Georgia Minstrels

“Uproarious plantation delineations; comic sketches, slave and jubilee songs, acts.”

“Callender’s Georgia Minstrels began a short season, last night, at Robinson Hall. The troupe consists of 21 performers. Its members were formerly slaves at the South, and the [illegible—about four words] Soldier, negro minstrels, in [illegible] and with sweetness of verse and mirthful [illegible]. There are four ‘end men’ in this company, and it [competes?] with the elements needful to a good minstrel performance.”

“Callender’s Original Georgia Minstrels performed at Robinson Hall last evening, before an auditory that entirely filled the auditorium. The company is composed of colored men, some of whom think it is necessary to use a little burnt cork to deepen their color, and make them look more like the sham darkey. They exhibited some good, and one or two remarkable voices; told some new stories, uttered some fresh jokes, and proved themselves one of the best minstrel companies that have performed in this city. The audience seemed to be very merrily entertained. Almost every song was encored, some of them two or three times.

The closer they adhere to the true plantation melodies and manners and the less they imitate the ordinary minstrels, the more pleasing and instructive will their performances be. Some of them showed unusual talent for farce and burlesque, and all appeared to enjoy what they were doing. A merry evening may be passed at Robinson Hall while they remain there.”

“The performance of Callender’s Georgia Minstrels at Robinson Hall last night was attended by a large audience, and the different songs and choruses were received with much applause. The singing is marked with a considerable amount of originality, and several of the troupe are possessed of much humor.”

“The Georgia Slave Troupe, at Robinson Hall, had a very large audience, who seemed to be quite enthusiastic over their performances. Their songs were given with the genuine negro gusto, and although some of the end men are somewhat extravagant in their gyrations the novelty of their sayings and the droll way in which they say them are quite refreshing ‘Brudder Bones’ Baby’ was the most laughable performance of the evening, and ‘Life and Love in Georgia,’ a plantation sketch, fitly closed the entertainment.”

“…There will be four end-men, including Kersands, Devonear, Lucas and Grace. Among the other members of the company will be Little, banjoist; Lyle, prima-donna; Al Smith, Luca, E. P. Smith [minstrel], Sam Jones, George Skilling, H. A. Morse and an orchestra.”

“Callender’s Georgia Minstrels began a season at Robinson Hall on March 8, and have attracted a series of large audiences. The troupe is composed of negroes, whose complexions vary in hue from almost white to deep black. The end-men use cork upon their faces, but the others appear without it. Thirteen performers were seen in the first part, and the instruments used were two violins, a clarionet, cornet, trombone, violoncello, and double bass. E. P. Smith officiated as interlocutor, Sam Lucas and James Grace, bones; and Billy Kersands and Pete Devonear, tambos. Most of the witticisms of the end-men were entirely new to this locality and were really funny, and several of the songs in the first-part were truly characteristic of the African race, and were capitally sung and acted. Among these were ‘Daffney, do you love me?’ sung by Sam Lucas, and ‘Old Aunt Jemima’ by Billy Kersands, and it seemed as though the audience would never weary of these, so frequently were they redemanded. This troupe has infused new life into minstrelsy, for their performances are more like the entertainments given when this species of amusement was first inaugurated than any others that have been seen in this city for many years. They do not ‘put on airs,’ as they call each other ‘coon,’ etc., and they pay a graceful tribute to their white brother (vide Civil-rights bill) professionals, by giving a portion of their programme in imitation of them. E. P. Smith, who is nearly white, has an excellent tenor voice, which was advantageously heard in ‘Robin, Tell Kitty I’m Coming,’ and his speech was entirely devoid of negro dialect. Dick Little has a remarkably sonorous bass voice, and his singing of Sadie Ray was several times redemanded. Pete Devonear gave a comical rendering of ‘Dar’s a Meeting Here To-night,’ and James Grace sang ‘On My Journey Home,’ and A. A. Luca ‘Out of Work,’ commendably, and were lavishly applauded. Sam Lucas, by his excellent Southern dialect, and very tall, slim figure, frequently brought to mind the late Nelse Seymour. The first part terminated with a sketch called ‘Brudder Bones’ Baby,’ Billy Kersands being very funny as the baby. In the second part Dick Little sang banjo songs. Kersands, Devonear, Lucas and Al. Smith gave quartet songs-and-dances called ‘The Canebreak Spectres,’ which were very comical. Willie Lyle as a burlesque prima donna was quite successful in imitating the manners and graces of the fair sex, and his dressing was elegant and his singing good. Billy Kersands in swell songs gave a faithful portraiture of the Southern dandy negro, and was frequently recalled. The sketches of ‘Old Uncle Jeems’ and ‘Life and Love in Georgia’ afforded cause for much hearty laughter.”