Article on the evolution of minstrelsy and what can be done to improve it

Event Information

Venue(s):

Event Type:
Minstrel

Record Information

Status:
Published

Last Updated:
1 February 2020

Performance Date(s) and Time(s)

17 Jul 1869

Performers and/or Works Performed

Citations

1)
Article: New York Clipper, 17 July 1869, 118.

Changes are as necessary in the character of our minstrel entertainments as in that of any other class of amusements. When first brought to the notice of the public, Ethiopian eccentricities were embodied in the person of a single performer, who, in burnt cork and dilapidated costume, gave us a representation of the songs, dances, and odd phrases peculiar to the salves of the South. Being received with favor, and the observant calculator ‘seeing money in it,’ others appeared in duologues, interspersing little scraps of song, merriment and the rude music of the plantation, in their acts. Gradually the colored forces augmented, until bands of three and more organized, and these ‘troupes,’ as they were called, varied the style of entertainment by giving a sentimental ballad and chorus, with accompaniment of banjo, tambourine, triangle and bones. It was from this crude class of ‘nigger minstrels’ that the various ‘full bands’ of other years were organized, and which attained a wide-spread popularity. The opening part was always the great feature of an Ethiopian entertainment in the olden time, the simple yet beautiful ballads touching the great heart of the masses, while the well-told jokes and conundrums of the end men leavened the whole with a spice of life and joyousness which sent the large audiences to their homes in a delighted frame of mind. In the early years of minstrelsy the members of the troupe appeared in the first part dressed as humble laborers or slave hands of the Southern plantations, and afterwards as dandy darkeys of the north, the contrast between the two classes giving variety to the programme, and rendering an extended olio wholly unnecessary. Prices of admission were quite low, and within the reach of all classes, and the result was that managers thrived; they did not make money fast, it is true, but the speculation was a success, and gave promise of doing better in the future. After a time the first part was monopolized by the ‘dandy nigger,’ the middle part received greater attention, and the little farces and walks around concluded the bill of fare. Negro minstrelsy was certainly growing in popular favor, and bands were organized to travel in all sections of the country; managers were growing rich, and ‘artistic performers,’ good singers, and funny comedians were in demand at what in those days were considered large salaries, but which would be looked upon as very small at the present day. Since then, minstrelsy has undergone many changes, and the rude refrains and eccentricities of the southern darkey have given place to burlesque opera, clever farces, good dances, and singers of a high order of musical merit. The banjo and triangle have been supplanted by brass instruments, clarionets, double basses, pianos and flutes, played by men of ability. Nigger minstrelsy of the present time is quite a different amusement to that given by troupes in its earlier years. During the war fortunes were rapidly made by those who embarked in ‘cork opera,’ as it is sometimes called, and while theatres flourished and variety halls were crowded to excess, the halls of minstrelsy were filled to repletion, and that, too, at prices never dreamed of by the pioneers of Ethiopian entertainments. But little care was manifested in the selections for a programme, for the people were flush of money, and spent it with a reckless prodigality, and the same bill was kept on for weeks at a time. With the close of the war, and the attendant stagnation in business all over the country, money became scarce, and people began to discriminate between the entertainments offered at the theatres and those given at minstrel and music halls; and the result was, that the latter suffered in comparison, for while the theatres produced grand spectacles, embellished with beautiful scenery, costumes, and the most costly paraphernalia known to the stage, our minstrel friends kept on the even tenor of their way, making but little effort to compete with the legitimate stage, and as their prices of admission were as high as those of the theatre, business began to drop down, until some were compelled to disband, others to retrench expenses, and still more to ‘close up for repairs.’ As a new season will soon open, a few words of advice may not be thrown away upon the minstrel profession. There will, doubtless, be extraordinary competition among theatrical managers in the coming campaign, which must tell seriously against minstrelsy unless something is done by minstrel managers to avert it. Bryants’ Minstrels, acting upon a suggestion thrown out by the Clipper a few months ago, reduced the prices of admission towards the beginning of summer, and the result was a difference of quite a large sum per week in their favor, the popular prices adopted ensuring a succession of good houses at a period of the year when business is always dull. The adoption of a low scale of prices by the various minstrel organizations must benefit them in like manner, and be one point in their favor, when the theatrical season opens. But this is not all that is required to be done. There is evidently a growing taste for music throughout the country, but the tariff of admission to concerts has been so high as to deprive the poorer classes from their enjoyment. The masses do not care much for Italian Opera, but they do like to hear good singing and instrumental music. The first part of a minstrel entertainment has nearly always been the most attractive feature of the programme. Of late years, however, the part has been greatly curtailed in order to make room for the second part, or olio of various special acts. This first part should now receive the attention of minstrel managers, and to give proper effect to this portion of an entertainment, let several good solo singers be secured, as well as a carefully trained corps of instrumentalists, make the opening part a complete concert in itself, introducing sentimental ballads, duets, trios, quartets and choruses, such as will please the popular taste, and afford a grand musical entertainment, at prices within the reach of the people at large. Make this concert the big feature, reserving a due modicum of special acts, eccentricities, &c., for the olio, or closing portion of the programme. Let the selections be changed weekly, or oftener, if necessary. In this way minstrelsy may be made to supply a want long felt in the way of cheap concerts, inculcating in the public mind a love of music where it does not already exist, and fostering the taste where it does. And let managers also understand that when large audiences are in attendance, as well as at all times, nothing on the programme should be slighted, or hurried over, as has been too often the case of late years. Let the entertainment run from two to two hours and a quarter each--devoting at least one hour and a half to the concert, and the balance of the time to the olio and concluding business. We offer these suggestions, fully believing that, if strictly followed, and the best musical talent secured, and tasteful selections made, minstrelsy may be made to assume a position second to none in our list of amusements."