatre in Chicago as
advertising agent, where another year was spent.

In the early 80’s he assumed management of Thatcher, Primrose and
West’s Minstrels, remaining in that capacity five years.

Later he was with Hoyt & Thomas, one season, and part of another
was with H. R. Jacobs in Albany. After this he was agent for Lew
Dockstader’s (road) Minstrels about three seasons; then with Archie
Boyd.

Mr. Clapham was with J. H. Haverly’s Minstrels on their last tour,
about 12 years ago.

George T. Clapham was born in Albany, N. Y., April, 1849.

JOSEPH H. MACK was well known as a prominent minstrel agent and manager
of such organizations as Kelly and Leon’s, Emerson’s California
Minstrels and Hart, Ryman and Barney’s Minstrels, also manager of the
Cleveland Baseball Club in 1880.

Joseph H. Mack was born in Buffalo, N. Y., May 10, 1849; he died at
Hewitt, N. J., November 14, 1892.

HARRY FISHER, famous in the old Harrigan and Hart days for his unique
German characterizations, played Uncle Tom in the latter’s “cabin,” in
New York at the Olympic Theatre, in April, 1878.

Harry Fisher was born in New York City, July 21, 1849, and doesn’t care
who knows it.

CHARLES DOCKSTADER was one of the most prolific producers in
minstrelsy. He was something besides being a good song and dance
performer, and was the author of many sketches, acts and songs.

His first appearance on the stage was in his native city as the child
in “Pizarro,” with Edwin Forrest; his debut as a minstrel was also made
in Cleveland some years later.

In September, 1878, he formed a partnership with Lew Clapp, opening in
Jersey City, where they remained several weeks at a variety theatre as
the Dockstader Bros. December 30, same year, they played their first
minstrel engagement with Jerry Thomas’ Company in New York.

They began the season of 1880 with Carncross’ Minstrels in
Philadelphia, and remained there, until December, 1881, when they
opened with George Thatcher’s Minstrels in Philadelphia for a brief
engagement. Subsequently they were with Haverly, and a return to
Carncross, where early in March, 1883, owing to Mr. Dockstader’s
illness he was compelled to separate from Lew Dockstader.

Later he did an act with William Lee as the “Dockstader’s;” also a
sketch with Billy and Ella Watson in 1889. Of late years previous to
his retirement he had been with dramatic companies.

Charles Dockstader was born in Cleveland, Ohio, September 28, 1849; he
died in Pleasantville, N. J., October 20, 1907.

FRANK “POP” WARD, known everywhere as the “Terrible Judge” of
vaudeville, began his professional career with Lent’s Circus in Newark,
N. J., in 1871 as a trapeze performer.

In 1873 he became a member of the Orpheus Quartette, and remained
with them until he organized the original Clipper Quartette in 1879,
opening at Tony Pastor’s in New York City. Mr. Ward continued with
the quartette through the various changes until its dissolution,
about 1893, playing with Snellbaker’s “Majestics”; Hyde and Behman’s
Company; McIntyre and Heath’s Minstrels; Thatcher, Primrose and West’s
Minstrels; Nat Goodwin and many high-class farcical organizations.

Mr. Ward formed a partnership with John P. Curran in 1893, since which
he has been most successfully appearing in vaudeville.

“Pop” Ward is considered a wonder in the profession he so ably
represents, possessing all the energy and vim of a performer of half
his years.

Francis T. Ward was born in New York City, January 4, 1849.

FRANK TURNER (Trainor) was one of the Three Turner Brothers who
appeared successfully in the variety theatres for several seasons.

In Cincinnati, September 3, 1877, he formed a partnership with Albert
Geyer, one of the three Geyer Brothers, doing black-face song and
dances. His last appearance was at the Olympic Theatre, New York,
November 12, 1877.

He died in New York City, November 17, 1877.

DENT. DELMANNING was one of the well-known Delmanning Brothers, a
prominent song and dance team, who entered the profession about 1871.

They were with Whitmore and Clark’s; Cal. Wagner’s; Barlow, Wilson and
Rankin’s and other well-known minstrel organizations.

He died in Brooklyn, N. Y., February 4, 1901.

AL. HAYMAN, of the great theatrical syndicate, was in minstrelsy,
though the author has no record of his ever “blacking up.”

[Illustration:

MRS. JAS. BUDWORTH

MRS. BOBBY NEWCOMB

MRS. E. N. SLOCUM

MRS. FRED BUCKLEY

MRS. “JACK” HAVERLY

MRS. DAN. BRYANT

MRS. J. R. KEMBLE

MRS. JOHN MULLIGAN

MRS. CHARLEY PETTENGILL

MRS. BILLY EMERSON

MRS. BILLY MANNING

MRS. BILLY RICE

WIVES OF FAMOUS MINSTRELS.]

Hiscox and Hayman’s Minstrels were organized in Australia in the Spring
of 1880.

For further particulars see Willis P. Sweatnam.

BILLY FREAR, was an unusually versatile black-face performer, being
equally proficient as a dancer, banjoist or comedian; as an end man he
was especially clever. His first minstrel engagement was with Duprez
and Benedict’s, about 1865; he was quite popular with this company, and
equally so with Carncross and Dixey in Philadelphia subsequently.

His first wife was Millie Blair, a well-known song and dance artist;
later he married a Miss Rogers. He died in Poughkeepsie, N. Y.,
December 28, 1888; age 41 years.

CHARLES W. COGILL made his first appearance with his brother in San
Francisco; later he formed a partnership with Fred Cooper.

In May, 1877, Cogill and Cooper built and opened the Adelphi Theatre in
the California metropolis, and conducted it for several months.

Mr. Cogill subsequently joined George Reynolds after the death of the
latter’s brother in 1878; the alliance did not last long, and again he
joined his brother, together they went to Australia, where they were
great favorites. They opened in Sydney in April, 1885, later going to
Melbourne, where they had their own theatre, and where they remained
twelve years.

About 1900 Mr. Cogill returned to America, and rejoined Cooper in a
song and dance act.

Charles W. Cogill was born in New York; he died in San Francisco, March
16, 1903; age 53 years.

JOHN M. TURNER (McTurney), a really great banjoist, formed a
partnership with J. K. Buckley in a banjo act in the middle 70’s; they
severed their business relations November 11, 1876.

Mr. Turner was married in 1872.

For several years prior to his death he had not been actively engaged
in his profession.

John M. Turner was born in New York about 1850; he died there September
4, 1907.

“BERNARDO” (Thomas White), a prominent female impersonator in the “good
old days,” according to Frank Dumont, appeared as early as 1867 with
Ned Davis’ Olio Minstrels as Master J. Buckley.

He was with Hooley’s Minstrels in Brooklyn, N. Y., two years later,
playing under his own name, Thos. White.

He joined Lew Benedict’s Minstrels in July, 1872, subsequently he was
associated with the San Francisco Minstrels in New York in 1875; the
same year he joined Hooley’s Minstrels in Brooklyn, N. Y., and in 1878
was a member of Charley Morris’ Minstrels. He was with Bryant’s in New
York, also Haverly’s Minstrels.

In May, 1877, with Charley Sutton, Francis Wilson and Jimmy Mackin, he
launched Mackin, Wilson, Sutton and Bernardo’s Minstrels.

“Bernardo” died in Brooklyn, N. Y., November 21, 1880.

CHARLEY GLIDDEN was an “Oyster Can Moke” with the late Fred. Huber in
1879.

He is now a successful citizen of Seattle--and Seattle is said not to
be sad.

GEORGE GALE, famous for many years with many companies as a burlesque
lyric artist and tenor vocalist, made his professional debut with
Harry Robinson’s Minstrels at Coldwater, Mich., about 35 years ago;
probably a little less than that--at any rate, he later joined
Haverly’s Minstrels, and afterward Barlow, Wilson, Primrose and West’s
organization.

While with Hyde and Behman’s Minstrels he was one of the members of the
Clipper Quartette.

Mr. Gale was located in Philadelphia with Carncross’ Minstrels, and in
Chicago with Haverly’s Home Minstrels.

Mr. Gale was also with McNish, Johnson and Slavin’s Minstrels, as well
as various high-class farcical companies.

At present he is now of the Clipper 3--Gale, Wensley and Manchester.

George Gale is a finely preserved man for his age--which was
“accidentally” not given to the author.

JAMES B. FREAR was several years a minstrel, but abandoned that
profession some time before his death for the more domestic one of
barber.

He died in Poughkeepsie, N. Y., January 6, 1885.

NED WAMBOLD, the well-known comedian, and who was a nephew of Dave
Wambold, made his first appearance in his native city with the Congo
Minstrels, July 1, 1869.

He was associated in the management of his own company with E. M. Hall
and E. M. Kayne; the organization bore their names and started from
Chicago, April 10, 1875. In the Fall of 1879 he joined Joe Norcross’
California Minstrels, and late in December the following year he was a
member of Kyle’s “Christy” Minstrels, who endeavored unsuccessfully to
revive minstrelsy in Boston. He was also connected with several variety
and other minstrel shows during his comparatively brief, but very
successful career as a comedian.

Ned Wambold was born in Newark, N. J.; he died there April 18, 1882.

GEORGE F. MOORE was the originator of the noiseless Essence dance, and
a performer versatile to a degree.

His first appearance was made with Hooley’s Minstrels in Brooklyn, N.
Y., at the age of fourteen. At 18 he married Kittie Henderson, and they
did sketches for several years, when the act was augmented by “Baby”
Moore. November 12, 1879, he married Kittie Parker, the banjoist, in
Denver, Colo.

He had several companies of his own prior to going to England in July,
1887, where he played the music halls until his death.

George F. Moore was born in Cambridge, Mass., July 6, 1850; he died in
Liverpool, England, October 21, 1890.

THE AMERICAN TEAM were originally two distinct song and dance acts,
WAYNE and LOVELY, COTTON and BIRDUE. They formed an alliance in the
Spring of 1876, and after a few brief engagements in the United States,
sailed for England, opening in London, June 26, 1876.

They were a sensation in the English capitol, also in Paris. Early in
1878 the four disbanded.

Ben Cotton, who was a son of the noted minstrel of that name, married
Mrs. Mary E. Marshall in London, June 28, 1877, and about a year later
returned to the United States, and appeared with Ward and Webb’s
Minstrels in the Spring of 1879, and Norcross’ California Minstrels in
the Fall of the same year.

As early as 1865 he was with Cotton and Murphy’s Minstrels as Master
Bennie.

Birdue and Wayne formed an alliance and played with Hague’s Minstrels
in the Fall of 1878.

Bob Birdue had various partners before associating with Ben Cotton,
notably Richard Golden and Edw. B. Daily, well-known now in Boston.

Burt Wayne (Bout) died in Liverpool, England, March 13, 1879.

Joe Lovely died at Manchester, England, May 21, 1882; age 35 years.

Ben Cotton, Jr., died in Bristol, R. I., October 26, 1880; age 26 years.

Bob Birdue died in Liverpool, England, October 8, 1879.

HARRY WATSON, one of the funniest Dutchmen on the vaudeville stage,
began his professional career in Milwaukee, Wis., in 1859, doing a
black-face song and dance for John Ryan. Mr. Watson worked for his
board only, and got it.

Subsequently he played many engagements in black-face; we’d like to see
him do it now.

GOSS and FOX were one of the best black-face song and dance teams in
minstrelsy.

They formed an alliance in the early 70’s, and were with Haverly’s
Minstrels at the organization of that company in November, 1873. In
January, 1878, they were with Simmons, Slocum and Sweatnam’s Minstrels
in Philadelphia. The following season they joined Harrigan and Hart’s
Company in New York and remained with them several seasons.

Mr. Goss’ partner prior to meeting Mr. Fox was Lew Hallett; and as
Hallett and Goss played an engagement with Cal. Wagner’s Minstrels,
closing December 31, 1871.

Mr. Goss’ first appearance was at Acker’s Garden, Troy, N. Y.

Ned. Goss was born in Cohoes, N. Y., September 4, 1848; he died in New
York City, April 16, 1882.

James Fox, who was a brother of Ned Fox, was born at Little Falls, N.
Y., March 28, 1853; he died at Amsterdam, N. Y., November 10, 1887.

PAUL DRESSER, whose many songs were widely sung with many minstrel
companies, was a member of Billy Rice’s Minstrels about 1885.

He was born in Terre Haute, Ind.; he died in New York, January 30,
1906.

[Illustration: THE “MERRY OLD GALS” IN ENGLAND, 1871.

H. Livermore, G. Livermore, C. Livermore, C. F. Lorraine, L. Livermore.]

[Illustration: CALLAN, HALEY AND CALLAN’S ELECTRIC 3 MINSTRELS.

November 3, 1886.]

AL. G. FIELD (Alfred Griffith Hatfield) has been a name to conjure by
in various parts of the Union for a period of nearly a quarter of a
century; merely to announce that the famous minstrel and his company
were to appear at a given place was practically saying that the
minstrel loving population would turn out _en masse_ to greet them.

Nearly everyone knows all about Mr. Field’s career from the inception
of the Fields’ Minstrels to date; but how many are aware of the famous
comedian’s early struggles he went through before he reached the goal
of success? It is a pleasure for the author to recount them.

Al. G. Field first appeared professionally at Jeffries Hall,
Brownsville, Pa., about 1871; he performed in the old nigger act of
“Handy Andy”; he attracted the attention of that famous minstrel Sam
Sharpley, and became a member of his company, officially known as
Sharpley, Sheridan, Mack and Day’s Minstrels; this was in the Winter
of 1871. The following season he joined Bidwell and McDonough’s “Black
Crook” Company; subsequently he appeared with the California Minstrels,
and Tony Denier’s “Humpty Dumpty.” In November, 1876, he became a
member of Haverly’s “Blackbirds of a Nation,” one of the many minstrel
companies controlled at one time by that astute manager.

Mr. Field’s other minstrel engagements were with Simmons and Slocum’s
in 1877, and Duprez and Benedict’s, in 1883. In May, 1875, he paid a
visit to Peter Sells’ and his circus, and in conjunction with McIntyre
and Heath put on a minstrel first part, also did a monologue. Mr.
Field’s success was so pronounced on this occasion that he not only
continued during the balance of the season, but for ten consecutive
years was associated with the famous Sells organization during the
tenting seasons, in the capacity of performer, also filling responsible
executive positions.

In the Spring of 1884 Mr. Field organized what is now the
Hagenbeck-Wallace Show, opening at Peru, Ind., April 27; he remained
with them as manager until September 9, 1886.

On the sixth day of October, 1886, the Al. G. Field’s Minstrels were
organized; the company numbered 27 persons, and gave their initial
performance at Marion, Ohio. The rest we all know.

Mr. Field claims that his minstrel company was the first to carry their
entire stage setting and scenery, and the first to build and operate a
special train of cars.

May 10, 1910, the company was incorporated.

Al. G. Field was born near Morgantown, W. Va. (but at the time
Virginia), November 7, 1850.

SEAMON and SOMMERS were an excellent black-face song and dance team who
formed an alliance in the middle 70’s.

In the Fall of 1877 they were with Neil Bryant’s Minstrels;
subsequently they were with other first-class organizations until
December, 1880, when with the Girard Bros, as the “Grotesque 4”
they began an engagement with Thatcher and Ryman’s Minstrels in
Philadelphia. Early in 1882 Seamon, Sommers and the Girard Bros., in
conjunction with Lester and Allen, formed the “Funny 6.”

Charley Seamon met with great success as Reuben Whipple in “Way Down
East”; he was equally successful with Russell’s famous “City Directory”
prior to that.

Tom Sommers was the husband of Carrie Boshell, of the well-known
Boshell Sisters, once of Carter’s Zouaves.

Charles V. Seamon died at Sheffield, Mass., July 27, 1898.

Tom Sommers (Thos. Eugene Sommerville) died at St. Paul, Minn.,
September 12, 1891.

FRED BRYANT (Snyder) began his professional career with Charley West
about 1875, doing a musical act as Bryant and West; they continued as
partners about three years.

In 1878 he joined William F. Hoey, and as Bryant and Hoey they gave one
of the greatest black-face musical acts ever seen.

In 1882 the combination of Evans, Bryant and Hoey formed a company
called the “Meteors.”

About two years later Mr. Bryant withdrew, and subsequently played
mostly in the variety houses.

As a cornettist he ranked with the best.

Fred Bryant died in New York City, June 22, 1894.

JOSEPH BROOKS, the well-known theatrical magnate, now located in New
York City, was formerly a minstrel magnate. When? August 24, 1881, the
season of Brooks, Dickson and Clapham’s Minstrels was inaugurated.

FRANK HOWARD (Parlimenta), once of the Clipper Quartette, and also of
the famous minstrel act of Adams, Casey and Howard, is in business in
New Jersey.

DAVE FOY was several years as a clown with Robinson’s Circus,
commencing about 1876; subsequently he was with the “Two John’s”
Company; as late as 1887, with Lizzie Foy, he played the principal
vaudeville houses.

Season of 1891-92 he was with Primrose and West. In 1890 he joined
Carncross’s Minstrels in Philadelphia; during the World’s Fair in
Chicago, he played with Haverly; subsequently returning to Carncross,
where he was quite popular; his excessive avoirdupois contributed in a
small measure to his success.

Dave Foy was born in Philadelphia, where he died October 16, 1900.

JABEZ FREETH, interlocutor and bass singer in the California Quartette,
was prominently identified with the minstrel companies of Haverly,
Emerson and several others.

He died in San Francisco, Cal., July 11, 1882.

ADAMS AND LEE were a prominent black-face musical team who formed a
partnership in the 70’s. In 1878 they were with Haverly’s Mastodons.

Mr. Adams was subsequently of the team of Adams, Casey and Howard.

Mr. Lee later did considerable concert work with Billy Huntley. As a
banjoist Mr. Lee excelled.

James E. Adams died in New York, December 4, 1897.

John H. Lee died in San Diego, Cal., September 7, 1890.

JOHN E. HENSHAW, famous for many moons for his comedy work in various
successful productions, played the tambourine on the end with a
minstrel show in June, 1871.

The following year he was with Harry Robinson’s Minstrels, and
for several seasons was of the black-face song and dance teams of
Henshaw and Lawton, and Henshaw and Ginniven. In 1879 he was with the
California Minstrels. So you see Mr. Henshaw has qualified to become a
permanent resident of “Monarchs of Minstrelsy.”

WALLY GIBBS, a well-known black-face comedian, who was with the
Megatherian Minstrels in 1879, died in Warwick, Mass., April 22, 1893.

BARNEY FAGAN (Bernard J. Fagan) is justly recognized as the world’s
greatest general dancer; as a producer, he ranks second to none.

Mr. Fagan made his first professional appearance in his native city at
the famous Howard Athenaeum in 1860, as the Cabin Boy in the “Pilot of
Brest.” He remained at this theatre several seasons. In 1865 he played
his first minstrel engagement with the Morris Brothers in Boston. In
1870 Mr. Fagan went to St. Johns, N. B., and appeared with Pete Lee’s
Minstrels.

In 1873 he joined Buckley’s Serenaders in Boston, and took Joe Parks as
a partner; the next three years, Fagan and Parks, known as the American
Lads, played variety engagements.

In 1876 he did the famous Heifer dance with Richard Golden in
“Evangeline.” Mr. Fagan next joined John Fenton in a dancing specialty,
and continued with him until 1878, when he formed a partnership with
Lizzie Mulvey, which lasted one season.

Mr. Fagan in 1879 allied himself with Barlow, Wilson, Primrose
and West’s Minstrels, and continued with them until the company’s
dissolution in June, 1882; with this organization he was general
producer and soloist.

Probably Mr. Fagan’s greatest achievement was in organizing and
producing Sweatnam, Billy Rice and Fagan’s Minstrels, which gave their
first performance at Albany, N. Y., July 25, 1887; this was the largest
minstrel company that had ever traveled; 105 persons on parade; 88 in
the regular company; incidentally that show was just twenty-three years
ahead of its time; in other words, Sweatnam, Rice and Fagan’s minstrels
are about due again.

Subsequently Mr. Fagan was with Thatcher, Primrose and West; Barlow,
Wilson and Rankin’s; and Cleveland’s Minstrels; with the latter
organization sitting on the opposite end to Luke Schoolcraft.

Outside of minstrelsy Mr. Fagan has appeared successfully in white-face
in such plays as “Paradise Alley,” and his own company, “A High
Roller,” the latter in 1890.

Some notable marches were the “West Point Cadets”; the “Phantom Guards”
and “The Dance of the Popinjays”; the latter being one of the cleverest
conceits ever seen in minstrelsy.

Mr. Fagan was general producer for Corinne for several seasons, also
with other notable companies.

As a song writer he is no less prominent; “Everybody Takes Their Hat
Off to Me,” and “A High Born Lady,” each enjoyed great popularity.

[Illustration:

SIG. RAFAELLE ABECCO

CHAS. HENRY

CHAS. MELVILLE

CHAS. TEMPLETON

J. B. MURPHY

“JACK” HERMAN

GEO. GRAY

TOM PRENDERGAST

OTIS CARTER

CHAS. LOCKWOOD

TOM LESLIE

JOHN F. OBERIST

SINGERS OF THE 60’s.]

Likewise did this versatile genius write some very clever plays,
notably--“The Land of Fancy,” “The Game of Love” and several others.
Mr. Fagan has been playing with Henrietta Byron, of the Byron Sisters,
since 1895.

Barney Fagan was born in Boston, Mass., January 12, 1850.

“EUSTACHE” (George Worrell Culbertson), until February, 1878, was known
as George Robinson. He attained prominence as a female impersonator,
and made his first appearance with Dan Shelby, at his variety house in
Buffalo, N. Y.

His principal minstrel engagements were with Harry Robinson, and Cal.
Wagner’s.

“Eustache” is said to be a native of Piqua, O.; he died at Buffalo, N.
Y., April 30, 1884.

WILL H. MORTON (Bushman), well known as an able interlocutor and singer
of motto songs, was one of the original members of Haverly’s Minstrels
of 1873; subsequently he did sketches with “Bernardo.”

Mr. Morton was the husband of Lily Post, the favorite light opera
singer.

Will H. Morton died in Pittsburgh, Pa., November 2, 1895.

EDWIN HARLEY, a well-known vocalist of the old Haverly days, made his
first appearance as a member of Maguire’s Minstrels in San Francisco,
February 23, 1874. Mr. Harley is said to be comfortably situated in the
railroad business in the great Northwest.

EDDID FOY (Fitzgerald), the “famed farceur with the funny face,” was
a black-face song and dance man more than thirty years ago. He was of
the team of Foy and Thompson; they began an engagement at Carncross’
Minstrels in Philadelphia, as late as January 22, 1883. This was before
Mr. Foy had dark designs of donning the habiliments of Hamlet.

HARRY BUDWORTH (John B. Kearney) was well known as a capable comedian,
and was associated with some of the best minstrel organizations.

His professional career began in the early 70’s, and ended shortly
before his death, when he achieved considerable success appearing in
vaudeville in Charles Horwitz’s “A Royal Visitor.”

Harry Budworth died in Philadelphia, April 2, 1901.

JAMES H. DECKER began his professional career in an executive capacity
with Cooper and Bailey’s Circus in 1879, and continued with them for
three seasons.

Minstrelsy first knew him also in 1879, when he was with Hooley and
Emerson’s Megatherians. In 1881 he joined Sells Brothers Circus,
and the following year was assistant agent with Leavitt’s Gigantean
Minstrels.

In 1883 he returned to Sells Brothers, and continued with them three
years. Mr. Decker was so highly esteemed by his associates, that in
November, 1883, they presented him with a gold watch charm.

At the conclusion of the circus season in 1886, Mr. Decker finally
decided to cast his lot with minstrelsy. Accordingly on December 20,
1886, he joined McNish, Johnson and Slavin’s Minstrels as general
agent; he continued with this company until the end of the following
season, when he joined Thatcher, Primrose and West’s Minstrels;
subsequently he was with Primrose and West’s Company, severing his
connection with them December 21, 1889.

His next engagement was with George Thatcher’s Company, and in 1892, in
conjunction with Al. Primrose, formed Decker Brothers Minstrels. Since
then he has been identified in a managerial capacity successively with
Primrose and West’s; Primrose and Dockstader’s; Primrose’s, and lastly
Dockstader’s Minstrels.

At the present time he is General Manager of the booking department of
the Shubert theatrical forces.

Mr. Decker, who is an indefatigable worker, can see nothing in
minstrelsy except that which he is identified with at that precise
moment, and like most successful men, has enemies galore.

James H. Decker was born in Albany, N. Y. See records for exact date.

CHARLES M. ERNEST (McClenehan) was an extraordinary brilliant
black-face performer, and as a straight man in acts was especially
clever.

He was prominently identified with William H. West’s Minstrels in the
late 90’s, and at one time was a partner of Tom Lewis.

Shortly previous to his death, in conjunction with George Thatcher, he
gave a mythical minstrel first part scene in vaudeville with pronounced
success.

He was once the husband of Cora Beckwith, the well-known swimmer.

Charles M. Ernest was born in Jackson, Tenn.; he died in Harrison, N.
Y., May 21, 1907.

FRED FREAR joined Moore and Burgess’ Minstrels in London, England, at
the age of seven years as a ballad singer; later he developed into a
fine song and dance performer and female impersonator. He was with that
company for fourteen years.

He died in London, England, August 12, 1889; age 25 years.

SHARPLEY AND WEST, the well known black-face musical act, made their
appearance as a team in Hoboken, N. J., about 1878, and continued until
the death of the former; during which period they played the best
variety houses and organizations.

Previous to forming a partnership with Fred. Sharpley, Mr. West had
been associated with Charley Hanson, whom he joined in 1872.

Later he did an act with Sam Dearin, the latter was then known as Billy
Bryant.

Mr. West subsequently joined Fred Bryant, and as Bryant and West were
associated about three years; then came Sharpley and West.

Fred Sharpley was born in Montreal, Canada, January 17, 1856; he died
in Chicago, Ill., March 23, 1888.

Charley West was born in New York City, June 18, 1850.

ARCHIE BALDWIN (Stockmar), famous as one of the team of Baldwin and
Daly, whose “Happy Hottentots” was one of the best black-face acts on
the variety stage, died in Havana, Cuba, January 7, 1900; age 47 years.

HARRY LANSING (Zebley) an old-time female impersonator, was with
Simmons and Slocum’s Minstrels in Philadelphia in 1874; in 1879 he was
with Haverly’s Minstrels.

About the middle 80’s he had as a partner, Harry Constantine; together
they played the variety theatres.

Harry Lansing died (murdered) in Philadelphia, February, 1887.

NOLAN KELLY, of the black-face song and dance team of Sarony, Waters
and Kelly, also Waters and Kelly, died in London, England, April 15,
1893.

WM. H. BRYANT (O’Brien), a nephew of Dan, Neil, Jerry and William T.
Bryant, and the son of a father who was a non-professional, played with
Neil Bryant’s Minstrels in 1878; he was a comedian.

He died in Portland, Me., April 29, 1890; age 38 years.

EMIL AMES. This clever performer was of diminutive stature, and a good
comedian. He was with Jerry Thomas’ Minstrels in 1878, and with Haverly
in Chicago a few years later, also other prominent organizations.

Emil Ames died in Chicago, Ill., March 3, 1892.

BILLY RICHARDSON won fame as a stump speaker, but was likewise a
good end man, or corner man, as they call them in England, where Mr.
Richardson’s professional career was chiefly spent as a member of
Sam Hague’s Minstrels. He came to the United States with the latter
organization, and made his first New York appearance January 2, 1882.

The following year he was with Haverly’s Minstrels; subsequently he
returned to his native land.

He married Miss Mary O’Hagan, May 17, 1871.

Billy Richardson was born in England about fifty-five years ago, maybe
sixty; we hope it is no worse.

THE DEVERE BROS. joined hands about 1876, and up to the time of Tommy
Devere’s death played the principal variety theatres; William Devere
then joined Robert Wilson, appearing as Devere and Wilson; after a
brief season William Devere joined George DeVere, and as the Devere
Brothers continued until December 2, 1882, William Devere then taking
the business management of the National Theatre in Hackensack, N. J.

William Devere (Bell) died in New York City, December 14, 1882.

Tommy Devere (Braun), died in New York City, April 2, 1880; age 24
years.

CHARLEY ATKINS, who has long since retired from active theatricals, and
embarked in mercantile pursuits in New York City, was once the partner
of Joe Fox, of Fox and Ward; this was in the late 60’s; though Mr.
Atkins doesn’t look it.

[Illustration:

SHER. CAMPBELL

J. K. CAMPBELL

J. C. (“POMP”) CAMPBELL

TOM WILLIAMS

DICK RALPH

HARRY ARMSTRONG

THE “CAMPBELLS ARE HERE,” ALSO TOM, DICK AND HARRY.]

“CINCINNATUS” (Michael O’Connor), one of the best neat song and dance
men in minstrelsy, began life as a newsboy in Cincinnati. He was a
regular attendant of Newcomb’s Minstrels in the Queen City; it was
here that he first saw Billy Emerson, and at once became an ardent
admirer of him. Young O’Connor attracted the attention of manager W. W.
Newcomb, who gave him an opportunity to appear, which he did week of
October 12, 1868, under his own name, as a jig dancer, but taking that
of “Cincinnatus” in the songs and dances.

“Cincinnatus” made no secret of the fact that he imitated Emerson,
which he did with great fidelity. He soon attained great popularity in
the West. His next engagement was with Lewis and Murphy’s Minstrels,
opening at St. Louis, July 24, 1869.

His first New York appearance was with Newcomb and Arlington’s
Minstrels, April 17, 1871.

May 5, 1873, the “Cincinnatus” Minstrels took the road for a brief
period, opening at Xenia, Ohio. April 15, 1878, he formed an alliance
with John Hogan, and as Hogan and “Cincinnatus” they made their first
appearance at the London Theatre, New York.

“Cincinnatus” died at Xenia, Ohio, April 25, 1882.

BOOKER AND CANFIELD constituted one of the truly great song and dance
teams of minstrelsy. Both performers were short in stature, and each
began their careers in the circus business.

In 1871 they formed a partnership, doing an acrobatic song and dance,
subsequently they went to South America with Chiarini’s Circus;
returning to the United States they became members of Cal. Wagner’s
Minstrels, where they were a sensation.

Their success was so great that several managers competed for their
services; J. H. Haverly was the lucky bidder, and they joined his
company in December, 1873, remaining five years at probably the highest
salary ever given a song and dance team, viz: $300.00 per week, and 5
per cent. of the net profits, it is said.

Other prominent organizations they were associated with
were--Emerson’s, in Chicago, Welch, Hughes and White in Brooklyn, and
Moore and Burgess in London, England.

They are credited with being the first black-face team to play in
Paris, France, where they sang “Moonlight in Cape May” in French;
subsequently they played in Berlin, Hamburg, Vienna and Madrid, singing
the same song in the language of the respective countries.

They also played engagements in India, China, Japan, Java and Australia.

Returning to this country in 1881, they organized their own company,
and in May, 1882, the long partnership ceased.

Mr. Canfield was identified for many years with the famous Hoyt
farces, and was co-star with George Richards in these plays for
several seasons. His last engagement was with David Warfield in “The
Auctioneer.” He was a brother of John Canfield, of the vaudeville team
of Canfield and Carleton.

Harry Booker did an act with George A. Booker (Dingle), after leaving
Mr. Canfield, and at the present time is in vaudeville.

Eugene Canfield (Francis Ramie Canfield), was born in Utica, N. Y., May
3, 1851; he died in New York City, May 4, 1904.

Harry Booker (M. H. Egan), was born near Bowling Green, Ky., July 28,
1850.

JOHN TURNER, a good song and dance performer, at various times was
associated with Billy Lester and James Roche in black-face specialties;
he was also of the team of Cummings and Turner.

He died at Kansas City, Mo., November 26, 1877; age 27 years.

THE BARLOW BROTHERS were one of the best-known song and dance teams in
minstrelsy. In 1867 they were performing at the Bowery Theatre, New
York City.

In 1871 they were with Morris Brothers Minstrels, closing February
3, 1872; in September, the following year, they joined Simmons and
Slocum’s Minstrels in Philadelphia; they did a plantation song and
dance turn there which they called “Quit Dat”: perhaps most of us
picture that act. April 10, 1877, at Cynthiana, Ky., saw the first
performance of Barlow Brothers Minstrels, an organization that toured
the country for about fifteen years.

The Barlow Brothers were with Harrigan and Hart’s Company in 1882;
their last joint minstrel engagement was with Ed. Bartlett’s California
Minstrels, November and December, 1898.

The following season brother Bill put in at Dumont’s Minstrels in
Philadelphia, where he did an act with that “prince of pianists,” Tom
Waters.

James Barlow (Arthur), was born at Mount Savanage, Md.; he died at
Roscoe, Pa., August 4, 1900; age 51 years.

William Barlow (Arthur), is at present in retirement in Pittsburgh, Pa.

BILLY ARNOLD (Wm. Henry Garrett Arnold) made his first appearance
at the Louisville, Kentucky Opera House, doing a sand jig dance at
the tender age of eight years, and says he has been dancing ever
since--with occasional interruptions for food and sleep.

About 1865 he doubled with his brother Amos, doing songs and dances;
and in 1873, the alliance was further strengthened by the addition of
the youngest brother, Frank, being known as the Three Arnold Brothers;
Eugene Stratton became the fourth “brother” a few years later, and
together they played the principal variety companies of the country.

The three Arnolds were with the original Haverly’s Mastodons at the
opening at the Adelphi Theatre, Chicago, October 21, 1878; later Billy
Arnold’s own minstrels took the road, and he has been with several
prominent organizations since, notably Hooley’s Minstrels in 1881, and
Billy Rice and Hooley’s Minstrels in 1882.

Billy Arnold is best known to the public as a great tambourine
manipulator, and was the acknowledged champion as early as 1877; his
feat of spinning two tambourines at one time was invariably encored
during the overture on the first part.

Some years ago Mr. Arnold married Lida Gardner, daughter of the famous
Dan Gardner. Both are actively engaged in their profession.

Billy Arnold was born in Louisville, Ky., July 10, 1850.

AMOS D. ARNOLD began as a black-face performer with his brother Billy,
singing “Sally Come Up” at the age of ten; most of his career was in
conjunction with his two brothers.

He was born in Louisville, Ky., February 28, 1855; died at San
Francisco, Cal., March 16, 1886.

FRANK ARNOLD (Francisco Virello Fortinetti Arnold) could dance from the
time he reached his seventh year. His first professional appearance
in conjunction with his two brothers was made at Mortimer’s Varieties
(the present National Theatre), Philadelphia, in “The Old Man’s Drunk
Again,” a well-known vehicle for many prominent black-face performers;
this was in 1873, and with his brothers they likewise met with great
success. In 1875 the three brothers played an engagement of seven
months at 585 Broadway, New York City.

Frank Arnold was born in Louisville, Ky., June 28, 1858; he died at
Denver, Colo., January 22, 1892.

LEWIS H. DAVIS made his first appearance about 1867 with the late
Richard Golden, doing black-face songs and dances; they were billed
as Masters Lew and Dick. Their first engagement was with Wheeler’s
International Circus, following this they were with Smith, Davenport
and Golden’s Variety Company. Early in 1868 Allie’s Mexican Knife
Throwers Company claimed their services, and part of the season of
1869-70 they played an engagement with Sam Sharpley’s Minstrels. Later
with Golden he joined and did songs and dances with Bob Birdue.

After this and until his untimely death, which occurred in the
dressing-room just prior to the performance, he was associated with
Billy Chace, and as Chace and Davis they played the principal variety
houses of the country, also an engagement with Sweet and Thornton’s
Lady Minstrels, in the Spring of 1875.

Lewis H. Davis was born in Bangor, Me.; he died (suicide) at St. Johns,
N. B., August 3, 1878.

BILLY BARRY, one of the funniest Irish comedians our stage has ever
known, did black-face business for many years before “McKenna’s
Flirtation” with Mary Ellen Ryan.

He was with Haverly’s Minstrels in 1868, leaving that organization on
December 8, that year.

September 12, 1870, he opened with Welch, Hughes and White’s Minstrels
in Brooklyn, N. Y., being billed as the “Great Western Comedian,”
subsequently he played an engagement with Simmons and Slocum’s
Minstrels in Philadelphia. And for several seasons at Pastor’s Theatre
in New York City, he played black-face parts in the stock.

Mr. Barry was married to Miss Fanny Fordham, and at the time of his
death was survived by seven children--Lydia, Emma, Clara, Robert,
Frank, Charles and William J.

Billy Barry was born in Ireland; he died in Brooklyn, N. Y., April 15,
1898; age 48 years.

BILLY DIAMOND (Bates), a good general performer, was connected with
several of the older minstrel organizations, notably the Morris
Brothers, with whom he made his first appearance in his native city at
the age of 10.

In 1881 he married Minnie Blaich, at Newark, N. J.

He died at Boston, Mass., January 14, 1893.

[Illustration:

“PONY” MOORE

EPH. HORN

FRED. WILSON
(The oldest living minstrel)

LEW. BENEDICT

DAN. BRYANT

“GENTLEMEN, BE SEATED.”]

BOBBY MCGOWN was a first-class clog dancer, and was the first partner
of George Primrose, whom he joined in E. Saginaw, Mich., about 1870.
With Primrose he played the variety houses, and an engagement with
O’Brien’s Circus.

He died (drowned), at Holyoke, Mass., August 22, 1875.

ARCHIE WHITE (Moak), known to patrons of minstrelsy for over forty
years, began his professional career in the late 60’s, and early took
as a partner, Frank White, of Auburn, N. Y., with whom he did double
songs and dances; later they formed an amateur minstrel show, visiting
nearby towns. His first regular engagement was with the Park Theatre
Company of Brooklyn, N. Y.; it lasted one consecutive week.

In 1870 he became a member of Blaisdell Brothers and Courtright’s
Minstrels, opening at Portage City, Wis.; it was with this company that
chance gave him an opportunity to do an “end”; and he did it well;
this engagement lasted thirteen months. Next came a series of variety
engagements. In 1873 he became a “member” of the famous Peak Family of
Bell Ringers, doing a genteel song and dance.

His next prominent engagement was with Harry Robinson’s Minstrels; with
this company he formed a partnership with the late Charles T. Ellis, of
“Casper, the Yodler” fame. After this Mr. White played variety theatres
for two years, then a short trip with one of Haverly’s Minstrel
companies.

After Lew Benedict withdrew from the Duprez and Benedict organization,
Mr. Duprez, who continued to use the trade-mark, chose Mr. White as
his late partner’s successor; he joined the company at Scranton, Pa.,
September 17, 1877, and remained eight years.

Of late years Mr. White has been successful in rural drama, appearing
in the plays “Joshua Simpkins” and “Uncle Josh, in Chinatown.”

At the present time he is actively engaged in vaudeville, giving his
old darky delineations, of which he is a master.

In the early minstrel days Mr. White ranked high as a tambourine
manipulator.

Archie White was born in Cherry Valley, N. Y., January 20, 1850.

PRESS ELDREDGE (Preston W. Eldredge), whose sobriquet of “The
Commander-in-Chief of the Army of Fun” is known wherever the vaudeville
language is spoken, began his stage career at the New Bowery Theatre
in 1863, at a benefit for J. W. Lingard; his offering was “Johnny
Schmoker,” in Dutch dialect.

His black-face career dates from 1876, at which time he entered the
variety business, doing a monologue successfully for two years. In 1878
he made his first minstrel appearance with Harry Bloodgood’s Minstrels,
doing an “end,” and as comedian, the tour was a brief one, and
returning to New York he resumed his variety engagements until 1880,
when he joined Snellbaker and Benton’s Majestic Consolidation, under
canvas. In 1881 he opened the American Theatre, New Haven, Conn., as a
variety house, remaining until January, 1886, when he went to Koster
& Bial’s, 23rd Street Music Hall, New York City, as stage manager
and producer. In November, the same year, he made his initial bow at
Carncross’ Minstrels in Philadelphia, and continued there until April,
1891, at which time he went to Moore and Burgess’ Minstrels in London,
England, and played a year’s engagement. In May, 1892, he joined
Haverly’s Home Minstrels in Chicago, and stayed there until the company
went on tour in November, 1893.

Then came a riotous round of vaudeville, solid until 1906, when Al. G.
Field showed him a handsome parade suit and the diagram of the Field
private car--and something else and--well, the season of 1906--and
1907, saw Mr. Eldridge back among 11.45 boys for a period of about ten
months; since then, vaudeville. Mr. Eldridge was married some years ago
to Louise Sanford, from whom he subsequently separated.

Press Eldredge was born in Philadelphia; guess when.

GEORGE HORN, was sometimes called “Eph. Horn, Jr.” He was a comedian
and very well known in Philadelphia, where he died June 28, 1904.

BURT SHEPARD, recognized as a clever female impersonator in his early
career, commenced professionally with Haverly’s New Orleans Minstrels
about 1874, and continued with them three years. In 1878 he became a
member of Sweatnam’s Minstrels in Philadelphia, and at the close of
the season joined Billy Emerson and the Big 4 Minstrels; season of
1879 and 1880 was spent with Carncross’ Minstrels in Philadelphia; he
then joined the Thatcher, Primrose and West Company, and was with them
practically from their inception to their dissolution; later he was
identified with Thatcher and Rich and Harris’ “Tuxedo” for two seasons.

1892-93 saw Shepard and Billy Rice’s Minstrels, while a year later Burt
Shepard’s Modern Minstrels took the field.

In 1895 Mr. Shepard was with Cleveland’s Minstrels, where he officiated
in the middle, in addition to doing a black-face specialty; season of
1896-97 was devoted to vaudeville. In 1897 he went to England, and
subsequently to Paris, South Africa and Australia, all the time meeting
with unqualified success with his monologue and parodies at the piano.

Burt Shepard was born; of that I am sure, but just when or where, he
neglected to state.

FRED B. MALCOLM, the “male soprano,” and an exceedingly clever one, was
a protege of the late Jessie Bartlett Davis, and acquired his early
musical education from E. L. Bartlett, father of Mrs. Davis.

His professional career began with the Bartlett Sister’s Concert
Company, which was brought to a sudden termination by the death of Miss
Arabella Bartlett. Two years were then spent in variety theatres.

His first appearance in female make-up was at the Queen’s Theatre,
Toronto, Canada. Later he was engaged by J. H. Haverly for the latter’s
new “Mastodons,” with whom he played for three seasons; after the
consolidation of the two companies (Haverly’s), Mr. Malcolm continued
with Mr. Haverly for nine months; a record of which to be proud.

An engagement of three years with Billy Emerson’s Minstrels in San
Francisco followed; during this time Mr. Malcolm was away from the
company but four weeks.

A return engagement with Haverly, opening at the Drury Lane Theatre,
London, England, May 31, 1884, and continuing as a member of that
organization for one year, followed. Returning to America, Mr.
Malcolm remained with Mr. Haverly until the latter sold out to W.
S. Cleveland. He became a member of McNish, Johnson and Slavin’s
Minstrels in 1886, and continued with them until the dissolution of
the organization, about May, 1888; subsequently joining Johnson and
Slavin’s Minstrels.

Since that time Mr. Malcolm did concert work chiefly. In his early
career he did a specialty in the leading variety theatres with the late
Arthur Doty.

Fred B. Malcolm was born near Morris, Ill.; he died in Chicago, Ill.,
April 3, 1910.

FRANK H. WHITE began his professional career as a member of the Aeolian
Quartette in his native city in 1871, and continued with them for seven
years.

He married in 1879, and as Frank H. and Lillian White they played
variety engagements until about 1891, when they separated.

He played black-face parts in dramatic companies for a while, and about
fifteen or eighteen years ago was with Lew Dockstader’s Minstrels.

A few years ago he joined Lew Simmons in an old-time black-face act,
with whom he is still associated.

Mr. White is a great delineator of the scary coon.

Frank H. White was born in Newark, N. J.

RICHARD MAGEE, JR., well known as a vocalist in Philadelphia, joined
Simmons and Slocum’s Minstrels in that city late in December, 1872,
terminating his engagement April 5, 1873.

He died February 27, 1880.

“MEMPHIS” Kennedy, a well-known black-face performer, who did a unique
musical act, was with Lew Dockstader’s Minstrels about 1893, also other
well-known companies.

He was drowned near Hannibal Mo., October 12, 1907.

BOB HEIGHT, the well-known colored comedian, who was a favorite with
Sam Hague’s Minstrels in Liverpool, England, in the middle 70’s died in
Manchester, England, September 8, 1881.

BURTON STANLEY was famous for his female impersonations. In 1875 he
was with Haverly’s Minstrels; September 2, 1879, he joined a dramatic
organization in “Larks,” and a few months later was traveling with
Stanley’s Juvenile Company. August 24, 1881, he opened with Brooks,
Dickson and Clapham’s Minstrels; the tour was a brief one and in
November following, Mr. Stanley joined Leavitt’s Minstrels. His next
important engagement was with Emerson’s Minstrels in San Francisco;
here he met Gus Pixley, later forming an alliance, playing the variety
houses for several seasons. Mr. Stanley retired from the profession
some years ago, and is now a prosperous boniface in the West.

HARRY (Jas. H.) ARMSTRONG or “Handsome Harry” (see portrait) as he was
known, began his professional career about forty years ago, and only a
short time later launched Armstrong’s Constellation Variety Troupe and
Female Minstrels.

[Illustration:

W. W. BLACK

CHAS. T. WHITE

JOHN J. BLUE

BILLY GRAY

JOE. BROWN

JNO. E. GREEN

HOW’S THIS FOR A COLOR SCHEME?]

In 1874 he was with Harry Robinson’s Minstrels and the following year
with one of Leavitt’s attractions.

In the fall of 1879 he joined the Big Four Minstrels, and in 1881
became a member of Leavitt’s Minstrels. 1882 saw him with Courtright
and Hawkin’s Minstrels in Philadelphia, and the following season he was
with Haverly’s Minstrels.

Mr. Armstrong joined Sweatnam, Rice and Fagan’s Minstrels in 1887 for
the season; in 1892 he was again with Haverly at the latter’s permanent
home of minstrelsy in Chicago; at this house he did acts with Harry
Constantine, the female impersonator.

Harry Armstrong was born at Wilmington, Del., April 3, 1850.

HARRY SHIRLEY, a well-known singer, who was with Emerson’s Minstrels
in San Francisco in 1881, also other prominent companies, died in Los
Angeles, Cal., September 22, 1889.

OTIS BOWERS, of the old minstrel firm of “Beach and Bowers” Minstrels,
when last heard of was a contented resident of Maquoketa, Iowa.

After six months of constant practice, the author is able to spell and
pronounce properly the name of the thriving little town in the state
that produced Bert Leslie.

HARRY SHAY (Shea) was a well known and capable black-face comedian and
general performer. He had been associated with many of the prominent
variety theatres as stock comedian, and was especially a favorite in
Paterson, N. J., where he died, November 4, 1886.

HURLEY AND MARR, famous for many years in their black-face songs and
dances, formed a partnership about 1869; they appeared with Hooley’s
Minstrels in Brooklyn, N. Y., in December of that year.

Subsequently they played successful engagements with Hooley in Chicago
in the Fall of 1872, leaving Hooley to join Arlington, Cotton and
Kemble’s Minstrels, in the same city.

They also appeared with Bryant’s in New York, and Simmons and Slocum in
Philadelphia.

Mr. Marr later separated from Hurley, and for about ten years worked
with his brother John, as the Marr Brothers.

J. Hurley died in New York, July 22, 1886.

Billy Marr was born in New York; he died in Brooklyn, N. Y., December
13, 1892; age 40 years.

JAMES HOLLY, of the once well-known and favorite black-face song and
dance team of Homer and Holly, died in Memphis, Tenn., January 17,
1891; age 40 years.

CARROLL JOHNSON (James Carroll) is one of the foremost living
minstrels, and is justly entitled to the appellation “Beau Brummell” of
minstrelsy; his costumes and acting as the dandy darky, making him a
likely prototype in black of that famous personage.

Mr. Johnson’s theatrical career began at the Bowery Theatre in New
York, about 1866, doing a singing and dancing specialty.

He played the usual variety engagements until November 1, 1869, on
which date he joined Newcomb’s Minstrels in Washington, D. C. The
following year, September 5, he formed a partnership with George
Powers, doing a high kicking song and dance, starting with Hooley’s
Minstrels in Brooklyn, N. Y.; when that company opened in Chicago,
January 2, 1871, Mr. Johnson was with them, and continued for several
months.

August 26, 1872, he opened with Birch, Wambold and Backus’ Minstrels
in New York, and except during the season of 1874-75, when he was with
Carncross and Dixey’s Minstrels in Philadelphia, he was with them until
1882.

In the Summer of 1880 he played a brief engagement with Moore and
Burgess’ Minstrels in London, England. Subsequently he played
engagements with Courtright and Hawkin’s Minstrels, in Philadelphia;
Emerson’s, in San Francisco, and Haverly’s in Chicago; it was here in
the Summer of 1883 that Johnson and Powers dissolved partnership. Mr.
Johnson later played with Haverly, in Europe, after which he returned
to America, and with Charley Reed gave a fine minstrel performance in
San Francisco, opening August, 1884, and remaining until July following.

On July 30, 1885, he became one of the proprietors of McNish, Johnson
and Slavin’s Minstrels, opening on that date at Paterson, N. J.; the
organization was in existence for three seasons. Johnson and Slavin’s
Minstrels took the road in 1888; the partnership was dissolved in June,
1889.

September 9, following, Mr. Johnson began a starring tour in white
face, appearing in “The Fairy’s Well”; he was with this company two
seasons, and the next two years in “The Gossoon,” and the “Irish
Statesman” respectively.

In 1893 with George Thatcher he organized, and conducted, for two years
Thatcher and Johnson’s 20th Century Minstrels.

Three years in vaudeville in black and white face was followed by an
engagement with the William H. West Company of the Primrose and West’s
Minstrels, there being two companies of that name season of 1897-98.

Mr. Johnson joined West’s Minstrels in 1898, and continued until 1900;
then three more years of vaudeville, followed by two and a half years
with Lew Dockstader’s Minstrels.

He was with Dumont’s Minstrels in Philadelphia, season 1909-10. August
3, 1910, he began an engagement with Lew Dockstader’s Minstrels for the
season.

Mr. Johnson was married in Boston, Mass., June 15, 1871, and lived
happily ever after.

Carroll Johnson was born in Carlingford, Ireland, December 16, 1851.

TOMMY GRANGER, the “Prince Jockey” as he was sometimes called, from
the fact that his entrance on the stage was made on a coal black steed
arrayed in Tod Sloan habiliments (Granger, not the horse) began “acting
up” in 1861, doing a black-face song and dance at an exceedingly tender
age, and in black face; this was in Buffalo; “Root Hog or Die” was the
song used on this auspicious occasion.

But it was as a dancer that Mr. Granger gained fame; and his “Raffle
for an Eight Day Stove,” is recalled by many a theatre goer of 30
years ago. His first minstrel engagement was with W. W. Newcomb in
1865; subsequently he allied himself with such well-known companies as
Simmons and Slocum’s in Philadelphia; Thatcher, Primrose and West’s and
the “California” Minstrels; his last engagement with a minstrel company
was with the Barlow Brothers.

Tom Granger’s Georgia Minstrels in 1878 didn’t conflict with Haverly’s
Mastodons of the same year.

Tommy Granger was born in Kingston, Canada, August 9, 1851.

JOHN MCVICKAR (Harrington), one of the original “Bay State Boys,” who
did a good clog dancing act, made his first appearance as a member of
that quartette at the old Howard in Boston, Mass., September 13, 1869.
They played with the Morris Brother’s Minstrels, also with Dougherty,
Wild, Barney and Mac’s Minstrels in the Hub.

The four disbanded in 1871. About 1883 Mr. McVickar went to Lothrop’s
Theatre in Boston, as manager, later going to the Howard, where he
continued until about 1904.

John McVickar died in Boston, Mass., May 24, 1909.

SEAMON S. PETTITT made his first professional appearance at the age of
nine years.

His first partner was James Sharpley; subsequently with Tommy Moore
they worked as Masters Tommy and Willie. In 1871 Pettitt, Phillips and
White formed an alliance which continued one year, after which Pettitt
and White did a double song and dance until the death of Mr. Pettitt.

He had been with Skiff and Gaylord’s Minstrels and other well known
companies. During the Summer season he acted as singing clown in the
circus.

Mr. Pettitt was born October 6, 1851; he died at Taylorsville, Pa.,
August 10, 1880.

TOMMY WINNETT made his first appearance in 1864 at the Canterbury
Music Hall. In 1866 he formed a partnership with Charley Holly, and as
Winnett and Holly they continued until July 10, 1868.

Mr. Winnett has been associated with the following well-known minstrel
companies--“Campbell’s”; Sam Sanford’s; Kunkel’s “Nightingale’s”; Skiff
and Gaylord’s; Hooley’s, in Brooklyn, and Welch, Hughes and White, same
city.

Mr. Winnett won a medal in Mobile, Ala., for his dancing, and a silver
cup in Memphis, Tenn.

For twenty-five years he traveled with his wife, as Tom and Lottie
Winnett. His last professional appearance was in Chicago, at the
Olympic Theatre, in 1898.

Tommy Winnett was born in New York, May 25, 1851.

THE GORMAN BROTHERS, or the three Gorman boys, as they are invariably
spoken of, are synonymous with all that is best in minstrelsy; for
these gentlemen had the schooling on the variety and minstrel stage
that the present generation of performers never may hope to attain.

[Illustration:

TOMMY GETTINGS

DICK SLITER

BILLY ALLEN

MIKE KANANE

BOBBY NEWCOMB

BILLY SHEPPARD

WASH. NORTON

TIM. HAYES

WALLY THOMAS

DAISY DANCERS OF MANY DECADES.]

Gifted with natural talents that place them on the highest plane in
their profession, they used these to the best advantage, and thus hold
the enviable positions they occupy to-day.

James Gorman, or “Jim” as we all love to call him, was the first of
the trio to make his professional entrée, which he did with Hooley’s
Minstrels in the Williamsburg section of Brooklyn, N. Y.; the theatre
is now known as the Novelty; the date, February, 1869.

Mr. Gorman’s salary was seventy-five cents per night, most of which he
has since squandered.

In 1872 brother John joined brother Jim, and as the Gorman Brothers
made their first joint appearance at the Bowery Theatre, in New York.

Three years later little Georgie joined his brothers, then and there
creating a trade-mark which subsequently became prominent all over the
country.

Several years were spent in the principal variety houses, and on
October 21, 1878, at the Adelphi Theatre in Chicago, they made their
appearance with the newly organized Haverly’s Mastodon Minstrels, at
the initial performance of that famous organization.

The brothers continued with Haverly mostly until 1883, when in
conjunction with Gorton’s Minstrels, Gorman Bros.’ Royal Pantomime
Company toured the country for several months.

In the Summer of 1884 they rejoined Haverly at the Drury Lane Theatre,
London, England, playing there ten weeks; after which they made a
tour of the provinces, and returned to the United States, opening in
Cincinnati, Ohio, at Heuck’s Opera House, March 18, 1885.

They remained under the Haverly banner until they organized their own
company, the Gorman Bros.’ Minstrels, giving their first performance
August 24, 1887; they continued as an organization for six consecutive
seasons.

In 1893 they played with Primrose and West’s “Monte Carlo” Company. The
“boys” next appeared with the “Gilhooley’s Abroad,” as the vehicle for
their talents; they continued with this for three seasons.

Subsequently they produced “Mr. Beane, from Boston,” which ran for two
seasons.

In August, 1906, the Gorman Brother’s Minstrels again took the field,
but owing to gross mismanagement, did not continue as long as the
artistic merits of the organization justified it in doing. As a
production, this company was an event in minstrelsy.

We are wont to speak of the Gormans as dancers; and of James, as a
producer; but the versatility of these “youths” know no bounds.

John and George are comedians of high degree, as attested by their
success with Marie Dressler, in “Tillie’s Nightmare” at the Herald
Square Theatre, New York, during the Summer of 1910; and they have many
other successes to their credit.

George Gorman is conceded to be one of the world’s greatest dancers.
And John, the altitudinous one, excels as a character comedian. Such in
brief, are the careers of the “Gentlemanly Gormans.”

James Gorman was born in New York City, August 23, 1852.

John Gorman was born in New York City, November 4, 1855.

George Gorman was born in New York City, December 16, 1864.

WM. F. HOLMES, the favorite baritone vocalist, began his professional
career at an early age with the Caroline Richings Troupe.

He was with several prominent minstrel companies, notably Thatcher and
Ryman in Philadelphia in 1881, and McNish, Johnson and Slavin’s, with
whom he was at the time of his death in Boston, Mass., December 10,
1886. He was 34 years of age.

CHARLES BRICKWOOD (Brickett), well known as a comedian and banjoist,
entered the profession about 1875. He had been successfully identified
with the minstrel companies of Whitmore and Clark’s; I. W. Baird’s and
George Irving’s California Minstrels. In 1878 he was with Washburn’s
Last Sensation.

For several years he had played Uncle Tom in a most acceptable manner;
he had likewise played Marks, also in “Uncle Tom’s Cabin.” Mr.
Brickwood was a brother of the late Mayor of Haverhill, Mass., and
a man of unusual intelligence. Charles Brickwood died at Haverhill,
Mass., October 22, 1900; age 48 years.

EVERETT WESLYN joined Frank Casey about 1872 in a musical act, and
continued with him until his (Weslyn’s) death.

He was with Carncross and Dixey’s Minstrels in Philadelphia, in 1877;
subsequently with Haverly’s Mastodons.

He died in St. Louis, Mo., November 8, 1879; age 27 years.

FOX AND WARD--To Fox and Ward belong the enviable distinction of having
existed as partners (perhaps we should say theatrical associates), for
a longer period than that of any other team; active partners is the
term meant. Their initial joint appearance was in Cincinnati in 1868.

Early in 1870 they played their first minstrel engagement with Dan
Shelby’s Company, and the same year they joined Duprez and Benedict’s
Minstrels, and were features of this famous organization until 1879,
when they joined Barlow, Wilson, Primrose and West’s Minstrels.

Subsequently they were with the Skiff and Gaylord Company, and in
September, 1882, Fox and Ward’s Minstrels made their first appearance.

In 1884 they were members of Haverly’s Minstrels.

In 1886 they played with Lester and Allen’s Minstrels, and two years
later returned to Haverly.

In 1890 they traveled with George Arlington’s Minstrels.

Fox and Ward eschewed minstrelsy for several years, when in 1897 they
played their third engagement with Haverly.

Again deserting their burnt cork friends, they played vaudeville and
combination dates for a few seasons. They joined Dumont’s Minstrels in
Philadelphia in 1905, and the major portion of the intervening time has
been since spent with that notable organization.

Joseph Fox (Monahan), was born in Ogdensburg, N. Y., May 7, 1852.

William H. Ward (Marvin Morton Mallison), was born in Canandaigua, N.
Y., September 17, 1852.

* * * * *

Did it ever occur to you that of the many minstrel companies of the
past in which two or more headed the organization, the last named
member of the alliance was the first to pass away?

For example, Skiff and Gaylord; Low. Gaylord was the first to
die--there are about thirty other such instances.

* * * * *

GEORGE H. PRIMROSE (Delaney), in addition to being one of the most
graceful dancers in the profession, is concededly one of its best
business men; a rare combination in theatrical history.

Mr. Primrose’s career began about 1867 in Detroit, Mich., with
McFarland’s Minstrels, at which time he was billed as Master Georgie,
the infant clog dancer; subsequently he joined the New Orleans
Minstrels.

In the Summer of 1871 he went to Smith’s Opera House, Saginaw, Mich.;
here he met and formed a partnership with Bobby McGown, and shortly
afterwards they joined O’Brien’s Circus, where they performed a double
clog in the concert; at the end of the tent season, Primrose and McGown
dissolved partnership, and Mr. Primrose went with Skiff and Gaylord’s
Minstrels; it was here he first met William H. West; late in 1871. A
few months later they formed a partnership that continued about thirty
years.

About May 1, 1873, Mr. Primrose and his new partner joined O’Brien’s
Circus, again playing in the concerts; a little later they played
their first joint minstrel engagement with Simmons and Slocum in
Philadelphia, closing with them in the Spring of 1874. That same
year, November 20, they made their initial appearance with Haverly’s
Minstrels in Brooklyn, N. Y.; continuing with them until June 14, 1877;
two months later Barlow, Wilson, Primrose and West’s Minstrels gave
their first performance; this was a grand organization; it continued
until the Summer of 1882.

In conjunction with George Thatcher, Mr. Primrose and his partner
organized Thatcher, Primrose and West’s Minstrels at Elmira, N. Y.,
August 3, 1882; this alliance was dissolved at the conclusion of the
season of 1888-89. In the Summer of 1889, Primrose and West’s Minstrels
made their initial bow and continued as an organization until April
30, 1898, when at Milwaukee, Wis., the long partnership that existed
between Primrose and West dissolved.

Season of 1897-98, Mr. Primrose headed one minstrel company, while Mr.
West piloted another; both companies being under their joint management.

Beginning in 1898, and continuing until the Spring of 1903, Mr.
Primrose and Lew Dockstader joined forces, and Primrose and
Dockstader’s company was the premier minstrel organization until the
Spring of 1903.

Since that period Mr. Primrose has headed his own organization, with an
occasional season in vaudeville.

On August 2, 1879, Mr. Primrose married Miss Emma Catlin, at Buffalo,
N. Y. The first Mrs. Primrose died some years ago. On April 24, 1904,
he married Miss Esther Nerney, at Mount Vernon, N. Y.

George H. Primrose was born in London, Canada, November 12, 1852.

J. MARCUS DOYLE, the accomplished dancer, producer and comedian, made
his first appearance at a concert hall in Buffalo, N. Y., as boy, in
the middle 60’s, subsequently joining a circus, and later forming one
of the team of Baker and Doyle.

[Illustration:

BILLY EMERSON

WM. HENRY RICE
(1870)

BILLY MANNING

SHINING LIGHTS OF MINSTRELSY.]

His best work was done in minstrelsy, and he was identified with such
organizations as Barlow, Wilson, Primrose and West’s; Hi Henry’s;
Cleveland’s and Barlow Brothers.

About 1896 he joined the May Russell Burlesque Company.

J. Marcus Doyle was born in Elyria, Ohio; he died in Buffalo, N. Y.,
December 23, 1899; age 47 years.

HARRY WOODSON (John Archer Shields), considered by many as the greatest
delineator of the “aged darky” that the stage ever knew, began his
professional career as an amateur in his native city. His first
professional engagement was with the Buckley and Morris Minstrels
singing in character “Old Black Joe.”

September 2, 1878, he began an engagement at Carncross’ Minstrels in
Philadelphia, and in the Spring of 1881 he played another engagement
in the same city with Thatcher & Ryman’s Minstrels. Commencing in 1880
he was one of the proprietors of Woodson and Allen’s Minstrels, which
made tours off and on until October 28, 1883, when the last performance
was given at Cynthiana, Ky. Season of 1886-87 he created the part of
“Rufus,” the old negro in “Held by the Enemy.”

He married Miss Laura Bennett, a well-known star of the old variety
days; they had one daughter.

Mr. Woodson’s singing of “That Old Gray Mule of Mine” was a classic.

His last engagement was with Cleveland’s Minstrels in 1891.

Harry Woodson was born in Richmond, Va., January 15, 1852; he died at
Amityville, Long Island, N. Y., August 30, 1898.

W. S. BELKNAP, prominent as a bass singer with Haverly’s Mastodon
Minstrels; Barlow, Wilson, Primrose and West’s and other minstrel
organizations, died at Louisville, Ky., February 15, 1900; age 48 years.

BILLY O’DAY (Geo. F. Day), who excelled as a “rough wench,” commenced
“acting up” late in 1871 at Frank Wild’s Varieties in Buffalo, N. Y.;
remained one year at $12 per -- not $12.00 per year; but perhaps you
have guessed it.

Afterwards he was with Shay’s Quinciplexal Minstrels, and joined Billy
Wild; known as O’Day and Wild, the “Ebony Kings,” the partnership
continued two years. He then played variety engagements, and was three
years at Harry Enoch’s in Philadelphia.

In 1890 O’Day and Jerry Cunningham were partners, and remained so for
one year. Mr. O’Day has since that time played white- and black-face
characters in several prominent dramatic organizations, including
Rufus, in “Held by the Enemy” and Decatur in “Alabama,” not forgetting
Uncle Tom in the latter’s Cabin.

I most forgot to say that about 1873 Mr. O’Day appeared as “Master
Willie” with the San Francisco Minstrels in New York, and sang “There’s
A Letter In The Candle.”

Mr. O’Day was married at Johnstown, Pa., October 13, 1892, to Miss Mary
Eagel, a non-professional.

Billy O’Day was born April 1, 1852, in Brooklyn, N. Y.; that’s no joke.

THE REYNOLDS BROTHERS were a well-known and popular song and dance
team. As early as 1865 as the “Utica Boys” they were with Burgess,
Prendergast, Hughes and Donniker’s Minstrels; the year following with
Burgess and La Rue’s Minstrels.

They joined M. C. Campbell’s company in 1867, and subsequently appeared
with Emerson and Manning’s; Emerson’s, and Arlington, Cotton and
Kemble’s Minstrels; the latter in 1872. After the death of his brother
Charles, George Reynolds appeared for a short time with Charley Cogill
as Cogill and Reynolds.

CHARLES REYNOLDS was born in Utica, N. Y., in 1852; he died in San
Francisco, Cal., January 7, 1878. GEORGE REYNOLDS died in New York
City, March 4, 1895.

TOMMY TURNER (Trainor) was one of the Three Turner Brothers, and well
known as a banjoist.

He was the husband of Lulu Francis, and had been in the profession
about ten years prior to his death, which occurred in Leadville, Colo.,
May 31, 1879, at the age of 25 years. Mr. Turner was born in New York,
September 29, 1854.

FRED WALZ, during his comparatively brief career as a vocalist in
minstrelsy, achieved distinction that has often been denied those of
more mature years.

His first professional engagement was with Newcomb and Arlington’s
Minstrels in 1871. In 1872 he was with Moran and Dixey’s Minstrels in
Philadelphia, and subsequently with Frank Moran’s Minstrels.

In 1873 he joined Simmons and Slocum’s Minstrels for the season, also
in the Quaker City. August 31, 1874, he became a member of Bryant’s
Minstrels in New York, and continued with them until the death of Dan
Bryant, April 10, 1875, when he almost immediately joined Emerson’s
California Minstrels in Chicago, and continued with them several weeks.

Subsequently he became a member of Carncross and Dixey’s, and later
Carncross’ Minstrels in Philadelphia, where he remained until his death.

Fred Walz was born in Philadelphia about 1852; he died there September
7, 1884.

JAMES H. CUMMINGS was one of minstrelsy’s best dancers. He formed a
partnership with John P. Hogan late in 1871, and played an engagement
at Moran and Dixey’s Minstrels in Philadelphia, terminating about
February 1, 1872.

Later his partner was W. H. Delehanty, whom he joined August 23, 1875;
the alliance lasted about fifteen months.

Mr. Cummings subsequently did an act with Harry Orndorf while with
the Emily Soldene Company, where he remained two seasons. He left the
profession for a time, and embarked in business in Indianapolis, Ind.

Mr. Cummings married one of the Stanley Sisters, well known performers
of three decades ago. James H. Cummings was born in Rochester, N. Y.;
he died in San Francisco, February 15, 1889; age 37 years.

WELBY AND PEARL are not exactly the pioneers of song and dance teams,
but they have been associated as partners since 1874, which is enough
to make them qualify.

They have been with several first-class organizations, including Al. G.
Field’s Minstrels, with whom they were with in 1899; subsequently they
joined Gorton’s Minstrels, and continued with them almost to date. Mr.
Pearl, of recent years, was manager of the company.

Jake Welby (Bucher), was born October 13, 1852, at Syracuse, N. Y.

Charles C. Pearl (Fell), was born in West Chester, Pa., December 4,
1858.

DAN COLLYER (McAnerny), the well known comedian of Broadway fame, was
one of the Collyer Brothers as early as 1872, doing black-face acts.
Doesn’t look it, does he? November 16, 1889, he opened in New York with
“Running Wild,” in which he played the wench.

In the stock with Pastor’s Company, likewise Harrigan and Hart’s,
he essayed many black-face roles; he also did vaudeville with Add.
Ryman--and there were others, notably Dockstader’s Minstrels in New
York, December, 1888. Mr. Collyer was born in Baltimore, Md., March,
1853.

FRANK MCNISH (Francis Edward McNish), like the good American that he
is, began his theatrical career on July 4, the year, 1873. Garry Doon
shared the honors.

He first appeared professionally April 16, 1877, in Buffalo, N. Y., at
the Adelphi.

August 21, 1878, he joined Barlow, Wilson, Primrose and West’s
Minstrels, continuing with them until February 21, 1879. Mr. McNish
later formed an alliance with the Leland Sisters, and played variety
engagements with much success for about three years, after which he
joined Thatcher, Primrose and West’s Minstrels, August 3, 1882, and was
a feature with them for three years.

Mr. McNish was now ripe for stellar honors, and accordingly on July 30,
1885, the first performance of McNish, Johnson and Slavin’s Minstrels
was given in Paterson, N. J.; the organization continued three years,
after which McNish, Ramza and Arno’s Minstrels did appear--and
disappear.

Mr. McNish was with Al. G. Field’s Minstrels in 1892, and with Hi Henry
in 1895--and there were others.

Also did he “star” in “An Actor’s Romance” or “An Actor’s Holiday,” the
author forgets which; however, the tour was neither a romance nor a
holiday.

January 4, 1887, Meriden, Conn., had the honor of being the first city
of witnessing Mr. McNish’s appearance as an end man.

Most everybody knows that Frank McNish was the originator of the
Silence and Fun specialty that made him famous, and which has been
extensively copied by other performers. In addition to being a good
dancer, he is also a good singer; originally a plumber, Mr. McNish
always has his pipes in good working order.

An early partner was Edward Gildea; the latest were Joe. Penfield and
Frank McNish, Jr.

Frank McNish was born in Camden, N. Y., December 14, 1853.

[Illustration:

BILLY LYONS

FRED. MALCOLM

CHAS. HEYWOOD

JUSTIN ROBINSON

THE GREAT “EUGENE”

ERNEST LINDEN

LINCOLN ELLWOOD

BURT. SHEPARD

PAUL VERNON

FAMED FAVORITES WHO FEATURED FEMININE FANCIES--SECOND EDITION.]

GUS MILLS achieved considerable popularity as a female impersonator
with Simmons, Slocum’s and Sweatnam’s Minstrels in Philadelphia;
Dockstader’s in New York, as well as Emerson’s and other well known
organizations; he died in Chicago, Ill., October 6, 1903; age about 55
years.

JOHNNY MACK entered the profession at an early age. He had as partners
at various times Johnny Gardner, Billy Conway and Lew Dockstader. With
the latter he played with Whitmore and Clark’s Minstrels in 1874, as
Mack and Clapp.

He died at Hoosick Falls, N. Y., February 28, 1891; age 38 years.

WILLIE (WM. H.) GUY was the first of the Guy boys to enter minstrelsy,
making his initial appearance with Hooley in Brooklyn, N. Y., about
1863; the following year he was with M. C. Campbell’s Minstrels in New
York.

Subsequently he joined his brother George, and as George and Willie
Guy became quite popular at Hooley’s Minstrels in Brooklyn, where they
remained for a considerable time.

The next few years he was with the minstrel organization of Kelly and
Leon; Moore and Burgess, Harry Robinson’s, Welch, Hughes and White;
Smith and Taylor’s, and George Christy’s.

In 1874 he became a member of Guy Brother’s Minstrels, and as such
continued practically until his death. Mr. Guy ranked high as a song
and dance performer and comedian.

Willie Guy was born in Hartford, Conn., October 16, 1853; he died in
Springfield, Mass., February 26, 1906.

RICHARD GOLDEN (Frank Golden), whose fame as “Old Jed Prouty” will long
live, did a black-face song and dance with Lew Davis (later Chace and
Davis), in the late 60’s; he was also with Sharpley’s Minstrels.

Mr. Golden was born in Bangor, Me., February 6, 1853; he died in
Brooklyn, N. Y., August 10, 1909.

HARRY M. MORSE. It would be a difficult matter to say off-hand whether
this gentleman is best known as a minstrel or as a delineator of “rube”
characters; in the one he has been associated with several famous
organizations; in the other he is as readily recalled by several well
remembered characterizations.

He first appeared professionally with Rice’s “Evangeline” in 1877,
where his splendid bass voice was used as a member of a quartette.

In 1881 he played his initial minstrel engagement with the Haverly
Mastodons; the following year with the new Mastodons saw his first
appearance as “middle man.”

In 1883 he was with Sam Hague’s Minstrels, under the Haverly
management. Thatcher, Primrose and West’s Minstrels had him for a
member in 1884, and the following season he was with the inaugural
performance of McNish, Johnson and Slavin’s Minstrels, and remained
with them until the dissolution of the company at Washington, D. C.,
May 19, 1888.

Right here Mr. Morse’s inherent Yankeeism asserted itself; carefully
sealing up his box of cork, he placed it in storage, and went in for
“rube” characters exclusively.

From 1888 to 1892 he played Zeb in “Old Jed Prouty”; Mr. Morse was
great in this character; so was the wig.

“Rush City”; Pete Dailey’s “Country Sport”; Joe Hart’s “Gay Old Boy”
and four years as the Giant in “Jack, the Giant Killer,” followed; a
return to “Old Jed Prouty” and Mr. Morse began to repent.

Primrose’s Minstrels, Dockstader’s Minstrels and Cohan and Harris’
Minstrels, the latter in 1908, followed the repentance.

Now Mr. Morse is showing his “rube” to vaudeville lovers--and they seem
to like it.

Taken all in all, Putnam, Conn., may well feel proud of its
distinguished citizen.

Harry M. Morse was born in Woodstock, Conn., August 4, 1853.

FRANK CUSHMAN (Peter Clishman) was one of the very best singing
comedians of minstrelsy; he possessed a peculiar voice, and could reach
high C with ease.

At the outset of his career he gave impersonations of the old colored
man, which ever after he made a feature of his repertoire; in these
delineations he was exceptionally clever.

He made his first appearance with Professor John Hammond’s Company at
Havre de Grace, Md., in 1874; subsequently he joined Tommy Jefferson’s
company, where his success was pronounced.

After this he went to the Odeon Theatre in Baltimore, remaining a year;
likewise he played stock engagements at the Grand Central Theatre,
Philadelphia, and other houses. His first prominent minstrel engagement
was with Carncross and Dixey, in Philadelphia.

October 21, 1878, made his appearance at the Adelphi Theatre, Chicago,
as a member of Haverly’s original Mastodons. He went to England with
Haverly, opening in London, July 31, 1880; he continued under this
management for a considerable period.

About 1882 he formed an alliance with the “Only Leon,” playing star
engagements in the variety houses and minstrel companies; during this
period they made a trip to Australia, where they played several months;
they separated in the Spring of 1887.

In the fall of that year he became a member of Sweatnam, Rice
and Fagan’s Minstrels; he was likewise with Primrose and West’s;
Cleveland’s, and Al. G. Field’s Minstrels.

In the fall of 1889 with Ned Thomas he organized the Cushman and Thomas
Minstrels.

Mr. Cushman created the black-face part in the production of “Natural
Gas”; and in 1898 he was with the last minstrel show Jack Haverly ever
put out. He was married to the widow of Billy Welch about 1888, and
they lived very happily together.

His last appearance was at Lexington, Ky., a few days before his death.

Frank Cushman was born in Baltimore, Md., March 11, 1853; he died in
Louisville, Ky., December 19, 1907.

EDWIN FRENCH (Adam Kunz) was one of the great banjoists of minstrelsy.

He made his first appearance in St. Louis, Mo., as Master Eddie with
Morris and Wilson’s Minstrels.

He next appeared with Green’s “Mocking Bird” Minstrels, and in 1867 was
with Sam Sharpley’s Company.

Subsequently he played a long engagement with Birch, Wambold and Backus
in New York City.

He was also with Carncross in Philadelphia; Moore and Burgess in
London, England, and Dockstader in New York. In 1882 he was with
Leavitt’s Giganteans; and likewise played an important engagement with
Haverly’s Minstrels.

Edwin French was born in Cleveland, Ohio, January 31, 1853; he died at
Saranac Lake, N. Y., September 16, 1903.

BURT. HAVERLY (Geo. Burton Oliver), the favorite minstrel and farceur,
began in Boston at an early age with a minstrel company headed by
the late Andy Leavitt; Mr. Haverly’s vocal offering on this occasion
was--“And His Feet Hung Out the Door.”

In 1881 he was with Billy Emerson in San Francisco, a place where
Haverly loved above all others; in this city he was highly thought of,
personally and as a performer.

It was in 1879 that he attained his first prominence as a member of
Hooley and Emerson’s “Megatherian” Minstrels.

In the middle and late 80’s he was with McNish, Johnson and Slavin’s,
and Johnson and Slavin’s Minstrels.

Shortly after leaving the last company, he went into white-face with
the “City Directory”; subsequently, with Laura Biggar, he was co-star
in “A Trip to Chinatown,” for several seasons.

Mr. Haverly married Miss Nellie Carter, in San Jose, Cal., February 21,
1882.

In New York, on March 21, 1901, he married Mme. Dowling.

Burt. Haverly was born in Saccarappa, Me., August 12, 1853; he died in
San Francisco, Cal., October 31, 1908.

HAWKINS AND COLLINS. This great black-face singing act made their first
joint appearance at the Garden Theatre in Chicago, Ill., in the Fall of
1882.

They played successful minstrel engagements with Carncross’ in
Philadelphia; Thatcher, Primrose and West’s; Haverly’s and Hyde
and Behman’s Company, as well as several first-class specialty
organizations.

They continued as a team until the death of Ben Collins.

Lew Hawkins made his first professional appearance as a jig dancer in
the Winter Garden, Chicago, Ill., in 1873; he worked in white-face, his
weekly stipend was $6.00; he gets more now.

He went to San Francisco from Chicago, played all the variety houses
on the way back three years later, and opened with Ed. Hodson, again
in Chicago, at the Coliseum, where they did a Dutch act; a year later
he separated from Hodson and joined J. W. Kelly, who afterwards won
fame as the “Rolling Mill Man”; Mr. Hawkins’ claims, and he undoubtedly
is correct when he asserts that he first brought Kelly before the
public as a professional entertainer; this was in August, 1878, at the
Cosmopolitan (present Olympic) Theatre in Chicago; they separated in
1882, and Mr. Hawkins joined Collins.

Since the death of the latter, Lew Hawkins has worked alone doing a
black-face monologue and singing act; he is known as the “Chesterfield
of Minstrelsy.”

[Illustration:

“COOL” WHITE

“COOL” BURGESS

A PAIR OF “COOL” PROPOSITIONS.

“ADD.” RYMAN

“ADD.” WEAVER

NOT A CASE OF ADDITION.

FRANK WILD

JOHN WILD

WILD, BUT NOT DANGEROUS.]

Lew Hawkins was born in Hudson, Mich., August 20, 1853.

Ben Collins was born in Chicago, Ill.; he died in Boston, Mass., March
20, 1890; age 31 years.

WM. H. WEST (Flynn), famous as a great clog dancer and producer,
and for many years associated with George H. Primrose in their many
minstrel organizations, made his first appearance in a variety theatre
in Buffalo, N. Y., August 20, 1870; the following year he joined
Skiff and Gaylord’s Minstrels, where he made the acquaintance of
George H. Primrose, and shortly after this they made their first joint
appearance, playing variety theatres, and continuing with Mr. Primrose
for many years.

November 20, 1874, he joined Haverly’s Minstrels, and remained with
them until June 14, 1877.

On Aug. 20, same year, with his partner, Milt. G. Barlow and George
Wilson, they gave the first performance of Barlow, Wilson, Primrose and
West’s Minstrels; the last in the Summer of 1882.

That same year Mr. West, Mr. Primrose and George Thatcher, organized
Thatcher, Primrose and West’s Minstrels; they gave their final
performance in the Summer of 1889.

From 1889 until April 30, 1898, Primrose and West’s Minstrels took the
road; the last season (1897), Mr. West headed his own company, Mr.
Primrose another.

In the Summer of 1898, William H. West’s Big Jubilee Minstrels gave
their first performance, and he continued with his company until within
a few months of his death.

Mr. West was thrice married; his first wife was Fay Templeton, the
well-known actress whom he married about 1883; they separated soon
after. His second wife was Miss Lizette Morris, of Philadelphia, a
daughter of our former Minister to Turkey; on October 27, 1892, he
married Miss Emma Hanley, the well-known actress of light opera fame.

Mr. West sat in the middle with his various companies, his style of
interlocutor being different from any of his predecessors.

William H. West was born in Syracuse, N. Y., June 18, 1853; he died in
Chicago, Ill., February 15, 1902.

EMERSON AND CLARK were a favorite song and dance team of the middle
70’s; they appeared in the well-known variety houses, and in 1877 they
played an engagement with Cal. Wagner’s Minstrels; in the fall of the
same year they associated themselves with the Daly Brothers, Tom and
Bill. The four took a European tour and later were with Hooley and
Emerson’s Megatherian Minstrels, in 1879.

Mr. Emerson married Julia Emmonds, and as Emerson and Emmonds they
played the variety houses; in the course of time the act received an
addition, and as Emerson, Emmonds and Emerson they were well known.

Mr. Emerson also did a black-face specialty with James Cook, of the
present team of Cook and Lorenz; this was with Barlow, Wilson and
Rankin’s Minstrels about 1885.

After their separation, Mr. Clark published “Willis Clark’s Joke Book,”
which met with indifferent success.

Mort. Emerson was born in Philadelphia, November 27, 1853.

Willis Clark died (suicide) in New York City, December 23, 1899; age 42
years.

THE DALY BROS. Tom Daly’s early partner was Bob Birdue; they played
an engagement at the Howard Athenaeum in Boston, where they met with
pronounced success; subsequently he was joined by his brother Bill.

In April, 1871, as Master Willie and Tommy, they did their specialties
with Newcomb and Arlington’s Minstrels in New York City; season of
1875 they played Carncross and Dixey’s Minstrels in Philadelphia; the
next year they were with Haverly, and after the conclusion of that
engagement the brothers joined Emerson and Clark, and the four were
known as the King High Kickers.

The Dalys were brothers of the lamented Dan Daly; and Tom Daly’s second
wife was Lizzie Derious, the well-known soubrette, now Mrs. Sam Tuck.

Tom Daly was a man of exemplary habits; his death was the result of a
brutal assault received in Chicago a few years previous to it.

Bill Daly, or “Cap. Bill” as he is best known, has not appeared
professionally in several years.

Tom Daly was born at Bathurst, N. B., in 1855; he died at Somerville,
Mass., July 20, 1892.

ORIGINAL BIG FOUR--LESTER-ALLEN-SMITH-WALDRON.

BILLY LESTER (Albert Manasse) made his first appearance as a clog
dancer with Sam Colville’s Variety Company, at the age of 13.

His first partner was John Turner, and as Turner and Lester they played
the principal variety houses, also an engagement with Simmons and
Slocum’s Minstrels in Philadelphia, in 1874.

About October 1, 1875, he formed a partnership with Paul Allen, and in
the fall of 1876 the team consolidated with Smith and Waldron; this was
the original Big 4.

February 28, 1878, saw the first performance of Billy Emerson’s and
the Big 4 Minstrels; which continued several months; Lester and Allen
joined Tierney and Cronin, and were known as the 4 Aces; this, however,
was not the original act of that title.

About 1884 Lester and Allen’s Minstrels took the road, and continued as
an organization for three years.

Shortly after this they appeared in “A Plug Hat”; later Mr. Lester
separated from Mr. Allen.

Mr. Lester’s first wife was Viola Clifton, whom he married in 1876.
November 24, 1887, he became the husband of Annie Hart.

Billy Lester was born in London, England; he died at Fair Haven, N. J.,
July 11, 1893; age 40 years.

PAUL ALLEN (Kayser) joined Billy Lester in 1875, and while the major
portion of his professional career was identified with Lester’s, it was
not entirely so.

In 1880, with Dan Waldron, William Smith and Master Martin the Big 4
Minstrels were on the road.

After separating from Mr. Lester, he did a black-face monologue, and as
“Mayor of the Ohio River” met with unqualified success.

Mr. Allen married Louise Montague (Laura Keene Stewart) at San
Francisco, in 1877.

Paul Allen was born in Baltimore, Md.; he died in New York City,
February 23, 1896; age 43 years.

WILLIAM SMITH associated himself with Dan Waldron in the middle 70’s,
doing black-face songs and dances. In 1876 Smith and Waldron joined
Lester and Allen, and were associated about three years.

In 1879 the Big 4 consisted of Smith, Waldron, Morton and Martin, and a
year later it was Smith, Allen, Morton and Martin.

In 1898 with Haverly’s Minstrels, the Big 4 was Smith, Waldron, Daly
and Martin; and at the time of his (Smith’s) death, it was Smith,
Waldron, Peasley and Martin.

Mr. Smith was the brother of Helene Smith, the beautiful danseuse of a
generation ago.

William Smith died (suicide) in New York City, April 16, 1900.

DAN WALDRON (McQuinny), the last of the original Big Four, joined
William Smith in a black-face song and dance act about 1875, and
continued a member of the various combinations of “Big 4’s” longer than
any of his associates.

After severing relations with them he appeared with many prominent
minstrel companies, notably George Thatcher’s, and Haverly’s
(Nankeville’s) Minstrels.

Dan Waldron was born in New York City; he died April 1, 1905, at
Washington, D. C.; age 47 years.

* * * * *

They tell this one about the famous Billy Manning--Manning’s Company
and that of Dan Bryant met on one occasion on the road; in the course
of the conversation it turned out that Bryant’s Company was to
follow Manning’s in at a certain town; Dan Bryant requested Manning
to “announce” the coming of his (Bryant’s) troupe; which of course,
Manning promised to do.

About ten days later the minstrels met again, and Manning informed
Bryant that he (Manning), had played the previous evening in the town
already referred to.

Did you “announce” me said Dan? I was just going to, said Manning, when
the _fellow_ got up and went out.

* * * * *

BILLY BRYANT (Wm. Thos. Hanson). Who among theatre-goers of twenty
years ago who recall Bryant & Richmond in the act “Imprisoned,” cannot
see Billy Bryant as he carefully felt the topmost portion of his
anatomy, ruefully exclaiming--“O! my coco.” That was comedy.

Bryant’s career began in 1868 with the Walter Bray Company, where he
joined hands with Arthur Hegeney, under the team name of Hanson and
Hegeney. It was Bray that suggested a change, and forthwith Hanson
became Bryant, in honor of Dan Bryant, and Hegeney was thereafter known
as Williams, after the famous Barney Williams, whose early days were
spent in minstrelsy.

[Illustration:

LEW DOCKSTADER

P. J. NILES

CHAS. DOCKSTADER

WILL OAKLAND,
The Famous Contra Tenor

CHAS. E. EVANS

DOCKSTADER BROS. (1879)

NILES & EVANS (1878)]

Bryant and Williams played the best variety houses in the country until
1876, when he married Lizzie Richmond, and as Bryant & Richmond they
gave “Imprisoned” for many years; afterwards they produced “Keep it
Dark”; for seven seasons they played it with much success.

Alice Hanson, an unusually clever and vivacious soubrette, is his
daughter.

Billy Bryant was born in Platteville, Wis., October 12, 1853; he died
at Chicago, Ill., July 22, 1902.

BOB SLAVIN was one of the most brilliant comedians in the minstrel
firmament; a natural wit; a great entertainer.

About 1874 he did a specialty with George Nelson; and a year or so
later he doubled with “Buck” Sheffer; the partnership continued about
two years. Subsequently he appeared with unqualified success with
Haverly’s, the San Franciscos, and Emerson’s, in San Francisco.

In July, 1885, at Paterson, N. J., McNish, Johnson and Slavin’s
Minstrels gave their first performance; they continued as an
organization for three seasons; Mr. McNish retiring, Johnson and
Slavin’s Minstrels took the road; the partnership dissolved in June,
1889.

July 17, 1890, Mr. Slavin opened for a limited engagement with Wm.
Henry Rice’s World’s Fair Minstrels, and closed September 2, at Elmira,
N. Y. September 10, he opened with the Howard Athenaeum Company in
Troy, N. Y., doing his specialty in white-face; sad to say, this
engagement lasted only about a month.

Mr. Slavin subsequently appeared with the May Russell Burlesque
Company. On November 19, 1892, he began an engagement with Crawford
Brother’s Minstrels in South Bend, Ind.; Mr. Slavin made his last
appearance with this company about Christmas, the same year, at Toledo,
Ohio.

Mr. Slavin married Agnes Louise Laurence, a non-professional, in 1878.

Bob Slavin was born in Baltimore, Md., November 28, 1853; he died in
Toledo, Ohio, December 29, 1892.

WILLIAM J. CARROLL, known as a first-class banjoist and negro
impersonator, came to this country at a very early age, and began
his professional career while yet in his teens; in 1873 he joined
William Harris, and as Harris and Carroll remained with him until
1879; they played various variety engagements. December 20, 1880, he
joined Thatcher and Ryman’s Minstrels at the Arch Street Opera House,
Philadelphia, doing his specialty, and sitting on the end, opposite
George Thatcher; he remained all season. Subsequently he was with
Primrose and West, and other organizations.

William Carroll was born in Ireland about 1853; he died in Chelsea,
Mass., January 25, 1896.

JOHN F. FIELDS made his first appearance with the San Francisco
Minstrels in New York City, December, 1865, as a boy vocalist. It was
in August, 1874, that his professional career began when he formed a
partnership with Fred Sharpley, who died in 1879.

His next partner was William F. Hoey, later known as “Old Hoss,” the
team name being Fields and Hoey, doing a black-face musical act. Mr.
Fields played an engagement with Cal. Wagner’s Minstrels while a member
of this alliance. In 1878 he formed a partnership with Frank Hanson. As
the straight man in these acts, Mr. Fields excels, and after thirty-six
years we find him as good as ever.

At the termination of his partnership with Mr. Hanson in 1885, Mr.
Fields’ took another partner, the team name of Fields & Hanson was
retained and is still a valuable trade-mark. Since 1885 “Fields and
Hanson” have been with Haverley’s Minstrels; Cleveland’s Minstrels,
Gus. Hill, Hyde’s Comedians and Reilly & Woods Company; and for five
years he had on tour Fields & Hanson’s Drawing Cards.

Mr. Fields and his present partner are now in vaudeville.

Jno. F. Fields was born in Newark, N. J., October 17, 1853.

FRANK HANSON worked a year with a performer named Billy Phillips, but
only as amateurs. He left Phillips in 1877, and joined a party by the
name of Smith, with whom he worked several months, making their first
appearance at the Boylston Museum. Then came Hanson and Rich, and a
short time after, the famous team of Fields and Hanson was formed in
1878.

In 1885 after the team broke up, Mr. Hanson went in the hotel business
in Boston, in which he has been ever since.

Frank Hanson was born at Ossipee, N. H., March 13, 1860.

FIELDS AND HANSON joined hands in 1878, playing variety engagements for
that season. Seasons of 1879-1880, 1880-81, were spent with Barlow,
Wilson, Primrose and West, followed by seasons with Leavitt’s All Star
Specialty Company, and Barry and Fay’s organization. In 1883 they began
an engagement with the Howard Athenaeum Company, at the conclusion of
which they played a season of sixteen weeks in the larger cities of
Europe; returning to the United States, they began their last season as
a team, with the Howard Athenaeum Company, at the conclusion of which
in 1885, they separated.

MANCHESTER AND JENNINGS worked harmoniously as a team for eighteen
years, during which period they were associated with some of the best
minstrel organizations traveling. As a black-face comedy act they were
among the leaders.

Their first joint appearance was in 1870. About 1874 they joined
Washburn’s Last Sensation, remaining two seasons.

September 27, 1875, they made their first appearance with Hooley,
Haverly and Maguire’s Minstrels in Chicago.

Subsequently they were members of Kelly and Leon’s Company, and
then--and then--unable to wait another day--they launched forth
Manchester and Jenning’s Minstrels in the Spring of 1878. Without going
into details, it may be said that the season was a backward one that
year.

The partnership lasted until the death of Johnny Jennings.

Bobby Manchester made his debut on the stage in 1865 with Newcomb’s
Minstrels. September 24, 1886, he gave the first performance of
his “Night Owls” Burlesque Company; since which date he has been
prominently identified with the burlesque world.

Johnny Jennings was an exceptionally clever dancer; he made his first
appearance in his native city at old Farrar Hall about 1864. About a
year later he joined Morris Brothers, Pell and Trowbridge’s Minstrels
in Erie, and subsequently appeared with them in their Boston theatre.
He continued with this company for an extended period, part of which
time as Collins, Queen and Jennings, they did an act called the
“Alabama Triplets.”

Mr. Jennings is reputed to have been the original skate dancer, in
which he was marvelously adept.

Bob Manchester (Aaron Mills), was born in Gloversville, N. Y., July 2,
1853.

John Jennings was born in Erie, Pa., about 1857; he died there,
November 7, 1888.

GEORGE F. CAMPBELL was one of the original members of the Clipper
Quartette, who made their first appearance at Tony Pastor’s Theatre in
New York, in 1879.

Subsequently he separated from his partners, and organized a Clipper
Quartette of his own.

Several years ago Mr. Campbell retired from theatricals, and entered
the mercantile business, in which he is now engaged.

George F. Campbell was born in Baltimore, Md., March 6, 1853.

FRED HUBER was a well-known black-face performer more than thirty
years ago. In 1878 Huber and “Boots” Allen did a black-face musical
act; 1879; Huber and Glidden were known as the “Oyster Can Mokes”;
subsequently he married Kitty Allyne, and for many years Huber and
Allyne played the principal variety houses. About seven years ago he
formed a partnership with John King while with the William H. West’s
(Ricaby’s) Minstrels.

Mr. Huber was also well-known as an excellent “bones” manipulator.

He was several years with Gus Hill in an executive capacity.

Fred Huber was born in St. Louis, Mo.; he died in New York City, April
3, 1904; age 50 years.

FRED OAKLAND (Wright) had the distinction of being one of the leading
tenors of minstrelsy about twenty years ago. He had a remarkably fine
cultivated voice which he used mostly in concert work until about 1878,
when he left England for South Africa, where he played leading tenor
roles with the Victoria Loftus Troupe and other organizations, visiting
Ceylon, India and other countries.

About 1883 he came to the United States, and joined Thatcher, Primrose
and West’s Minstrels, remaining several seasons; subsequently he became
a member of Primrose and West’s Minstrels, and while with this company
he formed the acquaintance of William H. Thompson, with whom he joined
George Thatcher’s “Tuxedo” Company.

With Mr. Thompson he went to England in January, 1895; they remained
four years; the partnership was then dissolved.

Mr. Oakland married a Miss Stratton, of Swampscott, Mass., in December,
1887.

Fred Oakland was born in London, England; he died there October 5,
1900; age 46 years.

[Illustration:

J. C.--HARRINGTON & JOHNSON--ARTHUR

JAS.--CONNORS & KELLY--JAS.
(Portraits reversed)

ED.--KELLY & O’BRIEN--JOHN

C. W.--COGILL & COOPER--FRED]

CHARLES QUEEN (Kane) was one of the best clog dancers in minstrelsy.
January 26, 1882, at Montreal, Can., he performed for the first time
in public on a pedestal fifteen inches square and six feet high, on
which he turned somersaults and flip flops; this was while a member of
Haverly’s Minstrels.

He was born in St. Louis, in 1854; he died in Kansas City, Mo., June
29, 1886.

THE DIAMOND BROTHERS were well-known as clever song and dance
performers.

They generally played joint engagements, and at various times had
been with such well-known minstrel companies as McNish, Johnson and
Slavin’s, Primrose and West’s, Haverly’s, Big Four, Gorton’s, Hi
Henry’s, and Al. G. Field’s; with the latter organization they had been
associated several seasons. A few years prior to their deaths they
headed their own organization.

Matt. Diamond died at New Castle, Pa., June 14, 1907; age 53 years.

Lawrence Diamond died at New Castle, Pa., December 15, 1906; age 42
years.

CHARLEY YOUNG began young, and is still young. His career commenced at
the Palace Varieties, Cincinnati, about 1865, as Call Boy, remaining
two years. Being a natural born dancer, he took the place of Johnny
Collins when the illness of the latter prevented him from appearing in
the Challenge Dance, a feature of most variety and minstrel shows of
the early days.

In 1868 he doubled with Billy Reed, and played variety houses for two
years; after which he worked single for some time.

In 1875 Tony Pastor sent him to Albany for five nights; he remained two
years, which was much better than going for two years, and remaining
but five nights. Mr. Young was so pleased with this two-year engagement
that he went to Heuck’s in Cincinnati, and played there two years. Then
came a spell of traveling and a season at Leadville, Colo.

In 1880 he formed a partnership with Sage Richardson, and shortly
afterwards they joined Cal. Wagner’s Minstrels.

Subsequent minstrel engagements were with Billy Rice and Hooley’s;
McIntyre and Heath’s, and J. H. Haverly’s; remaining three years with
the latter.

Other companies were Murray and Murphy, seven years; a four-year
starring tour in “A Soap Bubble”; four seasons with Bobby Gaylor; in
conjunction with Charles A. Mason, one season with Gus Hill’s New
York Stars; and a season each with Nellie McHenry; Edna May; and Ward
and Vokes. Mr. Young then starred four seasons in melodrama under the
management of Percy G. Williams.

Charles Young was born in Cincinnati, Ohio, July 3, 1854.

BILLY CONWAY (Marble) the well-known comedian, first appeared
professionally about 1871, with Mart. Healy, known as Healy and Conway;
this was in his native city; he was with Whitmore and Clark’s Minstrels
several seasons, where he joined the late Johnny Mack; afterwards
Healy, Saunders (Ella) and Conway formed an alliance; subsequently he
rejoined Mack, and they went with I. W. Baird’s Minstrels, where they
remained about eight seasons. He separated from Mack about three years
before his (Conway’s death), and appeared with McIntyre and Heath’s;
Dockstader’s, and Wilson’s Minstrels.

[Illustration:

JAS.--McINTYRE & HEATH--THOS. K.
(1874)

THE “GEORGIA MINSTRELS”

JAS.--McINTYRE & HEATH--THOS. K.
(1910)

McINTYRE & HEATH--YESTERDAY, TO-DAY and TO-MORROW.]

Mr. Conway was one of the Four Invincibles--Conway, Mack, Gardner and
Clark.

His last appearance was in New Haven, Conn., February 29, 1892.

Billy Conway was born in Hartford, Conn.; he died in Boston, Mass.,
March 8, 1892; age 38 years.

McINTYRE and HEATH

are beyond all question the greatest duo of black-face delineators of
the real Southern darky that the stage ever has or ever will know.

They give an absolutely faithful portrayal of the black man as he
really exists.

Mr. McIntyre as a pessimistic coon, and Mr. Heath as the colored gemmen
with pronounced optimistic ideas of life, are excruciatingly funny
in everything they do; but as the “Georgia Minstrels” their talents
probably appear to the greatest advantage.

McIntyre and Heath joined hands in San Antonio, Texas, in the Spring of
1874, at the Vaudeville Theatre. They played many variety and circus
engagements until the fall of 1878, when they organized McIntyre
and Heath’s Minstrels. A year later they made their first New York
appearance at Tony Pastor’s Theatre; their success was instantaneous
and pronounced.

In the Fall of 1880 they engaged with the Alice Oates Company, playing
“Long Branch.”

In the Fall of 1881 they again headed their own minstrel organization,
and the following season McIntyre and Heath’s Specialty Company took
the road.

In 1883 they were under the management of Hyde and Behman, and the
following season headed their own company under the direction of
Primrose and West. In 1886, Spencer, McIntyre and Heath’s Minstrels
toured.

Their next important minstrel engagement was with Lew Dockstader’s
Company in 1891. Subsequently they played extended engagements with
Hyde & Behman’s Company, and Weber and Fields’ organization.

It was with the latter company that their famous “Georgia Minstrels”
was first produced at the Gayety Theatre, Brooklyn, N. Y., in August,
1894.

McIntyre and Heath played vaudeville until 1906, when they starred in
the “Ham Tree,” a big musical production written, around the talents of
these famous funsters. They continued with that play for three seasons.
In 1909 they appeared with “In Hayti,” another pretentious musical
offering, in which they, of course, played black-face parts.

James McIntyre began his professional career at Chicago in the Fall
of 1868, at Pete Kerwin’s, doing a song and dance in black-face; this
particular song was called “My Name Was Little Ned.”

The following year he went with Katie Putnam’s Company, where he played
Willie in “East Lynne,” and did a double clog with Peter Lester it
is now, but at that time, Peter Johnson. McIntyre and Johnson played
engagements with McKenzie’s Circus and Burton and Ridgway’s Minstrels
and a return to Katie Putnam’s Company.

The Minstrels closed at Indianapolis, Ind., in the Winter of 1871, and
Mr. McIntyre met Billy Fleming, and they decided to become pedestrians;
they “pedestered” from Indianapolis to Terre Haute, giving performances
at the various school houses en route.

Evansville, Ind., was the next objective point, after which Mr. Fleming
became enamoured with Mr. McIntyre’s professional attire, and without
permission from the latter young man, took them for his own.

* * * Mr. McIntyre’s next engagement was in a livery stable in
Henderson, Ky., where he remained two months, during which time he
organized an amateur minstrel company from local talent available; they
played four nights, the receipts of which were donated to McIntyre to
get him a new wardrobe, and a ticket to Louisville.

Several of Henderson, Ky’s. most prominent future citizens blacked up
in that memorable year of 1871, among whom were Jeff. Davis, Harry
Gilligan, Newton Shaw, John Reichert, Jr., and “Killis” Callender; and
when thirty-seven years later McIntyre and Heath returned to play an
engagement in the thrifty Blue Grass City, many of those “minstrels of
’71” responded to Mr. McIntyre’s invitation to a banquet, and pleasant
recollections were recalled.

Mr. McIntyre subsequently formed a partnership with Mike Butler, and
as McIntyre and Butler worked for several months; subsequently William
Carroll, (afterwards one of the Miaco Brothers), and Mr. McIntyre were
partners.

In the Spring of 1874 he again joined Butler and continued with him
until he met Mr. Heath.

Thomas K. Heath first “acted” at Mr. Kit Burns’ Theatorium in New
York City, 1867; the salary was $12 per week, most of which has been
invested in real estate at Deer Park, Long Island.

Mr. Heath then learned the trade of book binder, and continued at it
until he became programmer for Joseph Murphy in “Help”; this was in
1872. That same year he formed a partnership with George Howard, and as
Howard and Heath they did a black-face song and dance act, playing the
many variety theatres, finally landing at San Antonio, Texas, where he
formed a partnership with Mr. McIntyre.

James McIntyre was born in Kenosha, Wis., August 8, 1857.

Thomas K. Heath was born in Philadelphia, August 11, 1853.

AL. DECKER (Ladd) entered the profession about 1873 as partner with
Walter Gibbs.

A few years later he formed an alliance with Charles H. Yale, doing
black-face songs and dances, and pantomimic business. He continued with
Mr. Yale for several seasons, and after the latter branched into the
managerial field, he also was with him.

Mr. Decker died at Fall River, Mass., January 24, 1898; age 44 years.

BILLY WILLIAMS (Carmody) ranked with the best of wench impersonators.

His stage experience began at the age of three years at the Front
Street Theatre, in Baltimore. Later he did acrobatic work in circuses
until 1870, when on September 30, that year, he joined Billy Manning’s
Minstrels in Chicago.

[Illustration:

EDDIE MAZIER

SAM. LEE

EARL BENHAM

HARRY JOLSON

CLARENCE MARKS

ARTHUR GUY

THEY’RE WORKING NOW; THAT’S WHY THEY SMILE.]

He remained with Manning for a long period, and then played the variety
houses until 1876, when he formed a partnership with William J. Sully,
and as Williams and Sully did a black-face song and dance act for
eleven years.

Since which time Mr. Williams did mostly dramatic work. Billy Williams
was born in New York, July 1, 1854; he died in Elizabeth, N. J., July
25, 1910.

PATSY HOWARD, one of the original “Bay State Boys,” made his first
appearance as a clog and jig dancer in his native city in 1868, at the
old Globe Hall.

September 13, 1869, he organized the above act comprising John
Harrington, Jimmy Fitzpatrick, Henry Drummond and Patsy Howard,
making their first appearance on that date at the Howard Athenaeum in
Boston; they remained there five weeks, doing clog dances. After that
engagement they played two weeks at Morris Brother’s Minstrels in the
same city. After several variety engagements they returned to their
native heath and joined Dougherty, Wild, Barney and Mac’s Minstrels.
The four disbanded in 1871, Mr. Howard forming a partnership with
Harrington, who took the name of McVickar; Howard that of Sully; they
were known as McVicker and Sully until they separated in 1873, after
which he formed an alliance with Billy Sully; this lasted a year. Mr.
Howard then retired from the profession in 1874, and lived happily ever
afterwards.

Patsy Howard was born in Boston, Mass., June 26, 1854.

GEORGE RICHARDS, the well-known comedian, for many seasons associated
with the late Eugene Canfield, was a member of Emerson’s Minstrels
about five years, commencing 1870; he was a regular comic.

Mr. Richards was born in Somerville, Mass., January 3, 1854.

MACKIN and WILSON were one of the premier song and dance teams of
minstrelsy during a period when that style of performance had its
greatest vogue many years ago.

Jimmy Mackin and Francis Wilson (then known as Frank Wilson) were boys
in their ’teens when they formed a partnership that lasted for seven
years; during which time they played engagements with some of the
foremost minstrel organizations of their day.

Their initial appearance as a team was at the Metropolitan Theatre,
Indianapolis, Ind., August 7, 1871.

July 1 following, they began a brief engagement with Sam Sharpley’s
Minstrels.

Their first New York appearance was at the Comique, commencing
September 16, 1872; they reappeared there October 28, following, after
which they opened in Chicago with Arlington, Cotton and Kemble’s
Minstrels, December 2, same year. They remained with the above
organization the balance of the season, and part of the next one,
commencing August 26, 1873. September 3, 1874, they began a season’s
engagement with Birch, Wambold and Backus’ famous San Francisco
Minstrels in New York, after which they joined Emerson’s Minstrels,
July, 1875.

Later they were with Hooley, Haverly and Maguire.

They rejoined Emerson’s Company in Detroit, September 30, 1875; January
13, 1877, they left Emerson; and nine days later became members of
Sweatnam and Fraser’s Minstrels in Philadelphia.

There Mackin and Wilson decided to head their own organization, and
accordingly on the twenty-first day of May, 1877, Mackin and Wilson,
Sutton and “Bernardo’s” Minstrels left Philadelphia to win fame and
fortune; they did neither. The thrilling account of the trials and
tribulations of this little band are best explained in Mr. Wilson’s own
letter, which will be found elsewhere in this volume.

The name of the company underwent several changes before its
dissolution in September, 1877; the obsequies were held in Cleveland,
Ohio.

Mackin and Wilson next engaged with Neil Bryant’s Minstrels in New
York, opening October 8 following; they closed December 8.

Shortly after this they joined Simmons, Slocum and Sweatnam’s Minstrels
in Philadelphia, where they remained until the end of the season, May
11, 1878; this was followed by a supplemental tour, after which Mackin
and Wilson separated, each going their respective ways.

JAMES F. MACKIN was an exceptionally clever clog dancer and good
performer, when with Tom Sullivan he joined Harry McCarthy’s Minstrels
in Indianapolis, Ind., September 14, 1870. The team was known as Mackin
and Sullivan; they continued with the company until it closed, January
26, 1871.

After separating from Mr. Wilson, he joined the late John D. Griffin in
New York, doing a black-face song and dance, week of July 1, 1878; he
continued with Griffin a few weeks, after which he became a member of
Barlow, Wilson, Primrose and West’s Minstrels; he remained with this
company until 1881.

Mr. Mackin played various variety engagements after this until his
death.

FRANCIS WILSON first made the acquaintance of burnt cork in his native
city in the middle 60’s; Mr. Wilson’s parents was not made aware of the
acquaintance until some time later. It was not all honey, and not all
jam in those days, as Mr. Wilson will Frankly admit (jest).

It was not until October 29, 1868, that he saw his name in print,
for it was on that date that the first performance of the “Amateur
Minstrels” at the Assembly Buildings in Philadelphia was given; the
entertainment closed with the “Grand Duchess, 2d.” Whether or not Mr.
Wilson was the Duchess on this august occasion, history does not state.

After severing relations with Mackin, Mr. Wilson entered the ranks of
the Chestnut Street Theatre Stock Company in Philadelphia, where, on
September 9, 1878, he played his first part in white-face; that of
Cool, in “London Assurance.”

He made rapid strides in his new field of endeavor, and continued
as a member of the stock until February 21, 1880; two days later he
joined “Our Goblins,” a musical comedy, playing the role of Octavius
Longfellow Warbler. Subsequently Mr. Wilson purchased an interest in
the company, and played the more important part of Alfred Comstock
Silvermine.

August 1, 1881, he began a two weeks’ engagement at the Walnut Street
Theatre, Philadelphia, as Moe Jewell, in the “World.”

Mr. Wilson afterwards returned to “Our Goblins,” and he also played
Templeton Fake with Annie Pixley in “M’liss.” His subsequent career in
light opera and other amusements are too well known to require further
mention.

Probably no one man in the annals of theatricals has achieved more in
his chosen profession than Francis Wilson.

When Mackin and Wilson dissolved partnership the team were getting a
good salary; and when Mr. Wilson applied for a small position in the
stock company in Philadelphia he was told he would have to begin all
over again; Mr. Wilson, however, was willing; and the weekly stipend
was just about 25 per cent. of what he received as a song and dance
performer. But Francis Wilson had the courage of his convictions, for
he never considered his minstrel and variety days in any other than a
school for the talents he later intended to develop.

Mr. Wilson was always a student; and when his companions would invite
him to participate in their nightly dissipations, he would politely but
firmly refuse; study was more to his liking.

Francis Wilson is a man of letters; the author of “Reminiscences of a
Fellow Player,” “Recollections of a Player,” and the comedy in which he
is now appearing, the “Bachelor’s Baby.”

Likewise did he write the “Life of Jos. Jefferson,” the “Eugene Field I
Knew,” and contributed several short stories to magazines.

He is co-proprietor with Mrs. Wilson (formerly Miss Myra V. Barrie) of
the Misses Adelaide and Frances Wilson.

James F. Mackin was born in Providence, R. I.; he died in Sturgis,
Dak., May 4, 1883.

Francis B. Wilson was born in Philadelphia, February 7, 1854.

BILLY GINNIVEN, the well known black-face song and dance performer,
worked at various times with John E. Henshaw, Charley Gilday, and his
wife, professionally known as Frankie Lee, whom he married about 1878.

He died in Denver, Colo., January 11, 1879.

PETRIE and FISH formed a partnership in 1876, doing a black-face act.

In 1878 they were joined by Connors and Kelly, and as the Original
Four they met with great success in the United States and Europe. They
subsequently separated, Mr. Petrie doing an act with his wife in the
variety houses, billed as Petrie and Elise, in “Passing the Toll Gate.”

In 1896 Mr. and Mrs. Petrie, with their two sons, formed the Four
Olifans, a grotesque act, which they performed successfully for several
seasons. Mr. Petrie married Margaret Cockrell in 1880.

Mr. Fish formed one of the team of Fish and Quigg, a “big and little
act,” and was very successful after separating from Mr. Petrie.

William O. Petrie was born in Lockport, Ill., in 1855; he died in
Chicago, Ill., May 26, 1901.

Fred C. Fish died in New York, December 8, 1900; age 40 years.

[Illustration: BARLOW, WILSON AND RANKIN’S MINSTRELS.

Frankfort, Ky., 25 Years Ago.]

KEATING AND SANDS were one of the earliest and best of black-face
musical acts.

They formed an alliance in the 70’s, which practically continued until
Mr. Sands’ death.

They were said to be the first act of their kind to visit Europe; they
played a two years’ engagement there with Hague’s Minstrels.

Subsequent to the death of Sands, Mr. Keating worked with several
partners, notably Harry Barton, Harry Leopold and Tom Ardell. He was
also of the team of Keating and Harris.

John J. Keating died in Boston, Mass., April 26, 1897; age 43 years.

Edw. Sands (Stanstedt) was born in Boston, Mass.; he died there
February 12, 1887; age 30 years.

MURPHY and MORTON were equally as well known in black-face specialties
as they were in white. They made their first appearance about 1874 with
Tony Pastor in New York. They played the principal variety houses, and
were with such well-known minstrel companies as Hooley’s; Thatcher’s,
in Philadelphia; Emerson’s, in San Francisco; Hooley’s, in Chicago;
Haverly, same city, and Carncross, in Philadelphia. About 1880, they
joined forces with Griffin and Rice, and did a “four” act for about
two seasons. All told, Mr. Murphy has spent about twenty years at
Carncross’, and half that at Dumont’s Minstrels in Philadelphia.

He has been also associated with Alf. Gibson, and produced Murphy and
Gibson’s Minstrels in Atlantic City, N. J., for several years past.

John E. Murphy (DeAngelis) was born in Philadelphia, July 26, 1855.

Jos. Morton (McGarvey) was born in Philadelphia; he died there July 17,
1884; age 29 years.

* * * * *

The highest salary ever drawn by any black-face team in the history of
theatricals was paid to McIntyre and Heath.

* * * * *

THE THREE RANKINS achieved enviable distinction for their musical
act, which was one of the best. Originally there were four brothers,
Carl, Will, Rit and Fitch, and they played an engagement with E. M.
Hall’s Minstrels, opening in Chicago, June 29, 1878. In the Fall of the
same year Fitch Rankin retiring, the Three Rankins joined Wagner and
Cotton’s Minstrels for a short season.

The following year with Lew Simmons, they organized Simmons and
Rankin’s Minstrels, and after the dissolution they re-organized as
Three Rankin’s Minstrels, opening at Columbus, Ohio, November 27, 1879,
and closing same date.

December 20, 1880, they joined Kyle’s “Christy” Minstrels in Boston for
a brief engagement.

After the death of Rit his place was taken by John Mosure, and as the
“Three Rankins” they played with Leavitt’s Giganteans, in 1882. The
death of Will broke up the act, and Carl joined Thatcher, Primrose
and West’s Minstrels July 3, 1885. A few weeks after this he left the
company to become a partner with George Wilson in his company, which
was known as Barlow, Wilson and Rankin’s Minstrels.

Carl Rankin’s last appearance was with Lew Dockstader’s permanent
minstrel company in New York, which he joined in 1887.

Carl Rankin had a superb bass voice, and as a comedian had developed
into one of the best in minstrelsy. His death was a severe blow to the
profession.

Rit Rankin died in Columbus, Ohio, December 11, 1881.

Will Rankin died in Philadelphia, January 31, 1885; age 30 years.

Carl Rankin was born in Columbus, Ohio, October, 1859; he died in
Philadelphia, November 25, 1888.

HARRIGAN and HART formed a partnership in the Spring of 1871. Prior to
this Tony Hart, who was known as Master Anthony Cannon, appeared with
various minstrel companies as a ballad singer.

February 26, 1872, they began an engagement with Arlington, Cotton
and Kemble’s Minstrels in Chicago. In later years they each played in
black-face on several occasions, notably Mr. Harrigan as “Pete.” Mr.
Hart was probably the best “genteel wench” that ever trod the boards.

Edw. Harrigan was born in New York, October 26, 1845.

Tony Hart (Anthony Cannon) was born in Worcester, Mass., July 25, 1855;
he died there November 4, 1891.

GEORGE ROBERT GUY, the senior member of the famous Guy Family, blacked
his face for the first time in 1863, and has been successfully
following his profession ever since; and is now fairly in sight of
the half-century mark as a minstrel performer. This is a record that
is probably unique in the annals of minstrelsy; more than forty-seven
years continuously and exclusively as a black-face performer; and the
end is not in sight, for those who know, declare George Guy is as alert
and active as any performer of half his years.

Mr. Guy’s first appearance was in New York in 1863, dressed as a little
clown; the following week at Newark, N. J., he blacked his face for the
first time.

About two years later, with his brother Willie, they joined Hooley’s
Minstrels in Brooklyn, N. Y., remaining several months, subsequently
playing an engagement with Geo. Christy’s in New York.

October 1, 1866, they were at the opening performance of Kelly and
Leon’s Minstrels in New York, where Mr. Guy and his brother soon after
produced for the first time on any stage, Mr. Guy claims, a “boy and
girl” duet, portraits of which may be seen elsewhere. Mr. Guy continued
with Kelly and Leon for several years, and in the Summer of 1869 went
to England with Smith and Taylor’s Minstrels, and later appeared with
Moore and Burgess’ Company in London. About 1870 he joined Harry
Robinson’s Minstrels, and some months later was with Welch, Hughes and
White in Brooklyn, N. Y.

Next came the organization of the Guy Bros. Minstrels; subsequently
the Guy Family in concerts, after which the Guy Bros. Minstrels were
reorganized, and Mr. Guy has been continuously identified with that
company for more than thirty-five years. For several seasons past he
has been sole proprietor and manager. Truly George Guy is a monument to
the profession he so befittingly represents.

George R. Guy was born in Hartford, Conn., October 7, 1855.

THE FROHMANS IN MINSTRELSY.

GUS FROHMAN was manager of Callender’s Colored Minstrels in 1874; early
in 1882 he was one of the proprietors. He was born in Sandusky, Ohio,
about 1855.

DANIEL FROHMAN became advance agent for Callender’s Colored Minstrels
in 1874; subsequently he was with Haverly in an executive ability. Mr.
Frohman was born in Sandusky, Ohio, about 1850.

CHARLES FROHMAN, one of the world’s foremost theatrical managers,
was treasurer for Haverly’s Mastodon Minstrels at their inception in
Chicago, October 21, 1878. In 1880 he went to Europe with them, and
while there, December 25, 1880, the members of the company, to show the
high esteem in which they held their treasurer, presented him with a
handsome gold watch, chain and locket suitably engraved.

Mr. Frohman subsequently became manager of the company and continued
with Haverly until January, 1882, when he left, and in conjunction with
his brother Gus, became proprietor of Callender’s Colored Minstrels a
few weeks later, and continued with that company about three years.

Charles Frohman was born in Sandusky, Ohio, July 20 or 22, 1857.

FOSTER and HUGHES were one of the great black-face acrobatic song and
dance teams of the minstrel and variety stage. They formed an alliance
about 1876 and continued for several years.

They traveled with their own specialty company in 1886. Subsequent to
their separation, Mr. Foster married Fannie Lewis, and did an act with
her up to the time of his death.

Mr. Hughes joined John Slavin in a knockabout act after separating from
Mr. Foster; he has retired from the stage.

Dave Foster (Patterson) died in New York, December 6, 1898.

Artie Hughes (Quigg) was born in Albany, N. Y., March 28, 1855.

JOHN T. KELLY, the favorite Irish comedian, was an end man with
Leavitt’s Minstrels. Ask him when.

Mr. Kelly was born in Boston, Mass., August 26, 1855.

WM. F. HOEY, better known to later generations of playgoers as “Old
Hoss,” was one of the cleverest of black-face musical comedians. His
first appearance was in his native city at the Thirty-fourth Street
Theatre in 1873.

In 1875 he formed a partnership with John F. Fields, and as Fields and
Hoey continued until 1878; during this period they played an engagement
with Cal. Wagner’s Minstrels in 1876.

In 1878 they dissolved partnership, and Mr. Hoey subsequently and for
several seasons did an excruciatingly funny act with Fred Bryant.

Bryant and Hoey played with Thatcher and Ryman’s Minstrels in
Philadelphia, and the San Francisco Minstrels in New York.

In 1882 Mr. Hoey, Bryant, and Charles E. Evans formed the “Meteors,”
Hoey appearing in a sketch called the “Book-Agent,” as a tramp; this
was the inception of the “Parlor Match,” with which he was identified
for several years.

[Illustration:

W. S. BUDWORTH

E. M. HALL

LEW. BRIMMER

TOM. WARFIELD

DANA H. CLAUDIUS

HARRY STANWOOD

BRILLIANT BANJOISTS OF MINSTRELSY.]

Mr. Hoey was married to Helena French, of the French Twin Sisters, and
was a brother of James F. Hoey.

William F. Hoey was born in New York City, January 1, 1855; he died
there June 9, 1897.

THE RUSSELL BROS., famous for many years in practically every variety
and vaudeville theatre in the land for their great act, the “Irish
Servant Girls,” began their professional career in January, 1877, doing
the old-time specialty of changing from white to black in full view of
the audience.

About 1880 they joined Woodson and Allen’s Minstrels, James doing an
end, and John singing in the first part.

John Russell was born in New York City August 19, 1854.

James Russell was born in New York City October 26, 1859.

HYDE AND BEHMAN, whose theatre in Brooklyn, N. Y., for many years
played all the prominent black-face, as well as other luminaries, were
the proprietors and managers of a first-class minstrel organization
bearing their names in 1885.

Richard Hyde was born in Brooklyn, N. Y., May 22, 1849.

Louis Behman was born in Brooklyn, N. Y., June 4, 1855; he died there,
February 27, 1902.

FRANK C. GEYER, an excellent acrobatic song and dance man, made his
first professional appearance at Deagle’s Varieties, St. Louis, Mo.;
shortly after this he formed a partnership with George A. Turner and
Billy Mendel, being known as the Big 3; Mendel soon dropped out, and
the team was known as Geyer and Turner, and as such continued for
several years, finally separating. Mr. Geyer then allied himself
with James B. Mackie, and as Geyer and Mackie they continued giving
black-face specialties; subsequently the team was known as Geyer and
Sylvester, and Geyer and Lord.

He managed the opera house at Bellaire, Ohio, several years.

Mr. Geyer’s first wife was Amy Nelson, a prima donna, with whom he
was professionally associated a considerable period; subsequently
he married Mamie Forrest, of the Forrest Sisters; they played the
principal variety houses.

He traveled with O’Brien’s Circus for two years; and was one of the
three Geyer Brothers--Frank, Charles and Albert; an odd coincidence
concerning the latter was that for a brief period he did a black-face
song and dance act with Frank Turner, of the Three Turner Brothers,
known as Turner and Geyer; in one case a Turner was associated with one
of the Three Geyer Brothers; in the other a Geyer worked with one of
the Three Turner Brothers; the two Turners were not related.

Frank C. Geyer was born in Newark, N. J., September 5, 1855; he died at
Lexington, Mo., June 4, 1900.

DONALD HAROLD (O’Donnell Harrold) was once the “boy tenor”; you
wouldn’t think so to see him now, but bear in mind that was in 1872,
on the first day of that year at Simmons and Slocum’s Minstrels in
Philadelphia.

Mr. Harold continued with the minstrels until August, same year; his
voice changing, he also changed his job, and two years and one month
later he identified himself with the famous Holman Opera Troupe,
remaining until May 20, 1878.

Since that date Mr. Harold has been associated with many musical and
farcical productions--but no minstrels.

Donald Harold was born in Philadelphia, December 5, 1855.

BOBBY BEACH (Anin W. Gardner) entered the theatrical profession at the
age of 15, doing a contortion act; subsequently developing into a good
dancer.

He was with Barlow, Wilson, Primrose and West’s Minstrels in 1881, and
about a year or so later with Otis Bowers formed the Beach and Bowers
Minstrels, which were prominent for several seasons.

He was seriously injured while doing a pedestal act.

Bobby Beach was born in Rome, N. Y.; he died in Watertown, Wis.,
December 1, 1905; age 50 years.

TOMMY HARRIS (McGuigan), one of the very few men left capable of
playing the old-time nigger acts, made his first appearance at Fox’s
Theatre, Philadelphia, in 1875, with a partner, whose name was Ward;
the team name being Ward and Harrison; subsequently they played an
engagement in Philadelphia with Skiff and Gaylord’s Minstrels; late in
1876 they separated. His next partner was Jack McNeil; joining Fattie
Stewart’s Company, the team was accidently billed as Harris and McNeil;
and Harris it has remained ever since. In 1879 they joined the Three
Arnold Bros. Minstrels, and while with this company they dissolved
partnership; McNeil died about 1902.

Mr. Harris then played variety engagements with his wife, the team
being known as the Harrises, until 1889; he then taking a stock
engagement at the Odeon, Baltimore, remaining there 10 years.

A season with his son and daughter, known as the 3 Harrises followed;
then he worked with his daughter Laura (now of Cartmell and Harris) for
about four years, after which he joined Lew Simmons for a season; then
a brief season as one of the 4 Cartmells, after which was Smith and
Harris.

Tommy Harris was born in Philadelphia, February 3, 1855.

HARRY KENNEDY (W. H. Kennedy), the well-known ventriloquist and song
writer, played many minstrel engagements, notably with Haverly’s
Mastodons.

In the Fall of 1884 he was associated with Billy Birch with the San
Francisco Minstrels.

Harry Kennedy was born in Manchester, Eng.; he died in Brooklyn, N. Y.,
January 3, 1894; age 39 years.

CHARLEY REED. “Just the Plain Comedian” he was termed, and he _was_ a
comedian, as anyone who remembers him will testify.

Charley Reed’s professional career began and ended in white-face, but
the major portion of it was given to minstrelsy, where he was always a
star.

About 1872 he went to the California Theatre in San Francisco, where he
became successively call-boy, prompter and low comedian.

In 1873 he joined Maguire’s Minstrels at the latter’s opera house in
the Western metropolis. August 31, 1874, he opened for the season in
Philadelphia with Simmons and Slocum’s Minstrels; the following August
he joined Emerson’s Minstrels in Cincinnati. In 1876 he returned to
San Francisco, and for the next three years he continued there with
the minstrels at Maguire’s Opera House and comedian at the Bella Union
Theatre.

July 7, 1879, with a variety company under the management of Martin
Simon, he sailed for Australia, remaining away for more than a year.
On February 7, 1881, he began an engagement with Thatcher and Ryman’s
Minstrels in Philadelphia.

A season with “Muldoon’s Picnic,” with Hyde & Behman, and Mr. Reed
returned with Emerson’s Minstrels in San Francisco, subsequently
becoming a partner of Emerson, and later Charley Reed’s Minstrels held
sway at the Standard Theatre until April 10, 1886. August 16, 1886,
he opened at the Madison Street Theatre in Chicago, with a minstrel
company. He continued here a few weeks, and in the following October
he appeared with Lew Dockstader’s Minstrels in New York, playing a
brief engagement; this was his last appearance in black-face. Later he
appeared as Ko-Ko in the “Mikado,” “A Rag Baby,” “City Directory” and
other farcical plays.

At the time of his death he was associated in partnership with William
Collier in “Hoss and Hoss.”

Charley Reed was born in New York City, May 22, 1855; he died in
Boston, Mass., November 21, 1892.

* * * * *

NAT. C. GOODWIN in minstrelsy? Why, yes. He commenced an engagement
with Haverly’s Minstrels at Chicago, September 11, 1876, doing a
specialty consisting chiefly of imitations.

* * * * *

GRIFFIN and RICE ranked with the premier black-face song and dance
teams of minstrelsy.

They made their first appearance as an act in Pittsburg, Pa., about
1873. September 15, 1875, they opened with Buckley’s Serenaders in
Boston; the season closed October 25, 1875.

December 20, same year, they began an engagement with Carncross and
Dixey’s Minstrels in Philadelphia, and continued throughout the season.

On November 20, 1876, they opened with Sweatnam’s Minstrels, also in
the Quaker City, an engagement that terminated December 16. Two days
later they returned to Carncross and Dixey, where they remained the
major portion of the time until the dissolution of their partnership in
1883.

In June, 1878, they played a limited engagement with Neil Bryant’s
Minstrels in New York. August 6, 1880, they were with Sweatnam and
Dougherty’s Minstrels, and September 6, 1881, with Murphy and Morton,
opened with George Thatcher’s Minstrels in Philadelphia, as Murphy,
Morton, Griffin and Rice.

In 1883 Mr. Rice broke away from his black-face affiliations, and with
Geo. S. Knight’s “Over the Garden Wall,” played a German comedy role.

About 1885 Mr. Rice formed a partnership with Geo. W. Monroe, and for
several years they starred in “My Aunt Bridget.” Subsequently he was
identified with May Irwin’s and other high-class farcical productions.

Mr. Rice excels as a neat dancer, and as a light comedian, leaves
nothing to be desired.

[Illustration: CHARLES HILLIARD.]

Of course, everyone knows that Sallie Cohen, of Rice and Cohen, is none
other than Mrs. John C. Rice; as a guess, the author would say the
change occurred about 1890.

James Griffin formed a partnership with Ned Ainsley in the late 60’s,
doing black-face songs and dances, and as Ainsley and Griffin were
together for several years.

In 1872 Mr. Griffin was with Purdy, Scott and Fostelle’s Minstrels.

After separating from Mr. Rice, Griffin played engagements with
Carncross’ Minstrels in Philadelphia and Lew Dockstader’s Minstrels, in
New York City; in 1893, he made a trip to South Africa with Serrill’s
Minstrels.

He also played in various melodramatic productions.

John C. Rice (Hildeberg) was born in Beaver Kills, N. Y.--the reader
must guess the rest.

James Griffin (McNally) was born in Rochester, N. Y., September 10,
1852; he died in Philadelphia, May 10, 1904.

FRED HALLEN (Smith), prominent for many years as one of the famous
farcical duo of Hallen and Hart, was “Master Ad. Weaver” as late as
April, 1875, doing black-face parts in acts with that once well-known
minstrel, Ad Weaver.

If Mr. Hallen has any regrets, he doesn’t look it.

HARRY LE CLAIR, the famous protean player, had his experience with cork.

About 1876, at the Terrace Garden, Buffalo, N. Y., Manager Dan Shelby
suddenly confronted LeClair and asked him if he could play Topsy. Mr.
LeClair said he could play pinochle and seven up, but had never heard
of Topsy, except in “Uncle Tom’s Cabin.” That’s the same party, said
Shelby. So Mr. LeClair blacked up, and he blacked-down, he blacked in
and he blacked out; he blacked his lips and he blacked his teeth; and
he probably would still be blacking if the cork had not run out. After
the show they had to run him through a washing machine to un-black him.

SMITH AND BYRNE were a well-known black-face musical act thirty years
ago. Their first appearance was at Washington Hall in New York, in
1878, on which occasion they introduced the famous “dislocated organ”
solos, of which Mr. Byrne claims to be the originator--and to date no
one has disputed it.

The team separated in 1884; Mr. Smith later ran for several years
Smith’s Opera House in Bridgeport, Conn.

Mr. Byrne became a monologuist, but before that, a pessimist.

He is now a playwright, and is willing to prove it on the slightest
provocation.

Ed C. Smith is said to be a resident of Boston or its environs.

John H. W. Byrne was born in Celbridge, Ireland, May 4, 1855.

HARRY LACY, the well-known actor, and star for many years in the “Still
Alarm,” was a member of Harry Robinson’s Minstrels as early as March
29, 1873, 8:15 P. M.

He sang a ballad in the first part, and sang it well.

MICHAEL F. HENNESSY, one of the Hennessy Bros., was a well-known
minstrel performer. He went to Europe with Haverly in 1884;
subsequently appearing with other companies. For two seasons he was
associated with Hennessy Bros. Minstrels.

His last engagement was with Cushman and Thomas’ Minstrels. He died in
Milford, Mass., April 24, 1890; age 35 years.

PERCY G. WILLIAMS, the prominent vaudeville manager and theatre owner,
played many black-face parts while a member of the Park Theatre,
Brooklyn, N. Y., Stock Company, many years ago. To be specific, he
enacted the role of Goliah, a colored boy, in the play of “Echoes” week
of October 23, 1876. I have the programme.

DAN MASON, the tangled Teutonic talker, was a comedian on the minstrel
first part at the old National Theatre, Cincinnati, Ohio, in the Spring
of 1874.

Dan says that was the beginning of the “end.”

Mr. Mason was born in Syracuse, N. Y., February 9, 1855.

NILES and EVANS were an excellent song and dance team; Mr. Evans’
“make-up” as a wench was something remarkable. They made their first
joint appearance at Rochester, N. Y., January 1, 1872, appearing in
white faces in “Under the Gaslight.”

They subsequently played in black-face, and made their initial
appearance in minstrelsy with John Hooley’s Company in Brooklyn, N.
Y., in April, 1873; they remained a few weeks and liked it so well
that they joined Purdy and White’s Minstrels May 19 following. There
is reason to believe that they did not like this so well. In December,
1874, Mr. Evans temporarily retired, and with Burt Wayne, Mr. Niles
joined Kelly and Leon’s Minstrels.

Subsequently they again joined hands and continued until March
18, 1882; owing to the illness of Mr. Niles, they made their last
appearance as a team in Louisville, Ky., on the above date.

Mr. Evans’ career since then is well known.

On August 18, 1882, he formed an alliance with Bryant and Hoey, and
for two years headed a variety company in which the principal act was
that of the “Book Agent”; this was the inception of “A Parlor Match,”
which was first produced September 5, 1884, and which had a continuous
run for ten years, since which time Mr. Evans has been successfully
manager, producer, actor and vaudevillian.

P. J. Niles was born in Syracuse, N. Y., February 8, 1851; he died at
Lewis Station, N. Y., October 17, 1882.

Charles E. Evans was born in Rochester, N. Y., September 6, 1856.

DELMORE and WILSON are recognized as clever performers in white face,
but that they were equally clever disguised with cork, not all are
aware. They made their first appearance in Hoboken, N. J. (most anyone
can tell you where it is), in 1880, doing a neat black-face character
change act.

Their first minstrel engagement was with Cal. Wagner in 1884;
subsequently they played with the following well-known companies:
Duprez and Benedict’s; Barlow Bros. and Frost’s; Hi Henry’s; Beach
and Bower’s; two seasons with Carncross’ Minstrels, in Philadelphia;
their last appearance in black-face was with Haverly’s Minstrels about
fifteen years ago.

Subsequently they played six seasons with “Finnigan’s Ball” and two
years with “The Irish Pawnbrokers.” These gentlemen also played several
weeks in London and the provinces, and thirteen weeks in South Africa.

Len Delmore was born in Brooklyn, N. Y., March 23, 1861.

Fred Wilson was born in Brooklyn, N. Y., September 10, 1856.

JERRY HART is a black-face comedian whom we should see more of, and I
am sure we will.

Mr. Hart was raised in New Orleans, La., which gave him an opportunity
of studying the “darky” at close range.

During Mr. Hart’s career he was associated with such companies as
Barlow, Wilson and Rankin’s; Haverly’s; Al. G. Fields’, and Schilling’s
Minstrels.

In 1897 he starred with Ned Monroe in the “Gay Matinee Girl.”

About ten years ago he went to England, and later to Africa, where Hart
and Leo played for eight years.

Jerry Hart was born in Boston, Mass., January 23, 1856.

JAMES M. TIERNEY made his first professional appearance at the age of
10 years; he was billed as Master Eddy.

About 1872 he joined Tim Cronin, and as Tierney and Cronin they
constituted one of the best song and dance teams of their day, during
which period they played the principal variety houses, and some of the
famous minstrel organizations, notably Kelly and Leon’s; Neil Bryant’s
and Hooley’s, in Brooklyn.

Mr. Tierney separated from Cronin about 1881, subsequently engaging
with Harrigan and Hart in New York; he left them April 18, 1885, after
which he joined the Alice Oates Company, where he remained until his
death.

James M. Tierney was born in New York in 1856; he died in St. Louis,
Mo., July 28, 1885.

BILLIE BARLOW (Wm. S. Wyatt), a clever female impersonator who was with
Hi Henry’s Minstrels in 1888, died in Mobile, Ala., September 2, 1897;
age 41 years.

FRED. DART was considered one of the best and most versatile “wenches”
in minstrelsy; he was for many years with Sam Hague’s Minstrels in
Liverpool, and when Mr. Hague came to this country in 1881, Mr.
Dart was with him, subsequently joining Carncross’ Minstrels in
Philadelphia, where he remained until the time of his death.

Fred Dart was born in Liverpool, England; he died in Philadelphia,
March 30, 1890; age 34 years.

BILLY (Wm. H.) CHACE began his professional career in his native city,
doing an “essence” in black-face; this was in September, 1870. His
first minstrel show was Huntley’s Minstrels; other minstrel engagements
were Harry Robinson’s; I. W. Baird’s; Barlow, Wilson’s; Emerson’s;
Alex Comstock’s. With Will Culhane and Wm. R. Weston they traveled as
Culhane, Chace and Weston’s Minstrels for 8 years.

[Illustration:

EDNA MAY SPOONER

SALLIE COHEN

CECIL SPOONER

TRIXIE FRIGANZA

LOTTA

JENNIE YEAMANS

MAUDE RAYMOND

ARTIE HALL

BEVERLY SITGREAVES

THEY ALL BLACKED UP.]

He was of the song and dance teams of Chace and Davis, Chace and Yale
and Chace and Buckley.

Other engagements were Washburn’s “Last Sensation,” 3 years; at
the Theatre Comique, Providence, R. I., 3 years, and Rentz-Santley
Company, 3 years; also clown with Howe’s London Circus and other circus
engagements; James R. Waites Company, 3 years, and played Joshua
Simpkins in the play of that name for one season, also with Rice and
Barton’s Company.

Mr. Chace was married to Miss Kitty Elzel, at Worcester, Mass., April
18, 1882; subsequently he became the husband of Henrietta St. Felix, of
the 4 St. Felix Sisters, at Bainbridge, Ga., February 1, 1893.

Mr. Chace says that he is of the opinion that Chace and Davis at the
Wigwam Theatre, Paterson, N. J., February, 1873, were the first to do a
black-face “gagging” turn; I place it up to my readers.

Billy Chace was born May 31, 1856; at Providence, R. I.

LEW DOCKSTADER (Geo. Alfred Clapp).

Minstrelsy didn’t commence with Lew Dockstader, but Lew Dockstader
commenced with minstrelsy, and has been associated with it ever since,
always appearing in black face, a distinction enjoyed but by few
burnt-cork artists. Mr. Dockstader’s success is due to many things, the
most conspicuous being his ability to ascertain just what the public
wants and when it wants it; and then giving it to them.

The name of Dockstader has been a household word for many years; the
fame of Dockstader will live forever.

Mr. Dockstader’s initial appearance dates back to 1873, when, in his
native city he was a member of an amateur organization by the very
minstrel name of Earl, Emmett and Wild’s Minstrels; with Frank Lawton
he did a song and dance act under the team name of Lawton and Clapp.
That there was some class even at that early date to the great artist
in embryo, is evinced from the fact that the late Harry Bloodgood, who
was at that time organizing a company, engaged young Clapp, and he
forthwith became a member of Bloodgood’s Comic Alliance, opening in
Springfield, Mass., about September 1, 1873, and continuing the season.

The following year he formed a partnership with Johnny Mack, and as
Mack and Clapp joined Whitmore and Clark’s Minstrels, remaining until
the Spring of the next year.

From 1875 to 1876 he was associated with Mart Healy, also Healy and
Ella Saunders, playing the variety houses, and billed as the “Big
Three.” Then something happened. Mr. Dockstader fell into some money;
but how fall out? Have a theatre of your own, someone suggested.
Accordingly, on the 11th day of September, 1876, Newton’s Varieties,
in Hartford, Conn., was opened under the management of Lew Clapp; four
weeks later the name of the theatre was changed to the Adelphi and as
the Adelphi it continued until January 13 following, when Mr. Clapp
surrendered the reins of management to the more venerable Ad. Weaver.

[Illustration: LEW. DOCKSTADER.]

Thinking he had said goodby to the theatrical business for good and
all, Mr. Clapp (who still retained some of his inheritance) set out for
California, where he reached in due time. This was before the day of
“Seeing San Francisco” cars were in evidence; nevertheless he saw all
that was worth seeing before it dawned upon him that the end of his
money had been nearly reached.

Fate in the guise of Cogill and Cooper appeared on the scene, and
in May, 1877, opened the new Adelphi Theatre in the great Western
metropolis; Lew Clapp doing a song and dance, “Peter, You’re in Luck
This Morning,” was one of the features of the bill.

After a pleasant and profitable engagement of several months he joined
Sargent’s Minstrels for a tour, opening early in September and closing
in Sacramento, Cal., December 10, 1877.

He gradually worked his way to New York, where in August, 1878, he
formed a partnership with Charles Dockstader, doing black-face songs
and dances; the alliance, which was known as the Dockstader Brothers,
continued until the illness of Charles Dockstader caused a severance
of their business relations in Philadelphia, in March, 1883. Mr.
Dockstader made his initial appearance with his new partner in Jersey
City, September, 1878; they remained there several weeks.

Their first minstrel engagement was with Jerry Thomas’ Minstrels in New
York at the Brighton Theatre (present site of Bijou) December 30, 1878.

They then played the principal variety houses until the commencement
of the season of 1880 when they joined Carncross’ Minstrels in
Philadelphia for the season; the following year they returned there,
and remained until about January 1, 1882, when they joined George
Thatcher’s Minstrels, also in Philadelphia, for a brief engagement,
terminating January 21st; a week later they opened with Haverly’s
Minstrels in St. Louis, Mo., for the balance of the season.

In the Fall of 1882 they again returned to Carncross’, in Philadelphia,
where after the sickness of Charles Dockstader in March, 1883, Lew
Dockstader remained until the season closed; drawing the double salary
for his individual services, and generously sharing it with his
afflicted partner.

Mr. Dockstader began his fourth season with Carncross in the Fall of
1883; he continued there until the Spring of 1886. On the 17th day
of September that year, Dockstader’s Minstrels opened as a permanent
institution in New York City, where for more than three years he held
forth, surrounded at all times with the luminaries of the minstrel
world; during this period he made a trip to California with his company.

The final performance was given December 9, 1889.

December 23, 1889, he opened with Hermann’s Trans-Oceanic Vaudeville
Company for a limited engagement.

The following month he became a member of Primrose and West’s Minstrels
and continued with them until the Spring of 1891, after which he joined
George Thatcher’s Minstrels in San Francisco, and finished the season
with that company.

Dockstader’s Minstrels were next organized for a road tour and made
their first appearance at Dayton, Ohio, July 23, 1891. They traveled
successfully until February 20, 1895; on that date giving their closing
performance in Cincinnati.

Mr. Dockstader immediately entered vaudeville, and continued in it
successfully until 1898, when in connection with George Primrose, a
minstrel company bearing their names was organized. It traveled for
five years during which time it gave universal satisfaction.

In 1903 Mr. Dockstader again headed his own aggregation; each year
since then successfully conducting it on lines that have long since
made it synonymous with all that is best in minstrelsy.

Mr. Dockstader does what no other black-face monologuist has ever
attempted, namely, to give a different specialty every season, each one
being an expensive scenic affair that requires generally a full stage
to properly produce.

Lew Dockstader was born in Hartford, Conn., August 7, 1856.

TOM SADLER, a well-known comedian, was a member of Haverly’s Mastodons
at their inception in 1878; he went to England with them in 1880,
and continued with them several years after. He was of the team of
Green and Sadler, and later Morton and Sadler. Mr. Sadler was born in
Nashville, Tenn., October 16, 1856; he died in Liverpool, England,
December 31, 1893.

BILLY STILES (Lyons), a well-known performer of three decades ago, who
was at one time connected with Haverly’s Minstrels, and Washburn’s
Circus, was a native of Bridgeport, Conn. He died in Newark, N. J.,
October 10, 1909; age 53 years.

RICE and BARTON, famous for many years for their burlesque productions,
did a great black-face act in 1882, and three years later headed Rice
and Barton’s Minstrels.

Rice and Barton were brothers, and up to the time of the death of
the former, comprised one of the oldest theatrical partnerships in
existence.

George W. Rice (Swope) was born in Three Springs, Pa., September 13,
1858; he died at Centreport, Long Island, N. Y., December 22, 1909.

Charles Barton (Swope) was born in Three Springs, Pa., in 1856.

CHAS. H. YALE had a varied experience as a black-face performer before
he could tack the words, “Manager of Devil’s Auction,” to his name.

Mr. Yale first appeared professionally at Haverhill, Mass., in 1873,
doing a black-face banjo act. He next worked in acts with Neil Burgess,
in white-face. Subsequently he did a black-face act with George Austin,
and later with Harry Fielding.

About 1875 he formed a partnership with Al. Decker, and as Yale and
Decker they traveled for several seasons. Mr. Yale also achieved marked
success as a pantomimist.

Charles H. Yale was born at Laconia, N. H., February 13, 1856.

THE HOGAN BROS. formed a partnership in the middle 70’s, doing
black-face songs and dances; their greatest success was with the “Happy
Hottentots.”

They had been with various minstrel and specialty companies during the
eighteen years they were associated together.

Harry Hogan had been business manager at the Bijou Theatre in Jersey
City, N. J., almost fifteen years.

Gus Hogan had been manager for various burlesque companies, after their
separation.

[Illustration:

NED--GOSS & FOX--JAS.
(Portraits reversed)

JAS.--GRIFFIN & RICE--JOHN C.
(1875)
(Portraits reversed)

JNO. F.--FIELDS & HOEY--WM. F.
(Portraits reversed)]

Harry Hogan (Hornidge) was born in New York, in 1857; he died in Jersey
City, N. J., October 26, 1905.

Gus Hogan (Rohling) was born in New York; he died at Fair Haven, N. J.,
May 30, 1908; age 50 years.

HOOLEY AND THOMPSON formed a partnership about 1871, doing black-face
songs and dances.

Their first prominent engagement was with Welch, Hughes and White’s
Minstrels in Brooklyn, N. Y. They were with Haverly’s Mastodons in
1878, and went to Europe with them in 1880, and continued with Haverly
some time after that.

Subsequently they were with Wilson and Rankin’s Minstrels. In
September, 1887, they joined Rice, Hart, and Ryman’s Minstrels; this
was their last joint engagement.

They separated about August, 1888; Mr. Hooley subsequently acting in an
official capacity at his uncle’s (R. M. Hooley) theatre in Chicago.

Mr. Thompson afterward played in white-face with Joe Murphy’s Irish
dramas, and for several seasons was the latter’s manager.

Bob Hooley was born in Brooklyn, N. Y.; he, died in Chicago, Ill.,
January 24, 1899.

Dan Thompson (Sallows) was born in Brooklyn, N. Y., August 27, 1857.

MAURICE HALEY, one of the original Electric Three, comprising Callan,
Haley and Callan, was a comedian and dancer, and one of the organizers
of the Electric Three Minstrels about 1887.

He died in New York August 28, 1890; age 33 years.

J. W. KELLY (Shields), famous the country over as the “Rolling Mill
Man,” and one of the greatest natural wits the world ever knew, did a
black-face act with Charles Dockstader at the London Theatre, New York,
on the night of October 23, 1884, called “Worse and Worse.”

Mr. Kelly, who was a wonderful Irish comedian, was born in
Philadelphia, in 1857; he died in New York, June 26, 1896.

TIM CRONIN made his first appearance at the “House of Commons” in 1869.
This was not the famous place where the Britishers make their laws;
not, not; for Timothy did not have political aspirations for many years
after that.

It was in 1870 that he played his first minstrel engagement as “Master
Charley,” doing a jig and song and dance, with Bryant’s Company in his
native city.

A year or two later he joined James Tierney, and as Tierney and Cronin
one of their great acts was the “Ashante Recruits.”

During the decade they were together they played several important
minstrel engagements, such as Kelly and Leon’s; Neil Bryant’s, and
Hooley’s, in Brooklyn, N. Y. With Tierney and Lester and Allen, Mr.
Cronin formed the “Four Aces” in 1877, continuing as a quartette for
one season.

Mr. Cronin next went with Harrigan and Hart in New York, where about
1881 he left Tierney, and subsequently allied himself with Master
Martin, Dan Waldron and William Smith, and for several seasons traveled
as the “Big 4.” In 1886 he joined Lew Dockstader’s Minstrels at their
permanent home in New York City.

For several years Mr. Cronin has been playing white-face comedy parts,
the first of which was with Tony Hart in “A Toy Pistol”; he continued
with Hart until the sad ending of the latter’s career.

Since then he has been identified with many famous farcical fellows,
and also has to his credit a three-year engagement with Augustin Daly
in New York.

After Mr. Cronin’s long experience in the varieties, it was but natural
that he should take “A Trip to the Vaudevilles”; and he did; George M.
Cohan wrote it, and Tim Cronin played it in fourteen parts; that is, he
portrayed fourteen different characters.

Tim Cronin was born in New York City, November 4, 1857.

CONNORS and KELLY. Jimmy Connors, of the old team of Connors and Kelly,
joined the latter about 1871, and continued together 19 years. They
went to England in 1876, and remained eight years. He was once of the
“Big 4.”

Maggie Weston, well known for her comedy characterizations of the rough
Irish woman, was his wife; they were married July 3, 1888.

Jimmy Connors was born in Pittsburgh, Pa., April 1856; he died in New
York City, January 3, 1909.

Jimmy Kelly died about 15 years ago.

“BUCK” SHEFFER (Chas. Sheffer) at a very early age appeared in acts
with Otto Burbank. In the middle 70’s he worked with Bob Slavin, as
Sheffer and Slavin, subsequently appearing with Mike Foley, as Sheffer
and Foley.

About 1880 he joined Harry Blakely and continued with him until the
death of the latter.

In the character of a rough wench he excelled.

Of late years Mr. Sheffer has been working in vaudeville with his
daughter, a young lady of unusual talents.

“Buck” Sheffer was born in Baltimore, Md., January 25, 1857.

HARRY BLAKELY (Blacklock) joined Sheffer about 1880, and together were
one of the greatest teams of their day in the characters of plantation
negroes. Prior to Mr. Blakely’s stage appearance, he was a page in
Congress for many years, and was a man of unusual intelligence.

Harry Blakely was born in Alexandria, Va., 1859; he died in New York
City, June 1, 1891.

JOHN BLACKFORD, a most excellent portrayer of the plantation darky, was
with Cleveland’s Minstrels season of 1895-96, and 1898 he was a member
of Haverly’s last minstrel company; he subsequently joined Al. G.
Field’s Minstrels, where he remained until his death.

Mr. Blackford’s “Coon from Arkansaw” was one of the gems of latter day
minstrelsy.

John Blackford died at Charleston, W. Va., December 7, 1903; age 46
years.

FRED A. BELL (Herrick) with his partner, Sam Howe, created considerable
stir by dancing a clog on a marble pedestal and turning a somersault in
the air. He was with Barlow, Wilson, Primrose and West’s Minstrels in
1881, and the following season joined the Barlow, Wilson Minstrels.

Fred A. Bell was born in Toledo, Ohio; he died in Louisville, Ky.,
March 17, 1884; age 27 years.

PETE MACK (McGlone), the well-known and capable comedian, joined J. C.
Harrington about 1873, doing double songs and dances; the partnership
continued about four years, when Mr. Mack, who was working under his
own name, went with the New Orleans Minstrels. October 21, 1878, using
the name of Mack, he joined Haverly’s Original Mastodon Minstrels in
Chicago, and continued with Mr. Haverly off and on for several seasons;
in the Fall of 1881 he was with Emerson’s Minstrels in San Francisco.

Mr. Mack was with Haverly on the latter’s second trip to England, in
1884; while there he received an offer from “Pony” Moore to join Moore
and Burgess’ Minstrels in London; he accepted and remained several
seasons.

Subsequently he was with Dockstader’s Minstrels in New York City, and
with the “City Directory”; his last engagement was with Donnelly and
Girard in “Natural Gas”; always appearing in black-face.

Pete Mack died in Pittsburgh, Pa., March 15, 1892; age 35 years.

WM. R. WESTON, of the firm of Culhane, Chace and Weston’s Minstrels,
previous to the inception of that organization in the middle 90’s, was
with Emerson’s Minstrels and Dockstader’s Minstrels. Was also with
Reilly and Woods Co., and the St. Felix Sisters organizations. He was
an accomplished musician and leader.

At the time of his death he was musical director of the orchestra at
the Music Hall, Yonkers, N. Y.

His wife was Charlotte St. Felix, of the 4 St. Felix Sisters.

William R. Weston was born at Stafford, Conn., April 6, 1857; he died
at Brooklyn, N. Y., September 25, 1906.

DAVID BELASCO.--The author had been told that the subject of this
sketch played black-face parts during his very early career in San
Francisco; and on September 12, 1910, wrote to Mr. Belasco asking him
to verify the report.

Under date of November 7, 1910, Mr. Belasco sent the following:

“Pray pardon me for the delay in replying to your letter, but I have
been much absent from town and my time wholly occupied with rehearsals.

“I am sorry to say that I’m afraid I can’t give you any definite
information, as it is from twenty to twenty-five years ago, and I
really don’t remember. I only recollect that I played many little parts.

Faithfully,
“DAVID BELASCO.”

Wonder if Mr. Belasco has any ideas in that fertile brain of his, as to
how a minstrel show should be run? Bet he has.

SALLIE COHEN played Topsy in “Uncle Tom’s Cabin” when she was a little
girl; she told me so herself.

But that couldn’t have been such a very long time ago; now was it, Mrs.
Rice?

SAM RICKEY (Rich. T. Higgins), one of the greatest stage Irishmen ever
known, and who was an early partner of Edw. Harrigan, played frequently
in black-face during his early career with Add. Weaver. He was also
with Hart, Ryman and Barney’s Minstrels in 1871.

[Illustration:

JOHN A. LANG

BOB. TYRRELL

RAYMOND SHAW

HAYDON TILLA

THOS. B. DIXON

HARRY SHIRLEY

GEO. W. HARLEY

HARRY W. ROE

HORACE RUSHBY

MORE SINGERS.]

He died in New York, September 10, 1885.

EDMOND G. CORBIN, the Apollo banjoist, formerly of Claudius and Corbin,
Hale and Corbin, and just Corbin, was one of the features of the
Primrose and Dockstader’s Minstrels in 1901.

Mr. Corbin’s ideas of comedy frequently conflicted with those of Jas.
H. Decker.

Mr. Corbin may soon mingle midst the mirthful and merry monologists.

Edmond G. Corbin was born in Troy, N. Y., May 23, 1877.

WILL J. DAVIS, the popular and efficient manager of the beautiful
Illinois Theatre in Chicago, writing to the author from Hot Springs,
Ark., March 27, 1909, said: * * * “Lew Dockstader is billed for a
night here about the middle of April. Wish I could stay to see the
performance.”

Of course, you did, Mr. Davis, for you haven’t forgotten your
associations with Jack Haverly, and when you took his famous Georgia
Minstrels to California in 1876. They were the first real colored
troupe to visit the coast; their success there was in no small way due
to your executive ability. Then there was a “Will Davis’ Minstrels”
that toured Canada, some years ago. Wonder who that was?

“COAL OIL JOHNNY” (John W. Steele), whose extravagances of about 45
years ago while “financial manager” of Skiff and Gaylord’s Minstrels,
are yet recalled by many in and out of the profession, is said to be
living quietly in Hazleton, Pa.

“Coal Oil Johnny” was a poor boy in the 60’s, when his foster parents,
who had suddenly acquired fabulous wealth through the finding of oil
on their property, died and left their all to young Steele. Then came
a riotous round of dissipations and extravagances. It was a common
thing for Steele to buy a carriage and team, and a few minutes later
give it away to any stranger he happened to meet. It is said he gave a
hotel away in the same manner. Mr. Steele furnished the money for the
minstrels, and diamonds for the promoters, on the sole condition that
his name should be used on all printing as “financial manager,” as
already stated.

It is said that he has seen no minstrel show in late years.

CHAUNCEY OLCOTT, the favorite singing Irish comedian, was many years a
minstrel.

On the 21st day of February, 1876, Mr. Olcott, full of hope, became
a member of the Alabama Serenaders, a minstrel company, which closed
at St. Thomas, Canada, at the end of the third performance. Had the
treasurer of the organization been as good as the show, they might have
still been traveling.

In the Fall of the same year he joined Lew Benedict’s Minstrels. Mr.
Olcott’s banner year as a minstrel was in 1879; here’s the record.
September 13, opened with Simmons and Slocum’s Company in Philadelphia;
November 27, he played a full season with the Three Rankin’s Minstrels,
opening at Columbus, Ohio, on the above date, and closing with the
company (which also closed) November 27, 1879, after a consecutive run
of one consecutive night. Was Mr. Olcott discouraged? Not much; he
became a member of Haverly’s Mastodons at Buffalo, N. Y.; prior to
which he was with Hooley and Emerson’s Megatherians. July 31, 1880, he
opened with Haverly at the Drury Lane Theatre, London, England.

October 17, 1881, he opened in San Francisco with Billy Emerson’s
Minstrels. About January, 1884, he married Miss Carrie Armstrong in
Philadelphia.

Mr. Olcott was with Carncross’ Minstrels in Philadelphia, where he
remained about two or three years. Seasons of 1884-85-86 he was with
Thatcher, Primrose and West’s Minstrels. September 11, 1886, he again
joined Simmons and Slocum’s Company in the Quaker City.

A short time after that he became a member of the “Old Homestead”;
later he played Nanki Poo in the “Mikado”; subsequently entering the
field of Irish drama.

Chauncey Olcott was born July 21, 1857, at Providence, R. I.

HARRY M. PRICE, prominent in many musical productions for his many
successes in Dutch comedy parts, was one of the Price Bros., from 1877
to 1882, doing black-face song and dance acts.

Theo. Price, his brother, has retired from active theatricals on
account of illness.

Harry M. Price was born in Baltimore, Md., May 20, 1857.

BANKS WINTER first appeared theatrically as a member of an amateur
minstrel company in his native city; that was in 1877.

Mr. Winter became a real minstrel November 9, 1879, at Dayton, Ohio,
when he joined Haverly’s Mastodons--and there were others, notably
Billy Arlington’s; Skiff’s California; Leavitt’s Gigantean’s;
Haverly-Cleveland’s; Cleveland’s and five years with Thatcher, Primrose
and West’s.

In November, 1900, Mr. Winter, accompanied by his charming and talented
young daughter, entered the vaudeville field, and as Banks and Winona
Winter, traveled for several seasons.

In the Fall of 1907 Mr. Winter played a brief engagement in a
vaudeville act, appearing in black-face. The report that Mr. Winter
didn’t black his ears or eyes on this occasion is manifestly absurd.

Mr. Winter was born in Macon, Ga., February 8, 1857; after which he
wrote “White Wings”; and incidentally no one ever sang it better, for
Banks Winter was one of minstrelsy’s great tenors.

JOHN D. GILBERT (Donohue) formed a partnership with Billy Courtright
about 1871, in an original black-face act called “Big and Little”; they
subsequently had many imitators. Courtright and Gilbert made their
first New York appearance at Charley White’s, 585 Broadway, October
12, 1872. Mr. Gilbert later eschewed burnt cork, and subsequently
with Henry V. Donnelly and Eddie Girard starred in “Natural Gas.” Mr.
Gilbert’s time is now mostly devoted to authoring theatrical sketches.

John D. Gilbert was born in Dublin, Ireland, September 3, 1857.

WM. J. SULLY (Sullivan) formed a partnership with Patsy Howard in 1873,
doing a black-face act; they remained together one season. In 1876 he
joined Billy Williams, and as Williams and Sully were well known on the
variety stage, where they played for eleven years.

Mr. Sully afterwards married Nellie Germon, and as Sully and Germon did
sketches, also in the variety theatres.

In 1884 Williams, Sully and Germon’s “Three Sunflowers” Company toured.

Of late Mr. Sully has been doing a single specialty in vaudeville. Mr.
Sully was born in Boston, Mass., June 23, 1858.

ALF GIBSON, the well-known comedian, made his first appearance at
Columbus, Ohio, as a clog dancer, during the festivities that attended
the Goss-Allen fight.

In 1875 he was with William Lawrence Allen’s Statue Company; after this
Gilmore and Gibson did a song and dance with Mons. De Rea Circus.

Several years were spent in stock at the Bella Union and Adelphi
Theatres in San Francisco.

Subsequently he went to Carncross’ Minstrels in Philadelphia and
remained four years.

A trip to England, and on the return he played an engagement with
Haverly in Chicago, in 1893. Mr. Gibson was twelve years at Dumont’s
Minstrels in Philadelphia; two seasons with George Primrose’s
Minstrels, and one season with Cohan and Harris’ Minstrels (1908).

Mr. Gibson formed a partnership with John Murphy that existed twelve
years.

He married a Miss Davis October 27, 1880, and as Gibson and Davis they
played several seasons.

For the past ten years he has been associated with the company known
as Murphy and Gibson’s Minstrels at Atlantic City, N. J., during the
Summer.

Alf. Gibson was born at Ashland, Ohio, September 11, 1858.

“MASTER” MARTIN has been “Master” Martin for forty odd years, or ever
since his first professional appearance at the Old Bowery Theatre in
1867; N. B. Clarke was the stage manager, and ’twas he that gave him
the sobriquet.

“Master” Martin essayed many roles before he played his first minstrel
engagement with Bryant’s company in New York, early in 1875.

February 12, 1877, he opened with Kelly and Leon’s Minstrels also in
New York. Other minstrel engagements were with Moore and Burgess in
London, England, where he remained two and a half years.

In August, 1877, he became a member of the Big Four; Smith, Waldron,
Morton and Martin; Mr. Martin continued a member of the Big Four
through its many changes, for nearly a quarter of a century.

In the Summer of 1879 the Big Four Minstrels opened in New York City.

Mr. Martin has been associated also with Simmons and Slocum’s;
Dockstader’s, Rice and Sheppard’s, Cleveland’s, and Haverly’s
Minstrels; the latter in 1898. In his earlier career “Master” Martin
was famous for his impersonation of the monkey; and for five years he
played Dragonfin in “The Black Crook.”

[Illustration: CHAS. AND GUSTAVE FROHMAN AS MINSTREL MAGNATES; 1883.]

He also played black-face parts in “Easy Dawson”; “The Ninety and
Nine,” and the “Millionaire’s Revenge.”

He likewise created the character of Banty Tim, a dumb negro in “Jim
Bludso.” Mr. Martin’s playing of this most difficult pantomimic role
was most artistic.

“Master” Martin was born in New York City, August 27, 1858.

JAMES TEN BROOKE (Sheridan), first appeared professionally in 1876;
Brooklyn, N. Y., was where it happened.

A year or so later he joined Larry Dooley in a “nigger act,” and
continued with him until 1881; in 1880 they were with the Big Four
Minstrels. Mr. Ten Brooke subsequently played stock engagements for
several seasons, and in 1898 rejoined his former partner, and later
played an engagement with Primrose and Dockstader’s Minstrels; with
this organization Mr. Ten Brooke officiated as interlocutor; and he is
one of the best.

He next appeared in white-face with the “Volunteer Organist”; after
which with his daughter and son-in-law, as Ten Brooke, Lambert and Ten
Brooke, he played vaudeville. Subsequently Ten Brooke and Henry formed
a partnership, and are now in vaudeville.

James Ten Brooke was born in New York, January 23, 1858.

JAMES MACK (McAvoy), who attained some prominence with minstrel shows
as a female impersonator, died at Elyria, Ohio, November 5, 1890; age
32 years.

THE GIRARD BROTHERS ranked with the great black-face song and dance
teams of minstrelsy. Their first appearance was made at the Wigwam
Theatre, in Paterson, N. J., in 1874.

In 1876 they were with Washburn’s Last Sensation, and two years later
they played a brief engagement with Ben Cotton and “Happy” Cal.
Wagner’s Minstrels.

In 1879 they joined Hooley and Emerson’s great Megatherian Minstrels;
about 1880 they formed an alliance with Seamon and Somers, and were
known as the “Grotesque Four”; and incidentally this was one of the
greatest “four” acts ever put together.

The quartette opened with Thatcher and Ryman’s Minstrels in
Philadelphia, December 20, 1880, and remained until the closing of the
season. In 1881 the four joined Leavitt’s Giganteans for the season.

Early in 1882 the four joined forces with Lester and Allen, and as the
“Funny Six” met with considerable success.

Subsequently the Girard Brothers separated, and Eddie Girard joined
Haverly’s Minstrels, continuing with them for several months; with this
company, in conjunction with Callan, Haley and Callan, they produced
“Down Where the Cotton Grows.”

In 1884 with the same organization, Eddie Girard also worked with the
late Charley Seamon.

After this engagement Eddie Girard went to San Francisco, and played
with Charley Reed’s Minstrels, after which, in conjunction with Billy
Arlington and Harry Wyatt, the late manager of the Mason Opera House,
in Los Angeles, Cal., Arlington, Girard and Wyatt’s Minstrels made a
brief tour.

This was Mr. Girard’s last appearance in black-face.

Subsequently as Gilbert, Donnelly and Girard, and later Donnelly and
Girard, “Natural Gas” played several seasons; this was succeeded by
“The Rainmakers” and “The Geezer.”

For several years past, Mr. Girard and his wife, as Girard and Gardner,
have played successfully in vaudeville.

Willie Girard (Maloney), died in New York, September 5, 1892.

Eddie Girard was born in Paterson, N. J., August 28, 1858.

JOHN DALY, one of the best known and most capable dancers of modern
minstrelsy, made his first appearance at St. James Hall, Buffalo,
N. Y., doing a black-face song and dance. August 9, 1878, Mr. Daly
became a member of the Barlow, Wilson, Primrose and West Company,
and continued with them until the dissolution of the organization in
1882; he then joined the Thatcher, Primrose and West Company, at their
inception, and continued with them during their existence, seven years.

Mr. Daly next allied himself with the Primrose and West Company, and
remained two seasons.

Season of 1891-92, he was with Cleveland’s Minstrels, and for the two
seasons following he cast his fortunes with George Thatcher in the
“Tuxedo” and “Africa” companies.

Mr. Daly then became a real legitimate actor with the “Bowery Girl,”
“Paradise Alley” and “Sis Hopkins” and “A Daughter’s Devotion”
Company’s, and he also took the regulation trip to vaudeville as Daly
and Miss Paine (Mrs. Daly), and Daly and George Lewis.

Our John was now really sorry, and with tears in his eyes he “saw” Lew
Dockstader; that gentleman was forgiving, and for six years Mr. Daly
was a fixture with that gentleman’s organization, remaining until 1910.

O! yes, in 1898 “John” was with the Haverly Minstrels, and one of the
Big Four--Smith, Waldron, Daly and Martin.

Mr. Daly was born in Buffalo, N. Y., May 14, 1858.

HARRY MANN (Emanuel Hayman), brother of Al. Hayman of the theatrical
syndicate, was identified in an executive capacity with Haverly’s
Minstrels in 1878; subsequently he managed the tours of Evans and Hoey
for many seasons, also other prominent organizations. Previous to his
death he was business manager of the Knickerbocker Theatre, New York
City.

Harry Mann was born in Wheeling, West Va.; he died in Saratoga, N. Y.,
July 11, 1901; age about 52 years.

MARK SULLIVAN, well known for his character impersonations of prominent
actors, and who lately scored a success with Raymond Hitchcock in “The
Man Who Owns Broadway,” was a black-face song and dance man with the
Megatherian Minstrels in 1879, and a good one “mark” you.

He was born in Erie, Pa., April 16, 1858.

CLARENCE BURTON (De Witt Norris) had the distinction of being one of
the youngest banjoists and comedians in minstrelsy.

His career began with the Holman Opera Company about 1870, when he had
barely entered his teens. The following year he was in Chicago with
Hooley’s Minstrels; and in December, 1872, he was with Arlington,
Cotton and Kemble’s Company in the same city; he became a member of
Washburn’s Last Sensation Company in 1873, and a year later he was with
Cool White’s Minstrels in Brooklyn, N. Y.

Subsequently he formed an alliance with John and Lottie Burton, and
they played the principal variety houses for a few years.

Clarence Burton was born in Erie, Pa., about 1857; he died there March
12, 1885.

THOS. ADAMS, of the well-known black-face musical team of Bunnell and
Adams, was identified with several prominent companies, and played the
principal vaudeville theatres.

He was born in Boston, Mass.; he died in Little Rock, Ark., March 10,
1893; age 35 years.

BILLY GOLDEN (Wm. B. Shire) started theatrically in 1874 with Frank
Merritt as a partner, remaining with him one year. In 1875 he joined
Billy Draiton, and for ten years they appeared in all parts of the
United States as Golden and Draiton.

In 1885 with his wife, May Golden, played for several seasons as The
Goldens; later this alliance was augmented by Dick Schalpan.

Mr. Golden retired in 1900 to enter hotel life in Washington, D. C.,
where he remained three years.

September 25, 1904, he joined Joe Hughes as the team of Golden and
Hughes, and as such they are now playing.

Mr. Golden’s wench business is genuinely funny, and it’s worth going
miles to hear him sing “Turkey in the Straw.”

Billy Golden was born in Cincinnati, Ohio, June 9, 1858.

J. C. HARRINGTON made his first appearance with Leslie, Raynor and
Smith’s Minstrels, at the Temple of Music in San Francisco, 1868;
nigger acts? Why, yes.

Harrington and McGlone (Pete Mack), were at Simmons and Slocum’s
Minstrels in Philadelphia in 1873; to look at J. C. to-day, you’d
never believe it. But I digress. Harrington and McGlone continued as a
black-face song and dance team until about 1877; next came Harrington
and Cummings for a couple of seasons, and Harrington and Johnson for
eight years. Mr. Harrington then decided to go it alone, and for three
years, commencing about 1891, he was one of the principal comedians of
Dockstader’s Minstrels (traveling).

Afterwards he made an extended trip to Europe, where he worked with
Burns, of Blocksom and Burns.

For the past few years Mr. Harrington has been associated with Cohan
and Harris’ attractions; appearing in white-face.

J. C. Harrington was born in Rochester, N. Y., September 8, 1858.

EDW. C. DOBSON, the well-known banjoist and banjo instructor, made his
first appearance with the San Francisco Minstrels in New York City,
about 1868, meeting with much success in his imitations of the bell
chimes.

[Illustration:

NED.--HARRIGAN & HART--TONY
(Portraits reversed)

JAMES--ADAMS & LEE--JOHN H.

JAKE--WELBY & PEARL--CHAS.
(Portraits reversed)

DELMANNING BROS.]

Other minstrel engagements were with Sam Sanford’s traveling company,
and subsequently with Thatcher, Primrose and West’s.

Mr. Dobson spent fifteen years in London and the provinces, appearing
in the principal halls.

June 9, 1885, he won the gold medal presented by the Prince of Wales
(the late King) in a competition.

Edward C. Dobson was born in Newburgh, N. Y., September 12, 1858.

WM. E. HINES (Timothy Edwin Hines) made his first appearance as a super
at the Bowery Theatre, New York City, with George L. Fox.

His initial black-face appearance was at Jake Acker’s Theatre, Troy, N.
Y., in 1873. Early in his career he had as partners Billy Ginniven and
George Turner. In 1876 he joined Frank Cummings; the team being known
as Cummings and Hines; they played extended engagements at Harrigan and
Hart’s, New York City, and Ben Cotton’s Minstrels in Chicago.

January 1, 1879 he joined Nat Blossom, the team being known as Hines
and Blossom; their first engagement was at Montpelier’s Theatre,
Cleveland, Ohio; subsequently Hines and Blossom and Monumental
Quartette Minstrels--all at one time, and in one theatre; honest; ask
Bill. Afterwards they were with Cooper and Bailey’s Great London Circus.

Hines and Blossom separated, and Hines joined his wife, Daisy
Remington, now known as Earle Remington, whose recent volume of
rhymes have attracted considerable attention, both in and out of the
profession; this alliance was formed in the Fall of 1881, and has
continued ever since.

Mr. Hines claims to have been one of the original “Four Aces”--Sheffer,
Nelson, Turner and Hines, at Deagle’s Theatre, St. Louis, 1876; and in
1887, was one of the “American Four,” Pettengill, Gale, Hines and Hoyt;
also Niles, Evans, Cummings and Hines as the “Boss Four.”

William E. Hines was born in New York City, July 4, 1858.

BILLY WOOD (Max Gottlieb). It is generally conceded, that as a
black-face comedian musical moke, Billy Wood never had a superior; Wood
was funny when he made his entrance in that long dark brown ulster with
padlocks substituting as buttons; he was funny when he spoke, and funny
in whatever he did--and a real musician; his performance on the “cello”
brought tears to the eyes of his auditors on more than one occasion.

His first appearance was about 1874, when he did a clog with the
Girard Brothers. Wood and Beasley shortly after formed an alliance,
which continued about six years, the act being augmented by the Weston
Brothers, and as Wood, Beasley and the Weston Brothers, they continued
for about five years longer.

In 1885 Wood was treasurer and general performer with Lester and
Allen’s Minstrels; here he met Frank Sheppard, and with the addition of
Fred Bryant (Bryant & Hoey), they formed a trio that continued about
up to the time of the latter’s unhappy death; Wood and Sheppard then
continued as partners until the latter’s decease, after which he allied
himself with William Bates, and as Wood and Bates they continued for
five years. Owing to partial deafness, Mr. Wood does not play regularly.

William Wood was born in Buda Pesth, Hungary, August 17, 1858.

FRANK SHEPPARD (Fash) began his minstrel career about 1882 with
Leavitt’s Gigantean Minstrels, as a cornettist. In 1885 he joined
Lester and Allen’s Minstrels, here he formed a partnership with Billy
Wood. Sheppard was a superb “straight” man, and a splendid musician;
and as Wood said “A better fellow than Frank Sheppard never lived.”

Frank Sheppard died in London, England, December 30, 1899; age about 37
years.

WOOD and SHEPPARD began their joint careers in 1885; shortly after
Fred Bryant’s death they went to London, England, and played an
_unsuccessful_ engagement. So far as the writer knows, where the
performer is concerned, this was “the first and only unsuccessful
engagement on record.” The intelligence is from the most authoritative
source, from Billy Wood himself. Subsequently they played five seasons
with the Howard Athenaeum Company; also successful engagements with
Tony Pastor’s road show; Leavitt’s Gigantean Minstrels and Thatcher,
Primrose and West’s Minstrels, two years, and in 1895, a feature with
“Town Topics” Company.

Shortly after this they went to London, and this time success was
theirs, their engagements being extended on several occasions,
after which they were equally successful in the principal cities of
Continental Europe.

DAN. E. LYONS entered the profession at the age of twelve years,
subsequently joining James Leary, and as Lyons and Leary did an
entertaining black-face specialty. They joined Hooley and Emerson’s
Megatherians in 1879, and in 1882 in conjunction with Kelly and
O’Brien, were with Billy Rice and Hooley’s Minstrels as the Megatherian
Four.

Lyons and Leary separated about 1886, and Mr. Lyons subsequently
appeared with the Hyde and Behman Company.

He was the author of several prominent songs, among which were
“Cigarette McCarthy,” and “It’s A Long Lane That Has No Turn.”

Daniel E. Lyons died in Boston, Mass., January 3, 1890; age 31 years.

CHAS. GILDAY entered the profession as a partner of Frank Bennett;
subsequently forming a “four” act with Charley Seamon, Tom Sommers and
Billy Ginniven.

Later they separated, and he and Ginniven formed an alliance which
continued practically up to the time Mr. Gilday married Fannie Beane,
August 1, 1877, at Deadwood, Dakota, after which and until his death
they were known as Beane and Gilday.

Charles Gilday was born in Detroit, Mich., about 1859; he died at sea,
September 9, 1889.

R. G. KNOWLES (Richard George Knowles), the well-known lecturer and
globe trotter, began his professional career at the Olympic Theatre,
Chicago, Ill., September, 1878, doing a black-face monologue.
Subsequently he had as partners at various times, Joe. Morton
(Hardman), Dick Ford, Ben Collins, Frank Kennedy and Charley Turner.

Mr. Knowles has done more for the benefit of the American performer
in England than any other one. He enjoys the distinction of having
received a larger salary in Europe, than any other male performer
doing a “single” act.

R. G. Knowles was born in Hamilton, Canada, October 7, 1858.

VIC RICHARDS (Harry Veerkamp) found out long ago that he could make
more money as fun-smith than he could as a lock-smith, and forsook the
latter for the former, and at once became a hit-smith.

He first appeared professionally as the “Rube” in Frank Jones’ “Si
Perkins” Company.

His debut as a minstrel was with Sol San’s Company. Mr. Richards next
allied himself with Dumont’s Minstrels in Philadelphia, where he
continued for about twelve years--and that speaks volumes.

In this year of 1910 he has arranged to do a nigger act with Dan
Quinlan. That’s good enough, isn’t it?

Vic Richards was born in Philadelphia, July 10, 1858.

JEFF DEANGELIS (Thomas Jefferson D’Angelis), one of America’s foremost
light opera comedians, played many black-face parts while in the stock
of a San Francisco Theatre in 1878; but, to be exact, and skip a couple
of years or so; at Bombay, India, June 8, 1881, with the Victoria
Loftus Troupe, Mr. D’Angelis did an end on the first part and sang
“Sweet Evalina” without permission from Hughey Dougherty. Yonkers, N.
Y., papers, please copy.

Jeff D’Angelis was born in San Francisco, Cal., about 1859.

JOHN T. KEEGAN made his first appearance at Hyde and Behman’s Theatre
in Brooklyn about thirty years ago, and immediately jumped into the
front ranks of song and dance performers; his first partner was Connie
Lynch, with whom he did a white-face song and dance; he remained with
Lynch about two years. Subsequently with Jack Sheehan, Tom Haley and
Harry Talbott, they formed the Four in Hand.

Mr. Keegan was with Leon and Cushman’s combination, Thatcher, Primrose
and West, and McNish, Johnson and Slavin’s Minstrels.

In August, 1884, with his partner, Billy Wilson, and Hooley and
Thompson, he did a “Four” act with Charley Reed’s Standard Minstrels in
San Francisco.

John T. Keegan was born in Brooklyn, N. Y., September 27, 1859, where
he died June 1, 1902.

JERRY CUNNINGHAM (Isaac Depew), made his first appearance in Albany, N.
Y., doing a dancing turn; this was in 1869; on this auspicious occasion
Jerry picked up $18.00 which was thrown to him on the stage; but
remember that was 1869; in 1909, he would have had to split 50-50 with
the manager, besides “greasing” sundry other officials.

His first minstrel engagement was with Smith and Brown’s--sounds like
a job in a hardware store to me, but Jerry says this actually happened
in 1872. Variety engagements single and with Billy O’Day followed until
1879, when he decided to do an old darky turn, imitating Harry Woodson;
incidentally Mr. Cunningham could not have selected a better pattern to
follow.

[Illustration:

GEO. THATCHER

GEO. EVANS

JIMMY MACKIN

JOHN DALY

GEO. H. PRIMROSE

GEO. WILSON

JUST GEORGES, JOHN AND JIM.]

In 1882 he joined Billy Baker in Kansas City, doing a black-face act;
this partnership lasted until 1885.

Mr. Cunningham played character parts in “Oliver Twist,” “Streets of
New York,” “Ticket of Leave Man” and other plays.

In 1904 he joined Dumont’s Minstrels in Philadelphia, where he remained
several seasons.

Jerry Cunningham was born in Boston, Mass., September 27, 1859.

HENRY E. DIXEY (Dixon), America’s most versatile actor, did the
black-face act of “Funny Old Gal” in imitation of Billy Ashcroft, in
Boston, Mass., about 1872.

Mr. Dixey was born in Boston, Mass., January 6, 1859.

* * * * *

E. N. SLOCUM, famous as an interlocutor, sat on the end with Simmons
and Slocum’s Minstrels in Philadelphia, April, 1874.

* * * * *

“JACK” (E. L.) WILLIAMS, of the once prominent black-face team of
Lester and Williams, died in New York, July 31, 1901.

C. EDWARD DICKEN, a well-known interlocutor and singer of the
present generation, who was with Cleveland’s Minstrels in 1895, and
subsequently with Vogel’s Minstrels, died at La Salle, Ill., May 19,
1900.

GEORGE MARION, recognized as one of America’s most efficient producers
and stage-managers, played the “bone end” with Lew Dockstader’s
Minstrels located in New York, in 1888.

George Marion was born in San Francisco, July 16, 1860.

NED THATCHER, for many years prominent as one of the song and dance
team of Thatcher and Hume, and later Thatcher and Adair, separated from
the latter about August 1, 1887.

Mr. Thatcher died in W. Superior, Wis., June 14, 1895.

JAMES PELL (McGinty) was for several seasons the partner of Tom Lewis,
whom he joined in a black-face act called the “Hottentot Musketeers”
about 1877.

After they separated in the early 80’s, Mr. Pell did sketches with Lily
Wilkinson.

He died at Taunton, Mass., October 16, 1887.

FRANK C. DURELL (Otto C. Dickman), of the well-known Durell Twin
Brothers, first appeared professionally at the Grand Opera House,
Indianapolis, Ind., with his brother Ed., doing acrobatic black-face
songs and dances.

Subsequently they played engagements with W. W. Cole’s, also Sell’s
Brother’s Circus. They toured the country for several years playing
the principal variety houses, and were with Pat. Rooney’s and other
well-known organizations.

Frank C. Durell died in Indianapolis, Ind., March 25, 1898; age 39
years.

HURRAH FOR THE MINSTREL BAND.

Dedicated to Harry Sanderson.

Originally sung by Frank Lewis.

There is not a man in the whole Minstrel Band,
Who would ever go back on a friend;
Tho’ dark be his face, yet the black can’t efface
The kind deeds which through life him attend.
I hear the trumpet sounding, sounding,
In notes loud and clear through the land--
I list to its voice, and it bids me rejoice;
Then hurrah for the Minstrel Band!
Then hurrah! then hurrah!
Then hurrah for the Minstrel band.

I will speak first of one who we loved in the past,
He’d a heart that was noble and brave--
Nelse Seymour, who never refused his last dime,
If he thought you from hunger would save.
I hear his praises sounding, sounding,
In notes loud and clear through the land--
The tall Son of York, he died at his work,
And the pride of the Minstrel Band!
And the pride!--and the pride!
And the pride of the Minstrel Band!

Brave Unsworth, he stood like a Minstrel so true!
’Till defeated at last by grim death;
And Budworth, alas! broke his old banjo string,
Which he loved ’till he parted with breath,
I hear their dirge now sounding, sounding,
In notes loud and clear through the land,
They lived and they died with the boys that they loved,
The dear boys of the Minstrel Band!
The dear boys! the dear boys!
The dear boys of the Minstrel Band!

But now I must speak of the Prince of them all--
Who is that but our own gallant Dan!
Let every one mourn, for our Chieftain is gone--
Dan Bryant! the Minstrel and Man!
I hear his praises sounding, sounding.
In notes loud and clear through the land.
He lived and he died, both our glory and pride;
He was King of the Minstrel Band!
He was King! he was King!
He was King of the Minstrel Band!

NOTE.--Between February 2 and April 10, 1875, Nelse Seymour, Jim
Unsworth, Jim Budworth and Dan. Bryant passed away.--AUTHOR.

WILTON LACKAYE, one of America’s foremost actors, played Uncle Tom,
in “Uncle Tom’s Cabin,” at the Academy of Music, New York, commencing
March 4, 1901. There is no truth in the report that Mr. Lackaye is to
head his own minstrel company next season.

BILLY BENSON (James Corrigan), who was a clever female impersonator
with various minstrel companies, died in Cincinnati, Ohio, April 29,
1900.

ARTHUR CHRISTIE was an exceptionally clever song and dance performer
and comedian, and one of the Christie Brothers.

He played successful engagements with the minstrel companies of McNish,
Johnson and Slavin’s; George Wilson’s, Duprez and Benedict’s, and
Rice’s World’s Fair Minstrels in 1890.

Mr. Christie died in New Castle, Pa., April 12, 1899.

CHARLES GUY, one of the famous Guy Brothers, entered the profession
about 1873, doing a triple song and dance with his brothers George
and Willie. He subsequently became identified with the Guy Brother’s
Minstrels, and has continued with them ever since.

Mr. Guy is exceedingly clever as a clown.

He was born in Hoboken, N. J., July 4, 1860.

WILLIAM GRAY (his correct front name is “Billy”), prominent for several
years past as playwright and manager, and author of the “Volunteer
Organist,” was one of the Glenroy Brothers, a black-face act twenty odd
years ago when they played an engagement with Carncross’ Minstrels in
Philadelphia.

TOM LEWIS (McGuire). One night about ten years ago, Tom Lewis blacked
his face for the last time, and at that precise moment minstrelsy lost
one of its most brilliant lights and able entertainers. Mr. Lewis is an
unctuous comedian; and that tells the story.

He made his first appearance professionally with Charley Wilkinson’s
“Uncle Tom’s Cabin” in the late 70’s with Jimmy Pell; and as Pell and
Lewis they did a black-face act for several years, with no fears, as
the “Hottentot Musketeers.” Later, and for two seasons he was one of
the American Four.

Mr. Lewis then went into the partnership business, first with Tom
Martin; then Tom LeMack, then Charley Ernest, and finally Sam J.
Ryan; with all of these he did black-face. Some of his more prominent
minstrel engagements were--George Wilson’s; Cleveland’s; Haverly’s
in Chicago; Carncross’, in Philadelphia, and with William H. West’s
Minstrels, which was the last, season of 1899-1900.

For the past few years he has been extraordinarily successful in
“Little Johnny Jones” and the “Yankee Prince.” As Steve Daly in the
latter play, Mr. Lewis has given to the stage a piece of clever, comedy
characterization that is in a class by itself.

Tom Lewis was born in St. Johns, N. B., May 18, 1860.

HERBERT CAWTHORNE, with his brother Joe did a black-face act at the
Grand Central Theatre, Philadelphia, in April, 1876.

Several years later he was again “A Cork Man.”

[Illustration: BERT. WILLIAMS.]

D. W. MCCABE, well known as one of the proprietors of McCabe and
Young’s Minstrels, which toured the country for several seasons, died
at Moorcroft, Wyo., October 20, 1907; age 47 years.

BILLY PAYNE, the well-known banjoist, made his first professional
appearance in his native city in 1875, at the St. Charles Theatre,
playing for Lotta to dance in the “Little Marchioness.”

Mr. Payne’s first minstrel engagement came two years later.

Mr. Payne married in 1881, and as Billy and Alice Payne toured the
variety houses for several seasons; later he worked alone, and played
the vaudeville houses.

He joined Dumont’s Minstrels in Philadelphia, in 1903, for an extended
engagement, and likewise did meritorious work in white-face, playing a
comedy character part with the “Village Postmaster”; also in black-face
was he partly responsible for the “Redemption of David Corson.”

Billy Payne was born in New Orleans, La., July 16, 1860.

CHAS. K. FRENCH (Krauss) made his first professional appearance in
his native city in 1878, with the Sargent-Bailey Stock Company.
Subsequently, as Master Vive Williams, he did a black-face song and
dance in the variety theatres.

Then came French and Palmer for a season in variety; then French and
Perry Ryan, after which French and Alice Clarke played together for
five years. Mr. French had by this time attained recognition as a
banjoist.

In 1887 he joined (Wm. Henry) Rice, (John) Hart and (Add) Ryman’s
Minstrels; the following season he was with Barlow Brothers and Frost’s
Minstrels.

Subsequently he created the part of Uncle Ned in “In Old Kentucky,” and
continued with the company for six seasons.

Other black-face parts were Jim, in “Huckleberry Finn”; Uncle Joshua,
in “Under Southern Skies,” and with Irene Bentley, in “The Girl From
Dixie.”

Then there was some more minstrelsy; Will Davis’ California Minstrels,
in Canada, and Moran and Thomas’. A few years ago Mr. French “doubled”
with “Buck” Sheffer, doing a “darky” turn.

Also did he appear “outside of cork” with several prominent plays,
notably “The Still Alarm”; “Blue Jeans,” and with James J. Corbett, in
“Gentleman Jim.”

Charles K. French was born in Columbus, Ohio, January 18, 1860.

BILLY BUCKLEY (Delehanty) was an exceedingly clever black-face
comedian, and played with many first-class minstrels and specialty
companies including the Rentz-Santley Company in 1881, and the
Gigantean Minstrels in 1882.

Early in 1890 he doubled up with Billy Jerome and performed in the
variety theatres.

Mr. Buckley married Lizzie Daly, of the famous Daly family, about
February, 1882; Vinie Daly, the clever dancer, is his daughter.

Billy Buckley died in New York City, January 13, 1894.

BOYD and SARSFIELD were known as the “Two Solitaries”; they became
partners in the late 70’s, and continued until about 1887; as a
black-face song and dance team they were considered good. About two
years prior and up to the death of Boyd, he did an act with Frank Hines
and wife; known as Boyd, Miller and Hines.

Clarence Boyd (Maretta), died in Chicago, Ill., May 25, 1889.

Steve Sarsfield, at last reports was in Chicago, an object of pity and
commiseration.

CHAS. R. BUGBEE, the well-known agent and manager of several minstrel
organizations, began his theatrical career as a member of Woodson and
Allen’s Minstrels, about 1881; later he was with Haverly’s Minstrels;
with this company he played a cornet solo in the band, and was known as
Charles Baxter.

Mr. Bugbee was absent from minstrelsy for two years after the “Baxter”
episode, when he was in the mercantile business in Philadelphia; after
this came another two years in the same city as advertising agent of
the Park and Walnut Street Theatres.

Subsequently he was with the Haverly-Cleveland Minstrels; Cleveland’s,
William H. West’s and Haverly’s (Nankeville’s) Minstrels; with the last
two he was manager.

Mr. Bugbee was general agent for Charles E. Blaney’s attractions for
five years, and for a brief period in the Summer of 1908, was advance
agent for Cohan and Harris’ Minstrels.

Charles R. Bugbee was born in Philadelphia, August 8, 1860.

FRANK CASEY, or little Frankie Casey, as he was known in the Fall of
1873 with the Sharpley, Sheridan and Mack Company, was billed as “the
best song and dance artist living.”

A few years later he joined Everett Weslyn, and as Weslyn and Casey,
the “Musical Wonders,” they played at Carncross and Dixey’s Minstrels
in Philadelphia in the Fall of 1877.

Subsequent to the death of Weslyn, Mr. Casey formed an alliance with
James Adams and Frank Howard, and as Adams, Casey and Howard they
played many prominent minstrel and variety engagements, doing their
comedy musical specialty; later Mr. Howard retired from the trio, and
Adams and Casey opened with Thatcher, Primrose and West’s Minstrels in
July, 1885.

About fifteen years ago Mr. Casey gave a splendid interpretation of
Pepat, the black-face comedy part in “Wang.”

At the present time Mr. Casey is said to be doing an act in vaudeville
with Dan Swift.

CHAS. A. MASON, the well-known Dutch comedian, formerly Mason and
Mason, also formerly Kelly and Mason, was very much a minstrel before
gaining fame as Teutoner.

In 1880 he was with Billy Arlington’s Minstrels, and up until 1887 he
played extended engagements with M. T. Skiff’s Minstrels, likewise
Whitmore and Clark’s.

Charles A. Mason was born in Dürkheim, Bavaria, Germany, July 14, 1860.

J. ARTHUR DOTY (Oakman) was a clever female impersonator, and a bright
writer of sketches, burlesques, etc.

In 1879 he worked with Fred Malcolm doing acts in the variety houses.

September 11, 1886, he began an engagement with Simmons and Slocum’s
Minstrels in Philadelphia; subsequently, and for about eighteen months,
he did an act with Belle Fairmont.

March 23, 1879 he was announced to marry Eva Belfontaine, a
non-professional of Denver.

J. Arthur Doty died in Detroit, Mich., April 13, 1890.

The three CRIMMINS BROTHERS made their first appearance as a team in
1872, although John and Steve had preceded their younger brother in the
profession about two years previous.

They were among the earliest of the three brother acts in minstrelsy,
and their services were eagerly sought after by managers in general.

They were identified with such prominent organizations as Haverly’s;
Sam Hague’s, Billy Arnold’s, California’s (Norcross’), and Sweatnam’s
Minstrels.

John Crimmins died while with Haverly; and Steve and Mike did a double
act until about two years prior the death of the latter; Mike then
worked with Emma La Mause, whom he married in 1882; subsequently
associating himself with Tom Dunn.

John Crimmins died in Chicago, February 7, 1884; age 26 years.

Steve Crimmins died in Chicago, March 3, 1889.

Mike Crimmins was born in Detroit, Mich. March 5, 1864; he died in
Peoria, Ill., July 8, 1890.

GEO. M. DEVERE made his first first appearance at Booth’s Theatre, New
York, in 1872, in King Henry V, as a page--now for a new paragraph.

The following year he made his first black-face appearance in the
concert of Cook and Nelson’s Circus.

From 1874 to 1878 he did a nigger act with Matt McElroy; 1878-79 he
was associated with Joe. Flynn, of subsequent McGinty fame; also in
black-face.

When Tommy Devere died, George DeVere took his place with William
Devere, and continued as the Devere Brothers, until the death of the
latter in 1882.

Some of the minstrel companies Mr. DeVere has been associated with
were--Skiff and Gaylord’s, Welch and Barlow’s, Andy Leavitt’s, Welch
and DeVere’s and Bill Friday’s--this troupe did not open on the 13th.

Also did he play both white and black face parts in “Ninety and Nine”;
“The Clansman”; “Rudolph’s Ambition”; “Captain Barrington”; “When
Johnny Comes Marching Home” and many others.

In 1889 he assumed the stage management of the Eden Theatre in
Paterson, N. J., and remained ten years; subsequently was manager of
the Bijou, same city, two years.

Seasons of 1909-10 Mr. DeVere played the black-face comedy part in “The
Traveling Salesman.”

George M. DeVere was born in New York City, April 28, 1860.

GEO. T. MARTIN, who was also known as George Trewellyn, began his
minstrel career in Wales, 1874, where he sang in the choir, under
Caradoc; subsequently, and for many years, appearing in concert work.

[Illustration:

“BUCK” SHEFFER

HARRY BLAKELY

(SHEFFER & BLAKELY.)

WM. H. DELEHANTY

THOS. M. HENGLER

(DELEHANTY & HENGLER.)

BILLY ASHCROFT

JOHN W. MORTON

(ASHCROFT & MORTON.)]

In 1887 he made his first appearance in the United States, at Great
Falls, Montana. Season of 1888-89 he was with the Bostonian Opera
Company.

Mr. Martin was instrumental in forming the famous Verdi Quartette of
Boston, and was a member of it until 1897; subsequently he appeared on
the Keith circuit.

In October, 1899, he joined the Harry Davis Stock Minstrels in
Pittsburgh; the organization was short lived, and Mr. Martin then
identified himself with Primrose and Dockstader Minstrels, and
continued with them until 1901. A concert tour was next; then William
H. West’s (Ricaby’s) Minstrels in 1903, and Haverly’s (Nankeville’s)
Minstrels, 1904.

Mr. Martin joined the Al. G. Field forces in 1906, and has been a
valuable acquisition with that company until November, 1910.

A feature of Mr. Martin’s repertoire is the singing of the old Highland
ballads in full Scottish costume. His voice, a pure cultivated tenor,
after thirty-five years’ usage, remains as sweet as ever.

George T. Martin was born in Cornwall, England, July 23, 1860.

* * * * *

As soon as Lew Dockstader was able to talk, someone asked him how he
liked Hartford, Conn. Capitol, said the future merry minstrel; this was
his first offence.

* * * * *

THE ORIGINAL AMERICAN FOUR were Joe Pettengill, Peter Gale, Peter F.
Dailey and James F. Hoey.

Mr. Pettengill is authority for the statement that the team’s initial
appearance was made in New York City, in the Fall of 1879. Originally
two acts, Pettengill and Gale, and Dailey and Hoey, it was at the
suggestion of Jac. Aberle that they combine and do a “four” act; the
title, “American Four,” was given by Mr. Pettengill in honor of the
theatre where they made their first appearance.

About 1884 they split; Pettengill and Gale continued in the “four,” and
Hoey played dates. Dailey and Hoey subsequently doubled, and continued
as partners until 1888. Pettengill later did an act for several seasons
with Nat Haines; of recent years he has been acting in an executive
capacity.

Pete Dailey was with Weber and Fields’ Company in New York for several
seasons. He was a brother of Robert Dailey, the well-known comedian.

Jimmy Hoey did a black-face monologue for several years, and later
worked in white-face; he was great in black or white. He was the
brother of Old Hoss Hoey. Mr. Hoey is now in retirement.

Jos. Pettengill (Geiger), was born in New York City, January 13, 1854.

Peter H. Gale (Durrigan), died in New York City, July 10, 1891; age 36
years.

Peter F. Dailey was born in New York City; he died in Chicago, Ill.,
May 23, 1908.

James F. Hoey was born in New York City, March 10, 1857.

JACK SYMONDS (John P. Salmonde) began his career as a black-face
performer in his native city in 1879, playing variety engagements until
1885.

Formed a partnership with Joe Hughes at Pensacola, Fla., in 1887, later
this alliance was known as Symonds, Hughes and Rastus; subsequently
Hughes retiring, Symonds and Rastus joined “The South Before the
War,” remaining four years, after which Symonds and Rastus dissolved
partnership.

Mr. Symonds was afterwards identified with William Collier’s and other
well-known organizations, and in 1899 a return to the “South Before
the War” Company. Season 1900-01 with Gorton’s Minstrels; The Flying
Jordans Company in 1901, when he toured China and Japan; returning
to America, played vaudeville for several seasons, also at Dumont’s
Minstrels in Philadelphia.

Mr. Symonds has been working in white-face for the past seven years.
“Jack” Symonds was born in Portland, Me., May 3, 1860.

THE HIGGINS BROTHERS were well-known song and dance boys, and had been
associated with some of the best minstrel companies, notably Primrose
and West’s; Primrose and Dockstader’s, Gorton’s, and Lucier’s Minstrels.

In 1892 while with the latter company, with La Barre and Mullen, they
formed the Four Electrics.

Jos. Higgins died in Providence, R. I., March 30, 1903.

William Higgins died in Providence, R. I., September 11, 1905.

DAN. DALY, of the great Daly family, brother of “Cap” Bill, Tom, Bobby,
Lizzie, Margaret and Lucy Daly, and a great comedian, did a black-face
act with his brother Bobby, Barney Fagan and another, called the “Black
Surprise Party,” at the Howard Athenaeum in Boston, Mass., week of
January 31, 1876.

Dan Daly died in New York, March 26, 1904.

EDDIE MANNING (Egan) was the protege of Billy Manning, and a comedian
of unusual talent. His first professional appearance was about 1870.
About 1880 he joined Haverly’s Minstrels, and remained with them
practically until his death. Mr. Manning was born in Columbus, Ohio; he
died there April 25, 1892; age 32 years.

W. L. DOCKSTADER (Wm. Lee) is known to vaudevillians and others, far
and wide, as the manager of the Garrick Theatre, Wilmington, Del.

In the late 80’s in conjunction with Charles Dockstader, they traveled
as the Dockstader Brothers, doing a black-face act.

CHARLES TURNER (Trainor) made his first professional appearance with
Sam Price’s Minstrels.

About 1874, with his two brothers, he did a black face act in the
variety houses three years. About December, 1877, he formed a
partnership with Charley Gilday.

He was with Haverly’s Mastodons; Rice and Hooley’s, also Carncross’,
and Dumont’s Minstrels in Philadelphia.

In 1896 he formed a partnership with John Murphy, which lasted
several years. Outside of minstrelsy, Mr. Turner has been with David
Henderson’s Extravaganzas, also the “Twelve Temptations.”

Charles Turner was born in New York City, January 20, 1860.

EDW. P. GILDEA, a song and dance performer, and early partner of Frank
McNish, died in Rochester, N. Y., July 28, 1890.

TOM ENGLISH is Irish, originally from Great Britain, now of New
Britain. Wonder if he knows Charley Britting, the rotund restaurateur
of New York?

Mr. English did a musical act of more than ordinary merit. His first
appearance was as an amateur in Turner Hall, New Britain, Conn., in
1876. Four years later he made his professional debut with Heywood
Brothers’ New York Serenaders.

In 1881 he joined Hi Henry’s Minstrels, where for five years he was one
of the features of that organization.

After two years in the variety houses, Mr. English went to London, and
subsequently most of the principal cities of Continental Europe.

Returning to the United States, he joined Hyde’s Comedians, September
5, 1892. Mr. English made several trips to Europe after his American
engagement, and likewise met with success in Australia and South Africa.

His last professional appearance was at the Palace, on the Isle of Man,
August, 1902. He is now an old resident of New Britain, Conn.

Tom English was born in Portarlington, Ireland, September 4, 1860.

FRANK MCKEE, the well-known theatrical magnate, was press agent for
Leavitt’s Gigantean Minstrels in 1882.

ARTHUR JOHNSON, of the old song and dance team of Harrington and
Johnson, is now with Mrs. Johnson’s Pickle Company. This is not a
farce-comedy as one might believe, but a permanent organization with
headquarters at Richmond, Va. The author hopes to sample those pickles
on his next trip to the Old Dominion capitol.

CHARLIE HAYWOOD (Wilson B. Howard) was one of the original members of
the Clipper Quartette, organized in 1879, of which he was the bass
singer.

He remained with the quartette about three years.

He was born in 1861, and died at Peak’s Island, Me., July 12, 1889.

MATT MCELROY was a banjoist of uncommon ability. He made his first
appearance with Hooley’s Minstrels in Brooklyn, N. Y., in 1876.

In 1877 he joined George M. DeVere in a double banjo act, and continued
with him two years, after which he worked with Harry Colby, as Devere
and McElroy.

Subsequently he had various other partners.

In 1886 he married Nellie Mordaunt.

Mr. McElroy was born in Boston, Mass., July 16, 1861; he died in
Pittsburg, Pa., July 6, 1894.

MARK MURPHY, the celebrated Celtic comedian, was not always thus. In
the Spring of 1877 he was a member of Sargent’s Minstrels in California.

Mr. Murphy was not born in Cork--but knows how to use it.

[Illustration:

(Courtesy of Byron Studio, New York)

PRIMROSE AND DOCKSTADER’S MINSTRELS;

Victoria Theatre, New York City, about March 1, 1902.

Reading from left to right--Neil. O’Brien, Harry Howard, Edw. Le Roy
Rice, Geo. Sinclair, Harry A. Ellis, Fred. Gladdish, Franklyn Wallace,
Jas. B. Bradley, Wm. H. Hallett, Geo. Primrose, ----, Wm. Scott,
Charles Parr, ----, ----, Eddie Leonard.

Puzzle--Find “Slim Jim” Dukelan, “Mike” Latham and the Foley Twins.]

WM. S. CLEVELAND for several years held one of the highest positions in
the realms of burnt-cork amusements.

It was of him that the late William H. West once said--“that he was
the greatest executive that minstrelsy ever knew.” Like several of his
contemporaries, he began his professional career in an humble capacity
in his native town, and shortly after went away with a circus.

In 1882 Mr. Cleveland was lithographer with Barlow, Wilson, Primrose
and West’s Minstrels; the three succeeding years he was with the
Gigantean Minstrels; Barlow, Wilson’s Minstrels, Cal. Wagner’s
Minstrels and Hallen and Hart’s Company.

July 30, 1885, he assumed the management of McNish, Johnson and
Slavin’s Minstrels at the inception of that organization, and continued
in that capacity for two seasons.

July 18, 1887, he became manager for Haverly’s Minstrels, and one year
later the famous Haverly-Cleveland Minstrels blossomed forth.

A few years later Mr. Cleveland launched the company that bore his
name, and the trade-mark continued as Cleveland’s Minstrels for several
seasons; at one time there was three or four minstrel companies on the
road under his name.

In August, 1898, in conjunction with George Wilson, he organized
the Cleveland-Wilson Minstrels, a splendid company that had a brief
existence.

His next minstrel venture was in Chicago, where on September 28, 1901,
at Steinway Hall, he opened with Cleveland’s Minstrels; the season
closed December 21, following. Two years later he returned to Chicago,
and on October 31, 1903, he opened a theatre on Wabash Avenue, giving
drama and vaudeville; the Iroquois fire of December 30 following closed
the theatre.

He re-opened March 5, 1904, with vaudeville and continued until
December 10, at which time he bid adieu to Chicago, theatrically
speaking.

In the Spring of 1907 he embarked in the vaudeville agency business in
New York, where he is now located.

William S. Cleveland was born in Chillicothe, Ohio, about 1861.

ED. ROSENBAUM, the well-known manager, was press agent for Cal.
Wagner’s Minstrels, commencing about December 1, 1873; and not only
that, but on April 8, 1881, at Hartford, Conn., in the American
Theatre, sang “Old Black Joe.” In black-face? Well, certainly not green.

JOE HART (Boudinot), now rated as one of the foremost vaudeville
producers, but recently as one of the firm of Hallen and Hart, was a
good black-face performer more than thirty years ago.

For instance, January 24, 1880, at the Bowery Garden Theatre, New York,
Mr. Hart was doing a song and dance called “My Little Treasure.”

Also on the same bill appearing with Charles Allen, as Allen and Hart
in a musical act.

August 16, 1886, Mr. Hart joined Charley Reed with the Chicago
Minstrels, in that city.

September 11, same year, he opened with Simmons and Slocum’s Minstrels
in Philadelphia, where he met with conspicuous success with his banjo
solos.

Joe Hart was born in Boston, Mass., about 1861.

NAT. HAINES (Wm. Vincent Frazee). And now comes Nat. You know Nat,
do you not? Well, here’s the story of his life. He made his first
appearance “acting up” at Dramatic Hall in his native city, in 1875,
doing an acrobatic “Essence.”

In February, 1876, he went to Harry Hill’s, also New York, where many
a prominent performer of to-day received some of their best schooling;
Mr. Haines hibernated at Hill’s for one year at $2.00 per--not year,
but night.

In 1877 he played his first minstrel engagement with Whitmore and
Clark’s Company, and continued throughout the season. The next two
years Haines was with Haverly, after which he rounded out a season with
I. W. Baird’s Minstrels.

Mr. Haines next “doubled” with Bob Richmond, and later with Hap
Ward and Jim Brevarde they formed the Four Diamonds; this act was a
glittering success, and like all good diamonds, was worth the money.

Haines and Vidocq formed a partnership in 1884, and continued three
years, after which Mr. Haines was one of the “American Four” for two
seasons. In 1889 he again joined Vidocq, and were together two years.
In 1891 he formed an alliance with Joe. Pettergill, and as Haines and
Pettergill they played all the principal vaudeville houses for seven
seasons. The famous “Pool Room” act performed by this duo, was one of
the funniest skits ever seen.

Mr. Haines again rejoined Vidocq, and continued with him until 1904,
after which he performed a black-face monologue for several seasons
with flattering success.

About a year ago Haines and Vidocq for the fourth time united, and are
at present together.

Nat. Haines is unique in his particular line; always original and
spontaneously funny.

He was the first performer that conceived the idea of “planting” a
hatchet in the head; since extensively copied.

Nat Haines was born in New York City, June 16, 1861.

TOM MARTIN, a well-known black-face performer, entered the profession
at an early age, and at various times had as partners Johnny Ray and
Tom Lewis.

He had been stage manager at Pastor’s Theatre in New York about five
years prior to his death. His last appearance was made there.

He was born in Boston, Mass., in 1861; he died in Brooklyn, N. Y., July
3, 1901.

JOHN E. KELLERD, one of our leading actors, played “Uncle Tom” at the
Academy of Music, New York City, for several weeks, commencing March
18, 1901.

Mr. Kellerd was born in London, England, May 14, 1861.

LARRY DOOLEY was a genuine comedian, and although he looked funny
because of his excessive avoirdupois, he was nevertheless legitimately
humorous.

At the immature age of 17, he enjoyed a local reputation as a song and
dance performer in Galveston, Texas, where he had been for several
years. He first appeared professionally at the Comique, in the above
city, about 1874 with Barry Maxwell.

A few years later he formed an alliance with James Ten Brooke, doing a
black-face act. He continued with the latter a few seasons, and then
formed a partnership with Ed. Sheehan, which lasted a year.

Subsequently he played a long engagement with Carncross’ Minstrels in
Philadelphia; other prominent organizations were Moore and Burgess
in London, England; Primrose and West, and Primrose and Dockstader’s
Minstrels.

About fifteen years ago he created a black-face comedy part with Hallen
and Hart in “The Idea.”

Later he played in white-face with the “Volunteer Organist,” in which
he was equally successful.

About 1898, he rejoined Ten Brooke with Primrose and Dockstader, when
they renewed former successes.

Mr. Dooley was one of the greatest singing comedians in minstrelsy.

Larry Dooley was born in Harrisburg, Tex., January 19, 1861; he died in
Galveston, Tex., July 30, 1904.

W. W. BLACK, the well-known basso who achieved prominence in such
productions as “Isle of Champagne”; “Jack and the Bean Stalk”; also
with Lillian Russell, Donnelly and Girard and other noted stars, early
commanded the attention of the late Col. Mapleson, who desired to
send Mr. Black abroad to have his voice cultured. Before this period,
however, he had a thorough schooling in that best of all institutions,
minstrelsy.

Mr. Black was a member of Austin and Weir’s Minstrels in the late 70’s;
subsequently he was associated with Simmons and Slocum’s Minstrels and
Simmons and Rankin’s Minstrels; likewise he was with McNish, Johnson
and Slavin’s Minstrels in 1885-86-87; this was his last appearance in
black-face.

W. W. Black was born in Irvington, N. Y., August 10, 1861.

WM. G. NEWMAN, the popular manager of the Garrick Theatre, New York
City was billed as the “infant wonder,” singing a ballad at Sam Hague’s
Minstrels in Liverpool, England, July 13, 1874.

Mr. Newman was born at sea, March 24, 1861.

GEORGE HALLEN (Smith), a brother of Fred Hallen, and of the black-face
team of McAvoy and Hallen, was born in Ogdensburg, N. Y., November 14,
1861; he died in Denver, Colo., November 27, 1888.

JOHN E. CAIN is one of the cleverest delineators of the negro character
before the public, and it is a distinct loss to minstrelsy that some
such organization does not have him on their roster.

His first stage appearance was at the Apollo Theatre, St. Louis,
Mo., in September, 1874, with the Future City Minstrels, an amateur
organization. Two years later he professionalized himself by joining
Johnson’s Dixie Minstrels.

In the Fall of 1876 he joined hands with Billy Wolf, doing a double
Irish and Dutch specialty. Mr. Cain subsequently returned to his first
love, and did the old-time act of changing from white to black, which
he did in ten seconds.

[Illustration:

WM. EWERS

DICK. ESCOTT

CHAS. C. PALMER

“SLIM JIM” DUKELAN

CHAS. F. WARNER

FRANK MEYERING

PROMINENT MUSICIANS OF MINSTRELSY.]

June 3, 1883, Mr. Cain opened at the Bella Union Theatre in San
Francisco; his success was so pronounced that he remained one year;
ultimately he remained on the coast for ten years, playing legitimate
and variety houses, including engagements with Oliver Doud Byron, with
whom he played principal comedy roles.

Mr. Cain was promoter and builder of the Powell Street Theatre in the
big coast city, which opened December 15, 1890. He next engaged as
comedian with the C. D. Hess Grand Opera Company. In 1891 he joined
hands with Harry Orndorf, and as Cain and Orndorf they did an old-time
“nigger” act that was simply great; Mr. Cain, of course, doing the
black-face part. They continued as a team for several years.

Subsequently he became identified with the Rice and Barton Company,
with whom he has mostly since been identified.

Mr. Cain is happily married to Blanche Newcomb, the youngest daughter
of the famous minstrel.

John E. Cain was born in St. Louis, Mo., August 20, 1862.

JENNIE YEAMANS, the famous daughter of a famous mother (Mrs. Annie
Yeamans) played Topsy in “Uncle Tom’s Cabin” in New York, October 20,
1879.

Miss Yeamans was born in Sydney, New South Wales, October 16, 1862; she
died in New York, November 28, 1906.

BOB CARMICHAEL was well-known as an able and popular minstrel leader.
In the Summer of 1886 he was with Haverly’s Minstrels, and in the Fall
of the same year he joined “Nobody’s Claim” Company; the following
season he was with Sweatnam, Rice and Fagan’s Minstrels, and in 1888
with Johnson and Slavin’s Minstrels. Subsequently he was associated
with Primrose and West’s; his last engagement was with Harry Davis’
Minstrels in Pittsburg, Pa., commencing October 9, 1899.

Bob Carmichael was born in Salem, N. C., where he died November 27,
1899; age 32 years.

EDDIE MARKS (Peter E. Kenny), famous as one of the team of Griffin and
Marks, whose “Silence and Fun” act is well remembered, played with
his partner in all the principal variety halls of Europe, as well as
engagements with Thatcher, Primrose and West’s; Haverly’s, Gorton’s and
other well-known minstrel organizations.

He had been in the profession about twenty-five years.

Eddie Marks died in Jersey City, N. J., December 28, 1898; age 36 years.

JAS. B. GENTRY whose performance as the rube sheriff in “Hoss and Hoss”
is yet remembered, began his career about 1881, at Yorktown, Va., doing
a black-face song and dance with George Leslie; they continued as
partners for one year.

About 1883 with Jack Noon he formed an alliance, and for one and a
half years they played principal variety houses, doing black-face
songs and dances. Another year and a half with Charles Johnson ended
Mr. Gentry’s black-face career, since which time he has devoted his
talents to characterizations which have placed him on a high place in
his profession.

James B. Gentry was born in Richmond, Va., October 8, 1862.

JAS. B. BRADLEY, well and favorably known as one of the best lyric
tenors in present-day minstrelsy, began his professional career in
1884 at Memphis, Tenn., with the Ford Opera Company, in the chorus;
following this came an engagement of five years with “The Hustler.”

His first minstrel engagement was with Barney Fagan’s Minstrels;
subsequently he was with such well-known companies as Al. G. Field’s;
Primrose and Dockstader’s; Dockstader and Cleveland’s (Chicago, 1901).

Mr. Bradley has been quite successful with a tabloid minstrel company
in vaudeville.

James B. Bradley was born in Charleston, S. C., November 9, 1862.

LEW SULLY (Chas. Sullivan) began “cutting up” in theatres at Omaha,
Neb., about thirty years ago; after he learned all about Omaha, he went
across the river to Council Bluffs, Iowa, and engaged as stock comedian.

Mr. Sully’s first minstrel experience was with the Beach and Bowers
Company, and it sure was an experience. His salary was to be $15.00 per
week and “cakes” if he was _good_. While he really went _bad_ in Dixon,
Ill., he stood on the streets and told the population how good he was.

Mr. Sully candidly admits that at that period he was a profound
drinker; subsequently he became a profound thinker. Later he played
successful minstrel engagements with Al. G. Field’s; Primrose and
West’s; Primrose and Dockstader’s; Wm. H. West’s, and Dumont’s
Minstrels. Also did he spend a period of five years intermittently
with Carncross’ Minstrels in Philadelphia, and a season with Haverly’s
Company.

Mr. Sully is the author of “Hesitate, Mr. Nigger, Hesitate”; “I Don’t
Love Nobody,” and other well-known songs.

Lew. Sully was born in Pittsburgh, Pa., March 28, 1862.

FRANZ VETTA (Louis R. Newmayer), the famous operatic bass singer, was
also known as Frank Wetter in minstrelsy.

He first appeared with Geo. Thatcher’s Minstrels in Philadelphia about
1881; subsequently he played engagements with Haverly, and the Standard
Minstrels in San Francisco.

He was the husband of Lizzie MacNichol, the well-known opera singer.

Franz Vetta was born in Camden, N. J., in 1862; he died in Riverside,
Cal., July 15, 1892.

GEO. W. CUNNINGHAM made his first professional appearance with Tommy
Curran, as Cunningham and Curran, at Fraley’s Garden, Jeffersonville,
Ind., in March, 1875, doing a black-face act; subsequently he formed
an alliance with Ed. Talbott. In 1890 Mr. Cunningham and Ed. E. Grant
became partners in one of the most amusing black-face acts on the
vaudeville stage; for four years as “The Brutal Brothers” they played
the best variety houses and combinations.

Cunningham and Grant dissolved partnership in 1894, after which Mrs.
Cunningham (Geneva Smith) and Mr. Cunningham did a white-face act for
several seasons.

July 20, 1908, the new firm of Geo. W. Cunningham and Herman Marion was
born, and at two years of age is doing splendidly.

George W. Cunningham was born in Brookville, Ind., May 18, 1863.

BILLY PEARL (Jacob Allgier) was known from one end of the country to
the other as one of the team of Marion and Pearl.

Mr. Pearl’s first partner was Burt Marion, now of the team of Marion
and Dean; subsequently he formed an alliance with Herman Marion,
now of Cunningham and Marion. Mr. Pearl had been associated with
Vogel’s; Cleveland-Wilson’s; Haverly’s (Nankeville’s); Primrose and
Dockstader’s, and other first-class minstrel organizations, including
Marion and Pearl’s Minstrels.

Billy Pearl was born in New York, November 27, 1863; he died at
Paterson, N. J., June 24, 1908.

BILLY VAN (Van Name), famed far and wide as one of the most unique
monologuists, began his professional career at Jeff. Staley’s in
Jeffersonville, Ind., doing a black-face song and dance, about thirty
years ago.

Subsequently he doubled with Billy Bitt, a midget, and did a break-neck
song and dance, and later was of the team of Van, DeVaney, Haley and
Flynn. Following this he did a musical act with May Wilson for five
years.

Mr. Van’s next partner was Bob Turner, also in a musical act.
Separating from Mr. Turner, he joined Haverly’s Minstrels.

Subsequent minstrel engagements were with Al. G. Field’s; Gorman Bros.;
Primrose and West’s; Haverly’s (Nankeville), and Wm. H. West’s (Ricaby).

He also played feature engagements with Hopkins’ “Transatlantiques,”
Fulgora’s, and Sandow’s Vaudeville Company, of which he was manager.

About 1895 he toured with Billy Van’s Minstrels.

Billy Van was born in Cincinnati, Ohio, November 25, 1862.

JAMES COOK, of the favorite vaudeville duo of Cook and Lorenz, did
a black-face act with Mort. Emerson, in Barlow, Wilson and Rankin’s
Minstrels, about 1885.

Besides being a good Cook; he can sing and dance and tell comical
stories. Fact.

JOHN W. VOGEL is the most prominent of non-playing minstrel managers of
to-day.

In 1901, after the death of Col. Haverly, Mr. Vogel assumed the title
of “Minstrel King,” by which he has subsequently been known. Like so
many successful minstrel executives, Mr. Vogel’s earliest training
was with the circus; his first experience was with Sells Bros.’
“Millionaire Confederation of Stupendous Shows”; this was in March,
1882. In the Fall of that year he joined Thatcher, Primrose and West’s
Minstrels at Cleveland, Ohio, as assistant agent; Mr. Vogel’s executive
abilities showed to such advantage that he was subsequently made
manager of the organization. Afterwards he piloted successfully such
well-known minstrel companies as McNish, Johnson and Slavin’s; McNish,
Ramza and Arno’s; Primrose and West’s and McIntyre and Heath’s.

[Illustration:

ARTHUR MORELAND

FRANK DUMONT

JOS. M. NORCROSS

HARRY M. MORSE

WM. H. HALLETT
(Scherer Studio, New York City)

VAUGHN COMFORT

“MORE MEN OF THE MIDDLE.”]

He also owned and managed Vogel’s Afro-American Mastodon Minstrels, and
“Darkest America.” The present year of 1910 is the fourteenth season
of John W. Vogel’s Big City Minstrels. He likewise managed the Al. G.
Fields’ Minstrels for seven years.

Mr. Vogel’s success is attested by his elegant Summer residence at
Vogel’s Beach, Buckeye Lake, Ohio, and a Winter home in Columbus, Ohio.

John W. Vogel was born in Chillicothe, Ohio, May 16, 1863.

GEO. W. LEWIS is a dancer, is a producer and likewise an innovator; and
there you have it all.

Mr. Lewis made his first appearance with the I. W. Baird’s Minstrels,
season of 1881-82; he was 25 per cent. of the “Midget 4”; the Whippler
Twins and Stone constituting the other three quarters.

From 1882 until 1883 he was a member of the Barlow, Wilson Minstrels;
the next year he was with the Haverly troupe, followed by a season in
the variety houses with the aforementioned Stone.

McIntyre and Heath’s Minstrels followed the separation of Lewis and
Stone, and in January, 1886, he transferred his allegiance to Wilson
and Rankin’s Minstrels; at the end of the season he joined Thatcher,
Primrose and West’s Company, and continued with them two seasons.

Subsequently he was associated with Geo. Thatcher’s various companies
for a period of four years. After this Mr. Lewis entered vaudeville and
continued in it for several seasons, but returned to his old love in
1897, when he went with Primrose and West’s Minstrels. The associations
were so pleasant that the following year he joined Jack Haverly in his
last minstrel venture.

In the Spring of 1900 Mr. Lewis was with Primrose and Dockstader’s big
minstrel show under canvas; here he produced the various dances and
marches.

Subsequently he was with “Simple Simon Simple” playing a “Rube”
character; and with other well-known companies where cork was not
used--except after the show. Mr. Lewis was with the Cohan and Harris
Minstrels at their inception in July, 1908.

He is now in vaudeville, and may go to Pottsville.

George W. Lewis was born in Easton, Pa., August 28, 1863.

THE ORIGIN OF “DIXIE.”

At various times the authorship of this immortal melody has been
attributed to various authors, but many years have passed since it was
conceded that Daniel Decatur Emmett, one of the members of the original
minstrel organization, was its legitimate sponsor.

Conflicting dates have been given as to when it was first produced.
Here is the only true version that was ever published:

“At the request of either Dan or Jerry Bryant, on the tenth day of
September, 1859, Dan Emmett was asked to write a ‘Walk Around’ for
Bryant’s Minstrels, then located in New York City, at Mechanic’s Hall,
472 Broadway. The next day (Sunday) it was put together, and the
following night, September 12, 1859, ‘I Wish I Was in Dixie,’ was sung
for the first time on any stage.

A reproduction of the programme is shown elsewhere.

This is absolutely the first time the proper date has been furnished.

JOE HUGHES (Sovey) was raised in St. Louis, Mo., where he entered the
profession as an amateur, doing a black-face single turn in 1882;
as partners he had in turn a schoolmate whose name was Chamberlain,
and later Billy Gray, playing his first engagement at Ninth and Pine
Streets, St. Louis, for Howard and Alton, here taking the name of
Hughes; subsequent partners were Billy Hart and Tom Glenn. In 1887 he
doubled with Jack Symonds, and a year later a clever colored boy, known
as “Rastus,” who was quite a dancer, was taken into the act; together
they played all the principal variety houses as Symonds, Hughes and
Rastus; their minstrel engagements were with Goodyear, Elitch and
Schilling’s; Haverly’s; Carncross’, and Lew Dockstader’s; the trio
separated in Philadelphia in July, 1895. Mr. Hughes then worked single
for a year, and in 1896 he joined Frank Riley, an excellent old darky
impersonator; as Riley and Hughes they remained a team for seven years;
then one year with Jack Hallen, and on September 24, 1907, and ever
since the firm has been known as Golden and Hughes.

Mr. Hughes has a rich dialect, which he knows exactly how to use.

Joe Hughes was born in Chicago, Ill., March 21, 1863.

FRANK V. CHASE formed a partnership with Dan Swift about 1881, and made
their first appearance at the Front Street Theatre, Baltimore, Md.,
doing a black-face musical act--and an exceptionally good one.

They played engagements with Johnson and Slavin’s, Primrose and West’s,
and the Cleveland-Wilson Minstrels; they were with the latter in
August, 1898.

Frank V. Chase was born in Baltimore; he died there February 11, 1899;
age 36 years.

ANDREW MACK (Wm. A. McAloon), the favorite Irish singing comedian and
actor, joined Thatcher and Ryman’s Minstrels in Philadelphia December
27, 1880, and as Master Will Le Mack, singing “A Violet From Mother’s
Grave,” met with phenomenal success.

Other minstrel engagements followed, notably Cushman and Leon’s, 1883;
Haverly’s, same year, and Barlow, Wilson and Rankin’s, about 1885.

Mr. Mack was married December 2, 1887; and since then.

Andrew Mack was born in Boston, Mass., about 1863.

LOUIS BALDWIN, a well-known black-face comedian, who with J. Arthur
Coburn formed the musical team of Coburn and Baldwin, began his stage
career in his boyhood days, and played with well-known minstrel
organizations.

His last appearance was with the Barlow Minstrels, under the management
of Mr. Coburn.

Louis Baldwin died at Bloomington, Ill., January 9, 1903; age 40 years.

CHAS. SHARPLEY, the junior member of the Three Sharpley’s, was an
exceptionally clever musician, and gave promise of a brilliant future
when death intervened.

He died in New York City, December 29, 1879; age 16 years.

DAN ALLMON, one of the younger generation of black-face performers,
was prominent with Cleveland’s Minstrels in the middle 90’s; as an end
man and monologuist he was first-class. His last appearance was with
Nankeville’s Haverly Minstrels.

Dan Allmon died at Vancouver, B. C., November 2, 1901; age 38 years.

DAN QUINLAN (Daniel Cullinan) worked in his native city for several
years in the rolling mills, and kept on rolling until he got his
first professional engagement as property man with the Barlow, Wilson
Minstrels in 1883. From this humble beginning Mr. Quinlan rose
successively and successfully to the positions of stage manager,
interlocutor, manager and finally proprietor. He was identified with
such prominent minstrel organizations as McNish, Johnson and Slavin’s;
Sweatnam, Rice and Fagan’s; McNish, Ramza and Arno’s; Geo. Wilson’s;
Billy Van’s, and Primrose and West’s Monte Carlo Company, in which
Geo. Wilson was starred. He was for six years with Al. G. Field’s
Minstrels, serving in the capacity of interlocutor, stage manager and
manager. Early in the present century Mr. Quinlan organized the Quinlan
and Wall’s Imperial Minstrels, of which he was the proprietor, and
conducted for several seasons.

Mr. Quinlan’s first appearance in the “middle” was with Sweatnam, Rice
and Fagan’s Minstrels at Philadelphia, about 1888; subsequently he
broke away from the conventional style of the interlocutor, and instead
of keeping his seat during conversations, he would walk about, to and
fro on the stage, leaving it entirely at occasional intervals; this was
a unique departure, and was apparently well liked.

He likewise produced some original first parts, notably “A Reception
to the Diplomatic Legion,” “A Day and Night at the Pan-American
Exposition” and “International Military Bivouac.”

Mr. Quinlan played vaudeville with Keller Mack, with whom he was
associated since January 16, 1905. August, 1910, he formed an alliance
with Vic. Richards.

Dan Quinlan was born at Elmira, N. Y., April 21, 1863.

OTIS SKINNER, the representative romantic and Shakespearian actor,
during the week of February 18, 1878, at the Philadelphia Museum,
played Jerry Blackburn in Frank I. Frayne’s production of “Si Slocum.”
There is a suspicion that this was not Mr. Skinner’s only appearance in
black-face.

TOM LE MACK (McAloon), well known as a comedian and dancer, as well
as the composer of such songs as “Phoebe,” “Little Johnny Dugan” and
“The Wedding of the Lily and the Rose,” made his first appearance in
minstrelsy at Heuck’s Opera House, Cincinnati, March 18, 1885, with
Haverly’s Mastodons.

Subsequently he appeared with Thatcher, Primrose and West’s Minstrels
and other well-known companies.

About fifteen years ago Mr. LeMack formed a partnership with Tom Lewis;
they played vaudeville engagements, and a season with Donnelly and
Girard in “The Rainmakers.”

[Illustration:

JNO. F. FIELDS

FRANK HANSON

(THE ORIGINAL FIELDS & HANSON.)

CHAS. REYNOLDS

GEO. REYNOLDS

(REYNOLDS BROS.)

EVERETT WESLYN

FRANK CASEY

(WESLYN & CASEY.)]

Mr. LeMack was a brother of Andrew Mack, the famed singing Irish
comedian.

Tom LeMack was born in Boston; he died in New York City, February 26,
1899; age about 35 years.

RICHARD F. CARROLL, the well-known comedian, and a son of the famous
R. M. Carroll, was a member of the great “Carroll Family” for several
years in the 70’s, during which time he frequently appeared in
black-face.

Mr. Carroll was born in Boston, Mass., October 27, 1864.

SAM BERNARD (Barnett), the favorite German musical star, was not always
an assassin of the King’s English--not he. Away back during the season
of 1883-84 at the Museum in Providence, R. I., he played the wench part
in “The Fellow That Looks Like Me,” and played it so artistically that
he received an offer of marriage from Henry White, a colored citizen of
Providence, who thought Mr. Bernard was a real darky lady. Honest.

J. HARVEY BRIGGS, a well-known singer, and composer of “Dear Old Stars
and Stripes,” began his career with Robinson’s Circus while yet a boy;
subsequently he was with the Barlow Minstrels for a season, and later
joined the Gorton’s Minstrels, with whom he continued for five years.

Mr. Briggs was married to Marguerite Eleanor, an actress.

J. Harvey Briggs was born at Huntington, W. Va.; he died in New York
City, March 30, 1904; age 40 years.

SAM LEE is from the South; so there’s nothing extraordinary in the fact
that he is a good black-face performer, which no one disputes.

His first professional appearance was in 1883, with King, Burke and
Company’s Circus; Mr. Lee played in the band, which recalls the
additional fact that he is a skilled musician.

After the circus came variety houses, where he first put on cork; this
was in 1884.

Mr. Lee’s minstrel career began in 1885 as a member of I. W. Baird’s
Company; he continued with them for two seasons. The following year he
joined the Goodyear, Cook and Dillon’s Minstrel Company.

At Andover, N. Y., July 26, 1889, he allied himself with Gorton’s
Minstrels, and remained with that organization twenty years.

The season of 1909-10 Mr. Lee was with the Cohan and Harris Company,
where he made a conspicuous success; his playing of the “bad nigger” in
the afterpiece of that company was a clever bit of acting.

Mr. Lee, while with the Gorton Minstrels, was associated with the late
Joseph Gorton, Jr., for nine years in a musical act.

Sam Lee was born in Lexington, Ky., November 24, 1864.

TOMMY DONNELLY, or Thos. H. Donnelly if you want it all, is a
comedian--no one ever said he wasn’t.

He made his first appearance with Heywood Bros.’ Mastodon Minstrels at
Athol, Mass., in 1885; it was Donnelly and Markham then.

The next season he joined Hi Henry’s Minstrels, and subsequently
appeared with such well-known organizations as George Wilson’s; McNish,
Johnson and Slavin’s; Carncross’, in Philadelphia; Al. G. Field’s, and
Donnelly and Hatfield’s Minstrels.

Tommy Donnelly was born in Springfield, Mass., May 10, 1864.

AL. CAMERON, formerly known as Alex Cameron, a prominent singer of
latter-day minstrelsy, made his first appearance as a Madrigal Boy in
Haverly’s Minstrels in 1888; subsequently he joined the Gorman Bros.’
Minstrels, remaining with that organization for six years.

Mr. Cameron afterwards was identified with Primrose and West’s
Minstrels for seven seasons, also with the Al. G. Field’s Minstrels.

Al. Cameron was born at Grenoch, Scotland, October 21, 1864.

GEO. W. DAY. When a man can be a member of a prominent minstrel
organization for a whole season without the knowledge of the proprietor
of said organization, that man must have talents that are nothing short
of abnormal. Such a man is Geo. W. Day, or such a man he was in 1892,
when appearing before Leopold Fuenkenstein at the Central Opera House,
New York City, told that gentleman in response to the question as to
whom he had been with the previous season, Mr. Day says he joined Al.
G. Field’s without a moment’s hesitation; he might have also added
“without a moment’s salary.”

Such was the beginning of the black-face career of Geo. W. Day, which
has been devoted mostly to vaudeville, though light operas through the
mediums of “The Pirates of Penzance” and “The Mascotte” saw him; he
also appeared in “The Finish of Mr. Fresh” and “The Wooing of Mrs. Van
Cott.”

Mr. Day’s effusions are always given in neat, straight make-up, which
has a tendency to enhance their value.

Geo. W. Day was born July 29, 1864; that’s the very day.

AL. REEVES is one of the greatest living examples of the “13” hoodoo
killer.

Right off the reel he started the thing going by getting born at No. 13
Catharine Street; and there’s lots more to come; but all in good time.

Mr. Reeves’ career started at Bunnell’s Museum and Theatre in Brooklyn,
N. Y., about 1878; later he worked for Bunnell at Coney Island, N. Y.,
twelve shows a day, seven shows a week, receiving the princely sum of
17⁶⁄₇ cents a performance.

His debut as a minstrel was with the Healy and Bigelow Company, where
he did an act with the late Tommy Mott.

Mr. Reeves then spent several seasons with real shows, and later a year
at Carncross’ Minstrels, in Philadelphia.

Then came Al. Reeves’ Specialty Company, and then the hoodoo. Mr.
Reeves took over the Criterion Theatre in Brooklyn with the avowed
intention of running burlesque companies within its portals. The
intention was good, but at that time the “boss of the banjo” wasn’t
aware that the house was in its thirteenth season, nor that he was its
thirteenth manager; he found this all out at the end of thirteen weeks,
when he gave up the management; the thirteen who had purchased tickets
had their thirteen half dollars refunded.

Nothing daunted, Mr. Reeves and his Big Beauty Show started on its way,
and success has been his; so “give him credit, boys.”

Al. Reeves was born in New York, May 30, 1864.

EUGENE STRATTON (Ruhlman), who is at the present time one of the most
pronounced favorites in England of any man that ever blacked his face,
began his stage career about 1878 as one of the Four Arnold Brothers.

On the 21st day of October, that year, he opened at Chicago with
Haverly’s Original Mastodon Minstrels. He was a member of that company
when they opened at the Drury Lane Theatre, London, England, July 31,
1880.

Shortly after this event he went to Moore and Burgess’ Minstrels in the
same city, where he remained about ten years.

In addition to being a good song and dance man, he also developed into
a fine comedian.

Eugene Stratton was born in Buffalo, N. Y., about 1864.

MACLYN ARBUCKLE, the comedian, who may one day play Falstaff, was a
member of the “Lambs’” Minstrels at the Metropolitan Opera House, New
York, May 31, 1909.

The story that Mr. Arbuckle had blacked nearly his whole anatomy
before the veteran minstrel, Raymond Hitchcock, intervened and told
Arbuckle that only the face, neck and chest needed the burnt cork, is a
fabrication, pure and simple.

ALBERT GUY has long been a member of the Guy Brothers Minstrels, where
his superb baritone voice is heard to excellent advantage. As an
interlocutor he ranks high.

Mr. Guy has been associated with his brothers professionally
practically his entire career.

He was born in New York, January 7, 1865.

CHAS. J. STINE, the well-known capable character comedian, whose
efforts in some of the more prominent productions have brought him the
prominence he deserves, made his initial bow as a performer as a member
of J. N. Gilbert’s Minstrels--we all know Charley Stine, but--“has
anybody here seen Gilbert?” This occurred at Ridott, Ill., in 1878;
later Mr. Stine did shine as one of the stars of Horace Herbert’s
Grand Constellation. Things were “Nip and Tuck” for a season, then he
“troubadoured,” and then joined Goodyear, Cook and Dillon’s Minstrels.

After several farcical affairs, Mr. Stine allied himself with George
Thatcher’s “Tuxedo” and “Africa” companies.

About 1893 he married Ollie Evans, and as Stine and Evans played
vaudeville in this and foreign climes for several seasons.

In 1901 he once again “blacked up” with Dick Jose’s Minstrels in San
Francisco.

Mrs. Stine died in January, 1908; subsequently Mr. Stine married Miss
Barbara Daub, a non-professional lady, February 24, 1910.

Mr. Stine’s most recent engagements were with Joe Weber’s Company and
Max Rogers, of the Rogers Brothers, in “The Young Turk.”

Charles J. Stine was born in Freeport, Ill., August 19, 1864.

[Illustration:

ANDY McKEE

STEVIE ROGERS

(McKEE & ROGERS.)

GEO. W. CUNNINGHAM

HERMAN MARION

(CUNNINGHAM & MARION.)

BILLY CHACE

LEW. DAVIS

(CHACE & DAVIS.)]

CHAS. K. HARRIS, the famous author of the famous song “After the
Ball,” and other famous successes, did a black-face banjo act for the
Elk’s Minstrels in Milwaukee, Wis., about 1898. Mr. Harris was born in
Poughkeepsie, N. Y., May 1, 1864.

ARTHUR DUNN, the abbreviated comedian of many a lengthy musical
success, was a black-face song and dance boy with Haverly’s Minstrels
in 1881. But that was not the only black-face work that Arthur Dunn.

Mr. Dunn was twenty-three years old, February 23,--1887.

STUART BARNES, the well-known monologist, was formerly a black-face
performer. Billed as the “Kings of Ethiopian Comedy,” in a plantation
act called “Fish Heads,” Mr. Barnes and his partner played an
engagement at the Harlem Museum, New York City, week commencing
September 28, 1891. Be it understood that “Fish Heads” was simply the
name of the act of Clements and Barnes.

WILL VIDOCQ (Murray), of the favorite, featured, furiously funny team
of Haines and Vidocq, contracted the actor fever in 1876, when he was
one of the three Vidocqs, a white-face act. Subsequently he was of
the well-known acts of Shannon and Vidocq; Hughes and Vidocq; Vidocq
and Evans, and Thompson and Vidocq. But long before these he did a
black-face turn with Dan. Lester, the old-time clown; this was about
1879.

He first formed an alliance with Nat. Haines in 1884; afterwards they
rejoined each other in 1889, 1898 and 1909.

Mr. Vidocq was born in New York, April 22, 1865.

HARRY LEIGHTON, the well-known vocalist, made his first professional
appearance at a Sunday concert in New York City, at Wallack’s Theatre,
in 1886.

His initial appearance in minstrelsy was with the Haverly Company, at
Joliet, Ill., July 18, 1887.

Subsequent engagements were with Carncross’ Minstrels in Philadelphia;
Cleveland’s; Dockstader’s, in 1893; Thatcher and Johnson’s, and Vogel’s
Minstrels. With the latter organization he has been ten consecutive
seasons.

Mr. Leighton has a peculiarly pleasing high-tenor voice, which he uses
to the best advantage.

Harry Leighton was born in Bradford, England--and that’s the best the
author could get.

BILLY JEROME (Flannery). Everybody knows that Mr. Jerome wrote the
lyrics for some of the biggest New York successes, as well as such
popular songs as “Rip Van Winkle Was a Lucky Man”; “He Never Came
Back”; “Bedelia”; the “Volunteer Organist,” and scores of others; but
everybody don’t know that “Billy” sat on the end with Barlow, Wilson
and Rankin’s Minstrels in 1885, opposite to J. Marcus Doyle; nor that
five years later with Billy Buckley did a good black-face talking and
singing act. But he did, he did.

Billy Jerome was born in Cornwall, N. Y., September 30, 1865.

JOHN QUEEN (McQueen) achieved equal success as comedian and a song
writer. He entered the profession in the early 80’s, and later as
Queen, Stowe and Randall was the inventor of the trick house act used
by them. He was a long time associated with Cleveland’s, also Vogel’s
Minstrels.

He was the author of “Get Your Habits On,” “All Alone,” and many other
coon ditties that attained more than usual prominence.

John Queen was born in New Orleans, La.; he died in New York, February
23, 1902.

“HAP” WARD (John O’Donnell) and HARRY VOKES, the famous farceurs who
have headed their own organizations for several seasons past, have used
burnt cork copiously and freely.

Mr. Ward was a member of the Four Diamonds, a black-face act of about
thirty years ago; and Mr. Vokes paraded in many a one night stand while
with the Barlow, Wilson Minstrels about the same time. If you don’t
believe it, ask Ward and Vokes.

CHAS. HORWITZ, the well-known vaudeville sketch writer and collaborator
with Fred Bowers in the production of many great song successes, did an
“end” for one night, July 4, 1893, at Long Branch, N. J., with “Barney
Fagan’s Minstrels” _without_ Barney Fagan.

Mr. Horwitz was born in Milwaukee, Wis., and looks it.

JOE. CAWTHORNE, one of America’s foremost comedians, played many
black-face and minstrel engagements in his varied career. For instance,
he and his brother Herbert opened at Sam Hague’s Minstrels in
Liverpool, England, December 1, 1879. Doesn’t time fly?

JAS. T. POWERS (McGovern), the popular light opera comedian, played
“Useless Maguff,” a _nig_ in hard luck, in the drama of “Wide Awake” at
Aberle’s Theatre, New York City, week of March 22, 1880; and he’s proud
of it.

GUS. PIXLEY. It’s not hard for him to be a happy Hobo--on the stage.

It was just as easy on March 19, 1883, at the Standard Theatre, San
Francisco, with Emerson’s Minstrels, to play Lady Angela, in the
burlesque on “Pinafore.” Of course, he was a black Lady Angela; for
those were dark days.

DE WOLF HOPPER, the altitudinous comedian, was one of the features of
the “Lambs’ Gambol,” in their minstrel first part of the Metropolitan
Opera House, New York, May 31, 1909. He said, “Gentlemen, be seated,”
and they did.

LUCILLE LA VERNE, the favorite character actress, played Judith Clancy,
the negro “mammy” in “Clarice,” at the Garrick Theatre, New York,
October 16, 1906. Sounds more like an Irish “mammy,” don’t you think?

ARTHUR DEMING is one of the most entertaining black-face performers
before the public to-day. He has made St. Louis, Mo., his home for many
years, and it was there he made his first professional appearance at
McKinley’s Museum, October 7, 1888, in a black-face monologue. A short
time afterwards he formed a partnership with Eddie Powers, together
they joined Geo. De Haven’s Circus as clowns, also working in the
concerts.

In the Fall of 1889 his regular minstrel career began with the Vreeland
Company, remaining two seasons. The next two years was Arthur Deming’s
Minstrels, allied with Edwin De Coursey’s “A Stranger” Company. In 1893
he joined Cleveland’s Minstrels, closing with that company; he made
his first appearance with Hi Henry’s Minstrels, Christmas, 1893, at
Carbondale, Pa.; he remained with the Henry Company until the end of
the season of 1895-96. Arthur Deming’s Minstrels took the road season
1896-97, and 1897-98 he was with the Haverly’s Minstrels. Vogel and
Deming’s Minstrels, 1898-1900; “Don’t Tell My Wife” Company, 1900-01;
a return to Hi Henry, 1901-02; a tour of vaudeville, 1902-03, and once
again with Hi Henry, 1903-04; Geo. Primrose’s Minstrels claimed him for
their own from 1904 until 1906; and vaudeville ever since, where he has
met with universal success. Mr. Deming is now playing with much success
the black-face comedy part in “Lower Berth, 13,” in Chicago, at the
Whitney Theatre.

Arthur Deming was born in Green Bay, Wis., May 20, 1866.

RICHARD CARLE, the famous elongated comedian, author and producer, says
he appeared several times as an amateur in minstrel shows, recalling
one in particular at the Winthrop Yacht Club in Winthrop Beach, Mass.,
in the Summer of 1889. Mr. Carle did a capital “end” on this auspicious
occasion.

HARRY BULGER, famous for his comedy creations in many Broadway
productions, was one of the original members of the Al. G. Field’s
Minstrels, whose initial performance was given at Marion, Ohio, October
6, 1886; he was of the team of Bulger and Jenkins.

Subsequently Mr. Bulger joined forces with Sherrie Matthews, doing a
black face act.

EMIL HEUSEL, of the German comedy team of Heusel and Walsh, played many
black-face parts with Harrigan and Hart in the 70’s and 80’s, and was
also a song and dance man with Barlow, Wilson and Rankin’s Minstrels in
1885. He was born in New York, April 17, 1866.

AL. HART, famous for his impersonation of Wang, in the opera of that
name, as well as other prominent companies, came to the United States
about 1880, and made his first appearance with Tuck’s Minstrels in
Buffalo, N. Y., shortly after.

In 1884 he was with Lester and Allen’s Minstrels as interlocutor. About
February, 1885, he became a member of the famous Clipper Quartette,
with whom he appeared for eight years, mostly in black-face. Mr. Hart
was born in Liverpool, England, December, 1866.

GREG. PATTI (Gregory Patti) is widely known in social circles in New
York, Philadelphia and their environs as the “Little Comedian.”

Mr. Patti defied all theatrical traditions by making his initial
professional appearance on the thirteenth anniversary of his birth.

Ten years later he organized the “Greg. Patti Minstrels,” since which
time he appeared at various functions of the elite, among whom may be
mentioned Mr. Pembroke Jones, Mrs. Stuyvesant Fish, Mr. William K.
Vanderbilt, Jr., Mrs. James Speye, Mr. Roy Rainey, Mr. Paul Rainey, Mr.
Juilliard, Mrs. Murray and many others.

[Illustration: COHAN AND HARRIS’ MINSTRELS, 1908.]

In addition he has shown with his merry little band at many of the bon
ton clubs, notably, the Metropolitan (known as the “Millionaires”),
Union League, Equestrian, at Sherry’s, all in New York City.

Also at the Tuxedo, at Tuxedo; Fort Orange at Albany, N. Y.; Algonquin,
at Bridgeport, Conn.; Lakewood Club, at Lakewood, N. J., and numerous
others.

Like his illustrious namesake and relative, Mr. Patti reaches for the
high notes--and gets them.

Greg. Patti was born in Brooklyn, N. Y., March 23, 1866.

BOARDMAN CARNES was one of the best known vocalists in present day
minstrelsy.

He was long a member of the Quaker City Quartette, and had developed
into being a fine interlocutor.

He was associated with several first-class minstrel companies, notably
Al. G. Field’s, with whom he was associated at the time of his death,
which occurred at Pt. Pleasant, W. Va., December 29, 1907. He was about
35 years of age.

MATT. KEEFE. Minstrelsy has produced some very good Yodlers in the
past; but old-timers, who should know, say that Mr. Keefe compares
favorably with any of them.

If Matt. Keefe had developed into a comedian instead of a vocalist, no
one would have been surprised, because the honor of having been born
next door to the house Mark Twain used to live, belongs to Mr. Keefe.

He made his first professional appearance at Leadville, Colo., in 1887.
Al. Fields Company was his first minstrel engagement; he was with
Primrose and Dockstader, and Dockstader’s Minstrels, totaling six years.

Season of 1908-09 saw him with Cohan and Harris’ Minstrels; and for two
years he was with Tony Pearl in vaudeville.

Matt. Keefe was born in Hannibal, Mo., August 13, 1867.

EDWIN GUY, one of the famous Guy Brothers, has been a member of that
minstrel organization many years. Mr. Guy is an eccentric comedian of
unique methods.

He was born in New York, May 4, 1867.

TIERNEY and WAYNE formed a partnership in the early 80’s, doing
black-face songs and dances.

In 1885 they were with Barlow, Wilson and Rankin’s Minstrels; they
continued in black-face until 1888 when they played white-face parts
with “Zig-Zag.”

Mr. Wayne subsequently married Anna Caldwell, and as Wayne and Caldwell
they traveled several seasons.

Mr. Wayne is still in vaudeville--with another Mrs. Wayne.

Charley Wayne was born in Ft. Wayne, Ind., August 10, 1867.

James B. Tierney died in New York, October 18, 1891; age 30 years.

JOHN W. EARLY, a capable baritone singer, of late years with burlesque
companies, was with Billy Rice’s Minstrels in 1897, and the following
year became a member of Haverly’s Company; the last that famous manager
ever exploited. Subsequently he was with Lew Dockstader’s Minstrels.

In December, 1904, Mr. Early and Miss Late formed an alliance to do
sketches; since then they have been playing--Early and Late.

John W. Early was born in Dayton, Ohio, September 29, 1867.

BERT MARION (John Ryerson) made his first appearance at the old Wigwam
in Paterson, N. J., 1877, playing boy parts in white-face; shortly
after doing black-face songs and dances, being known as Master Ryerson.

At the age of 16 he joined forces with Dave Zimmer, doing a black-face
act with him until 1890, when he formed a partnership with the late
Billy Pearl, and as Marion and Pearl continued more than eight
years, playing with such well-known minstrel companies as Haverly’s
(Nankeville’s); Barlow Bros., Gorton’s, Cleveland’s, and two seasons
under their own management with Marion, Pearl and Pendleton’s Minstrels.

After separating from Mr. Pearl, Mr. Marion formed an alliance with his
wife, Sabel Dean, and as Marion and Dean have played all the prominent
vaudeville houses for more than ten years.

Bert Marion was born in Paterson, N. J., August 7, 1867.

HARRY “SCAMP” MONTGOMERY, well and favorably known as a capable
delineator of black-face characters, with his brother Dave, now of
Montgomery and Stone, appeared as one of the Montgomery Bros., the
“Pullman Porters,” about 1888; a short time previous he had been with
Forepaugh’s Circus. In 1889 he was with Beach and Bowers’ Minstrels,
and subsequently with Crawford Bros. (Topeka, Kan.) Minstrels.

Several years ago he joined Tony Pearl in a musical act, and as
Montgomery and Pearl they played all the first-class vaudeville houses,
as well as many high-class combinations.

Mr. Montgomery created the negro part of Eaton Ham, in George M.
Cohan’s “Geo. Washington, Jr.,” and played such other black-face
character parts as Low Down Smith, in “Cape Cod Folks,” and Sylvester
Q. Nightingale, in “Mary’s Lamb.” For brief periods he was “Sheppard,”
of Wood and Sheppard, likewise “Bogert,” of Bogert and O’Brien; now
Neil O’Brien, the great black-face comedian.

During the World’s Fair in Chicago, he was the drummer in Sousa’s Band.

The present season of 1910, Mr. Montgomery was especially engaged by
Geo. M. Cohan to create the part of Abe. Gunther, in Mr. Cohan’s latest
play, “Get Rich Quick Wallingford.” Needless to say, Mr. Montgomery
made a decided hit--and in white face.

“Scamp” Montgomery was born in St. Joseph, Mo., April 2, 1867.

REES PROSSER sings a ballad in a manner that is entirely his own, and
thereby hangs a tale; it’s a simple enough story; the answer being
“He’s always engaged.”

His first appearance was in his native state, in the city of Terre
Haute, as a member of the Wabash Minstrels twenty years ago. Beach and
Bowers was the first professional minstrel engagement; others were Al.
G. Field’s, nine years; Cleveland’s, and Dockstader’s.

June 1, 1910, “Rees Prosser” was murdered; some place in the far
west. We ’uns in New York thought it was _our_ Rees Prosser; Mr.
Prosser indignantly denied that he was ever shot; north, east, south
or west; and his reputation for veracity is so good that argument was
unnecessary.

Rees Prosser was born in New Albany, Ind., September 13, 1867.

WATERBURY BROS. made their first professional appearance with
Vreeland’s Minstrels doing a straight musical act in 1892; the same
year they played their first vaudeville engagement at Shea’s Music Hall
in Buffalo. In 1894 they were joined by Chas. Kenna, the comedian, the
act then was known as Waterbury Bros. and Kenna.

In the Summer of 1895 Ernest Tenney replaced Kenna, and as Waterbury
Bros. and Tenney they have since been known.

Geo. N. Waterbury was born in New York City, December 14, 1867.

Edw. M. Waterbury was born in Stamford, Conn., May 27, 1871.

ERNEST TENNEY, one of the famous Tenney family who gave series of
concerts some years ago, began his career as a member of the family
August 6, 1882; the company comprising father, mother, sister, and
four brothers, in addition to the subject of this sketch; he remained
a member of this organization until 1889; engagements followed with
an Uncle Tom troupe (no, reader, Mr. Tenney did not play Eva); after
Tom came the Daniel Boone Company and a return to the family fold for
a brief period; then an engagement with Gray and Stephen’s “Vesper
Bells” Company, after which he joined Harry Whiting in a comedy musical
act. In August, 1893, he joined the Four Emperors of Music, and in
September, 1893, “Emperors” joined Cleveland’s Minstrels for a few
months; June 15, 1895, he left Three Emperors and immediately joined
the Waterbury Bros.

WATERBURY BROS. and TENNEY have played the principal vaudeville houses
since their alliance in 1893; also engagements with Cleveland’s,
Primrose and West’s, Wm. H. West’s and Cohan and Harris’ Minstrels,
also two seasons with Harry Williams Company, and a season with Sam
Scribner.

WEBER AND FIELDS, the famous German comedians, who for many years did
all they could to disintegrate the King’s English, did a black-face act
at Turn Hall, in New York, about thirty years ago.

They were each born in New York City; Mr. Weber, August 17, 1867; Mr.
Fields, December 31, 1867.

ARTHUR C. RIGBY ranks with the best of present day monologists. Mr.
Rigby has a unique style of delivery, pleasant address and excellent
enunciation, all of which spell success.

His first appearance was made in Paterson, N. J., as a member of St.
Joseph Cadets Temperance Society, under the management of Con. Tracey.
His debut professionally was made at Newark, N. J., in 1883, doing a
black-face banjo solo.

A few years later Mr. Rigby made his initial appearance with a minstrel
company as a member of the Gorman Bros. organization; subsequently he
appeared with Cleveland’s, Al. G. Field’s and Vogel’s Minstrels.

[Illustration:

BILLY O’DAY

“SCAMP” MONTGOMERY

This page is the exclusive property of “Scamp” Montgomery and Billy
O’Day. Trespassers will be rigidly prosecuted.]

And not only that, but he played black-face parts with Joe Weber’s
“Hip, Hip, Hooray” Company; “Natural Gas” and “The Rainmakers;” with
the latter originating the “darky” role in the play.

Of late years Mr. Rigby’s talents have been displayed in vaudeville
exclusively.

Arthur C. Rigby was born in Macclesfield, England, April 4, 1867.

SANFORD B. RICABY had his first experience in amusements as a
bill-poster with Whitney’s Family Circus in 1884.

Two years later he assumed the management of the Opera House in his
home town, and continued in that capacity for three years.

Subsequently he was identified with several well-known attractions
until about ten years ago, when he became associated with Wm. H. West’s
Minstrels; after the death of the latter, Mr. Ricaby purchased the show
from Mrs. West, who had been requested by her husband to continue the
minstrels with Mr. Ricaby as manager, after Mr. West’s decease.

Sanford B. Ricaby was born in Hillsdale, Mich., May 26, 1867.

WM. D. HALL, author, actor, playwright, manager and other things
theatrical, says he had a serpentine career, although never having done
a dance of that name.

Mr. Hall’s stage career began as a “prodigy” at the age of ten; city,
Baltimore; theatre, Odeon. Musical Comedy, drama, variety, vaudeville
and minstrelsy has he also been associated with.

He wrote the life of “Dan” Emmett, the immortal composer of “Dixie” and
a play for the late Ernest Hogan; he also wrote several letters to the
author.

Mr. Hall began the present season of 1910 with Dumont’s Minstrels in
Philadelphia.

He is a son of George L. Hall, the oldest living minstrel vocalist.

Wm. D. Hall was born in Washington, D. C., December 25, 1867.

WILLIE COLLIER (I always call him Willie), the favorite comedian, is
just as funny in black-face as in white; at least he was on the night
of October 12, 1896, when as a colored damsel he sang and danced in the
performance of “Miss Philadelphia,” at the Park Theatre, Philadelphia.

Mr. Collier was born in New York City, November 12, 1867.

NEIL. O’BRIEN

has long ranked with the great comedians that have tended to make
minstrelsy famous.

Mr. O’Brien portrays an eccentric negro of the South, a real flesh
and blood darky, not an exaggerated caricature; and therein lies his
success.

Indeed his depiction of the colored man is so realistic, so artistic
and so natural, that in the cities wherein they are so largely
represented, during the performances in which Mr. O’Brien was a
contributing factor, they would invariably argue among themselves as
to whom among their number the counterfeit darky of the stage was
most like; it’s Henry White, one would say, while another was equally
positive Mr. O’Brien was imitating Jim Jackson, both of these gentlemen
named being members of their “set.”

[Illustration: NEIL O’BRIEN.]

Mr. O’Brien first appeared theatrically in 1889 with the “Student
Minstrels” in Binghamton, N. Y., and nearby cities; he sat on an “end.”
He later was one of the team of O’Brien and Bell; they dissolved
partnership in 1891, and the musical act of Bogert and O’Brien was
formed in March that year, and they continued as partners for ten years.

Mr. O’Brien was with Haverly’s Minstrels in Chicago in 1892, and
remained one year; in 1898 he was again with Haverly on the last tour
made by the famous manager.

Seasons of 1896-97-98 he was with Al. G. Field’s Minstrels. He joined
Primrose and Dockstader’s Minstrels in 1899, and continued with them
until the dissolution of the organization in 1903.

That same year he cast his fortunes with Lew Dockstader’s Minstrels,
with whom he remained until the Spring of 1910. At the present time Mr.
O’Brien is appearing in vaudeville with marked success in an elaborate
black-face act called “Fighting the Flames;” as a raw fireman who has
bought his way into the department, Mr. O’Brien is excruciatingly funny.

Neil O’Brien was born in Port Dickinson, N. Y., July 16, 1868, and
enjoys the distinction of having received one of the largest salaries
of any minstrel performer.

J. A. COBURN, proprietor and manager of the Coburn Greater Minstrels,
has achieved considerable fame as a cornetist; to say that Mr. Coburn
has blown his own horn since he was ten years old, is no reflection
upon him whatever.

Before starting on his minstrel career, he was cornetist with the
Elgin, Ill., National Watch Company Military Band, and others. His
first professional appearance was of the musical team of Trewetz and
Coburn, in 1886. Subsequently in 1890 he joined Louis Baldwin in a
comedy act, and continued with the latter until his (Baldwin’s) death.

Mr. Coburn’s first minstrel engagement was with the W. S. Cleveland
Company, in 1893.

Five years later he was owner and manager of the original Barlow Bros.
Minstrels; subsequently known as the Great Barlow Minstrels.

Mr. Coburn rehearses and directs his own show, and has the distinction
of being one of the best known men in the minstrel business.

A fine home at Daytona, Fla., is a tribute that speaks volumes for his
twenty-four years in the profession.

J. A. Coburn was born in Boston, Mass., March 12, 1868.

OF CORSE PAYTON blacked up. As a matter of cold fact, his first
professional appearance was made at a county fair less than a million
miles from Centreville, Iowa; Mr. Payton was the end man in a minstrel
show there. Later he was with a repertoire company that acted “Uncle
Tom’s Cabin;” and the report is that he played every character in the
play including Eva; he only got cold feet when they insisted on his
playing the “cake of ice.”

Now to be serious--the king of 10, 20, 30 played Wool, a black-face
part in the “Hidden Hand” at Payton’s Lee Avenue Theatre, Brooklyn, N.
Y., commencing November 4, 1901.

Corse Payton was born in Centreville, Iowa, December 18, 1867; and
Centreville has never been sorry.

EDDIE HORAN, the well-known dancer and producer, made his first
professional appearance with Thatcher, Primrose and West’s Minstrels
in 1885; subsequently appearing with the following prominent minstrel
companies--Hi. Henry, three seasons; Al. G. Fields, five seasons, and
two years with Wm. H. West’s Company. With the exception of the first
mentioned company, he was general producer for the others.

Ten years with three such organizations is a record of which Mr. Horan
may justly feel proud.

Subsequently he appeared successfully with several well-known dramatic
companies; after which he returned to minstrelsy with The George
Primrose Co.

Mr. Horan has played vaudeville for the past few seasons.

Eddie Horan was born in Hartford, Conn.--after Lew Dockstader.

WM. H. HALLETT is well and favorably known as an interlocutor in
present day minstrelsy.

His first engagement with a minstrel organization was with the Wm. H.
West Company in 1896.

Subsequently he joined the Primrose and Dockstader Company, remaining
three seasons, after which he identified himself with Lew Dockstader
for the same period.

Mr. Hallett then forsook cork for grease paint, and for two years was
with Charley Grapewin in “The Awakening of Mr. Pipp;” at the end of
that period (Mr. Hallett, not Mr. Pipp) felt uneasy, and no one seemed
surprised, when at the opening of the season of 1908, our rotund
interlocutor was found in his accustomed place with Lew Dockstader’s
Minstrels, where he remained two years.

He is now in vaudeville with Neil O’Brien.

Before his minstrel engagements Mr. Hallett was with the “Gay
Debutante;” “Sis Hopkins;” and the “Daughter of Cuba.” In none of these
plays did he assume the title-role.

Wm. H. Hallett was born in San Francisco, Cal., October 13, 1868.

NED MONROE (Edwin James Pyle). Amusement seekers lost one of the very
best black-face comedians of a generation when Ned Monroe forsook
burnt-cork for grease paint; for one doesn’t have to be a modern
Methusaleh to remember the act of Monroe and Mack.

Mr. Monroe’s first partner, amateurly speaking, was Sam Gillespie, of
Philadelphia.

In the Fall of 1888 with Kellar Mack he formed a partnership, and they
made their first appearance in Baltimore, as Monroe and Mack, at a
joint salary of $40.00; the term “joint” does not necessarily apply to
the place they played in.

Altogether the act was one of the pronounced successes of vaudeville
during the decade or so they continued as partners.

After the dissolution, Mr. Monroe had various partners under the team
name of Monroe and Mack. He also appeared successfully in farce,
notably the “Prodigal Father,” “Johnny on the Spot,” “A Hot Old Time.”

In 1897 with Jerry Hart, he starred in the “Gay Matinee Girl.”

[Illustration:

WILL H. MORTON

SAM. GARDNER

W. H. BROCKWAY

G. W. H. GRIFFIN

WM. H. WEST

J. R. KEMBLE

E. M. KAYNE

E. N. SLOCUM

SAM. WELLS

“MEN OF THE MIDDLE”; ALL PASSED AWAY.]

Mr. Monroe married Fern Melrose, an actress, about 1896.

On the last day of January, 1901, he took to wife Miss Nellie Lawrence,
a well-known legitimate actress, with whom he has been associated
professionally practically ever since.

Ned Monroe was born in Philadelphia, January 2, 1868.

JOHN H. KING is such an excellent “rough wench” performer that his
abilities as a good all-round comedian are sometimes lost sight of.

Mr. King’s first theatrical engagement was with the J. G. Stutt’s
Repertoire Company; they traveled in a coach--by easy “stages”; this
was in 1887, and would you believe it? Mr. King played character old
men.

After this he doubled with Harry McDonald, and they played vaudeville
for three years, doing a black-face specialty; then came a season
with Bert Swor, under the team name of Swor and King. Mr. King
afterwards joined Walter McMahon, and continued with him several years;
subsequently his partner was Tim Barrett, but the team name of McMahon
and King continued to be used; likewise when Frank Hammond and Mr.
King were with Wm. H. West’s Minstrels in 1899. With the West (Ricaby)
Minstrels he did a specialty with Fred Huber.

His last partner to date was Earl Benham; and this was “some” act.
Mr. King at various times has been associated with the following
well-known minstrel organizations--Haverly’s, Primrose and West’s, Hi
Henry’s, Frank Cushman’s, Billy Emerson’s, Billy Rice’s, Harry Davis’,
in Pittsburgh, Pa., and Cohan and Harris’. Besides Mr. King there is a
queen, and two lovely young princesses.

John H. King was born in Atlanta, Ga., March 30, 1868.

MAUDE RAYMOND, the vivacious _comedienne_, who is always charming in
everything she plays, was none the less so as Topsy in “Uncle Tom’s
Cabin,” at the Academy of Music, New York, commencing March 4, 1901.
When she said, “Golly, I’se so wicked,” no one believed it.

PAUL QUINN began his professional career as one of the team of Quinn
and Welch, doing a black-face act with Georgie Melnotte’s Female
Minstrels; subsequent minstrel engagements were with Barlow Bros.;
Gorman Bros., and Primrose and West. In 1891 he became a member of
the Big Four, playing the principal vaudeville time, and engagements
with Cleveland’s, also Dockstader’s Minstrels, also Tony Pastor’s road
show. Season of 1895-96 Kennedy and Quinn played Carncross’ Minstrels
in Philadelphia. In 1896 Mr. Quinn appeared for the first time in
white-face.

Commencing in 1897 and for five years thereafter, Thomas and Quinn in
“McFadden’s Flats,” and Halliday and Quinn in “Happy Hooligan” were
under the Gus Hill banner.

In 1903 Mr. Quinn wrote and starred in “The Funny Mr. Dooley,” with
Charles H. Smith and the late Frank D. Bryan, this alliance lasted
three years.

He joined hands with Joe Mitchell in 1906, and as Quinn and Mitchell,
they are now playing vaudeville.

Paul Quinn was born in Lowell, Mass., June 29, 1868.

GUS SUN, the present head of the big vaudeville circuit that bears his
name, began his professional career as a co-proprietor of the famous
Sun Bros. Circus, with which he was identified for several years.
Later he organized the Gus Sun Minstrels, and was identified with it
until the company closed in 1904.

On October 1, that year, Mr. Sun opened in Springfield, Ohio, the first
family theatre in that section of the country. July 1, 1907, ground was
broken for the new Sun Theatre in Springfield, and on November 24, same
year, it was formally opened to the public.

During his active stage career Mr. Sun was recognized as a juggler of
unusual ability.

January 16, 1897, Mr. Sun was married to Miss Nellie Alfredo, of
Youngstown, Ohio; three children, Louise, Nina and Gus, Jr., blessed
their union.

Gus. Sun was born at Toledo, Ohio, October 7, 1868.

RAYMOND HITCHCOCK, whose unique personality in musical comedy has made
him a popular favorite for several seasons past, took the place of
George Evans with the Cohan and Harris Minstrels, February 12, 1909, at
Auburn, N. Y., during Mr. Evans’ severe illness, and finished out the
season with the company. That was not the first time Mr. Hitchcock ever
blacked up; away back in--but never mind.

EDDIE BOGERT, who joined hands with Neil O’Brien in a black-face
musical act in March, 1891, was, prior to that of the team of Bogert
and Henchett.

Mr. Bogert retired from the profession about ten years ago, and is now
engaged in business in Binghamton, N. Y.

TIM MCMAHON (Barrett) was a barber in Philadelphia about fifteen years
ago or so. While there he “scraped” an acquaintance with John King. The
result--McMahon and King, McMahon and Chapelle, McMahon’s “Watermelon
Girls” and McMahon’s “Pullman Parlor Maids.”

How’d you like to be McMahon?

NAT WILLS, famous for his tramp impersonations in vaudeville, Detroit
and other municipalities, gamboled (notice the spelling) at the “Lambs”
Minstrel show at the Metropolitan Opera House, New York, May 31, 1909.
His make-up was a dark black.

JAMES H. MANNING, of the once popular Silver Bells Quartette, of Baker
Jones, Manning and Davis, with that great black-face act consisting of
two males and two “wenches,” played all the first-class variety houses
and were with Lew Dockstader’s Minstrels in New York, the greater time
of their existence from 1886 to 1889.

The feature of this act was the wearing of a set of bells around the
waists of each, and during the song and dance they played these to the
air of Barney Fagan’s “Wedding Bells”; and it may be truthfully stated
that a prettier song and dance “four” act has never been seen.

James H. Manning was born in Albany, N. Y., July 27, 1869.

E. W. CHIPMAN (front name Everett) made his first professional
appearance with George H. Irving’s California Minstrels in November,
1884; Mr. Chipman was the bass singer, not the base singer of the
company.

After this came the Whitmore and Clark’s Minstrels and Hennessy Bros.
Minstrels; then a painfully brief season with Chipman, Goss and Hyam’s
Minstrels; but why dwell further?

Mr. Chipman recovered, and joined Barlow Bros. Minstrels and remained
with them as interlocutor for five years; he also sang.

Subsequently he played engagements with George Arlington’s; Deming,
Sweet and DeCourcey’s “A Stranger” Company; two seasons with
Cleveland’s; Gus. Sun’s, three seasons; Wm. H. West’s, and Ed.
Bartlett’s California Minstrels.

It was while with the latter organization that Mr. Chipman conceived
the dark design of becoming a burlesque manager; this was in Nyack, N.
Y., December, 1898.

In 1905 he was manager of the Colonial Theatre, Lawrence, Mass.;
likewise did he manage for Rice and Barton’s Burlesque Company, two
seasons; same period for T. W. Dinkin’s “Innocent Maids” Company;
Ginger Girls and other girly girly companies.

Altogether Mr. Chipman was twenty-one years in minstrelsy; nineteen of
which he sat in the middle.

E. W. Chipman was born in Lynn, Mass., March 13, 1869.

FULTON BROS., the “Two Dromios of Minstrelsy,” so called because of
their similarity in general make up on the stage.

Their careers began in the early 80’s as stars of their own
organization, the Fulton Bros. Minstrels, playing in the South, the
tour was under the direction of their father.

They subsequently in conjunction with Edwin Warren formed the “Orion
Trio” and produced with much success in vaudeville the Fulton Bros.
trick-house act called “A Hot Chase.”

The brothers first important minstrel engagement was with Lester and
Allen’s Minstrels in 1885; afterwards they were prominently identified
with such high-class organizations as Thatcher, Primrose and West’s;
Haverly-Cleveland Company and George Wilson’s. With the latter company
they worked with Hi Tom Ward; the alliance was known as Fulton Bros,
and Hi. Tom Ward.

With George Wilson’s Minstrels they put on the big song and dance
numbers.

A few years ago the brothers separated for business reasons, William
going into vaudeville, and James, possessing executive abilities equal
to his terpsichorean talents, accepted the managerial position with the
Golden Crook burlesque company five years ago, and has been with it
ever since.

James C. Fulton was born in New Orleans, La., December 17, 1869.

Wm. T. Fulton was born in Pass Christian, Miss., October 12, 1871.

KELLER MACK (Wm. S. Keller) formed a partnership with Ned Monroe in
the Fall of 1888, doing a black-face act at the Baltimore Museum,
Baltimore, Md.; as Monroe and Mack they played together until 1896;
giving one of the very best black-face acts ever seen in vaudeville.

Mr. Mack’s playing of the “straight” in the act ranked with the best.

After the dissolution, Mr. Mack played for three seasons in “Town
Topics,” doing comedy character parts in white-face; then a season as
Finnegan, in “Finnegan’s Ball,” after which he rejoined Monroe, and the
team duplicated their former successes, playing Koster and Bial’s in
New York City for thirteen consecutive weeks; the partnership finally
ceased a year later in Los Angeles, Cal. Mr. Mack again returned to
farce, and played a white-face character part in “A Hot Old Time,”
and Jonah, in “A Brass Monkey”; this was followed by two seasons in
vaudeville with Tom Dempsey, under the name of Dempsey, Mack and
Company.

[Illustration:

MORT. EMERSON

WILLIS CLARK

(EMERSON & CLARK.)

BILL. DALY

TOM. DALY

(DALY BROS.)

(The above four were known as the original King High Kickers.)

FRANK DU RELL

ED. DU RELL

(DU RELL TWIN BROTHERS.)]

Following this, Mr. Mack played the leading comedy part in “A Stranger
in New York” and in “A Trip to Chinatown” he played Ben Gay.

After this Mr. Mack returned to black-face, doing principal end with
Quinlan’s Minstrels; when this company disbanded, he joined hands with
Dan Quinlan, playing as Quinlan and Mack until 1910.

Beyond a doubt Keller Mack is one of the most versatile performers we
have; playing straight or comedy, black or white with equal success.

Keller Mack was born in Philadelphia, July 10, 1869.

RICHARD J. JOSE. Never in the annals of minstrelsy has any singer met
with more phenomenal success than that achieved by the subject of this
sketch.

Mr. Jose came to this country as a boy, and shortly after secured a
position as blacksmith in Reno, Nev., where he remained several years.
Mr. Jose while at work was always singing, and his phenomenal voice, a
pure contra tenor, attracted marked attention.

His first professional appearance was with Charley Reed’s Minstrels in
San Francisco, March 2, 1886. He remained with Reed until the season
ended, April 10, following. A few weeks later he joined Birch and
Cotton’s Minstrels for a brief road trip.

In September, 1886, he joined Lew Dockstader’s permanent minstrel
company in New York; here he remained about three years. George
Thatcher’s Minstrels and Tuxedo Company had his services for two years.

Mr. Jose next engaged with the “Old Homestead,” and continued for eight
years with that time-honored favorite; after which he again returned to
his first love and joined Wm. H. West’s Minstrels, with whom he was a
feature for three years. His last appearance in minstrelsy was with his
own company about 1901 or 1902.

Subsequently he has devoted his talents successfully to vaudeville and
dramatic work.

Mr. Jose makes a feature of singing the old minstrel ballads. In
December, 1909, he produced a play written around one of these old
favorites, entitled “Silver Threads Among the Gold.”

Richard J. Jose was born in Cornwall, England, June 5, 1869.

WILLIAM H. THOMPSON began his minstrel career in Chicago with “Kelly
and Leon’s” Minstrels in 1889.

The following year he was with Cleveland’s Minstrels, and from 1890
to 1893 he was with Primrose and West’s Minstrels. He then formed an
alliance with Fred Oakland, and for four years Oakland and Thompson
performed in the principal music halls of London and the provinces, in
a great singing act.

Mr. Thompson returned to the United States in 1897, and rejoined
Primrose and West’s Minstrels for the season. Practically all of the
ensuing time until 1910, when he formed an alliance with Will Oakland,
has been with the companies of Primrose and Dockstader, and Lew
Dockstader.

Mr. Thompson is concededly one of the foremost baritones in minstrelsy.

W. H. Thompson was born in Liverpool, England, October 28, 1869.

JOHN L. SULLIVAN, the former champion pugilist, was the principal
feature of the Lester and Allen’s Minstrels, season of 1885-86.

Mr. Sullivan appeared in classic statuary poses; also New York,
Brooklyn and Philadelphia.

GEO. BEBAN began--in minstrelsy. He had to begin somewhere. Away back
March 19, 1883, in San Francisco at the Standard Theatre, he was with
Emerson’s Minstrels.

The closing burlesque was “Pinafore”; and the man who can look and talk
like Napoleon--before Waterloo--was one of the “rapturous maidens.” O!
George, aren’t you awful.

ED. LATELL, the well-known comedian and banjoist, made his first
professional appearance at the Bella-Union Theatre in San Francisco, in
1887. He subsequently was a feature of Cleveland’s, and George Wilson’s
Minstrels.

Mr. Latell is no longer a minstrelite, but a vaudevilleite. He was born
in Los Angeles, Cal., about 1869.

BILLY GOULD (Wm. J. Flannery), the brilliant versatile comedian, now
once more of the well-known pair, Gould and Surratt, was a Madrigal Boy
with “Emerson’s Minstrels” in San Francisco in 1883.

Mr. Gould was married to Nellie Marietta Burt at Hurley, Wis., March
24, 1889; subsequently he became the husband of Valeska Surratt.

Mr. Gould was born in New York City, May 1, more than forty years ago,
but not more than forty-five.

GEORGE EVANS, famous the country over as the “Honey Boy,” so called
from the fact that he was the author of the famous song “I’ll Be True
to My Honey Boy,” has the distinction of being one of the youngest
minstrel comedians heading his own organization.

His first appearance was at Balser’s Music Hall, Canton, Ohio, in 1891,
as a member of the Columbia Quartette; subsequently with Edwin Mayo’s
“Silver Age” Company he was one-fourth of the Southern Quartette.

Like many other good performers, Mr. Evans had his experience with
medicine shows, one of which was the “East India Moon Plant” Company;
he left this organization because he felt that the title of the company
was not dignified enough, nor in keeping with his manifold talents.

After some scouting he joined “Bamboo, or the King of Trampiana.” Mr.
Evans is not a proud man, but he was sure that his ambitions could be
better realized with this show; and he felt so for four days, when
the “King of Trampiana” tramped--some place or other, Mr. Evans never
exactly found where.

This near-tragedy occurred in St. Louis, Mo., and Mr. Evans soon found
himself at the Southern Hotel, in the Mound City. Is there any opening
here? quoth our hero; there was; one of the bell hops, having acquired
a competence after six consecutive weeks of faithful service, had given
notice, and George was installed in his place, and remained--until his
uniform had been paid for.

Mr. Evans’ first minstrel engagement was at the Casino, with Haverly,
in Chicago, 1892; he remained several weeks, and about January 1, 1893,
he joined Cleveland’s Minstrels; subsequently he was with Primrose and
West’s Minstrels, and in 1894 he returned under the Haverly banner.

Shortly after this he launched forth as a singing comedian in
vaudeville, and as such continued for several years.

In musical comedy he starred in “The Runaways,” and “The Good Old
Summer Time,” in which he appeared in white-face.

July 27, 1908, at Atlantic City, N. J., he opened with Cohan and
Harris’ Minstrels at the inaugural performance, heading the company.

About March, 1910, at Newark, N. J., Mr. Evans became sole owner of the
organization.

He is the author of several popular songs, notably--“Standing on the
Corner, Didn’t Mean No Harm;” “Come Take a Trip in My Airship,” and
“Down Where the Watermelon Grows.”

George Evans was born in Pontotlyn, Wales, March 10, 1870.

BILLY S. CLIFFORD, whose impersonations of the “chappie” have made him
famous the country over, made his first appearance with Hi. Henry’s
Minstrels in 1882, as a drummer, and a black one. The next season he
was one of the song and dance men with the Barlow, Wilson Company
Minstrels; following this came engagements with Robinson’s Circus, and
Miles Orton’s Circus, appearing in black-face songs and dances.

In 1888 Mr. Clifford joined George Fuller Golden, and as Golden and
Clifford they did a black-face song and dance act for two years,
stopping only for meals and sleep.

In 1888 he joined Al. G. Field’s Minstrels as an end man and comedian;
it was here that he conceived the idea of the stage dude, which he did
in black-face, and which has ever since been part and parcel of his
performances.

Mr. Clifford made his first appearance in white-face about twenty years
ago, since which time he has starred successfully in “Courted Into
Court”; “The Jolly Baron” and many others.

He married Maud Huth, July 28, 1891, at Buffalo, N. Y.

About six years ago he built and has since conducted the Urbana
Theatre, in his native town.

This season Mr. Clifford stars in “The Girl, the Man and the Game.”

Billy S. Clifford was born in Urbana, Ohio, January 24, 1869.

The famous FREEZE BROTHERS, Larry and Billy, had the distinction of
being the champion tambourine spinners of the world.

They made their first professional appearance at Newton’s Varieties, in
Hartford, Conn., in 1879, doing a plantation song and dance; at that
time they were the youngest black-face team before the public.

The idea of the double tambourine spinning act originated in the
fertile brain of their brother, John Freeze, well known as the manager
of the Opera House in the hustling little town of Rockville, Conn.

The brothers put on amateur minstrel shows in their home town, and
their specialty was constantly improved upon by Billy Freeze until it
attained the state of perfection vaudeville and minstrel lovers know so
well.

In 1885 they played their first minstrel engagement with Hi Henry’s
Company; the two succeeding seasons they were with Lucier’s Minstrels,
while the season of 1888-89 saw them with the Van Derveer’s Minstrels.
Then came three consecutive seasons with Vreeland’s Minstrels.

After this, five years of vaudeville, followed by a season with
Primrose and West’s Minstrels, commencing in 1897; the next season they
were with Wm. H. West’s Minstrels.

[Illustration:

BARNEY FAGAN

R. M. (“DICK”) CARROLL

TOMMY HYDE

EDDIE HORAN

JOHNNY DOVE

WILLIS PICKERT

SOME REAL DANCERS.]

About 1900 they were engaged with the Barnum and Bailey Circus as a
feature of the concerts; they played Russia, Austria, England, France,
Holland, Hungary and other European States. In Paris the brothers
played eighteen weeks at the Olympia. Their last joint engagement was
with Cohan and Harris’ Minstrels, 1908-09.

Larry Freeze was a dancer of more than ordinary merit. After his death,
his place was taken by his brother Frank, whose funny antics as a clown
have won him considerable recognition.

Larry Freeze was born in Rockville, Conn., October 29, 1872; he died
April 6, 1909.

Billy Freeze was born in Rockville, Conn., December 25, 1870.

JULIUS P. WITMARK. It will doubtless be news to many of this
gentleman’s friends to know that his career began as minstrel singer
just twenty-seven years ago, when as the “boy soprano” he made his bow
before a New York audience with Billy Birch’s San Francisco Minstrels,
August 27, 1883; this was in what was until recently known as the
Princess Theatre.

A brief respite after this engagement, and he next appeared as a
“Madrigal Boy” in Gus Williams’ “One of the Finest;” he was also a
“Madrigal” with Lawrence Barrett’s “Francesca di Rimini” and M. B.
Leavitt’s Minstrels.

Going to the Eden Musee in New York City after this, for a series of
six children’s concerts, on Saturdays only; his success was so great,
that the engagement was extended for eight months.

He joined Thatcher, Primrose and West in the Spring of 1885, and the
following season of 1885-86, he was also with this company.

Mr. Witmark then eschewed theatricals for about two years, when his
voice, then changed into a baritone, procured him a position with Billy
Emerson’s Minstrels in San Francisco, where he remained six months,
after which he rejoined Thatcher, Primrose and West early in 1889; this
was his last minstrel engagement.

Subsequently he met with much success in such famed organizations as “A
Pair of Jacks,” “City Directory” and “A Trip to Chinatown”; he was also
very successful in the brief vaudeville engagements he played.

Julius P. Witmark was born in New York City, September 19, 1870.

MONTGOMERY and STONE, who achieved fame as the Tin Woodman and the
Scarecrow in “The Wizard of Oz” as well as “The Red Mill” respectively,
and subsequently “The Old Town,” made their first joint appearance with
Haverly’s Minstrels at New Orleans, February 16, 1895. Later they did a
great song and dance act for several seasons, appearing in black-face
as real gallus coons.

About ten years before they formed a partnership, Mr. Stone played
Topsy in “Uncle Tom’s Cabin”; he was the best Topsy in the show.

Dave Montgomery was born early in 1870.

Fred. Stone was born later.

BILLY B. VAN (Wm. Webster Vandegrift), the famous “Patsy” comedian, was
a member of the “California Minstrels” (not the originals) during the
season of 1882-83.

The man who owned the show also owned a bird and fish store (live
birds and fish); well, anyway, the “tour” suddenly closed in
Mechanicville, N. Y.; Mr. Van not being a mechanic, could get no work
in that prosperous little town, and sadly wended his way to New York,
where the “manager” agreed to pay Van on his arrival in the metropolis;
he did. Van’s “salary” was two canaries, ditto goldfish and one Belgian
Hare.

Mr. Van had plenty of hair at that time, so one more made little
difference to him; being Friday, he ate the fish, and presented the
canaries to a cat who promised to take good care of them. Mr. Van has
used grease paint ever since.

CLARENCE MARKS. Whether Mr. Marks’ name and fame will be handed down to
posterity as a vocalist or a comedian, time alone can tell.

His first professional appearance was made with a circus in 1888.

In 1897 he joined the Irene Myers Stock Company, where for about six
years he appeared in varied characters, including a “stag” after the
show one night in Wilkes-Barre, Pa., in September, 1903, Dan Hart
presiding.

Mr. Marks’ first appearance in minstrelsy was with the Quinlan and
Wall Company in 1904; subsequently with the following well-known
organizations--Culhane, Chace and Weston’s; Primrose’s; Dockstader’s;
Murphy and Gibson’s; Wm. H. West’s (Ricaby’s); and Dumont’s in
Philadelphia.

Season of 1909-10 he was with the George Evans’ Minstrels. One night
the “Honey Boy” came back on the stage with tears in his eyes (that
being the regulation place to have them); “I’m short an end man,”
said the newly-made minstrel magnate, “who will volunteer?” “I will,”
said little Clarence; and he did, and for the balance of the season
Mr. Marks’ ponderous bass voice told every one of the trials and
tribulations of one Casey Jones. And so our story ends. But Mr. Marks
is still a “Honey Boy.”

Clarence Marks was born in Philadelphia, December 12, 1871.

JAS. J. CORBETT, pugilist, actor and vaudevillian, made his first
appearance in black-face as a member of George Evans’ Minstrels at
Plainfield, N. J., August 10, 1910. Mr. Corbett as interlocutor, was a
splendid success.

He commenced an engagement at the City Theatre, New York, August 13,
1910, and says, “he will come back.” But will he?

GEO. W. CHIRGWIN, the “White Eyed Kaffir,” is one of the most popular
of England’s black-face performers.

His first bid for fame was made about thirty years ago singing the
“Blind Boy.”

A few years ago Mr. Chirgwin played an engagement in the United States,
where he made many friends.

BERT SWOR, of the Swor Bros., made his first appearance with Haverly’s
Minstrels in Chicago, doing a song and dance with John King. This was
followed by ten years of stock work.

Subsequently he played engagements with Haverly’s (Nankeville) also Wm.
H. West’s (Ricaby) Minstrels.

Two seasons in “The Wizard of Oz” and a return to vaudeville in a
black-face act, depicting Southern scenes.

Bert Swor was born in Memphis, Tenn., January 9, 1871.

FRANCIS WILSON AS A MINSTREL MAGNATE.

Kansas City, June 30, ’77.

Ed. Clipper:

Dear Sir--We left Philadelphia May 21 last, for a Western trip, and
somehow we wish we hadn’t.

We left the main road at Sedalia, Mo., for the lead mining districts of
Missouri, being directed thither by “parties who knew” we would there
find a bonanza. We didn’t.

The recent heavy rains had made the mines unfit to be worked, and the
miners were very poor. Prospects, notwithstanding this, were very good
at Galena and Empire City, and to them we turned our faces, full of
hope, but the sudden “taking off” of the notorious Tiger Bill by a
“companion in arms” on the day of our arrival, was a topic that must
needs be discussed in the open air, so the minstrels did not thrive.

We are a most harmonious little concern, and our gentlemanly deportment
is, everywhere we have seen, the topic of conversation. We receive
daily very flattering and eulogistic notices from the papers, and have
yet to see one dissenting criticism. We are perfectly independent, and
under such little expense that we move anywhere with a very moderate
income, and without any serious embarrassment. It is a great source
of comfort to us to know that, but a trifle over a month old, we have
outlived some much older concerns. We had no difficulty in obtaining
the _Clipper_ even in Joplin and Short Creek.

Our company consists of Mackin and Wilson, Chas. Sutton, “Bernardo,” J.
H. Stout, Levino Bros. and Prof. Froude and orchestra.

Respectfully yours,
F. B. W.

CHAS. W. MILTON, a well-known comedian who was known as the “Mansfield
of Minstrelsy,” died in Milledgeville, Ga., November, 1909; age 39
years.

BARNEY GILMORE, Irish comedian, good fellow and matinee idol, did a
black-face turn with Billy Kinsley in Philadelphia in 1888. Mr. Gilmore
modestly admits that Schoolcraft and Coes did an act superior to
Gilmore and Kinsley.

“STUART” (Everett Stewart), who has achieved international fame as the
“Male Patti,” began his professional career as a singer with McIntyre
and Heath’s Minstrels in Springfield, Mo., in the Fall of 1887. And
this is how it happened--“Tom” Heath sauntered into the Post-office at
Wichita, Kan., one morning, just twenty-three years ago, and inquired
if there was any mail for McIntyre and Heath’s Minstrels? Yes, indeed,
there’s lots of letters for the minstrel boys, said a real gentlemanly
voice back of the window. The deed was done, and a few days later,
Stuart “blacked up” for the first time in his life.

It was certainly a coincidence, that the boy who had daily for many
weeks answered inquiries concerning missives that were not forthcoming,
should sing, “The Letter That Never Came.” Mr. Stuart also began an
engagement at Emerson’s Minstrels in San Francisco, August 6, 1888. And
thus it was that the mail clerk became the “Mail Patti.”

And that is the story of “Stuart.”

[Illustration:

Courtesy of
White Studio, New York]

FAMOUS MINSTREL FIRST PART OF THE “LAMBS” CLUB, METROPOLITAN OPERA
HOUSE, NEW YORK CITY, MAY 31, 1909.

GEO. FULLER GOLDEN, the famous founder of the White Rats of America,
and one of the most intellectual performers that ever graced the
vaudeville stage, did a black-face act with Billy S. Clifford from 1888
to 1890.

EDNA MAY SPOONER, the favorite emotional actress, whose popularity
seems to know no bounds (especially in Brooklyn, N. Y., and
Centreville, Iowa), played Topsy in “Uncle Tom’s Cabin” more than once;
but if you want a date, here it is--Bijou Theatre, Brooklyn, N. Y.,
March 21, 1910. And how she did play it!

BERT LESLIE, the slick slangster of several successful seasons,
joined the Kickapoo Medicine Company No. 8, in November, 1892, doing
a black-face specialty, in Tamaroa, Ill. Mr. Leslie attributes his
present good health to the fact that he never took any of the medicine
he was surrounded with; he says every time a bottle was sold it always
made him “gag.”

Bert Leslie (Wm. Albert Johnston) was born in Dubuque, Iowa, May 6,
1871.

WALTER MCMAHON, of the original team of McMahon and King, was also
associated professionally with James Snider.

After separating from Mr. King he worked with his wife, under the team
name of McMahon and Kingsley.

He died in Butte, Mont., December 22, 1899; age 27 years.

ARTHUR LEOPOLD GUY is the junior member of the famous Guy family.

He made his first appearance with his relatives in Cohoes, N. Y., in
1876, at the immature age of four years.

Young Mr. Guy was always ambitious, and seventeen years later was
qualified to vote. His debut was made in white-face, as a singer;
subsequently developing into a comedian of unusual ability.

Mr. Guy early showed executive talents, and it was no surprise to his
friends when on February 22, 1909, he organized and produced what he
claims to be the originator of--giving a complete minstrel performance
in vaudeville.

Six years previous to this, however, he organized Arthur L. Guy’s
Novelty Minstrels.

Arthur Leopold Guy was born in New York City, January 26, 1872.

MANUEL ROMAIN is the happy possessor of one of the most pleasing tenor
voices in minstrelsy, and has the faculty of using it to the very best
advantage.

In 1893 he made his bow to a minstrel audience in New York, with
Primrose and West’s Company. In 1895 he was with Cleveland’s
Minstrels, subsequently playing extended engagements with Primrose and
Dockstader’s, and later Dockstader’s Minstrels.

In 1907 Mr. Romain entered the vaudeville field with an elaborate
production entitled “Down in Music Row,” and met with flattering
success. Two years later he produced “Before and After the Ball,”
which, if possible, achieved even greater success than its predecessor.

Manuel Romain was born in Cambridge, Mass., October 1, 1872.

WILL F. PHILLIPS, whose clever portrayal of light comedy roles in
“Havana,” the “Top O’ the World” and other Broadway successes, the past
few years has brought him such deserved success, was a member of a
stingy troupe with the explanatory title of the “American Minstrels,”
in 1887.

The company was sans band, sans five dollars collectively and sans
nearly everything that could be sansed. They arrived in Haverhill,
Mass., the same day as the Thatcher, Primrose and West’s Company, and
when the latter made their noonday parade, the “American Minstrels”
acted as trailers. Strange to relate, the T. P. & W. show did the
business on that memorable, never-to-be-forgotten evening.

Will F. Phillips was born in Albany, N. Y., October 31, 1873.

EDDIE MAZIER is one of the cleverest of the latter-day minstrel
comedians; for a performer who can sing and dance equally well,
and tell a story in such a way as to bring out its best points, is
certainly clever; and such is Eddie Mazier.

His first appearance was as one of the team of Cain and Mazier, at
Youngstown, Ohio, doing a black-face song and dance; the alliance
lasted two years.

Other partnerships were--one year as Morgan and Mazier; Wright and
Mazier, three years, and Mazier and Conley, three years.

Mr. Mazier was with Haverly’s (Nankeville’s) Minstrels, four years; two
seasons with Primrose’s Minstrels, and with Lew Dockstader’s Minstrels
1908-’09-’10-’11.

Eddie Mazier was born at Niles, Ohio, March 14, 1873.

HARRY C. SHUNK began his professional career with a repertoire company
in 1887. He had to begin it sometime; and as 87 rhymed with Heaven and
7-11, there was no trouble in reaching a decision.

In 1890 he joined Beach and Bowers’ Minstrels; then came Sweeny,
Alviedo and Goetz’s Minstrels. Mr. Shunk was now thoroughly seasoned,
and became a member of Al. G. Field’s Minstrels, with whom he remained
eight years.

Subsequently he was a season with Carncross’s Minstrels in
Philadelphia, and off and on for seven seasons with Dumont’s Minstrels;
same theatre; same city.

Mr. Shunk played the black-face comedy part in “Hip, Hip, Hooray” a few
years ago. We hope it won’t be such a long time before we see him again
in something similar.

Harry C. Shunk was born in Cardington, Ohio, October 25, 1872.

CHAS. D. WILSON began his professional career in an humble capacity in
his native city, where later he joined Primrose and West’s Minstrels as
drummer in the band and orchestra.

Mr. Wilson quickly displayed talents that gained for him promotion;
and later he was made treasurer of the company. Subsequently he cast
his fortunes with Lew Dockstader’s Minstrels, and became manager of
that company a few years ago; he continued under the Dockstader banner
several seasons.

Mr. Wilson is at present engaged in an executive capacity with William
A. Brady.

Chas. D. Wilson was born in Seattle, Wash., June 10, 1872.

AUGUSTUS PHILLIPS, a black-faced comedian? Well, not exactly a
comedian, but honestly, it did seem funny to see this handsome leading
man of the Spooner Stock Company at the Bijou Theatre, Brooklyn, N.
Y., week of April 9, 1906, play Uncle Tom, in “Uncle Tom’s Cabin.” But
then he played Othello about the same time; and that was even funnier.

TOM WATERS was known as a Boy Prodigy several years before he achieved
the popularity as a comedy pianist that later came to him.

But his minstrel career, which is of primary importance to readers of
this volume, began in 1892 as comedian and tambourine end with Charley
Dockstader’s Minstrels.

After some vaudeville playing, he joined Dumont’s Minstrels in
Philadelphia about 1899, and remained there three seasons, part of
which time he did an act with Bill Barlow.

Mr. Waters is meeting with success in vaudeville with his specialty.

Tom Waters was born in Shenandoah, Pa., January 10, 1873; and
Shenandoah is proud of it.

The DE RUE BROS.--Billy De Rue (Willis De Rue Eldridge) and Bobby De
Rue (Robert De Rue Eldridge), come honestly by the varied talents
they possess, for both of their parents were well known and capable
musicians some years prior to the event of their interesting offspring.

In 1883 the boys, in conjunction with their father and mother formed
the 4 Brass Monarchs 4, traveling under this title for four years.
In 1887 their father, Prof. R. D. Eldridge, organized the Eldridge
Comedians and Concert Company, consisting of a first-part and variety;
both Bobby and Billy made their debut as black-face performers here,
each doing an end.

In 1893 the family separated; the boys at this time taking the name
of De Rue, by which they have since become so prominently identified.
They subsequently appeared with such well-known minstrel organizations
as Cleveland’s; J. H. Haverly; Hi. Henry; Gorton’s; Culhane, Chace
and Weston’s; Hi Tom Ward and the Fulton Bros.; Ted E. Faust’s, and
Washburn’s Big Double Minstrels. They likewise appeared successfully in
vaudeville.

July 15, 1904, De Rue Bros. Ideal Minstrels were launched, each
successive year bringing them new friends and laurels.

Billy De Rue was born March 6, 1873, at Conajoharie, N. Y.

Bobby De Rue was born at Little Falls, N. Y., May 21, 1877.

DOC. QUIGLEY (Dockery Quigley) enjoys the unique distinction of having
spent his entire professional career in one minstrel company.

Mr. Quigley joined Al. G. Field’s Minstrels at the age of sixteen as
a song and dance performer. Since then he has been stage manager,
comedian, producer and manager; and equally successful in each
capacity; but Mr. Quigley’s grotesque dancing is a feature that one
remembers for a long time.

Doc. Quigley was born in Columbus, Ohio, July 17, 1873.

FREDERICK V. BOWERS. The success of this young man lies in the fact
that he is an actor that can act, a singer that can sing, and a dancer
that can dance; truly a rare trinity of theatrical virtues.

Mr. Bowers sang in the Grace Episcopal Choir in Boston, before starting
out on his professional career, which began at Keith’s Old Theatre
(Bijou) in his native city in 1888.

[Illustration:

JNO. F.--SHERIDAN & MACK--JAS. W.

BEN COTTON, JR.--HARRY BOOKER--BOB BIRDUE
EUGENE CANFIELD JOE LOVELY
BURT WAYNE

FRANK CONVERSE--TOMMY PEEL]

Subsequently he was with Pauline Hall in “Puritana,” “Niobe,” “Prodigal
Father,” and other first-class companies.

In 1893 he joined Charles Horwitz, and as Horwitz and Bowers, for five
years played the cream of the vaudeville houses, singing their own
compositions, of which Mr. Bowers wrote the music; among the best known
were “Always,” “Wait,” “Because,” and “When I Think of You.”

Mr. Bowers’ first minstrel engagement was with the Cleveland Company,
others were Frank Cushman’s, Dockstader’s in 1903, and Wm. H. West’s
(Ricaby’s) in 1905.

He was subsequently two seasons with McIntyre and Heath, in the “Ham
Tree,” followed by as many seasons in vaudeville in his offering
“College Days.”

As a reader of a song Mr. Bowers has no superior in present-day
theatricals.

Frederick V. Bowers was born in Boston, Mass., June 11, 1874.

PETE DETZEL hails from the home town of such celebrities as Johnny
Jennings, Mark. Sullivan and Clarence Burton, naturally he must be good.

His first professional appearance was with Hi. Henry’s Minstrels in
1895, doing an end and acting as drum major; Billy Van’s Minstrels was
next, after which Mr. Detzel says he “laid away” for a few months.
But one can’t lay away much while idle, so he played two seasons with
the Ted Faust’s Minstrels, and an equal length of time with Vogel’s
Minstrels.

The best part of the past three years have been spent with Dockstader’s
Minstrels. Mr. Detzel is now a vaudevillian with Billy Cawley.

Pete Detzel was born in Erie, Pa., November 25, 1875.

BERT WILLIAMS. This truly great colored performer made his first
appearance with Lew Johnson’s Minstrels twenty odd years ago; the
remuneration was $12.00 per week and “cakes” with an occasional chunk
of pie. His next minstrel engagement was with Martin and Selick’s
Mastodons--salary no object.

Mr. Williams decided on having a partner after this, and while in San
Francisco met George Walker; the rest is fairly well known.

Mr. Williams starred successfully in “Sons of Ham,” “Bandanna Land” and
“Mr. Lode, of Koal.” The partnership terminated about 1909.

Mr. Williams subsequently has played vaudeville, where he has been
one of the most pronounced hits of years. Always working with corked
features, he sings a song in a way that you always remember, especially
is this true of “Nobody,” which will always be associated with his name.

Mr. Williams is a truly unctuous comedian, and worthy and deserving of
the distinction of having received by far the highest salary ever paid
to any performer of his race.

In New York in the Summer of 1910, he was highly successful in the
“Follies of 1910.”

Bert Williams was born on the Island of Nassau, British West Indies,
November 12, 1874.

THE BOWMAN BROS. are frequently spoken of as the “brilliant brothers
Bowman,” and justly, too, for no duo of vaudeville performers to-day
give greater promise than these two boys, whose versatility is a matter
of much comment among artists of more lengthy experience.

They have appeared in burlesque, drama, farce and minstrelsy, and in
each have scored unqualified successes.

[Illustration: WM. T.--BOWMAN BROS.--JAS. M.]

Their first joint appearance was in a black-face specialty at West
Point, Ky., in 1896; they then separated and played various individual
engagements until 1902, when they joined the “Sandy Bottom” Company;
with this troupe “Bill” Bowman did a minister, and “Jim” Bowman did a
rube, which was not the right thing to do exactly; there is some excuse
for “doing” a rube; but a minister--never.

That same year they joined the stock at the Orpheum Theatre in Chicago,
and in 1903 were with Miss Grace George in “Pretty Peggy.”

Subsequently they did a black-face act with that “youth” Jack Sheehan;
he of the “Four Planets,” likewise of the “Four-in-Hand.”

Other legitimate engagements were the “Runaways,” and their own
production of the “Isle of Mirth.”

The seasons of 1907-08-09 were spent with Bob Manchester’s “Cracker
Jacks” Company, where they resumed playing in black-face, and in which
they still continue.

July 31, 1909, they made their first appearance jointly with a minstrel
company, when they opened at Union Hill, N. J., with Eddie Leonard’s
Minstrels; Wm. Bowman playing on one end, and James Bowman officiating
as interlocutor; and seldom in latter-day minstrelsy have these
positions been more ably filled.

James Bowman played individual engagements with Harry Ward’s Minstrels
in 1900-01; with Robert Loraine in “The Tragedy at Trenton” in 1904 and
Wm. A. Brady’s “Siberia” in New York in 1905.

Wm. T. Bowman played individual engagements with Wm. A. Brady’s
all-star cast of “Uncle Tom’s Cabin” in New York in 1904, and that same
year appeared with Wm. Morris in the “Business Man,” and Joe Welch in
“Cohen’s Luck.”

Wm. T. Bowman was born in Munfordville, Ky., February 4, 1875.

Jas. M. Bowman was born in Munfordville, Ky., April 17, 1878.

MRS. ARTHUR L. GUY is the wife of--Arthur L. Guy, naturally. For the
past seven years she has enjoyed the unique distinction of being the
manager of the Arthur L. Guy Novelty Minstrels, where she has displayed
executive ability of pronounced order.

BAILEY AND AUSTIN need no introduction to theatre lovers of the lighter
forms of amusement, for most of us have seen these brilliant young
artists in the “Top o’ the World,” and “Two Men and a Girl.”

But as “corked comedians”--that’s different.

Bailey and Madison did an acrobatic black-face song and dance about
sixteen years ago; and Ralph Austin did a tip-top end with Al. G.
Field’s Minstrels about the same time; he was also of the black-face
song and dance team of Austin and Curran.

Mr. Bailey deserves no credit for once having been a good black-face
performer, for his mother (Polly Higginson) was a prominent dancer with
the old “Black Crook” (near joke).

Mr. Bailey was born in New York, November 5, 1873.

Mr. Austin was born in Dayton, Ohio, about 1877.

EDDIE LEONARD (Lemuel J. Tuney) says he entered his teens and Haverly’s
Minstrels about the same year.

With the minstrels he selected as his favorite, wholesome Billy Rice,
of whom he was very fond.

Mr. Leonard says he used to buy the New York _Clipper_ each week,
and on these occasions he was immediately besieged by members of the
company for “just one look”--which no one but Billy Rice ever got.

Mr. Leonard subsequently was with Thatcher, Primrose and West’s
Minstrels; Primrose and Dockstader’s; Haverly’s (Nankeville’s);
Primrose’s, Dockstader’s Minstrels, and in 1908 was one of the features
of Cohan and Harris’ Minstrels.

A few seasons ago during the Summer months he appeared in New York on
the New Amsterdam Roof in white-face as Texas Dan; subsequently as
Dandy Dan on another roof; he scored a success on each roof with each
“Dan.”

Mr. Leonard’s prominence is due to the fact that he sings a song
different from any other living performer; a sort of a crooning
lullaby, that goes direct to the hearts of his audience; and the ladies
say he dances divinely.

Certain it is that this undoubtedly clever artist possesses that
mysterious, indefinable attribute what we call magnetism, and possesses
it to a large degree.

Late in July, 1909, he headed Eddie Leonard’s Minstrels; also early in
August--same year.

Mr. Leonard, also in 1909, headed for the matrimonial altar; Miss Mabel
Russell, daughter of the late W. J. Russell, of the old team of Le
Clair and Russell, was his happy choice.

Eddie Leonard was born in Richmond, Va., October 18, 1875.

FRANK MORRELL, the “California Boy,” made his first appearance as a boy
soprano with Cleveland’s Minstrels in 1890 at Los Angeles, Cal.; this
was followed by an engagement with Sells Bros. Circus, with whom he
went to Australia.

Returning to his native heath he next appeared at the Bella Union
Theatre in San Francisco, subsequently playing, an engagement with
Haverly’s Minstrels in the same municipality; the latter being the
high-brow term for the word city.

Later, Mr. Morrell appeared with success with several burlesque and
farcical attractions, and at various times was of the vaudeville teams
of Morrell and Evans, and Morrell and Deely.

After a five-year tour of England and Africa, he returned to the
United States, and in 1906 formed one of the original members of “That
Quartette,” and continued with them until 1908, when, Cohan and Harris
seeking for the best vocal talent obtainable, cabled to Mr. Morrell,
who was in England, an offer that he just simply couldn’t refuse. His
success with this organization is a matter of theatrical history.

In 1909 this clever young man made one of the most astonishing moves
ever recorded; it was no more nor no less than making the jump from
ballad singer to singing comedian, doing a black-face monologue that
has given him already an eminent position in his new field of endeavor.

Frank Morrell was born in San Diego, Cal., October 10, 1875.

DANA H. CLAUDIUS, the well-known young banjoist, is now of the team of
Claudius and Scarlet, but it was not always thus, for away back in the
days of 1900, and until the month of February, 1902, Claudius and one
Edmond Gilmore Corbin were members of the Primrose and Dockstader’s
Minstrels, doing their classic act in black-face; after the last named
date they worked in white-face. See James H. Decker for particulars.

[Illustration:

CHARLEY FOX

CHARLEY HOWARD

CHARLEY PETTENGILL

CHARLEY REYNOLDS

CHARLEY SUTTON

CHARLEY REED

THEY WERE THE “CHEERFUL CHARLEYS” OF MINSTRELSY.]

Dana H. Claudius was born in Canandaigua, N. Y., June 1, 1875; and has
been “hopping” ever since.

“MINSTREL” BILLY CLARK (Wm. E. Clark) began his professional career in
a theatre, and has been around theatres ever since; and this is how it
happened.

He entered his thirteenth year and the Powers’ Opera House in his home
city at the same time, at the latter place he was usher; he ushered so
well that he was promoted--he became scenic artist at the Grand--in
Grand Rapids; this is not a joke.

At eighteen he made his first appearance in black-face with a local
minstrel show; subsequently he played character parts, and did a
monologue in white-face.

His first minstrel show was the Crawford Bros.; in 1895 he joined the
Hi Henry Minstrels and continued with them for five years; then came
Billy Clark’s Minstrels, followed by the season of 1902-03 with Wm. H.
West’s (Ricaby’s) Minstrels.

In 1903 he made his initial bow with Al. G. Field’s Minstrels,
remaining until 1905, when he became a vaudevillian for two years; he
rejoined Field’s in 1907 and remained two years.

“Minstrel” Billy Clark was born in Grand Rapids, Mich., March 15, 1875.

TRIXIE FRIGANZA, the popular young _comedienne_, celebrated the
author’s birthday August 24, 1908, by blacking up and doing an end with
Cohan and Harris’ Minstrels at the New York Theatre in New York City;
she sang “I’m Glad I’m Married”--mind you, she only sang it.

BEVERLY SITGREAVES showed her versatility at the New Theatre, New York,
just previous to the new year in a new character which everyone knew
would be a clever portrayal; and it was.

She played the negro “mammy” in “The Nigger,” December 6, 1909.

HARRY A. ELLIS (Ralph A. Grande), who was one of the singing duo of
Ellis and McKenna, also a member of “The Quartette,” made his first
professional appearance at Rahway, N. J., March 12, 1900, with the
Heywood Comedy Company, in the play of “Mamma’s Pet.” It is the
author’s impression that Mr. Ellis played the title role. “Mamma’s Pet”
never had a metropolitan run; in fact, no run at all--but let bygones
be bygones.

April 28, same year, he joined Primrose and Dockstader’s Minstrels at
their inaugural performance under canvas; this was at Newport News,
Va., and Mr. Ellis sang “The Blue and the Gray,” and what’s better sang
it so good that he was engaged for the regular season of the company a
few months later, being the only vocalist of the “tenters” so honored.
The tent season lasted about seven weeks.

He continued with Primrose and Dockstader’s until the dissolution
of that company in 1903; the same year he became a member of Lew
Dockstader’s Minstrels, and remained four years. Eight years of
minstrelsy in black-face. Mr. Ellis has a robust tenor voice of high
quality. He is again with Lew Dockstader’s Minstrels, 1910.

Harry A. Ellis was born at Potenza, Italy, February 20, 1876.

HERMAN MARION (Etzer) joined Billy Pearl, doing a black-face act
in Lowell, Mass., in April, 1899; and subsequently appeared with
La Pearl’s Circus; Vogel and Deming’s Minstrels; Primrose and
Dockstader’s; Gus. Sun’s; Haverly’s (Nankeville’s), and Washburn’s
Minstrels.

He continued with Pearl until the latter’s death; subsequently joining
Geo. Cunningham, one of the original “Brutal Brothers,” and as
Cunningham and Marion have met with success in a white-face acrobatic
act.

Herman Marion was born in Paterson, N. J., December 17, 1876.

CECIL SPOONER.--This dainty, effervescent and charming bit of
femininity, who has won enviable honors as America’s leading soubrette,
and whose popularity in Brooklyn, N. Y., and other places, including
Centreville, Iowa, seems to know no bounds, gave a delightful
performance of Topsy in “Uncle Tom’s Cabin,” at the Bijou Theatre,
Brooklyn, N. Y., commencing April 9, 1906.

JIMMY DEVLIN entered the minstrel profession as a boy, and few were
better esteemed.

He was a clever dancer, but was best known for his baton swinging.

We worked with Johnny Whalen for a time, and subsequently with Doc.
Quigley.

He was associated with Primrose and West’s; Al. G. Field’s and Wm. H.
West’s Minstrels.

Jimmy Devlin died at Pittsfield, Mass., July 31, 1901; age 24 years.

EMIL SUBERS, the “Georgia Sunflower,” whose rich Southern dialect
has delighted thousands, began life as a ballad singer in an amateur
minstrel show in Macon, Ga., in 1897, after which for three seasons he
was a member of the well-known repertoire company of Peruchini-Beldini.

A couple of weeks with Harry Ward’s Minstrels in 1900, and then he
joined Al. G. Field’s Company same year. In 1902 he became a member of
Quinlan and Wall’s Minstrels, remaining two seasons.

On Christmas Day, 1904, he joined Geo. Primrose’s Minstrels in
Springfield, Mass., and continued with them until 1907.

Mr. Subers subsequently entered vaudeville, and in 1909 formed an
alliance with those clever black-face entertainers, Coakley and McBride.

Emil Subers was born in Sparta, Ga., January 7, 1877.

ARTIE HALL, in private life Mrs. Robert Fulgora, gives one of the most
faithful portrayals of the Tennessee and Georgia negro ever seen on the
vaudeville stage. Commencing March 18, 1901, Miss Hall gave a series of
splendid performances of Topsy in “Uncle Tom’s Cabin” at the Academy of
Music in New York City.

* * * * *

JAMES GORMAN, one of the most prolific producers in the annals of
minstrelsy, was the first to write a burlesque on the “Mikado” when
that opera had such a vogue here many years ago. Mr. Gorman showed it
with Haverly’s Minstrels in San Francisco in 1885. “The Princess of
Madagascar,” one of the most pretentious offerings ever shown with a
black-face organization, also emanated from the fertile brain of Mr.
Gorman; and there were others.

* * * * *

JOSEPH GORTON, Jr., was the son of the prominent manager of that name,
and a musician and composer of extraordinary ability; no less than
three operas, as well as several songs, have come from his prolific pen.

He had been several years with Gorton’s Minstrels, and for about ten
seasons he did a musical act with Sam Lee, as Gorton and Lee.

Jos. Gorton, Jr., was born in Friendship, N. Y., May 30, 1877; he died
there December 10, 1908.

HARRY W. SMITH, the pleasing young bass vocalist and interlocutor, has
a brief, but none the less meritorious professional career.

It began in 1904, doing concert work; subsequently he was with Richard
Carle’s and other musical extravaganzas. July 31, 1909, he became a
member of Eddie Leonard’s Minstrels at their initial performance in
Union Hill, N. J. In the Summer of 1910 Mr. Smith and Fred P. Russell
launched Russell and Smith’s Tabloid Minstrels on the vaudeville sea,
Mr. Smith acting as interlocutor, the duties of which he performs
admirably.

Harry W. Smith was born in Albia, Ia., November 3, 1878.

GEO. M. COHAN. It will not surprise many to know that this famous young
author-actor-manager-producer, etc., ever appeared in black-face; the
year is said to be 1891, when he played Banty Bob in his father’s
production of “The Molly Maguires”; nor must it be overlooked that he
was co-proprietor and part producer of Cohan and Harris’ Minstrels, the
first performance of which was at the Apollo Theatre, Atlantic City, N.
J., July 27, 1908.

George M. Cohan was born in Providence, R. I., July 4, 1878.

STANLEY FORDE, whose ponderous bass voice has been heard to such
excellent advantage in the “Geisha”; the “Talk of New York”; “The Man
Who Owns Broadway,” and other popular successes, joined Primrose and
Dockstader’s Minstrels at the Victoria Theatre, New York City, about
March 1, 1902; singing a ballad in black-face. He finished the season
with that organization, and the following one he toured with George
Primrose’s Minstrels. Then Mr. Forde said, “Never Again”; but that’s
what they all say.

Mr. Forde was born at Buffalo, N. Y., February 9, 1878.

FRANK LEIGHTON began his career as a black-face performer with a
medicine show, June 1, 1897, at London, O.; joined Burt Sheppard’s
Minstrels March 1, 1898, remaining until company disbanded at Waterloo,
Wis., April 10, same year. With this company he formed a partnership
with Ed. Elliott, doing a talking and dancing act; the partnership was
dissolved January 15, 1899; Mr. Leighton shortly after became a member
of the Vogel and Deming Minstrels, joining his brother Bert, with whom
he has since been associated.

Frank Leighton was born April 14, 1880, near Cowden, Ill.

[Illustration:

LUKE SCHOOLCRAFT

GEO. H. COES

(SCHOOLCRAFT & COES.)

JAS. M. TIERNEY

TIM. CRONIN

(TIERNEY & CRONIN.)

HARRY HOGAN

GUS. HOGAN

(HOGAN BROS.)]

BERT LEIGHTON joined Barlow Bros. Minstrels (Ward, Coburn and Baldwin,
owners), August 21, 1899, doing a black-face singing and dancing act
with Walter Wilson, closing June 2, 1900. Leighton and Wilson opened
with Vogel and Deming’s Minstrels, August 27, 1900; this partnership
was dissolved later in the season owing to the ill health of Mr.
Wilson. Mr. Leighton was joined by his brother Frank at Poughkeepsie,
N. Y., December 8, 1900.

Bert Leighton was born in Altamont, Ill., December 29, 1878.

LEIGHTON and LEIGHTON’s first appearance as a team was at Poughkeepsie,
N. Y., December 8, 1900, remaining the season. Other engagements were
Vogel’s Minstrels; Pan-American Minstrels. September 15, 1902, they
made their first appearance in white-face at the Howard in Boston.
April, 1903, they joined Quinlan and Wall’s Minstrels. Considerable
time was given to vaudeville before they made their appearance with Lew
Dockstader’s Minstrels, July 23, 1904, ending May 8, 1905. July 14,
1905, they began their second season with this company, terminating
their engagement November 17, same year, since which time they have
been playing the best houses in vaudeville; their present offering “A
One Night Stand in Minstrelsy” is a gem of its kind.

The Messrs. Leighton in addition to being exceptionally clever dancers,
are authors of several songs that are recognized successes, among them
are--“There’s A Dark Man Coming With A Bundle”; “Eb’ry Dollar Carries
Trubbles Ob Its Own”; “The Message of the Old Church Bell”; “Ain’t Dat
A Shame”; “Casey Jones” and others.

JOE LEIGHTON (Le Strange), better known as “Rags,” made his first
appearance with Lew Dockstader’s Minstrels, at Harrisburg, Pa., October
31, 1904, remaining until November 23, 1906; shortly after this he
joined the Leighton Brothers, the alliance being known as the Three
Leightons: he has been with them ever since, except for a brief period
in the early part of the season of 1908, when he was with Cohan and
Harris’ Minstrels.

Mr. Leighton is an eccentric dancer of uncommon ability.

Joe Leighton was born in New York City, October 7, 1887.

BILLY BEARD. This really clever performer who styles himself “The Party
from the South,” actually is from that interesting part of the country
which has produced so many capable burnt-corkers.

His story is best told in his own language, and here it is--“Trouped
with Hypnotists, Magicians and sundry other “one night organizations”
including a season in repertoire at 10-20 and 30; the above includes
several journeys on foot and on top of box-cars.”

Mr. Beard has an engaging personality which brought him engagements
with Ricaby’s “West’s” Minstrels; Nankeville’s “Haverly’s” Minstrels,
George Primrose’s Minstrels and Ted Faust’s Minstrels. As a monologist
and comedian he ranks with the best performers of his time, which began
in 1902; at present he is in vaudeville.

Billy Beard was born in Columbia, S. C., September 1, 1879.

WILL PHILBRICK made his first and only appearance in minstrelsy as a
member of Primrose and Dockstader’s Minstrels at the Victoria Theatre,
New York City, in the Spring of 1902; he sat on the end, sang “The
Fortune Telling Man”; did “some” dance and made every one clap their
hands awfully loud.

But I’m a trifle ahead of my story. His first appearance was selling
peanuts in Barnum’s Circus in 1893; he came near being arrested for
running a shell game. After that he became a real actor with “A Trip to
Chinatown”; in this company he first appeared in black-face, doing a
specialty with Eleanor Falk.

Mr. Philbrick played in other Hoyt productions, and “starred” for five
years in “The Beauty Doctor.”

Likewise was he prominently identified with “Panhandle Pete”; Grace
Cameron Opera Company, and “Foxy Grandpa.”

In vaudeville he was of the team of Philbrick and Cardownie, also with
Joe. Hart’s “Bathing Girls.”

Will Philbrick was born in Boston, Mass., October 16, 1879.

JOHNNY DOVE excels as a dancer, but whatever he does he does well; now
for the rest.

Mr. Dove’s first stage appearance was with the original Bootblack
Quartette, in 1896; the following year with James Corrigan he did a
black-face act, which qualified him to become a member of Hi Henry’s
Minstrels, where he remained six years. Lew Dockstader’s Minstrels was
the next big show, and though Mr. Dove was surrounded by a galaxy of
stars, his own light was none the less resplendent. His next engagement
was a white-face affair with the Imperial Burlesquers, where he met
with unqualified success; his own act “The Dancing Burglar”; it has a
story, and here it is----

ACT I.

“As a boy, Master Dove in response to queries as to his future ideas
in life, gravely told his Father he would be a dancer or a burglar.

Act II.

In a dancing contest, one night young Dove “flew the coop” and hiked
away to the town hall while the family were in dreamland; Johnny
won the coveted prize, a silver set of 24 pieces; sneaked home, and
placed his winnings on the table; thence to bed.

ACT III.

Next morning, Dove Sr., being the first to arise, sees the new
addition to the family plate, hastily, concludes that John had
decided on the profession of burglar.

CURTAIN.

Johnny Dove was born in New Brunswick, N. J., April 15, 1879, and is at
present with Al. G. Field’s Minstrels.

EDDIE CASSADY, a great Philadelphia favorite, is one of the most
pleasing of present-day comedians. His first professional appearance
was with Simmons and Slocum’s Minstrels in 1893.

In 1903 he became a permanent feature during the Summer season at
Atlantic City, N. J., with Murphy and Gibson’s Minstrels; continuing
with them until 1907.

The Summer of 1908 again saw him at the famous sea-shore resort with
Murphy’s Minstrels, with whom he has since appeared. The present season
of 1910 Mr. Cassady is doing one of the principal ends with Dumont’s
Minstrels in Philadelphia.

He also played a white-face part with Gracie Emmett’s Company--and some
day may play another.

Eddie Cassady was born in Philadelphia, June 17, 1880.

TOMMY HYDE is justly entitled to take the highest rank with the
younger generation of dancers; convincing proof of this can be had
from the fact that both Barney Fagan and James Gorman, the world’s
leading minstrel producers, found his (Hyde’s) assistance an invaluable
auxiliary to their own endeavors on various occasions.

His first appearance professionally was at Rochester, N. Y., with P. J.
Mundy, on a Tuesday.

For two years he played vaudeville houses, after which he joined
Gilmore and Leonard in “Hogan’s Alley.”

His next engagement was with Al. G. Field’s Minstrels, and that
gentleman thought so well of Mr. Hyde, that the engagement was extended
until six seasons had been rounded out with that prominent organization.

Mr. Hyde subsequently joined Lew Dockstader’s Minstrels, and remained
six years with the most famous of all black-face comedians.

Tommy Hyde was born in Fresno, Cal., February 10, 1881.

VAUGHN COMFORT belongs to the younger generation of minstrels, and
has all the qualifications that tend to make an artist; youth and a
handsome appearance combined with recognized ability gained in the
dramatic profession might be mentioned.

His first appearance was with the Empire City Quartette in
Philadelphia, at the Globe Theatre, in 1895; he continued with them all
that season, serving also in the capacity of manager. Next came a brief
tour with Carl and Johnson’s Minstrels.

In 1897 he joined the Irene Myers Stock Company, remaining seven years
all told. In between this engagement was one with the A. E. Davis Stock
Company; here Mr. Comfort played leads.

Season of 1908-09 he was with Dumont’s Minstrels in Philadelphia, where
he had the distinction of taking more encores after a ballad than any
singer of late years ever did in that house.

Seasons of 1909-10 Mr. Comfort became a member of Cohan and Harris’
Minstrels; his work as interlocutor with this organization brought
forth lavish encomiums from the press in general, and the Metropolitan
papers in particular.

The present season of 1910-11 he is with Geo. Evans’ Minstrels.

Prior to the last two engagements, he was with the Earl Burgess’ Stock
Company, also with George Primrose’s Minstrels.

Mr. Comfort’s voice is a pure tenor; it is worthy of note that seldom
in minstrelsy has a tenor occupied the position of interlocutor.

[Illustration:

TOM--WATERS & KELLY--NOLAN

LEW--COLLINS BROS.--FRANK

BILLY--WOOD & SHEPPARD--FRANK

MORT.--EMERSON & COOK--JAS.]

As this is a purely minstrel volume, it is in perfect good taste to
remark that he is a great “comfort” to his friends and family.

Vaughn Comfort was born in Philadelphia, August 7, 1881.

JOHN J. BLUE, an efficient dancer of the present generation
successfully conducted a dancing school in Hoboken, N. J., about eight
years; desiring wider scope for his talents, he engaged with the Cohan
and Harris’ Minstrels at their inception in July, 1908; he remained the
season, and re-engaged for 1909-10.

John J. Blue was born in Brooklyn, N. Y., October 31, 1881.

HARRY JOLSON (Joelson) is undoubtedly the premier operatic black-face
comedian of the day; to hear Mr. Jolson warble selections from “Lucia”
gives one that Oliver Twist feeling--you want more.

The first thing theatrical he ever did was to become an usher at the
Bijou Theatre in Washington, D. C.; in this way he got many good
“tips.” Mr. Jolson next became a singer “in the gallery,” same theatre;
after that it was easy.

His first appearance in black-face was with the Mayflower Burlesquers,
where he worked with his brother Al. About five years ago at Robinson’s
Park, Ft. Wayne, Ind., he appeared for the first time in a single
specialty, and since then has played vaudeville.

July 31, 1909, Mr. Jolson opened with the Eddie Leonard Minstrels at
Union Hill, N. J., doing an end and his specialty.

May 4, 1910, he sailed for Europe.

Harry Jolson was born in Srednick, Russia, January 12, 1881.

JOE B. MCGEE didn’t go to school with Mark Twain, nor did he start
the late lamented humorist on the road to fame; but Mr. McGee and Mr.
Clemens were both born in the same house, and evidently Mr. McGee
imbibed there some of the humor created by the immortal wit.

His first professional appearance was with Robinson’s Minstrels at
Hannibal, Mo., in 1898. Subsequently he was with Ward and Wade’s, and
George Van’s Minstrels; also did he tour with his own minstrel company.

Mr. McGee joined Al. G. Field’s Minstrels in 1909 for the season; the
following year he was in vaudeville with Russell and Smith’s Minstrels.

He is a comedian of original methods, and a dancer of more than
ordinary merit.

Joe B. McGee was born in Florida, Mo., February 20, 1881.

GEORGE JONES, one of the original members of “That Quartette,” was a
“boy singer” with Al. G. Field’s Minstrels in 1896.

Subsequently he did meritorious work as a comedian with Wm. H. West’s
(Ricaby’s) Minstrels.

After the dissolution of “That Quartette” in 1909, Mr. Jones continued
in vaudeville as one of the team of Jones and Deely.

George Jones was horn in St. Louis, Mo., September 22, 1883.

WILL OAKLAND (Harry Hinrichs) possesses that extremely rare quality
of voice that is known as a contra-tenor, which he uses to the best
advantage, his enunciation being well nigh perfect.

[Illustration: AL. JOLSON.]

Mr. Oakland made his professional debut with George Primrose’s
Minstrels in Rochester, N. Y., February, 1905, and continued with that
company until he joined Lew Dockstader’s Minstrels in 1907; he remained
with Mr. Dockstader two seasons, after which he joined Cohan and
Harris’ Minstrels.

Early in 1910 Mr. Oakland joined Wm. H. Thompson in a high-class
singing act, reviving a well-known trade-mark of two decades ago.

Will Oakland was born in Jersey City, N. J., January 15, 1883.

JULIAN ELTINGE (Dalton) is usually billed as “the artist without a
peer;” and you may believe it, every word.

The scion of an old Boston family, Mr. Eltinge adopted his present
calling for the avowed purpose of “killing time;” that he made a
“killing” there is no dispute.

He was a member of the First Corps Cadets in his native city, and when
this notable organization produced “My Lady” in 1899, Eltinge was cast
for the soubrette role.

In 1895 the play of “Miss Simplicity” was written around Mr. Eltinge’s
talents; subsequently it became a vehicle for Frank Daniels; afterwards
he appeared in “Baron Humbug” and other plays.

His first Metropolitan appearance was at the Bijou Theatre in New York
City in 1903, with “Mr. Wix of Wickham.” Later, and until July 27,
1908, he played vaudeville engagements in the United States and Europe.

On the latter date he made his first minstrel appearance with the Cohan
and Harris Company, at Atlantic City, N. J.; his success with this
organization was nothing short of phenomenal; he remained the entire
season, appearing with darkened features in the after-piece.

It may be of interest to know that during Mr. Eltinge’s Cadet Days; he
played male juvenile roles equally as clever as when encompassed by
skirts and those other things that it is said females wear.

Recently, while fulfilling an engagement at the American Music Hall in
New York City, Mr. Eltinge performed his specialty a la minstrel.

Julian Eltinge was born in Boston, Mass., May 14, 1884.

AL. JOLSON (Albert Joelson). Seldom in the annals of minstrelsy has a
performer risen to such heights, and achieved such success in the brief
period that this brilliant young performer has accomplished. Three
years ago he attracted the attention of Lew Dockstader, who saw him
perform in the South on several occasions.

Subsequently the latter engaged him for his (Dockstader’s) company,
and in the Summer of 1908, Mr. Jolson made his first appearance with
the latter’s minstrel organization. His success was instantaneous and
pronounced.

He remained with Dockstader all that season, and part of the next;
afterwards making his appearance in vaudeville, where if anything, he
was even a greater hit. In the vernacular of the Rialto, Mr. Jolson was
a “riot.”

Like everything and everybody, he had to have a beginning, and Mr.
Jolson’s first professional appearance was with Al. Reeves’ famous
Beauty Show. Subsequently with his brother Harry, and Joe Palmer, as
Jolson, Palmer and Jolson, played vaudeville. Up to this period Mr.
Jolson was working in white-face.

At Keeney’s Theatre, Brooklyn, N. Y., he first applied cork; and cork
it has been ever since.

Mr. Jolson is a comedian by nature born; his monologue, interspersed by
clever whistling solos, fully merits the approbation it receives.

Al. Jolson was born in Srednick, Russia, May 16, 1885.

NEAL ABEL, who appeared with much success with Primrose’s Minstrels
about four years ago, subsequently went into vaudeville with Dave
Irwin. Mr. Abel is unquestionably a comedian of more than ordinary
merit; and anyone in Kansas City, Mo., will tell you the same thing.

CHARLES HILLIARD (Hurst). From chorus man to burlesque prima donna in
two years is certainly going some; nevertheless, that is the proud
distinction accorded to the subject of this sketch, who made his first
professional appearance with Frank Lalor in “Prince Humbug” in 1908, in
the minor capacity already referred to. The following year Mr. Hilliard
was engaged with Cohan and Harris’ Minstrels, also as a chorus singer;
before the season was over he was playing a prominent part in the
after-piece.

August 10, 1910, Mr. Hilliard played for the first time, the principal
female role in the “Firemen’s Picnic” with George Evans’ Minstrels; his
success was emphatic.

Charles Hilliard was born in Sumter, S. C., June 23, 1885.

EARL BENHAM (James Benham) made his first professional appearance in
1903 in the chorus of “The Fisher Maiden,” and has been fond of fish
ever since; this is of course _sub rosa_.

It was in the year of 1907 that Mr. Benham acquired his first minstrel
experience, and came face to face with a box of cork. The following
year he was a ballad singer with Cohan and Harris’ Minstrels, and in
1909 he began his second season with that company, playing an end,
working in a big song and dance number and in the after-piece.

Mr. Benham is an accomplished dancer and possesses a pleasing tenor
voice.

As a composer he has won conspicuous success, some of his best
compositions being “I’m Happy When the Band Plays Dixie,” “My Little
Rose of Killarney,” “Mandy,” “May Moon” and “I Can’t Think of Anything
That’s Half As Sweet as You,” the latter by all odds having one of the
sweetest refrains heard in years.

At the conclusion of the season of 1909-10, Mr. Benham, in conjunction
with John King, went in vaudeville, making their first appearance at
the Warburton Theatre, Yonkers, N. Y., May 22, 1910.

At the present time, Mr. Benham and Miss Effie Snowden are meeting with
pronounced success in a clever singing and dancing act; vaudeville, of
course.

Earl Benham was born in Brooklyn, N. Y., April 15, 1886.

* * * * *

SAM. SANFORD built the first theatre ever constructed especially for a
minstrel company, in Philadelphia.

It opened August 1, 1853.

* * * * *

“BUN” GRANVILLE (Bernard Ralph Granville). The distinction of being one
of the youngest of minstrel comedians belongs to Mr. Granville, who at
the age of 16 years joined the forces of Al. G. Field as a song and
dance performer; and step by step rose in his chosen profession until
he had the honor of sitting on the principal end in the organization of
the “famous Field funsters.”

[Illustration:

CHAS. H. DAY

NED. GREENLAND

D. B. HODGES

JOHN P. (“CULLY”) SMITH

WM. H. SMITH

WM. FOOTE

W. H. STRICKLAND

HARRY CLAPHAM

CHAS. R. BUGBEE

PROMINENT EXECUTIVES OF MINSTRELSY.]

Mr. Granville remained in the above company until 1909, when he joined
Will Rogers to do vaudeville; he is still doing.

“Bun” Granville was born in Chicago, Ill., July 4, 1886.

THE FOLEY TWINS began lives as newsboys in the metropolis, and were
endowed by nature with good singing voices and ditto dancing legs; so
it was but natural that talents like those must have an outlet, which
they quickly found at clubs and entertainments.

Their first engagement was with the May Howard Company in 1899; it
was during this season that George Primrose heard of them, and made
arrangements for the boys to join Primrose and Dockstader’s Minstrels,
which they did at Atlantic City, N. J., July 31, 1900; they remained
with this company three seasons, and with Dockstader’s Minstrels two
years; their greatest prominence, however, was achieved with Mr.
Primrose in his vaudeville act, with which they remained two years.

It is pleasing to relate that these boys cheerfully and freely give all
credit for their success in life to Mr. Primrose, of whom they speak in
the highest praise.

A season in vaudeville with Manuel Romain followed their last minstrel
engagement.

Johnny Foley was born in New York City, September 12, 1886; and Willie
Foley was born in New York City, September 12, 1886.

THE END.

Typical exponents of
Minstrelsy

[Illustration]

The Gorman Bros.

[Illustration]

Jas. Gorman, Gen. Producer

----FOR----

Cohan and Harris’ Attractions

[Illustration]

John Gorman, with Marie Dressler,
----IN----
“Tillie’s Nightmare”

[Illustration]

Geo. Gorman, with Marie Dressler,
----IN----
“Tillie’s Nightmare”

+William J.
McKenna+

=COMPOSER
and LYRICIST=

=..Writer of..
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present
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[Illustration]

Productions

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and
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Wm. T.
Jas. W.

Bowman Brothers

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_In Vaudeville._

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_$1.25 NET_

[Illustration]

_Send all orders to_
KENNY PUBLISHING COMPANY
22-24 NORTH WILLIAM ST.
NEW YORK CITY, N. Y.

_A few copies of my first book_,

“_1000 Men of Minstrelsy
and 1 Woman_” [Illustration]

_may be had. Gives names, right names, dates
and places of births and deaths of eleven hundred
performers, past and present._

_To close out; 25 cents each._

_EDW. LE ROY RICE_
_Room 10, 22 North William Street_
_N_E_W YORK CITY_

JOHN P. HOGAN

[Illustration: _John P. Hogan_]

THE WELL KNOWN
⁂ MINSTREL ⁂
Originator of
~Step and Stage Dancing~
TAUGHT BY MAIL
Fully Covered By Copyright

Address for prospectus
JOHN P. HOGAN
108 West 43rd Street,
New York City.

Transcriber’s Notes

The (many) inconsistencies and oddities in the printed source text
have been retained, including those in the spelling of proper
names, the use of periods after (shortened or diminutive) names,
other punctuation, etc., as well as in the use of section headings.
Pejorative and offensive language has not been adjusted.

Depending on the hard- and software used to read this text and on
their settings, not all elements may display as intended.

Page 19, In support of this at one time gave a statement of receipts
...: the subject of the sentence appears to be lacking.

Page 23, ... born in Baltimore, Md., May 9, 1909; he died in
Philadelphia, September 10, 1874 ...: the year of birth is obviously
wrong; other sources mention (May 5,) 1809 as date of birth.

Page 26, He soon after returned to his heath: as printed, possibly
an error for ... to his hearth. ... also Lida Gardner ...: probably
intended to read ... also of Lida Gardner ....

Page 179, He was born in Bambury, England, ...: possibly an error for
Banbury.

Page 285, illustration: the available scans were not sufficiently
clear to read all individual names. The three men in the centre are
(from left to right) Gustave Frohman, William Welch and Charles
Frohman.

Page 307, Pettergill: possibly an error for Pettengill.

Page 314, “At the request of either Dan or Jerry Bryant, ...: there
is no closing quote mark.

Page 319, ... twelve shows a day, seven shows a week: possibly an
error for ... twelve shows a day, seven days a week.

Page 324, Mrs. James Speye: possibly a misprint of Mrs. James Speyer.

Page 340, Pontotlyn: possibly Pontlotyn or Pontlottyn.

Page 359, “As a boy, Master Dove ...: there is no closing quote mark.

Changes.

Illustrations have been moved outside text paragraphs.

Several obvious minor typographical errors corrected silently.

Index and list of illustrations: several names standardised to
reflect the spelling used in the text; some page numbers and
punctuation corrected silently.

Page 2: ... just as he is saying if his wife would show up ...
changed to ... just as he is saying it his wife would show up ....

Page 22: December 6, 1871 changed to December 6, 1791.

Page 30: Julius A. von Vonhurst changed to Julius A. von Bonhorst.

Page 52: ... co-proprietor with “Pony” More ... changed to ...
co-proprietor with “Pony” Moore ....

Page 76: ... the following well-known burnt cork organization ...
changed to ... the following well-known burnt cork organizations ....

Page 88: ... when he had eaten a square real ... changed to ... when
he had eaten a square meal ....

Page 98: ... achieved fame upon the sage ... changed to ... achieved
fame upon the stage ....

Page 99: ... as shrunk in his chair ... changed to ... as he shrunk
in his chair ....

Page 150: Hubert W. Egan is one of the few ... changed to Hubert W.
Eagan is one of the few....

Page 160: Pawtuckett changed to Pawtucket.

Page 183: Excelsion Bone Player changed to Excelsior Bone Player.

Page 196: JOE. CAWTHORN changed to JOE. CAWTHORNE. The common caption
on page 196 for the double-page illustration of pages 196 and 197 has
been moved to page 197.

Page 227: Press Eldridge was born in Philadelphia ... changed to
Press Eldredge was born in Philadelphia ....

Page 234: ... his professional entre’ ... changed to ... his
professional entrée ....

Page 250: Plattville, Wis. changed to Platteville, Wis.

Page 279: ... with Tony Hart in a “Toy Pistol” ... changed to ...
with Tony Hart in “A Toy Pistol” ....

Page 283: ... is not mostly devoted to ... changed to ... is now
mostly devoted to ....

Page 290: Newburg changed to Newburgh.

Page 299: Düerkheim changed to Dürkheim.

Page 304: Portorlington changed to Portarlington.

Page 306: ... the realms of burn-cork amusements. changed to ... the
realms of burnt-cork amusements.

Advertisement for Madison’s Budget: farcial afterpieces changed (in
text) to farcical afterpieces.

*** End of this LibraryBlog Digital Book "Monarchs of minstrelsy, from "Daddy" Rice to date" ***

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