Francis Wilson as a Minstrel Magnate
Kansas City, June 30, ’77.
Ed. Clipper:
Dear Sir—We left Philadelphia May 21 last, for a Western trip, and somehow we wish we hadn’t.
We left the main road at Sedalia, Mo., for the lead mining districts of Missouri, being directed thither by “parties who knew” we would there find a bonanza. We didn’t.
The recent heavy rains had made the mines unfit to be worked, and the miners were very poor. Prospects, notwithstanding this, were very good at Galena and Empire City, and to them we turned our faces, full of hope, but the sudden “taking off” of the notorious Tiger Bill by a “companion in arms” on the day of our arrival, was a topic that must needs be discussed in the open air, so the minstrels did not thrive.
We are a most harmonious little concern, and our gentlemanly deportment is, everywhere we have seen, the topic of conversation. We receive daily very flattering and eulogistic notices from the papers, and have yet to see one dissenting criticism. We are perfectly independent, and under such little expense that we move anywhere with a very moderate income, and without any serious embarrassment. It is a great source of comfort to us to know that, but a trifle over a month old, we have outlived some much older concerns. We had no difficulty in obtaining the Clipper even in Joplin and Short Creek.
Our company consists of Mackin and Wilson, Chas. Sutton, “Bernardo,” J. H. Stout, Levino Bros. and Prof. Froude and orchestra.
Respectfully yours,
F. B. W.
Chas. W. Milton, a well-known comedian who was known as the “Mansfield of Minstrelsy,” died in Milledgeville, Ga., November, 1909; age 39 years.
Barney Gilmore, Irish comedian, good fellow and matinee idol, did a black-face turn with Billy Kinsley in Philadelphia in 1888. Mr. Gilmore modestly admits that Schoolcraft and Coes did an act superior to Gilmore and Kinsley.
“Stuart” (Everett Stewart), who has achieved international fame as the “Male Patti,” began his professional career as a singer with McIntyre and Heath’s Minstrels in Springfield, Mo., in the Fall of 1887. And this is how it happened—“Tom” Heath sauntered into the Post-office at Wichita, Kan., one morning, just twenty-three years ago, and inquired if there was any mail for McIntyre and Heath’s Minstrels? Yes, indeed, there’s lots of letters for the minstrel boys, said a real gentlemanly voice back of the window. The deed was done, and a few days later, Stuart “blacked up” for the first time in his life.
It was certainly a coincidence, that the boy who had daily for many weeks answered inquiries concerning missives that were not forthcoming, should sing, “The Letter That Never Came.” Mr. Stuart also began an engagement at Emerson’s Minstrels in San Francisco, August 6, 1888. And thus it was that the mail clerk became the “Mail Patti.”
And that is the story of “Stuart.”
Courtesy of
White Studio, New York
Geo. Fuller Golden, the famous founder of the White Rats of America, and one of the most intellectual performers that ever graced the vaudeville stage, did a black-face act with Billy S. Clifford from 1888 to 1890.
Edna May Spooner, the favorite emotional actress, whose popularity seems to know no bounds (especially in Brooklyn, N. Y., and Centreville, Iowa), played Topsy in “Uncle Tom’s Cabin” more than once; but if you want a date, here it is—Bijou Theatre, Brooklyn, N. Y., March 21, 1910. And how she did play it!
Bert Leslie, the slick slangster of several successful seasons, joined the Kickapoo Medicine Company No. 8, in November, 1892, doing a black-face specialty, in Tamaroa, Ill. Mr. Leslie attributes his present good health to the fact that he never took any of the medicine he was surrounded with; he says every time a bottle was sold it always made him “gag.”
Bert Leslie (Wm. Albert Johnston) was born in Dubuque, Iowa, May 6, 1871.
Walter McMahon, of the original team of McMahon and King, was also associated professionally with James Snider.
After separating from Mr. King he worked with his wife, under the team name of McMahon and Kingsley.
He died in Butte, Mont., December 22, 1899; age 27 years.
Arthur Leopold Guy is the junior member of the famous Guy family.
He made his first appearance with his relatives in Cohoes, N. Y., in 1876, at the immature age of four years.
Young Mr. Guy was always ambitious, and seventeen years later was qualified to vote. His debut was made in white-face, as a singer; subsequently developing into a comedian of unusual ability.
Mr. Guy early showed executive talents, and it was no surprise to his friends when on February 22, 1909, he organized and produced what he claims to be the originator of—giving a complete minstrel performance in vaudeville.
Six years previous to this, however, he organized Arthur L. Guy’s Novelty Minstrels.
Arthur Leopold Guy was born in New York City, January 26, 1872.
Manuel Romain is the happy possessor of one of the most pleasing tenor voices in minstrelsy, and has the faculty of using it to the very best advantage.
In 1893 he made his bow to a minstrel audience in New York, with Primrose and West’s Company. In 1895 he was with Cleveland’s Minstrels, subsequently playing extended engagements with Primrose and Dockstader’s, and later Dockstader’s Minstrels.
In 1907 Mr. Romain entered the vaudeville field with an elaborate production entitled “Down in Music Row,” and met with flattering success. Two years later he produced “Before and After the Ball,” which, if possible, achieved even greater success than its predecessor.
Manuel Romain was born in Cambridge, Mass., October 1, 1872.
Will F. Phillips, whose clever portrayal of light comedy roles in “Havana,” the “Top O’ the World” and other Broadway successes, the past few years has brought him such deserved success, was a member of a stingy troupe with the explanatory title of the “American Minstrels,” in 1887.
The company was sans band, sans five dollars collectively and sans nearly everything that could be sansed. They arrived in Haverhill, Mass., the same day as the Thatcher, Primrose and West’s Company, and when the latter made their noonday parade, the “American Minstrels” acted as trailers. Strange to relate, the T. P. & W. show did the business on that memorable, never-to-be-forgotten evening.
Will F. Phillips was born in Albany, N. Y., October 31, 1873.
Eddie Mazier is one of the cleverest of the latter-day minstrel comedians; for a performer who can sing and dance equally well, and tell a story in such a way as to bring out its best points, is certainly clever; and such is Eddie Mazier.
His first appearance was as one of the team of Cain and Mazier, at Youngstown, Ohio, doing a black-face song and dance; the alliance lasted two years.
Other partnerships were—one year as Morgan and Mazier; Wright and Mazier, three years, and Mazier and Conley, three years.
Mr. Mazier was with Haverly’s (Nankeville’s) Minstrels, four years; two seasons with Primrose’s Minstrels, and with Lew Dockstader’s Minstrels 1908-’09-’10-’11.
Eddie Mazier was born at Niles, Ohio, March 14, 1873.
Harry C. Shunk began his professional career with a repertoire company in 1887. He had to begin it sometime; and as 87 rhymed with Heaven and 7-11, there was no trouble in reaching a decision.
In 1890 he joined Beach and Bowers’ Minstrels; then came Sweeny, Alviedo and Goetz’s Minstrels. Mr. Shunk was now thoroughly seasoned, and became a member of Al. G. Field’s Minstrels, with whom he remained eight years.
Subsequently he was a season with Carncross’s Minstrels in Philadelphia, and off and on for seven seasons with Dumont’s Minstrels; same theatre; same city.
Mr. Shunk played the black-face comedy part in “Hip, Hip, Hooray” a few years ago. We hope it won’t be such a long time before we see him again in something similar.
Harry C. Shunk was born in Cardington, Ohio, October 25, 1872.
Chas. D. Wilson began his professional career in an humble capacity in his native city, where later he joined Primrose and West’s Minstrels as drummer in the band and orchestra.
Mr. Wilson quickly displayed talents that gained for him promotion; and later he was made treasurer of the company. Subsequently he cast his fortunes with Lew Dockstader’s Minstrels, and became manager of that company a few years ago; he continued under the Dockstader banner several seasons.
Mr. Wilson is at present engaged in an executive capacity with William A. Brady.
Chas. D. Wilson was born in Seattle, Wash., June 10, 1872.
Augustus Phillips, a black-faced comedian? Well, not exactly a comedian, but honestly, it did seem funny to see this handsome leading man of the Spooner Stock Company at the Bijou Theatre, Brooklyn, N. Y., week of April 9, 1906, play Uncle Tom, in “Uncle Tom’s Cabin.” But then he played Othello about the same time; and that was even funnier.
Tom Waters was known as a Boy Prodigy several years before he achieved the popularity as a comedy pianist that later came to him.
But his minstrel career, which is of primary importance to readers of this volume, began in 1892 as comedian and tambourine end with Charley Dockstader’s Minstrels.
After some vaudeville playing, he joined Dumont’s Minstrels in Philadelphia about 1899, and remained there three seasons, part of which time he did an act with Bill Barlow.
Mr. Waters is meeting with success in vaudeville with his specialty.
Tom Waters was born in Shenandoah, Pa., January 10, 1873; and Shenandoah is proud of it.
The De Rue Bros.—Billy De Rue (Willis De Rue Eldridge) and Bobby De Rue (Robert De Rue Eldridge), come honestly by the varied talents they possess, for both of their parents were well known and capable musicians some years prior to the event of their interesting offspring.
In 1883 the boys, in conjunction with their father and mother formed the 4 Brass Monarchs 4, traveling under this title for four years. In 1887 their father, Prof. R. D. Eldridge, organized the Eldridge Comedians and Concert Company, consisting of a first-part and variety; both Bobby and Billy made their debut as black-face performers here, each doing an end.
In 1893 the family separated; the boys at this time taking the name of De Rue, by which they have since become so prominently identified. They subsequently appeared with such well-known minstrel organizations as Cleveland’s; J. H. Haverly; Hi. Henry; Gorton’s; Culhane, Chace and Weston’s; Hi Tom Ward and the Fulton Bros.; Ted E. Faust’s, and Washburn’s Big Double Minstrels. They likewise appeared successfully in vaudeville.
July 15, 1904, De Rue Bros. Ideal Minstrels were launched, each successive year bringing them new friends and laurels.
Billy De Rue was born March 6, 1873, at Conajoharie, N. Y.
Bobby De Rue was born at Little Falls, N. Y., May 21, 1877.
Doc. Quigley (Dockery Quigley) enjoys the unique distinction of having spent his entire professional career in one minstrel company.
Mr. Quigley joined Al. G. Field’s Minstrels at the age of sixteen as a song and dance performer. Since then he has been stage manager, comedian, producer and manager; and equally successful in each capacity; but Mr. Quigley’s grotesque dancing is a feature that one remembers for a long time.
Doc. Quigley was born in Columbus, Ohio, July 17, 1873.
Frederick V. Bowers. The success of this young man lies in the fact that he is an actor that can act, a singer that can sing, and a dancer that can dance; truly a rare trinity of theatrical virtues.
Mr. Bowers sang in the Grace Episcopal Choir in Boston, before starting out on his professional career, which began at Keith’s Old Theatre (Bijou) in his native city in 1888.
JNO. F.—SHERIDAN & MACK—JAS. W. BEN COTTON, JR.—HARRY BOOKER—BOB BIRDUE
EUGENE CANFIELD JOE LOVELY
BURT WAYNE FRANK CONVERSE—TOMMY PEEL
Subsequently he was with Pauline Hall in “Puritana,” “Niobe,” “Prodigal Father,” and other first-class companies.
In 1893 he joined Charles Horwitz, and as Horwitz and Bowers, for five years played the cream of the vaudeville houses, singing their own compositions, of which Mr. Bowers wrote the music; among the best known were “Always,” “Wait,” “Because,” and “When I Think of You.”
Mr. Bowers’ first minstrel engagement was with the Cleveland Company, others were Frank Cushman’s, Dockstader’s in 1903, and Wm. H. West’s (Ricaby’s) in 1905.
He was subsequently two seasons with McIntyre and Heath, in the “Ham Tree,” followed by as many seasons in vaudeville in his offering “College Days.”
As a reader of a song Mr. Bowers has no superior in present-day theatricals.
Frederick V. Bowers was born in Boston, Mass., June 11, 1874.
Pete Detzel hails from the home town of such celebrities as Johnny Jennings, Mark. Sullivan and Clarence Burton, naturally he must be good.
His first professional appearance was with Hi. Henry’s Minstrels in 1895, doing an end and acting as drum major; Billy Van’s Minstrels was next, after which Mr. Detzel says he “laid away” for a few months. But one can’t lay away much while idle, so he played two seasons with the Ted Faust’s Minstrels, and an equal length of time with Vogel’s Minstrels.
The best part of the past three years have been spent with Dockstader’s Minstrels. Mr. Detzel is now a vaudevillian with Billy Cawley.
Pete Detzel was born in Erie, Pa., November 25, 1875.
Bert Williams. This truly great colored performer made his first appearance with Lew Johnson’s Minstrels twenty odd years ago; the remuneration was $12.00 per week and “cakes” with an occasional chunk of pie. His next minstrel engagement was with Martin and Selick’s Mastodons—salary no object.
Mr. Williams decided on having a partner after this, and while in San Francisco met George Walker; the rest is fairly well known.
Mr. Williams starred successfully in “Sons of Ham,” “Bandanna Land” and “Mr. Lode, of Koal.” The partnership terminated about 1909.
Mr. Williams subsequently has played vaudeville, where he has been one of the most pronounced hits of years. Always working with corked features, he sings a song in a way that you always remember, especially is this true of “Nobody,” which will always be associated with his name.
Mr. Williams is a truly unctuous comedian, and worthy and deserving of the distinction of having received by far the highest salary ever paid to any performer of his race.
In New York in the Summer of 1910, he was highly successful in the “Follies of 1910.”
Bert Williams was born on the Island of Nassau, British West Indies, November 12, 1874.
The Bowman Bros. are frequently spoken of as the “brilliant brothers Bowman,” and justly, too, for no duo of vaudeville performers to-day give greater promise than these two boys, whose versatility is a matter of much comment among artists of more lengthy experience.
They have appeared in burlesque, drama, farce and minstrelsy, and in each have scored unqualified successes.
Their first joint appearance was in a black-face specialty at West Point, Ky., in 1896; they then separated and played various individual engagements until 1902, when they joined the “Sandy Bottom” Company; with this troupe “Bill” Bowman did a minister, and “Jim” Bowman did a rube, which was not the right thing to do exactly; there is some excuse for “doing” a rube; but a minister—never.
That same year they joined the stock at the Orpheum Theatre in Chicago, and in 1903 were with Miss Grace George in “Pretty Peggy.”
Subsequently they did a black-face act with that “youth” Jack Sheehan; he of the “Four Planets,” likewise of the “Four-in-Hand.”
Other legitimate engagements were the “Runaways,” and their own production of the “Isle of Mirth.”
The seasons of 1907-08-09 were spent with Bob Manchester’s “Cracker Jacks” Company, where they resumed playing in black-face, and in which they still continue.
July 31, 1909, they made their first appearance jointly with a minstrel company, when they opened at Union Hill, N. J., with Eddie Leonard’s Minstrels; Wm. Bowman playing on one end, and James Bowman officiating as interlocutor; and seldom in latter-day minstrelsy have these positions been more ably filled.
James Bowman played individual engagements with Harry Ward’s Minstrels in 1900-01; with Robert Loraine in “The Tragedy at Trenton” in 1904 and Wm. A. Brady’s “Siberia” in New York in 1905.
Wm. T. Bowman played individual engagements with Wm. A. Brady’s all-star cast of “Uncle Tom’s Cabin” in New York in 1904, and that same year appeared with Wm. Morris in the “Business Man,” and Joe Welch in “Cohen’s Luck.”
Wm. T. Bowman was born in Munfordville, Ky., February 4, 1875.
Jas. M. Bowman was born in Munfordville, Ky., April 17, 1878.
Mrs. Arthur L. Guy is the wife of—Arthur L. Guy, naturally. For the past seven years she has enjoyed the unique distinction of being the manager of the Arthur L. Guy Novelty Minstrels, where she has displayed executive ability of pronounced order.
Bailey and Austin need no introduction to theatre lovers of the lighter forms of amusement, for most of us have seen these brilliant young artists in the “Top o’ the World,” and “Two Men and a Girl.”
But as “corked comedians”—that’s different.
Bailey and Madison did an acrobatic black-face song and dance about sixteen years ago; and Ralph Austin did a tip-top end with Al. G. Field’s Minstrels about the same time; he was also of the black-face song and dance team of Austin and Curran.
Mr. Bailey deserves no credit for once having been a good black-face performer, for his mother (Polly Higginson) was a prominent dancer with the old “Black Crook” (near joke).
Mr. Bailey was born in New York, November 5, 1873.
Mr. Austin was born in Dayton, Ohio, about 1877.
Eddie Leonard (Lemuel J. Tuney) says he entered his teens and Haverly’s Minstrels about the same year.
With the minstrels he selected as his favorite, wholesome Billy Rice, of whom he was very fond.
Mr. Leonard says he used to buy the New York Clipper each week, and on these occasions he was immediately besieged by members of the company for “just one look”—which no one but Billy Rice ever got.
Mr. Leonard subsequently was with Thatcher, Primrose and West’s Minstrels; Primrose and Dockstader’s; Haverly’s (Nankeville’s); Primrose’s, Dockstader’s Minstrels, and in 1908 was one of the features of Cohan and Harris’ Minstrels.
A few seasons ago during the Summer months he appeared in New York on the New Amsterdam Roof in white-face as Texas Dan; subsequently as Dandy Dan on another roof; he scored a success on each roof with each “Dan.”
Mr. Leonard’s prominence is due to the fact that he sings a song different from any other living performer; a sort of a crooning lullaby, that goes direct to the hearts of his audience; and the ladies say he dances divinely.
Certain it is that this undoubtedly clever artist possesses that mysterious, indefinable attribute what we call magnetism, and possesses it to a large degree.
Late in July, 1909, he headed Eddie Leonard’s Minstrels; also early in August—same year.
Mr. Leonard, also in 1909, headed for the matrimonial altar; Miss Mabel Russell, daughter of the late W. J. Russell, of the old team of Le Clair and Russell, was his happy choice.
Eddie Leonard was born in Richmond, Va., October 18, 1875.
Frank Morrell, the “California Boy,” made his first appearance as a boy soprano with Cleveland’s Minstrels in 1890 at Los Angeles, Cal.; this was followed by an engagement with Sells Bros. Circus, with whom he went to Australia.
Returning to his native heath he next appeared at the Bella Union Theatre in San Francisco, subsequently playing, an engagement with Haverly’s Minstrels in the same municipality; the latter being the high-brow term for the word city.
Later, Mr. Morrell appeared with success with several burlesque and farcical attractions, and at various times was of the vaudeville teams of Morrell and Evans, and Morrell and Deely.
After a five-year tour of England and Africa, he returned to the United States, and in 1906 formed one of the original members of “That Quartette,” and continued with them until 1908, when, Cohan and Harris seeking for the best vocal talent obtainable, cabled to Mr. Morrell, who was in England, an offer that he just simply couldn’t refuse. His success with this organization is a matter of theatrical history.
In 1909 this clever young man made one of the most astonishing moves ever recorded; it was no more nor no less than making the jump from ballad singer to singing comedian, doing a black-face monologue that has given him already an eminent position in his new field of endeavor.
Frank Morrell was born in San Diego, Cal., October 10, 1875.
Dana H. Claudius, the well-known young banjoist, is now of the team of Claudius and Scarlet, but it was not always thus, for away back in the days of 1900, and until the month of February, 1902, Claudius and one Edmond Gilmore Corbin were members of the Primrose and Dockstader’s Minstrels, doing their classic act in black-face; after the last named date they worked in white-face. See James H. Decker for particulars.
| CHARLEY FOX | CHARLEY HOWARD |
| CHARLEY PETTENGILL | CHARLEY REYNOLDS |
| CHARLEY SUTTON | CHARLEY REED |
| THEY WERE THE “CHEERFUL CHARLEYS” OF MINSTRELSY. | |
Dana H. Claudius was born in Canandaigua, N. Y., June 1, 1875; and has been “hopping” ever since.
“Minstrel” Billy Clark (Wm. E. Clark) began his professional career in a theatre, and has been around theatres ever since; and this is how it happened.
He entered his thirteenth year and the Powers’ Opera House in his home city at the same time, at the latter place he was usher; he ushered so well that he was promoted—he became scenic artist at the Grand—in Grand Rapids; this is not a joke.
At eighteen he made his first appearance in black-face with a local minstrel show; subsequently he played character parts, and did a monologue in white-face.
His first minstrel show was the Crawford Bros.; in 1895 he joined the Hi Henry Minstrels and continued with them for five years; then came Billy Clark’s Minstrels, followed by the season of 1902-03 with Wm. H. West’s (Ricaby’s) Minstrels.
In 1903 he made his initial bow with Al. G. Field’s Minstrels, remaining until 1905, when he became a vaudevillian for two years; he rejoined Field’s in 1907 and remained two years.
“Minstrel” Billy Clark was born in Grand Rapids, Mich., March 15, 1875.
Trixie Friganza, the popular young comedienne, celebrated the author’s birthday August 24, 1908, by blacking up and doing an end with Cohan and Harris’ Minstrels at the New York Theatre in New York City; she sang “I’m Glad I’m Married”—mind you, she only sang it.
Beverly Sitgreaves showed her versatility at the New Theatre, New York, just previous to the new year in a new character which everyone knew would be a clever portrayal; and it was.
She played the negro “mammy” in “The Nigger,” December 6, 1909.
Harry A. Ellis (Ralph A. Grande), who was one of the singing duo of Ellis and McKenna, also a member of “The Quartette,” made his first professional appearance at Rahway, N. J., March 12, 1900, with the Heywood Comedy Company, in the play of “Mamma’s Pet.” It is the author’s impression that Mr. Ellis played the title role. “Mamma’s Pet” never had a metropolitan run; in fact, no run at all—but let bygones be bygones.
April 28, same year, he joined Primrose and Dockstader’s Minstrels at their inaugural performance under canvas; this was at Newport News, Va., and Mr. Ellis sang “The Blue and the Gray,” and what’s better sang it so good that he was engaged for the regular season of the company a few months later, being the only vocalist of the “tenters” so honored. The tent season lasted about seven weeks.
He continued with Primrose and Dockstader’s until the dissolution of that company in 1903; the same year he became a member of Lew Dockstader’s Minstrels, and remained four years. Eight years of minstrelsy in black-face. Mr. Ellis has a robust tenor voice of high quality. He is again with Lew Dockstader’s Minstrels, 1910.
Harry A. Ellis was born at Potenza, Italy, February 20, 1876.
Herman Marion (Etzer) joined Billy Pearl, doing a black-face act in Lowell, Mass., in April, 1899; and subsequently appeared with La Pearl’s Circus; Vogel and Deming’s Minstrels; Primrose and Dockstader’s; Gus. Sun’s; Haverly’s (Nankeville’s), and Washburn’s Minstrels.
He continued with Pearl until the latter’s death; subsequently joining Geo. Cunningham, one of the original “Brutal Brothers,” and as Cunningham and Marion have met with success in a white-face acrobatic act.
Herman Marion was born in Paterson, N. J., December 17, 1876.
Cecil Spooner.—This dainty, effervescent and charming bit of femininity, who has won enviable honors as America’s leading soubrette, and whose popularity in Brooklyn, N. Y., and other places, including Centreville, Iowa, seems to know no bounds, gave a delightful performance of Topsy in “Uncle Tom’s Cabin,” at the Bijou Theatre, Brooklyn, N. Y., commencing April 9, 1906.
Jimmy Devlin entered the minstrel profession as a boy, and few were better esteemed.
He was a clever dancer, but was best known for his baton swinging.
We worked with Johnny Whalen for a time, and subsequently with Doc. Quigley.
He was associated with Primrose and West’s; Al. G. Field’s and Wm. H. West’s Minstrels.
Jimmy Devlin died at Pittsfield, Mass., July 31, 1901; age 24 years.
Emil Subers, the “Georgia Sunflower,” whose rich Southern dialect has delighted thousands, began life as a ballad singer in an amateur minstrel show in Macon, Ga., in 1897, after which for three seasons he was a member of the well-known repertoire company of Peruchini-Beldini.
A couple of weeks with Harry Ward’s Minstrels in 1900, and then he joined Al. G. Field’s Company same year. In 1902 he became a member of Quinlan and Wall’s Minstrels, remaining two seasons.
On Christmas Day, 1904, he joined Geo. Primrose’s Minstrels in Springfield, Mass., and continued with them until 1907.
Mr. Subers subsequently entered vaudeville, and in 1909 formed an alliance with those clever black-face entertainers, Coakley and McBride.
Emil Subers was born in Sparta, Ga., January 7, 1877.
Artie Hall, in private life Mrs. Robert Fulgora, gives one of the most faithful portrayals of the Tennessee and Georgia negro ever seen on the vaudeville stage. Commencing March 18, 1901, Miss Hall gave a series of splendid performances of Topsy in “Uncle Tom’s Cabin” at the Academy of Music in New York City.
James Gorman, one of the most prolific producers in the annals of minstrelsy, was the first to write a burlesque on the “Mikado” when that opera had such a vogue here many years ago. Mr. Gorman showed it with Haverly’s Minstrels in San Francisco in 1885. “The Princess of Madagascar,” one of the most pretentious offerings ever shown with a black-face organization, also emanated from the fertile brain of Mr. Gorman; and there were others.
Joseph Gorton, Jr., was the son of the prominent manager of that name, and a musician and composer of extraordinary ability; no less than three operas, as well as several songs, have come from his prolific pen.
He had been several years with Gorton’s Minstrels, and for about ten seasons he did a musical act with Sam Lee, as Gorton and Lee.
Jos. Gorton, Jr., was born in Friendship, N. Y., May 30, 1877; he died there December 10, 1908.
Harry W. Smith, the pleasing young bass vocalist and interlocutor, has a brief, but none the less meritorious professional career.
It began in 1904, doing concert work; subsequently he was with Richard Carle’s and other musical extravaganzas. July 31, 1909, he became a member of Eddie Leonard’s Minstrels at their initial performance in Union Hill, N. J. In the Summer of 1910 Mr. Smith and Fred P. Russell launched Russell and Smith’s Tabloid Minstrels on the vaudeville sea, Mr. Smith acting as interlocutor, the duties of which he performs admirably.
Harry W. Smith was born in Albia, Ia., November 3, 1878.
Geo. M. Cohan. It will not surprise many to know that this famous young author-actor-manager-producer, etc., ever appeared in black-face; the year is said to be 1891, when he played Banty Bob in his father’s production of “The Molly Maguires”; nor must it be overlooked that he was co-proprietor and part producer of Cohan and Harris’ Minstrels, the first performance of which was at the Apollo Theatre, Atlantic City, N. J., July 27, 1908.
George M. Cohan was born in Providence, R. I., July 4, 1878.
Stanley Forde, whose ponderous bass voice has been heard to such excellent advantage in the “Geisha”; the “Talk of New York”; “The Man Who Owns Broadway,” and other popular successes, joined Primrose and Dockstader’s Minstrels at the Victoria Theatre, New York City, about March 1, 1902; singing a ballad in black-face. He finished the season with that organization, and the following one he toured with George Primrose’s Minstrels. Then Mr. Forde said, “Never Again”; but that’s what they all say.
Mr. Forde was born at Buffalo, N. Y., February 9, 1878.
Frank Leighton began his career as a black-face performer with a medicine show, June 1, 1897, at London, O.; joined Burt Sheppard’s Minstrels March 1, 1898, remaining until company disbanded at Waterloo, Wis., April 10, same year. With this company he formed a partnership with Ed. Elliott, doing a talking and dancing act; the partnership was dissolved January 15, 1899; Mr. Leighton shortly after became a member of the Vogel and Deming Minstrels, joining his brother Bert, with whom he has since been associated.
Frank Leighton was born April 14, 1880, near Cowden, Ill.
| LUKE SCHOOLCRAFT | GEO. H. COES |
| (SCHOOLCRAFT & COES.) | |
| JAS. M. TIERNEY | TIM. CRONIN |
| (TIERNEY & CRONIN.) | |
| HARRY HOGAN | GUS. HOGAN |
| (HOGAN BROS.) | |
Bert Leighton joined Barlow Bros. Minstrels (Ward, Coburn and Baldwin, owners), August 21, 1899, doing a black-face singing and dancing act with Walter Wilson, closing June 2, 1900. Leighton and Wilson opened with Vogel and Deming’s Minstrels, August 27, 1900; this partnership was dissolved later in the season owing to the ill health of Mr. Wilson. Mr. Leighton was joined by his brother Frank at Poughkeepsie, N. Y., December 8, 1900.
Bert Leighton was born in Altamont, Ill., December 29, 1878.
Leighton and Leighton’s first appearance as a team was at Poughkeepsie, N. Y., December 8, 1900, remaining the season. Other engagements were Vogel’s Minstrels; Pan-American Minstrels. September 15, 1902, they made their first appearance in white-face at the Howard in Boston. April, 1903, they joined Quinlan and Wall’s Minstrels. Considerable time was given to vaudeville before they made their appearance with Lew Dockstader’s Minstrels, July 23, 1904, ending May 8, 1905. July 14, 1905, they began their second season with this company, terminating their engagement November 17, same year, since which time they have been playing the best houses in vaudeville; their present offering “A One Night Stand in Minstrelsy” is a gem of its kind.
The Messrs. Leighton in addition to being exceptionally clever dancers, are authors of several songs that are recognized successes, among them are—“There’s A Dark Man Coming With A Bundle”; “Eb’ry Dollar Carries Trubbles Ob Its Own”; “The Message of the Old Church Bell”; “Ain’t Dat A Shame”; “Casey Jones” and others.
Joe Leighton (Le Strange), better known as “Rags,” made his first appearance with Lew Dockstader’s Minstrels, at Harrisburg, Pa., October 31, 1904, remaining until November 23, 1906; shortly after this he joined the Leighton Brothers, the alliance being known as the Three Leightons: he has been with them ever since, except for a brief period in the early part of the season of 1908, when he was with Cohan and Harris’ Minstrels.
Mr. Leighton is an eccentric dancer of uncommon ability.
Joe Leighton was born in New York City, October 7, 1887.
Billy Beard. This really clever performer who styles himself “The Party from the South,” actually is from that interesting part of the country which has produced so many capable burnt-corkers.
His story is best told in his own language, and here it is—“Trouped with Hypnotists, Magicians and sundry other “one night organizations” including a season in repertoire at 10-20 and 30; the above includes several journeys on foot and on top of box-cars.”
Mr. Beard has an engaging personality which brought him engagements with Ricaby’s “West’s” Minstrels; Nankeville’s “Haverly’s” Minstrels, George Primrose’s Minstrels and Ted Faust’s Minstrels. As a monologist and comedian he ranks with the best performers of his time, which began in 1902; at present he is in vaudeville.
Billy Beard was born in Columbia, S. C., September 1, 1879.
Will Philbrick made his first and only appearance in minstrelsy as a member of Primrose and Dockstader’s Minstrels at the Victoria Theatre, New York City, in the Spring of 1902; he sat on the end, sang “The Fortune Telling Man”; did “some” dance and made every one clap their hands awfully loud.
But I’m a trifle ahead of my story. His first appearance was selling peanuts in Barnum’s Circus in 1893; he came near being arrested for running a shell game. After that he became a real actor with “A Trip to Chinatown”; in this company he first appeared in black-face, doing a specialty with Eleanor Falk.
Mr. Philbrick played in other Hoyt productions, and “starred” for five years in “The Beauty Doctor.”
Likewise was he prominently identified with “Panhandle Pete”; Grace Cameron Opera Company, and “Foxy Grandpa.”
In vaudeville he was of the team of Philbrick and Cardownie, also with Joe. Hart’s “Bathing Girls.”
Will Philbrick was born in Boston, Mass., October 16, 1879.
Johnny Dove excels as a dancer, but whatever he does he does well; now for the rest.
Mr. Dove’s first stage appearance was with the original Bootblack Quartette, in 1896; the following year with James Corrigan he did a black-face act, which qualified him to become a member of Hi Henry’s Minstrels, where he remained six years. Lew Dockstader’s Minstrels was the next big show, and though Mr. Dove was surrounded by a galaxy of stars, his own light was none the less resplendent. His next engagement was a white-face affair with the Imperial Burlesquers, where he met with unqualified success; his own act “The Dancing Burglar”; it has a story, and here it is——