Act III
Next morning, Dove Sr., being the first to arise, sees the new addition to the family plate, hastily, concludes that John had decided on the profession of burglar.
CURTAIN.
Johnny Dove was born in New Brunswick, N. J., April 15, 1879, and is at present with Al. G. Field’s Minstrels.
Eddie Cassady, a great Philadelphia favorite, is one of the most pleasing of present-day comedians. His first professional appearance was with Simmons and Slocum’s Minstrels in 1893.
In 1903 he became a permanent feature during the Summer season at Atlantic City, N. J., with Murphy and Gibson’s Minstrels; continuing with them until 1907.
The Summer of 1908 again saw him at the famous sea-shore resort with Murphy’s Minstrels, with whom he has since appeared. The present season of 1910 Mr. Cassady is doing one of the principal ends with Dumont’s Minstrels in Philadelphia.
He also played a white-face part with Gracie Emmett’s Company—and some day may play another.
Eddie Cassady was born in Philadelphia, June 17, 1880.
Tommy Hyde is justly entitled to take the highest rank with the younger generation of dancers; convincing proof of this can be had from the fact that both Barney Fagan and James Gorman, the world’s leading minstrel producers, found his (Hyde’s) assistance an invaluable auxiliary to their own endeavors on various occasions.
His first appearance professionally was at Rochester, N. Y., with P. J. Mundy, on a Tuesday.
For two years he played vaudeville houses, after which he joined Gilmore and Leonard in “Hogan’s Alley.”
His next engagement was with Al. G. Field’s Minstrels, and that gentleman thought so well of Mr. Hyde, that the engagement was extended until six seasons had been rounded out with that prominent organization.
Mr. Hyde subsequently joined Lew Dockstader’s Minstrels, and remained six years with the most famous of all black-face comedians.
Tommy Hyde was born in Fresno, Cal., February 10, 1881.
Vaughn Comfort belongs to the younger generation of minstrels, and has all the qualifications that tend to make an artist; youth and a handsome appearance combined with recognized ability gained in the dramatic profession might be mentioned.
His first appearance was with the Empire City Quartette in Philadelphia, at the Globe Theatre, in 1895; he continued with them all that season, serving also in the capacity of manager. Next came a brief tour with Carl and Johnson’s Minstrels.
In 1897 he joined the Irene Myers Stock Company, remaining seven years all told. In between this engagement was one with the A. E. Davis Stock Company; here Mr. Comfort played leads.
Season of 1908-09 he was with Dumont’s Minstrels in Philadelphia, where he had the distinction of taking more encores after a ballad than any singer of late years ever did in that house.
Seasons of 1909-10 Mr. Comfort became a member of Cohan and Harris’ Minstrels; his work as interlocutor with this organization brought forth lavish encomiums from the press in general, and the Metropolitan papers in particular.
The present season of 1910-11 he is with Geo. Evans’ Minstrels.
Prior to the last two engagements, he was with the Earl Burgess’ Stock Company, also with George Primrose’s Minstrels.
Mr. Comfort’s voice is a pure tenor; it is worthy of note that seldom in minstrelsy has a tenor occupied the position of interlocutor.
| TOM—WATERS & KELLY—NOLAN | LEW—COLLINS BROS.—FRANK |
| BILLY—WOOD & SHEPPARD—FRANK | MORT.—EMERSON & COOK—JAS. |
As this is a purely minstrel volume, it is in perfect good taste to remark that he is a great “comfort” to his friends and family.
Vaughn Comfort was born in Philadelphia, August 7, 1881.
John J. Blue, an efficient dancer of the present generation successfully conducted a dancing school in Hoboken, N. J., about eight years; desiring wider scope for his talents, he engaged with the Cohan and Harris’ Minstrels at their inception in July, 1908; he remained the season, and re-engaged for 1909-10.
John J. Blue was born in Brooklyn, N. Y., October 31, 1881.
Harry Jolson (Joelson) is undoubtedly the premier operatic black-face comedian of the day; to hear Mr. Jolson warble selections from “Lucia” gives one that Oliver Twist feeling—you want more.
The first thing theatrical he ever did was to become an usher at the Bijou Theatre in Washington, D. C.; in this way he got many good “tips.” Mr. Jolson next became a singer “in the gallery,” same theatre; after that it was easy.
His first appearance in black-face was with the Mayflower Burlesquers, where he worked with his brother Al. About five years ago at Robinson’s Park, Ft. Wayne, Ind., he appeared for the first time in a single specialty, and since then has played vaudeville.
July 31, 1909, Mr. Jolson opened with the Eddie Leonard Minstrels at Union Hill, N. J., doing an end and his specialty.
May 4, 1910, he sailed for Europe.
Harry Jolson was born in Srednick, Russia, January 12, 1881.
Joe B. McGee didn’t go to school with Mark Twain, nor did he start the late lamented humorist on the road to fame; but Mr. McGee and Mr. Clemens were both born in the same house, and evidently Mr. McGee imbibed there some of the humor created by the immortal wit.
His first professional appearance was with Robinson’s Minstrels at Hannibal, Mo., in 1898. Subsequently he was with Ward and Wade’s, and George Van’s Minstrels; also did he tour with his own minstrel company.
Mr. McGee joined Al. G. Field’s Minstrels in 1909 for the season; the following year he was in vaudeville with Russell and Smith’s Minstrels.
He is a comedian of original methods, and a dancer of more than ordinary merit.
Joe B. McGee was born in Florida, Mo., February 20, 1881.
George Jones, one of the original members of “That Quartette,” was a “boy singer” with Al. G. Field’s Minstrels in 1896.
Subsequently he did meritorious work as a comedian with Wm. H. West’s (Ricaby’s) Minstrels.
After the dissolution of “That Quartette” in 1909, Mr. Jones continued in vaudeville as one of the team of Jones and Deely.
George Jones was horn in St. Louis, Mo., September 22, 1883.
Will Oakland (Harry Hinrichs) possesses that extremely rare quality of voice that is known as a contra-tenor, which he uses to the best advantage, his enunciation being well nigh perfect.
Mr. Oakland made his professional debut with George Primrose’s Minstrels in Rochester, N. Y., February, 1905, and continued with that company until he joined Lew Dockstader’s Minstrels in 1907; he remained with Mr. Dockstader two seasons, after which he joined Cohan and Harris’ Minstrels.
Early in 1910 Mr. Oakland joined Wm. H. Thompson in a high-class singing act, reviving a well-known trade-mark of two decades ago.
Will Oakland was born in Jersey City, N. J., January 15, 1883.
Julian Eltinge (Dalton) is usually billed as “the artist without a peer;” and you may believe it, every word.
The scion of an old Boston family, Mr. Eltinge adopted his present calling for the avowed purpose of “killing time;” that he made a “killing” there is no dispute.
He was a member of the First Corps Cadets in his native city, and when this notable organization produced “My Lady” in 1899, Eltinge was cast for the soubrette role.
In 1895 the play of “Miss Simplicity” was written around Mr. Eltinge’s talents; subsequently it became a vehicle for Frank Daniels; afterwards he appeared in “Baron Humbug” and other plays.
His first Metropolitan appearance was at the Bijou Theatre in New York City in 1903, with “Mr. Wix of Wickham.” Later, and until July 27, 1908, he played vaudeville engagements in the United States and Europe.
On the latter date he made his first minstrel appearance with the Cohan and Harris Company, at Atlantic City, N. J.; his success with this organization was nothing short of phenomenal; he remained the entire season, appearing with darkened features in the after-piece.
It may be of interest to know that during Mr. Eltinge’s Cadet Days; he played male juvenile roles equally as clever as when encompassed by skirts and those other things that it is said females wear.
Recently, while fulfilling an engagement at the American Music Hall in New York City, Mr. Eltinge performed his specialty a la minstrel.
Julian Eltinge was born in Boston, Mass., May 14, 1884.
Al. Jolson (Albert Joelson). Seldom in the annals of minstrelsy has a performer risen to such heights, and achieved such success in the brief period that this brilliant young performer has accomplished. Three years ago he attracted the attention of Lew Dockstader, who saw him perform in the South on several occasions.
Subsequently the latter engaged him for his (Dockstader’s) company, and in the Summer of 1908, Mr. Jolson made his first appearance with the latter’s minstrel organization. His success was instantaneous and pronounced.
He remained with Dockstader all that season, and part of the next; afterwards making his appearance in vaudeville, where if anything, he was even a greater hit. In the vernacular of the Rialto, Mr. Jolson was a “riot.”
Like everything and everybody, he had to have a beginning, and Mr. Jolson’s first professional appearance was with Al. Reeves’ famous Beauty Show. Subsequently with his brother Harry, and Joe Palmer, as Jolson, Palmer and Jolson, played vaudeville. Up to this period Mr. Jolson was working in white-face.
At Keeney’s Theatre, Brooklyn, N. Y., he first applied cork; and cork it has been ever since.
Mr. Jolson is a comedian by nature born; his monologue, interspersed by clever whistling solos, fully merits the approbation it receives.
Al. Jolson was born in Srednick, Russia, May 16, 1885.
Neal Abel, who appeared with much success with Primrose’s Minstrels about four years ago, subsequently went into vaudeville with Dave Irwin. Mr. Abel is unquestionably a comedian of more than ordinary merit; and anyone in Kansas City, Mo., will tell you the same thing.
Charles Hilliard (Hurst). From chorus man to burlesque prima donna in two years is certainly going some; nevertheless, that is the proud distinction accorded to the subject of this sketch, who made his first professional appearance with Frank Lalor in “Prince Humbug” in 1908, in the minor capacity already referred to. The following year Mr. Hilliard was engaged with Cohan and Harris’ Minstrels, also as a chorus singer; before the season was over he was playing a prominent part in the after-piece.
August 10, 1910, Mr. Hilliard played for the first time, the principal female role in the “Firemen’s Picnic” with George Evans’ Minstrels; his success was emphatic.
Charles Hilliard was born in Sumter, S. C., June 23, 1885.
Earl Benham (James Benham) made his first professional appearance in 1903 in the chorus of “The Fisher Maiden,” and has been fond of fish ever since; this is of course sub rosa.
It was in the year of 1907 that Mr. Benham acquired his first minstrel experience, and came face to face with a box of cork. The following year he was a ballad singer with Cohan and Harris’ Minstrels, and in 1909 he began his second season with that company, playing an end, working in a big song and dance number and in the after-piece.
Mr. Benham is an accomplished dancer and possesses a pleasing tenor voice.
As a composer he has won conspicuous success, some of his best compositions being “I’m Happy When the Band Plays Dixie,” “My Little Rose of Killarney,” “Mandy,” “May Moon” and “I Can’t Think of Anything That’s Half As Sweet as You,” the latter by all odds having one of the sweetest refrains heard in years.
At the conclusion of the season of 1909-10, Mr. Benham, in conjunction with John King, went in vaudeville, making their first appearance at the Warburton Theatre, Yonkers, N. Y., May 22, 1910.
At the present time, Mr. Benham and Miss Effie Snowden are meeting with pronounced success in a clever singing and dancing act; vaudeville, of course.
Earl Benham was born in Brooklyn, N. Y., April 15, 1886.
Sam. Sanford built the first theatre ever constructed especially for a minstrel company, in Philadelphia.
It opened August 1, 1853.
“Bun” Granville (Bernard Ralph Granville). The distinction of being one of the youngest of minstrel comedians belongs to Mr. Granville, who at the age of 16 years joined the forces of Al. G. Field as a song and dance performer; and step by step rose in his chosen profession until he had the honor of sitting on the principal end in the organization of the “famous Field funsters.”
| CHAS. H. DAY | NED. GREENLAND | D. B. HODGES |
| JOHN P. (“CULLY”) SMITH | WM. H. SMITH | WM. FOOTE |
| W. H. STRICKLAND | HARRY CLAPHAM | CHAS. R. BUGBEE |
| PROMINENT EXECUTIVES OF MINSTRELSY. | ||
Mr. Granville remained in the above company until 1909, when he joined Will Rogers to do vaudeville; he is still doing.
“Bun” Granville was born in Chicago, Ill., July 4, 1886.
The Foley Twins began lives as newsboys in the metropolis, and were endowed by nature with good singing voices and ditto dancing legs; so it was but natural that talents like those must have an outlet, which they quickly found at clubs and entertainments.
Their first engagement was with the May Howard Company in 1899; it was during this season that George Primrose heard of them, and made arrangements for the boys to join Primrose and Dockstader’s Minstrels, which they did at Atlantic City, N. J., July 31, 1900; they remained with this company three seasons, and with Dockstader’s Minstrels two years; their greatest prominence, however, was achieved with Mr. Primrose in his vaudeville act, with which they remained two years.
It is pleasing to relate that these boys cheerfully and freely give all credit for their success in life to Mr. Primrose, of whom they speak in the highest praise.
A season in vaudeville with Manuel Romain followed their last minstrel engagement.
Johnny Foley was born in New York City, September 12, 1886; and Willie Foley was born in New York City, September 12, 1886.
The End
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