National Republican., 1883-07-10
THE DECLINE or BURNT CORK.
Gradual Disappearance OF Form OF
Amusement That Was Wholly American
and wholly Good.

and wholly Good.
No minstrelsy is fast losing its prestige as
distinctive form of popular amusement Its
decay is the consequence of the death of its
cleverer exemplars, who, like Charlie Backus,
have strutted their brief hour on tho stage
and then are seen no more. The Albany
ArGus finds moro to deplore in this decadence
than is apt to be imagined at first Thought. The
corlted face was an innovation, American in
origin, American in impulse, and American
in character OF the more trivial features Of
theatrical invention IL was the most felici-
tous, most direct, and most ingenious. 1t was
probably that koon scented humor-
ist Old Daddy Rice, into whose head
came the virgin thought of trans
planting tho frolicsome negro TO the stage
rs a permanent medium of merriment When
this was, it is hard to say. 1t is safe to fix
the date however, somewhere between
1880 and 1870 Five and ten years subse-
quent to this period, negro minstrclsy was
tiourishing like a.green bay tree, not only
in America, but in Europe as well. Most
celebrated of the established troupes were
tho Christys, who arc generally conceded to
have originated tho stercotyped programme,
since never dispensed with, introduced with
% first part" in which Tambo, Bones, and
the Intcrlocutor divided the honors. The
Jokes which were cracked along the inky
semi-circlc became traditional Once in
while they came floating down the corridors
of time to the ears of present generations out
of the mouths of thin wttcd endmen. Tho
"parlor entertainment" which onsued was
in the earlier performances designed to re-
produce tho antics and arts of the planta-
tion darky a being whose sense Of fun and
love of music were already becoming
known through the lay of the cane
brake. Tho essence of Old Virginny, the
walk around and double shuttle were tho
accepted accomplishments in the dancers
repertory, which were never omitted from
q performance The song and dance, which
is the modern substitute for these grotosque
spectacles of niggerdom, is tho result of ar
tistic evolution wo presume. This act in
latter day minstrelsy was populari2ed by the
fuesse of Delchanty & Hcnger, whose Lit
tie Bunch of Roses" was the furore ut the
time.
But instead of developing q special line of
talent for art in black mask, minstrelsy has
been marked by n gradual decline, owing to
the encroachmeuts on its domain of the busi-
ness of the French vaudeville, or variety
show. Tho earlier days werc adorned with
the sportive tricks and inimitable mimicry
of genius and gift like that boosted
by Harper, Bateman, Dan Bryant,
Unsworth, Budworth, G. Swayne Buck
ley, Charlie BacIus. and Nelse Sey-
will recall with fervor the unctious quality
of wit and sweetness of rhythm, homely
though it was,with which Jump Jim Crow"
was sung by Ned Unsworth, or "Old Dan
Tucker" by funny Budworth There was,
too in tho plaintive refrain, "Shoo Fly,
Don't Bodder Me-" when given by Bryant
and Seymour, penetration that was quito
captivating to the ear and less diviner senses.
No one who recalls these performers will
deny that they brought to their endeavors
an art as delicate and pronounced after its
own fashion. as that which critical scrutiny
finds in tragic hstrionism. There have ap-
peared in the sphere of burnt cork, since
Dan Bryant and Nelse Seymour died in 1876
leaving untitled gaps in the ranks of the
sable mummers one, two, or three skilled
practicers, like Hughey Dougherty, Add
Ryman, and Leon, but the profession is fast
drifting upon the sands, being now little
better than conveyance for tho display of
a numerous band of professional dancers at
the expense Of accepted talent in butloonery
The troubadOur who was wont to be q lead
ing clement in the troupe is now displaced
by the articulate gymnast who throws somer
saults on q pedestal while he sings verse
in, nasal falsetto. The tone which Dave
Wambold once gave to Bonnie Annie
Laurie" is hushed. The day is gone by
when the lyric stage recruits its ranks from
the sable circle as it did of yore, in the cases
of William Castle and "Sher" Campbell.
Verify there are only few left to tell the
funny story or warble the tuneful lay. Billy
Birch, who has so long balanced the end with
Charlie Backus, is one of the survivors of the
old school, which another decade may see OBJ
liberated altogether.
1t is not altogether certain that the period
which witnesses the departure of the negro
minstrel from under the proscenium arch,
will give to the stage something in lieu
thereof, combining in it so much that is
We are sure the vacated place will be filed
by n form of entertainment supplying just
those ingredients, we cannot restrain a natu-
raj regret that the black face is being so rap
idly superseded.