The Republican journal. [volume] (Belfast, Me.) 1829-current, 1911-11-02
THE MINSTRELS.
A Form of Entertainment That Lives and
DELIGHTS.

i lc-luHis lOtAA W
hind the curtain comes the muffled notes
of some old time melody. 1t seems as
though the curtain never would go up,
and then, when we're beating time to
the closing strains of that well known
ballad, up goes the sheet and there is
riot of color (riot is the proper word,
now isn't it?) is the semi-circle of black
faces, men natty in green coats with the
red labels, fancy waistcoats cut to expose
an almost endless expanse OF starched
bosom shirt, gaudy neckties, crop wigs,
and white trousers; the screamlngly
funny end men with their order Of colors
in costume reversed, with mouths made
up to look as though they stretched from
ear to ear, suggesting watermelon in
some way that it is not easy to explain,
The interlocutor, that pompous individ-
ual in the center, steps just out OF the
circle and in voice that is quite maJes-
tic announces "Grand medley overture
by the entire company" There is a
crash of symbals, rattle of drums. the
blare of the trombone, the crack-i-ty-
crack of the cornet. the jingle of tambos,
baritones give voice to a collection of
every nook and corner. Isn't it insplr-
ing. Isn't it just grand. Just keep your
ewes on these funny end men and their
antics. Don't it make you laugh, ap-
plaud and keep time with your feet all
at the same time.
That's old time minstrelsy. May it
never perish.
But it never will die Minstrelsy of the
old standard will live until burnt cork
turns white for it is the kind of enter
tainment that appeals to the music low
ing American public. Musical comedies
will always have their following, but
even the most ardent supporters of must
cal comedy tire of that form OF enter
tainment. But you have never met a
person who did not really like minstrel
shows, the kind that won applause from
our grandfathers years and years ago.
Next to a circus there is nothing that
draws so we'll as minstrel performance.
Be it in the red mitten district or on the
great white way minsorelsy is OF
equal charm. Let's drink again to its
long life.
Blackface minstrelsy in its present
form mad its inception in Pittsburg, Pa,
in 1880, the father Of minstrelsy being
an obscure comedian of that period,
Thomas D. Rice, afterwards called
Daddy Rice" who initiated song he
had heard sung by stable darby, the
song being Jump Jim Crow. AL
though blackface speciality was given
at the Federal theatre in Boston on Dec.
80, 1893 by Mr.. Graupner, who sang a
song called 1.-The Negro Boy, - for which
he BACKED his face.
Among the earlier opponents OF negro
minstrelsy were George Christy. Dan
Jerry and Neil Bryant; Dan Emmert who
wrote Dixie" Ben Cotton, a native of
Pawtucket, who achieved celebrity as
.'Old Bob Ridley" the Buckley sere-
naders and the Morris brothers, Pell and
Trowbridge which would bring that class
of minstrelsy up to about 1862.
Such noted actors as Edwin Booth, Ed
win Forest, Joseph Murphy of Kerry Cow
fame, Joe Jefferson, P S. Gilmore, the
celebrated bandmaster, Nat Goodwin, }.
K. Emmett, Denman Thompson and
Francis Wilson, at some time in their
career were minstrel performers. The
Oldest minstrel team now in existence,
Fox and Ward, who began their career
together in 1868 and are still appearing
Jointly, probably next to them in point
of age as to date of appearance is Nc
Intyre and Heath, who began their part
nership in 1874, which still continues.
1t is only within the past year that
minstrelsy was discontinued at the
Eleventh Street opera house in Philadel-
phia, where it has been in vogue continu-
ously for 80 years and where all the not
ed celebrities of those years had appear
ed. Among them best known to the
present generation are Willis z. Sweat
man, Lew Benedict, Hugh Dougherty,
Lew Simmons, Frank White, Sanford
and Wilson, Mackin and Wilson (Francis
Wilson Mackin was native OF Provi-
dence), Griffin and Rice John c. Rice
of Rice and Cohan), Barney Fagen, Bill
ly Rice, George Thatcher and others.
Rhode Island has contributed its share
to minstrelsy, the first of them being
Ben Cotton of Pawtucket, George Goes
OF Schoolcraft and Goes, William A.
Huntley, celebrated as the banjoist who
afterwards retired from the stage anc
conducted studio in Boston, Chauncey
Olcott, Jerry Cohan, Billy Chase wht
began minstrelsy but who was three
years afterwards favorite at the Old
Theatre Comique, and George M. Cohan
who with Sam Harris sent out the Cohar
& Harris MINISTRIES two years ago.
Probably the best exponent of the song
and dance style of entertainment. type
of performance now practically extinct,
We're Delenanty & Hengler, Bobby New
comb and Billy Emerson, Emerson s
rendition of 1.-THE Big Sunfower" can.
not be forgotten by those who ever hearc
it.
Milt G. Barlow, in the period of about
1871, was famous for his aged darky
representations, and through him, nc
doubt, the great popularity of "Old
Black joe was achieved. Later he was
a member of the noted Barlow, Wilson,
Primrose and West. Harry Bloodgooo
was great Boston favorite in the 70's.
1t is not generally remembered thai
Harrigan and Hart were at one time
blackface artists, as were Andrew Mack
Julius Whitmark, and Montgomery
Stone. Teams that were particular popu
lar from 1875 to 1890 were Lester anc
Allen, the Arnold brothers, and the Cor.
man brothers. The highest achieve.
ment in minstrelsy was probably the
magnificent organization of Primrose anc
West, Lew Dockstader and SWeatman,
Rice and Fagen. The latter was the
finest minstrel company ever organized.
Among the well known minstrel com.
panies of the 70's were those of j. H.
Haverly, who introduced Primrose anG
West and offered $4,000 challenge for
their equal as double dancers. Hooley
Minis rels, Duprez and Benedict, Happy
Carl Warpar Horny, Robinson Co,l Rrr