The tribune. [volume] (Beaufort, S.C.) 1874-1876, 1876-03-15
NEGRO MINSTRELSY.
It's First Start In tho Country---1instrel
Characteristics, etc., as Told by One Of
Them.

| Characteristics, etc., MS Told by One o.
Them.
A Sun correspondent interviewed
| Billy Birch, of the San Francisco Min,
strels, on the subject of minstrelsy as il
was and is: The first troupe was called
the "Virginia Minstrels." There were
only four of them-Dan Emmett, banjo
player-he's on the stage yet, out in
Chicago now; Dick Pelham-who went
over to Eng land, made a fortune, and
never came back-bones; William Whit
lock and Frank Brown. They were not
the first to appear blacked up on the
stage you know. Thomas D. Rice, better
known as Daddy Rice" is called the
father of negro minstrelsy, but incorrect
ly so. He was an actor and took negro
parts in plays, but he wasn't what we
| would call a negro minstrel. "Jim
Grow" made him famous-that and the
Virginia Mummy" The comic opera
Judge Philips, I've been told. 1t was a
beautiful thing, just full of gems of
songs. You remember the "Coal Black
Rose i'-well, that was one of them.
Dumbleton's Ethiopian Seranaders "
was started by Major Dumbleton the
year after the Virginia Minstrels.
After the Dumbleton's came George
Christy. Christy started in Buff
falo. He had been in circus be-
fore he got up q troup of minstrels.
From the start he was great favorite,
and when his party came to New York
in 1916 and opened in the Alhambra,
they did an enormous business. Then,
in lS47 or 1S4S, the Buckley's started
the Peedee Minstrels. They made
splendid music, had a great deal of
talent, and when they went over to Eng
land, fairly took the country by storm,
as you may say.
In 1874 I played first as boy for Ned
Underhill's father, who was then bo-
tanical doctor in Troy. Ned Underhill
was in the troupe, too. We played a
consecutive engagement of one night.
We didn't run the risk of trying the
temper of the public by a second per-
formance. The old man gave me half n
dollar, I remember, and there was
bad sixpence in it, but I'd sooner have
given SO to play than not to have got
the chance, 80 I didn't mind the six
pence. In 1916 went on regularly, and
have been in the business over since
with generally good success, and for a
number of years past with most excellent
fortune. Eph Horn started in Philadel-
in 1852.
I" Is the minstrel business profitable
one yet, or has it, &c some aver, seen its
best days2"
"There are more minstrel troupes
now-good ones-than there ever were
before, and believe they are generally
doing well. AS to whether there is
money in it or not, you may judge for
yourself from our figures. We cleared
while we were ct 5S5 Broadway $4OO, 600
in seven years. / think that was doing
pretty we'll, and we have had no reason
to complain of any change SINCE"
How are performers paid9"
"That depends upon the individual
and the demand for him. In general
way you may say that singers get from
$40 to $75 per week, instrument per
formers $50 to $50; comedians, that is
men of general usefulness, about the
same as the singers; end men, from $40
to $50 all the way up to $50 or 5000, ac-
cording to their individual popularity.
Some song and dance men, too, like
Billy Emerson, get as big money rs end
men,"
Where do you get your burnt
cork 2"
Prepare it yourselves. Just burn the
corks and pass the dust through paint
mill to get it all fine and we'll mixed with
water, and then it is ready for use.
Champagne corks are the best to use
make the finest dust"
1t is less injurious to the skin than
the white and red used by the pale
faces of the drama, is it not,"
Not at all injurious. In fact, it is
good for the skin. have known it to
cure skin diseases. Just look at the old
mirstrels and see how smooth and fresh
their faces are. That is due in great
measure to the cork; something also no
doubt to our frequent and thorough
washings."