The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1886-08-05
NEGRO MINisTRELsY.
Its Origin and Its Early Promoters
Old Time Memories.
rCharles T. white, in New York World j

L
The origin of negro minstrelsy has been so
often discussed and recurs so frequently that
the writer need make no apology in referring
to some of his "reminiscences connected with
the burnt-cock Fraternity. This department
of theatricals dates as far back as 1889, though
the first minstrel company was not organized
till 1S43. The earliest instance of the intro
duction of negro characters on the stage oc-
CURED in Boston on December 30, 1893. Rus
sells Boston Gazette of that date contains an
advertisement of the entire performance as
given at the Federal Street Theatre at the
time. The first piece was "Oronoko, FOR, the
Royal Slave" At the end of the second act
there is a song of ''The Gay Negro Boy" In
character and this was given by Mr.. Graup-
ner, a member Of the old Federal street COM
pany. The famous pantomine Of 'Gil Bias
had been introduced that Christmas week
and, although the house was hung with
mourning at the time on account of the death
of Washington, such was the applause given
to the song of "The Negro Boy" that
he had to bring in his little bench and sing
his story over and over again and again.
The chord OF popular sympathy had been
struck for lonely and enslaved race. The
next popular negro song was called ''The
Battle of Plattsburg" Dramatic history tells
us that this was originally sung by an actor
yulgarly known as pig Pie Herbert" at a
theatre in Albany in 1915. This song made
such decided hit that the enthusiasm Of the
audience became uncomfortable. From that
moment it was popular favorite. 1t had a
long and successful season and was the chief
attraction at this theatre and elsewhere.
There was another noted individual of the
day, one George Nichols, clown in West
ern circuses, who became very popular in
that section of the country. He lived after
Herbert. The following are few Of the
Of the burnt-cock comedians and voealists:
Robertl Furrell, who, is said, was the original
Zip Coon; Sam Tatnall, who sang a song
called "The Black Side of Albany" in 1928
La, 1all Blue" and 'Sueh Getting Up Stairs;
BIZ Keller; Enam Dickson, Tom BIakely,
Leicester, John Smith, George Washington
Dickson, etc. In those days negro s~ts were
occasionly performed ON horseback in Csasus
es as well as on the stage. In this way, be-,
tween unb0unded admiration on the part of
the public and speculative fear on the part Of
managers, this kind ofperformance struggled
along here and there until the late Z. ID. Rice
the acknowledged father and founder of the
Ethiopian comedy, came to the front.
He at once filled the bill and the theatres,
too, wherever he appeared, and sustained
his success for thirty. years afterward.
A brief sketch of this renowned negro
may not be uninteresting: T. ID.
Rice was born in the city of New York
On May 20, 1908, At an early age he
learned the trade of a carver, joined a
dramatic association and went to Ken
Ludlow, well known Western actor land
manager. While member of this country
he displayed considerable talent as an imita-
tor of the negroes in their peculiariaties and
to make his first appearance in a negro char
acter in the city of Louisville. Prior. to this,
however, he had played both in New York
and the West many low comedy parts with
success, but not until he commenced his
negro singing and burlesque orperatic per-
fOrmances was he considered of sufficient
note to render his name attractive. In the
fall of the year 1882 he made his Ethiopian
debut at the Old Bowery Theatre, New York
in the character of Jim Crow, his eharac-
ter, both on account of its novelty and the
excellence of its representation, attained a
popularity unequalled by anything Of the
kind before or since. Rice during that sea-
son is said to have brought more money into
the Bowery treasury than any other Ameri.
can performer during tie same period OF
time. After a successful career in New York
Boston, Philadelphia and other cities he
visited England in 1886 and performed with
also in Dublin and Cork, creating a furor-
even in the annals of the
British stage, and almost literally driving
for time from the boards such fayorites, as
performers. While in England he married a
Miss Gladstone, eldest daughter of a former
Of the Surrey Theatre. He soon after
returned to his native country, appearing at
Wallack's National Theatre, corner of
Church and Leonard streets, New York, ON
the 18th of October, 1887, in his specially,
the Virginia Mummy" For many years
Mr.. Rice was eagerly sought
after by the managers and played as a "star"
in nearly every theatre in the Union. His pop
ularity however, waned in his later days,
though he appeared eliciting much applause
as late as 1854. Stricken finally with paraly-
sis, his death occurred, after a season of pro-
longed suffering, in the city of his birth, Sep
tember 10, 1860, at the age of 80.
Mr. Alfred Bum, in his 'Stage, Both Be-
fore and Behind the Curtain" published in
1910 referring to Mr.. Rice, says: His success
has been obtained by his prudent adhesion
10 the persOnation of one class of eharae- -
era path, be it remembered. altogether W
trodden. He has chosen for his mOttO;t
Is better to be great in a little thinGsnan Ut
lie 10 great thing" and has hfumphantly
acted up to the axiom.
The first regular organized band OF negro
ninstrelS made its appearance at the ChaI-
ham Theatre, New York City, February II,
S43