Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-02-20
Columbia.

Minstrel shows, like curcuSes, have long
come to be thought ''the same old thing
always" no matter when or by whom
presented. But George Evans. who for
some reason everlastingly links his name
with Honey Boy" whatever that may
mean. has brought with him to the CO.
lumbia Theater this week an aggregation
or real minStrels with a real minstrel
show, and one that at the same time Is
not 1.-THE same old thing in all particu-
lars. 1t furnished last evening two and
half hours of enjoyment to a large
audience, including delegation of the
boys from Australia who are just now
visiting the city,. The little fellows evil
IDENTIFY saw the real thing in minstrelsy
or the black-face kind on its native
meath for the first time. and their pleas
ure and appreciation was unmistakabe
for they freely and enthusia stically joined
with the remainder of the audience in
its laughter and applause
The Honey Boy Minstrels" are differ
ent from other aggregations of the kind
in that they bring something new, with
familiar earmarks to help in recalling
memories of a kind of entertainment
that has always been popular in this
country. True there is the old familiar
semi-circle, with it's interlocutor and fun
ny endmen, but they appear like black
face gems in a setting of wistaria bios
SONS that by mechanical trickery are
later made to mingle with rich, red
roses. And the Ministries sing and joke
and cut up cap6rs just as they always
do, but the songs, most of them, were
new, the jokes bright and catchy. and
the capers TIE personification Of old-time
minstrelsy brought up to date. All this
was in the first part.
After the intermission, which seemed a
trif1e long because the orchestra was slow
in getting in front of the fOotlights. came
plantation scene that was very beauti-
full, with hosts of plantation hands of the
old times, and the me-honored song
ambulance man" in respondent costume.
This act served to introduce the quaint
imitation of the old men and old man.
mics of slavery days, some eccentric
dancing unique in it's grotesquerie, some
very clever ''soft-shoe" dancing, coon
songs" and the inevitable breakdowns.
Following that came as the feature of
the show Honey Boy" Evans in a string
of nonsense as laughable as it was ridic-
jos strung like mandolins, by Harry
Ward, David Wallace and Frank Gurn-
sey. with interpolated songs by Master
George Koty. boy with an unusual
voice, even for the minstrels, came the
finale, 1.-The Dixie Derby whose fea-
sonation by Charles Hilliard and more
Of Evans unique eccentricities.
Songs of the first part, which seemed
far too short for many in the audience,
llCiuucu pretty tCuOT SOlO IhCiC .
Nothing Like Mothers Love-" by James
Meehan; eff I Had You," ballad, by
Vaughn Comfort. the interlocutor, and
yodeling selections. in which Mat Keefe
| appeared to much advantage. In the
comic line. hits were made with Alex
ander's Rag Time Band by Pierce kee-
gan: Down in Kokomo," by John King,
a premier funmaker; Il Want to Hear
Yankee Doodle Tune by Master koty.
and THAT Peculiar Rag by Gilmore and
Castle, which owed it's success more
largely to "coon eccentricities" than to
its mirth or melody, including some re-
markable dance steps.
The company is a good one through
out the singing contingent being especial
ly pleasing. except that it is not furnish
ed enough opportunity, and the scenic ar
rangements artistic and some of them
beautiful. 1t is in no sense white-face,
silk-and- atm minstrel show, but emf
nently and satisfactorily black face
throughout.