Bryants’ Minstrels

Event Information

Venue(s):
Mechanic's Hall

Price: $.25

Event Type:
Minstrel

Record Information

Status:
Published

Last Updated:
30 July 2010

Performance Date(s) and Time(s)

25 May 1863, 8:00 PM
26 May 1863, 8:00 PM
27 May 1863, 8:00 PM
28 May 1863, 8:00 PM
29 May 1863, 8:00 PM
30 May 1863, 8:00 PM

Program Details

Performers and/or Works Performed

1)

LIST OF PERFORMER(S)/ORGANIZATION(S)

Participants: Bryants' Minstrels; Daniel Decatur Emmett; Master [minstrel] Burnside; Neil Bryant; James Morrison; George S. Fowler [minstrel]; Frank [minstrel] Leslie; Little [minstrel] Mac; Dave [minstrel] Reed; John H. Sivori; Dan Bryant; William L. [minstrel] Hobbs; Sherwood C. Campbell; Rollin Howard; G. A. Conners; George W. Howard Griffin; W. W. [minstrel] Newcomb

2)

"Irishman in Italy, The"

Participants: Dan Bryant (role: Count McGinnis); Rollin Howard (role: Mme. Fabbrico)

3)

"Raw recruits; or, Abraham's daughter," [song]

Composer(s): Winner

4)

"Sally, come up"

aka Sally come up

Participants: Dave [minstrel] Reed

5)

Exempt Shakers

aka Exempt Shaking Quakers; Exempt Shakers from Lebanon Town; Lebanon Shakers, The ; Shaking Quakers

6)

Perfect cures, The

aka Perfect cure

7)

Essence of Little Mac

aka Mac's essence; Little Mac's essence of Old Virginia

8)

"Old K. Y. K. Y."

aka Old K-Y-Ky; Old KY-KY; Down in the old KY-KY ; Old K.Y. K.Y.

Composer(s): Emmett

Text Author: Emmett

9)

Challenge dance

Participants: Dan Bryant; Dave [minstrel] Reed

10)

Tin-pan-onion

aka Tin panonion; Tin-pan-on-ion; Tinpanonion; Tin pan onion; Tin Pano-ni-on; Tin-pan-o-ni-on

Citations

1)

Advertisement: New York Herald, 25 May 1863, 7.

2)

Advertisement: New York Clipper, 30 May 1863, 56.

3)

Advertisement: New York Herald, 30 May 1863, 12.

4)

Review: New York Clipper, 06 June 1863, 59.

“A very clever burlesque on our foreign operatic friends is given by Dan Bryant and Rollin Howard, in the act entitled ‘The Irishman in Italy.’ The intense feeling with which Dan enacts the difficult role of Count McGinnis, is worthy of the highest praise. He scales the upper C without impediment, and descends through the intricate passages leading to the ‘A below the line’ in a style worthy of the great Salvi. Rollin Howard, too, is worthy of particular mention, in his masterly delineation of the frantic female of the festive forest. Words are not sufficient to describe those ‘sounds so joyful’ which gush forth from the unulcerated threat of this great personator of female women. If you would hear the black opera in all it beauties, let us advise a visit to Bryants’ Minstrels.”