The New York Clipper (February 1912)

14 THE ISTEW YOEK CLIPPER. February 17 Tee th, B heath SOME CORK AND SAWDUST "THINKS" OF THE PAST. BY KIT CLAUKE. An Article recently printed In The Clip- Mb, written by Edward Le Roy Rice, revlvod pleasant memories of my minstrel days anil nights, and started my thinking machine Into activity, resuscitating many delightful In- cidents and associations of the vanished "good old days of yore." In my opinion the ancient and honorable pastime of negro minstrelsy met Its severest blow—I might almost say crushing blow— when the late 3. H. Haverly placed on the market his Mastodon Minstrels, and thla not alone from a business point of view, but artistically as well. From the instant the curtain rose upon this organization, the bell tolled the requiem for our old time favorite, and the charac- teristics of the plantation negro, the qualat antics of the river roustabout, and the unique genius of the darkey swell, went glimmering ''down the corridors of time." In place of these time honored, popular and enjoyable features, there came Into the spotlight "Forty, Count 'em, Forty," em- bracing ilxty or seventy people, exhibiting "mammoth" songs and dances, huge squads of electrically lighted acrobats In gaily ca- parisoned drills and marches, sumptuous silken draperies, gorgeous transformation scenes and dally parades, that rivaled an Oriental Durbar In clamor and display. If "Old Bill Jones" had been on earth at ttfjfUe that time he would have reared up on his hind feet and openly declared that anybody who could possibly discover even a remote resemblanco to negro mlnBtrelsy In this en- tire production vras a cowboy, a horso thief, and a twa-story ding-bat liar, by gosh 1 And -wlille the black face, spectacular In- vasion, mixed occasionally with a email as- sortment of white face, was sot negro min- strelsy by Borne sixty thousand miles, It ap- peared to be exactly what the public wanted and was willing to pay for, and tbls public got It and a lot more of It In copious doses. When other energetic and amoltlous man- tigers heard the noise and observed the con- sequent amazing financial results, they promptly adopted the advanced spectacular proposition, and zoological dictionaries were searched with microscopes In digging up long and hard names to bestow upon new and big bunches of burnt cork crusaders. Among them came tbe "Megatherium" Min- strels, which "Dick" Hooley and "Billy" Em- erson pushed out, and which sunk money In massive lumps, and the "Glgontean" Min- strels, which M. B. Loavltt organized, and when he became tired of the adventure, tbe wrong sldo of tbe lodger exhibited a loss of something close to one hundred thousand cold American dollars. In three or four years these exaggerated minstrels petered out, and old time negro minstrelsy went ■with them—completely erased from the public mind, never again to attain Its former welcome and general popu- larity. Two hundred dollars dally was a rather heavy expense for an old time minstrel com- pany to nsBumc, and It Is only requisite to compare this figure with the dally expenses of tlie spectacular shows to discover another "severe blow" to the old art far more effective than Its desertion by a few performers for white face drama. In January, 1865, I leased Bryan Hall, on Clark Street, Chicago, for a season of twclvo weeks, and organised and played a company of twenty-two people under the name of the Empire Minstrels, with a salary list of much less than live hundred dollars weekly. There was nothing spectacular about thli show or Its expenses, out just a plain, old tlmn negro minstrel company, with the "coon" element predominating, yet In the twelve weeks I cleared several thousand dollars, closing only because I was under contract to go In advance of Adam Forepnugh's Show, How long n period would a similar com- pany exist In New York nt present, and in this era of circus minstrelsy? Yet with this company there appeared, for stated periods, Eph Horn, Sher. Camp- bell, 8am Sharpley, Ben Cotton, Billy Man- ning, Johnny Allen and Unsworth and Eu- Sene, and It was here that Billy Emerson, ohnny Allen and Billy Manning organized and started Emerson, Allen and Manning's Minstrels, one of tbe most popular organiza- tions of Its kind ever placed before tbe public. This was. Indeed, a splendid minstrel com- ?auy, and met with great prosperity, and his very great prosperity caused its final dissolution, which began In Internal dissen- sions between the owners and ended In fisti- cuffs and separation. This "agreement to disagree," however, was not phenomenal, since it really appears as If the minstrel boys of ability, from that day to this, were all equally well developed In the art of "slugging," and so minstrel company was ever organized. In which per- formers were owners, that failed, sooner or later, to develop prolific Internal dissensions that often resulted la first class fights, and finally In separation. From the Mastodons there graduated Bar- low, Wilson, Primrose & West's Minstrels, which, because of disagreements, caused sep- arations and reorganizations until no less than six different companies followed in quick succession, and all met with considerable success until family fights "busted" them. For such results there were, of course, many reasons, but I think the principal cause was an overdose of sudden, brain-affecting pros- perity—something that few men, even ordi- nary men In other walks of life, find It diffi- cult to assimilate with equanimity. Because a number of talented black face comedians left minstrelsy to gain additional fame and dollars in drama, most assuredly redounded to tbe credit of the old art, since It conclusively proved that the actors on the minstrel stage were men of no ordinary ability. I have always thought there was a wide difference between the negro mlnBtrel, the delineator of the quaint negro character, and the black face comedian, exempllfier of "every old thing" to win a big laugh or "kill 'em dead," and nearly all of the corkonlana of the past, present and probable future, come under the latter definition. Some of these, too. are really fine perform- ers, talented, artistic, humorous and most original, while the fact still remains that the coat of cork often leads to (treat suc- cess when the Identical exhibit done In white face would probably be pushed down Into the cellar. Much publicity has been given to the names of many who moved from minstrelsy Into the dramatic firmament, yet there Is ono name I have sever seen printed in this con- nection—the name of one of our most Illus- trious actors; Indeed, I believe he was tbe most versatile and accomplished actor the American stage has ever known, a man who could act Sir Giles to-slght, Hamlet to-mor- row, Richelieu the next, and follow these with a black face song and dance or an "es- sence" that had but a single rival—Cool Bur- gess. I refer to E. L-. Davenport, whose memory, among many old departed friends, is tbe best of all to me. It would appear that anybody who covers his face with cork at ence becomes a negro minstrel, but I cannot see It that away, since few, If any, ever pretend to imitate the colored race. Even Sweatnam, one of the most original and talented black face artists that ever lived. Is not a negro minstrel, and Thatcher, Dockstader, George Wilson or George Evans, with scores of others, calling themselves such, are simply eccentric co- medians. Billy Emerson's strongest effort was a rol- licking Irish song, "Moiiartty," and Carroll Johnson made an Immense hit with Ken- nedy's Irish Song. "I Owe Ten Dollars to O'Grady," while Sweatnam's end song and greatest hit was celestial to the last degree, "Little Ah Sid"—a gem of the very first water, but quite some distance from anything of a negro character. An exhibit of Irish, Hebrew, Italian, Chi- nese and other foreign characters. In black face make-up, has helped some In putting negro minstrelsy Into Its little bed, and even In "vodvlll" the true negro Is mighty scarce. Where, oh where, can we find the proto- type of Billy Manning In his Inimitable "Mrs. DlttmuB' Party?" Where will we find another "Boy, Go 'Way from Dat Dar Miicl," of McAndrcws? I think that more substantial talent was embraced In the Leavltt show than in any similar company ever organized, which, en passant, embraced several of the talented people named by Mr. Rice In his Cliffeb article. Among these was three famous auartottcs—the musical group of Woods, leasley and tho Weston Brothers, the great acrobatic song and dance team of Seaman, Somers and the Glrard Brothers, known as "The Grotesque Four," doubtless the strong- est act of Its kind ever seen upon tho stage, and that constellation of true negro min- strel talent, called "The Old-time Quartette," who gave, an exact reproduction of the "Vir- ginia Screnaders," the original of all minstrel presentations. In this act appeared one of the veritable founders of mlnBtrelsy. Dan Emmet, who organized and rehearsed tho act, which, be- sides himself, Included Bam Sauford, Davo Reed and Archie Hughes, and as 1 watched this act night after night for I was the manager of the company, Its unique quality, Its absolute) originality, its artistic versa- tility and Its general excellence Impressed mo greatly, and I thought then, and still believe, that its associations and superb production made It by far the most Interesting act the minstrel stage has ever seen, or ever will sec. Yet fine as was this act It never "caught on" with the public, for even then "old time'' minstrelsy had gone glimmering. Only upon a single occasion did the act win large ap- plause, and this occurred In Atlanta, Ga„ while even then the npplause went out for Dan Emmet. The house was crowded, nnd as the curtain rose upon the Virginia Scre- naders an enthusiast In the balcony shouted In a great big voice: "Three cheers for the author of Dixie!" ■ " Although It happened many yeare ago, 1 seem yet to hear the tumult, tbe volcanic THE PIONEER OF BURLESQUE BOB MANCHESTER'S Famous Cracker Jacks SUCCESS TO ALL IS MY SINCESEST WISH HARRY LEONI, MANAGER THE MODEL VENUS OF BURLESQUE RUBY LEONI HEUMAN TRIO A BICYCLE ACT OF QUALITY WILLIAMS and BROOKS ECCENTRIC COMEDIANS IN THE SECOND EDITION THE NEW CADET ASCOT and EDDIE THE GREAT ACROBATIC DANCERS JOHNNY JESS A JOLLY, CLEVER COMEDIAN MADELINE WEBB THE SUFFRAGETTE LEADER BLANCHE BOSS OUR CHARACTER LADY of NOTE FRANK FANNING A REAL ACTOR AND IPLLIE WILLIAMS co IN THE SENSATIONAL LE DANSE L'ENTICEMENT nols-j of that vocal tornado, and can. Imagine* as I saw him then, Emmet standing and bow- ing low while his hand grasped the back of his chair for support. After the show thai night Emmet ana myself consulted about the act, seeking a reason for the light Impression it usually made, when he suggested that Its present form be dropped and In Its place to Introduce the entire company In a huge "walk Around," just as It was done at liry- ant's Minstrels, presenting "I Wish I Was In Dixie," with the author as the leading char- acter, and with an appropriate moonlight cotton plantation scene as a background. This Idea was promptly accepted, but was never completed for the Interesting reason that a few days later Mr. Leavltt visited the Shaw and "Orcd" me unceremoniously with the emphatic assertion that I was not worth a "continental ," This little pas dt seiil forever terminated my association wltb that energetic gentle- man, my position being assumed by J. B. Burrldgc, and I salted for New York. Hardly had I landed In the metropolis when a messenger brought me a letter say- ing that J. II. Haverly desired to have me call upon him at the Fifth Avenue Theatre, - to which I gave no attention. The following morning "Bob" Fllklns came to me and said "the governor" wanted me to come right up and see him on a matter of large Importance but I told "Bob," who was a prince among good fellows, that "the governor" had me- chanics at his service who could put In plain typewriting what intelligence he desired to convey. My reason for this was that but recently I had "bucked" the Haverly show, and had "lambasted" It as hard aB I knew how. and I did not care to have a "gabfeat" wltb an- other minstrel king 10 quickly after the Leavltt matinee. The following morning a carriage landed at my door and Mr, Haverly was before me and offered me an exceedingly liberal business proposition, after which he asked why I had left Mr. Leavltt I replied that Mr, Leavltt had "fired" me la cold blood, and said to me right out loud that I was not worth a "con- tinental -< ." "That's a mighty good reason," said Mr. Haverly, and on the following afternoon, at Harrlstmrg, Pa., I became manager of Haverly's Mastodon Minstrels, superseding Joe Mack. Ncaro minstrelsy has been forgotten, Is not understood, while black face comedians, and a vast number who think themselves such, have flooded '"vodvllle" with alleged acts and wild-eyed eccentricities to such ah ex- tent that Interest In cork has been pretty well eliminated. Even the few traveling mln- Btrel troupes that are still In existence ven- ture an entire week In New York with no little timidity. . , „. I am glad to acknowledge that I *f££ was, and always will be, fond of minstrel*;. and Indeed it is about the only kind of an entertainment that, in these times, can in- duce me to leave my home at night. ;*'?.=, George Evans brings hlB actors to the ujj of Churches," in which I am permitted to- live, I never fail to go back on the stage, s« on a real working trunk, and proceed v> eujov a talk with a minstrel, as well as tn» familiar sight of burnt cork and its irng ranee. , lh . I think It stimulates tbe circulation of tne- blood, and has an excellent effect upon caj system, for the man who has once lived ur°" this "health food" never forgets Its « lnu lstlng qualities, and although more that1 » quarter of a century has down since: I owPPj-" the relne, I confess that whenever Ilei' 1 "!. strains of a brass band I want to get out a" lead the parade. Tom Moore was Just ■"J" 1 " right when ho sang: " __» "You may break, you may shatter the vase » But tne U s7ent of the roses will cling to It 1 recall the important fact that once upon-