“…Innocuous and laughable performances are becoming fewer in number from day to day; and hence, the news of the resumption of business by Mr. Bryant’s dusky comedians has an unmistakably pleasant significance.”

Full cast list (quite long).

Long card with different glowing reviews of Dan Bryant’s recent performances in Dublin. He will reappear in New York next week.

“Bryant’s Opera-house, a bright and comfortable little theatre in West Twenty-third-street, was opened for the season last evening. The place was crowded, and merriment was uncontrolled from the outset of the entertainment until its termination. The drolleries of Mr. Dan Bryant were of course missed, but as that popular gentleman is to resume his position in the company on Monday next, there will soon be nothing wanting in the performance. Meanwhile Mr. Bryant’s coadjutors apply an enjoyable and laughable representation. As usual, a concert-programme including sentimental and comic songs is interpreted during the first part of the night, and a selection of characteristic scenes and ‘acts’ fills up its second half. [Lists performers.] For the cognoscenti in minstrel matters a more eloquent array of names could not be shown.”

Full company list.

Full program. “…William Raymond sang effectively ‘The Daisy Valley.’ Con. T. Murphy, who made his metropolitan debut, in his singing of ‘The Dear Little Shamrock’ evinced the possession of a pleasing voice, under good cultivation. We think he will become a favorite. Dave Reed was quite humorous in singing ‘How d’ye, Aunt Susy?’ Charles Templeton’s baritone voice was heard to good advantage in ‘Little Darling.’…William Dwyer the tenor sang with much tenderness of expression and vocal effect ‘Little Sweetheart, Come and Kiss Me,’ and the first part terminated with an original and effective finale composed by Con. T. Murphy. A conversation was carried on by the various members of the troupe about the marriage of one of the end men, and a portion of the dialogue was sung to the music of popular airs, the whole being very ingeniously arranged…The olio introduced Eugene, after an absence of three years. He wore an elegant and costly dress of red silk profusely trimmed with lace, and made in the latest style; and until he spoke in the lower tones of his voice it was almost impossible to detect his sex, so excellently did he simulate the graces and manners and movements of the fair sex. He sang ‘Ever of Thee,’ which was heartily encored, and in response he gave ‘If I had a Bean,’ in which he blended in the most humorous manner his natural and falsetto tones…Harry Stanwood sang songs with banjo obligato, but his interpolated witty remarks were the distinguishing feature of his performances, and received due recognition from the audience. Morrissey and Emerson were announced for an ‘Essence,’ but the evening that we sat through the entertainment only Morrisey [sic] appeared, and he performed songs-and-dances quite acceptably. A sketch called ‘The Opening of the Opera Season,’ performed by Eugene, Unsworth and Murphy, proved to be very laughable…The troupe as a whole is far superior to any seen there during the past two or three seasons. The attendance on the opening night was large, but fell off during the week, owing, probably, to the heat and rain.”