Minstrelsy for the past seventeen years has been steadily improving, until we now see it firmly established among our standard amusements and sought after as much as the opera or drama; in fact, in some respects, far out-rivaling either in point of patronage. Although this species of entertainment is often discussed, and the merits of the different artists connected therewith criticized, yet the origin, or any pretension thereto, has never been clearly explained (except by the present writer some time since), for two very great reasons. First, because no individual ever interest himself so much as to seek or trace out the foundation or starting place; and secondly, if he had, his labors would have proved fruitless, for who can tell when and where the Negro first introduced the banjo (for it is from that instrument we begin to get at the notes of Ethiopian minstrelsy). Such being the case, it would be in vain to attempt to ascertain how long, when, and where the Negro, or African, first manufactured or introduced the gourd banjo, which instrument, no doubt, has been in existence nearly as long as that race of people. Consequently, it is impossible to get at its origin from that source. The point then is this: who first made pretensions to imitate the colored race or introduce their quaint and humorous character to the public? Some, I know, will doubt, and others will claim their knowledge in the matter as indisputable. Suffice it to say, that this subject will be picked all to atoms, and after the storm is over it will return to its present truthful shape again, as facts indelible. The writer does not go so far back for dates, or even assert anything in this brief description of minstrelsy, but what can be vouched for and identified as facts by actual printed documents of each and every assertion herein made, which documents have ever been preserved with great care until the present time; and now feeling desirous of giving a more general publicity to the same, he does so with no selfish motive or partiality, but with a view of enlightening the minds of the curious, and showing those in the profession the path which their predecessors have traveled, and what has been done towards the elevation of minstrelsy, which amusement, in the writer’s estimation, will in a few years far eclipse all its former improvements, and become an indispensable entertainment, claiming for its support in vocal, instrumental, and physical force, the best talent in the theatrical line. For already has the minstrel introduced his merry afterpiece, with all its appropriate costume, scenery, and music; burlesques upon burlesques have since appeared in rapid succession; operas have also been introduced; and, in fact, artists of merit in former days now seek in vain for positions in minstrel companies.

Many suppose that negro minstrelsy originated about twenty-three or twenty-five years ago, or in the days of Barney Burns, Enam Dickinson, Tom Bleakly, George Washington Dixon, T. D. Rice, Leicester, John Smith, Joe Sweeney, &c., who all had their own peculiar style in singing and dancing, individually; some with the banjo, and some without it; others having for their principal attraction only some simple Negro melody, such as “Coal Black Rose,” “Such a Getting Up Stairs,” “Gumbo Chaff,” “Sitting on a Rail,” “Jim Crow,” and one or two others of less popularity. I will now give a short description of a few prominent performers who succeeded the parties just alluded to and became vastly popular, particularly in this city. These were Dick Pelham, James Sandford, Frank Brower, and others, to whom I shall allude in the following order viz.: 1838---Jim Sandford played the Black Door Keeper or Ticket Taker, at the Franklin Theatre, Chatham Street, N.Y. For the next two or three years very many aspirants for colored fame made their debut with faces blacked. Prior to the organization of the first regular minstrel company, January, 1842, the following parties appeared in public---Charles Jenkins and G. W. Pelham, at American Museum, January, 1842; Frank Diamond, Whitlock, and Tom Booth, at Arcade Garden, 255 Bleecker Street, January, 1842; Dick Pelham, Master Chestnut, Dick Van Bremen, and Joe Sweeney at Bowery Amphitheatre, 37 Bowery, January, 1842; Frank Diamond and Whitlock, at Chatham Theatre, April, 1842; John Smith, T. Coleman, Chestnut and Hoffman, at Bowery Amphitheatre for Smith’ benefit, June, 1842; John Diamond and Whitlock, at American Museum, December, 1842; Dan Emmett, Frank Brower, Master Pierce, Jimmy O’Connell, Frank Diamond and Mestayer (all dancers but Mestayer), Franklin Theatre (Dan Emmett and Master Pierce were performing the same time at the Bowery Amphitheatre), December 29, 1842; Dan Emmett and Frank Brower, at the Bowery Amphitheatre, where, and at which time the idea of a minstrel company was put in motion by the following persons, viz.: Dan Emmett., Frank Brower, Billy Whitlock, and Dick Pelham, who all immediately went into a thorough course of rehearsals at the boarding house of Emmett, No. 37 Catharine Street, kept by one Mrs. Brooks. They were all diligent in their labors and it did not take long to acquire the scanty versatility necessary in those days for a cork professor to delight his patrons. The idea was original; but I might deserve censure in applying it to any one of the number, and have therefore distributed the honor among the party. The cause of their organization was simply to make up a combination of Negro stuff for one night only, which was expressly for the benefit of Pelham, who at that time was dancing between the pieces at the Chatham Theatre.

Their rehearsals were sufficiently encouraging to satisfy them that they had indeed found a novelty. They styled themselves the Virginia Minstrels, made their debut at the above mentioned place (this was early in February, 1843), and were received with deafening plaudits! During the same week they played one night for the benefit of Mr. John Tryon, then manager of the Bowery Amphitheatre. Their performances here met with astonishing success, so much so that they were secured by Messrs. Welch and Rockwell, than managers of the Park Theatre, at which place they performed two weeks in conjunction with the great dancer, John Diamond. This was about the middle of February, 1843; and after this they proceeded to Boston, where they played six weeks with wonderful success. They then returned to New York and performed three nights for manager Simpson at the Park Theatre. Having now fairly introduced their novelty and expecting every day to meet with opposition here in Yankee land, they determined on a trip to England, where all idea of rivalry was out of the question, for a time at least.

Accordingly, with Mr. George B. Wooldridge at their head, they immediately embarked for Europe. Hence arose the various minstrel companies that are now in existence. On the arrival of the Virginia Minstrels in Europe, they immediately gave two concerts in Liverpool. From thence they proceeded to the Adelphi Theatre, London, at which place they performed six weeks in connection with Professor Anderson, the Great Wizard of the North. After this engagement, owing to some misunderstanding, Mr. Richard Pelham left the company. The balance organized in connection with Joe Sweeney, who had then just arrived in the country; and in this way they traveled through Ireland and Scotland for six months with success. The company then disbanded and Whitlock returned to America. The others soon followed him, with the exception of Pelham, who has remained in England up to the present time.

Another company arrived in Europe from Boston, known as the Ring and Parker Minstrels. They performed in Liverpool and Bolton, while the Virginia Minstrels were playing in London. One of the members of the company personated the character of “Lucy Long,” which, evidently, must have been original with them. This rival party afterwards performed at the Garrick Street Theatre, London. They arrived in Liverpool in three or four weeks after the Virginia Minstrels, having organized in Boston at the time the Virginia Minstrels were playing there.

On the return of the Virginia Minstrels to America, they found, as they had anticipated, minstrel companies in abundance all over the country. Band after band was organized, almost every day, with various titles, and many of them passed away almost as suddenly as an April shower. A vast improvement, however, had been made in minstrel business, notwithstanding its short existence.

We now arrive at a period in our little history which is still free in the memory of all who were connected with this profession seventeen or eighteen years ago. I will now name the prominent companies only, that have been regularly organized and met with success since the commencement of Ethiopian minstrelsy up to the present time. It is necessary to mention, however, that in the year 1842 at Vauxhall Garden, New York, under the proprietorship of Mr. P. T. Barnum, the renowned John Diamond first created a great sensation; shortly after, however, owing to some difficulty, Mr. Barnum dispensed with the original John Diamond and secured another person in the same business by the name of Frank Lynch, who was placarded and styled the “Great Diamond.” He was an extraordinary dancer, and afterwards became a very prominent member of his profession.

The originators and inventors of minstrelsy consisted of Dan Emmett, Frank Brower, Billy Whitlock and Richard Pelham, calling themselves the Virginia Minstrels. The next company presenting themselves to the notice of the public was known as the Kentucky Minstrels, composed of Frank Lynch, T. G. Booth, H. Mestayer and Richardson. Some time after their organization, they disbanded; but reorganized under the same title and performed at Vauxhall Garden, etc., with the following persons: William Whitlock, T, G. Booth, Barney Williams, and C. White. The next company were the Ring and Parker Minstrels; and, next on the list, the Congo Minstrels, now known as Buckley’s New Orleans Serenaders.” They performed at the Chatham Theatre. The Original Christy Minstrels were the next company, consisting of E. P. Christy, George N. Christy, L. Durand, and T. Vaughn. This company organized in Buffalo and traveled principally through the Southern and Western country. They first called themselves the Virginia Minstrels. Soon after their organization, Enam Dickinson and Zeke Bachus were added to the company; and they then assumed the title of Christy’s Minstrels. They first appeared in this city at Palmo’s Opera House (late Burton’s Theatre), 1846. On their second appearance in New York, they performed at the Alhambra, Broadway near Prince Street; and from thence to the Society Library (now Appleton’s Building), and afterwards at Mechanics Hall, 472 Broadway, at which place they permanently remained from March 1847 to July 1854.

During the short time that minstrelsy had been in operation, great improvement had been made in a company known as the Ethiopian Serenaders. They organized in Boston, came to New York, and performed with immense success at the Chatham Theatre. They consisted of Frank Germon, M. Stanwood, Tony Winnemore, Quinn, and others. Soon after they remodeled their band and sailed for Europe with Mr. J. Dumbolton as their agent. They then consisted of F. Germon, G. Harrington, M. Stanwood, G. Pelham, and W. White. This was the company that proved so successful at Palmo’s Opera House. While in London, they performed at the St. James Theatre and so great was the demand to see them that they gave morning performances and were frequently solicited to give their entertainments at the private mansions of the highest nobility.

During the success of the Ethiopian Serenaders in Europe, they were called to Arundel Castle by special command of Her Majesty Queen Victoria. For this they each received a splendid crest ring as a token of her appreciation. Some time after their return to America, Mr. Dumbolton, the manager, made an addition to his band and crossed the Atlantic again, taking with him Mr. J. A. Wells and Jerry Bryant.

The next company of note organized in Philadelphia and styled themselves the Virginia Serenaders, consisting of James Sandford, Cool White, Richard Myers, Robert Edwards, &c., &c. They also performed at the Chatham Theatre in this city; also at Boston and all the principal towns and cities East. They were successful and created a great sensation wherever they appeared. Mr. G. B. Wooldridge at that time was their agent.

Next we have another very clever company known as the Harmoneans, consisting of L. V. Crosby, Frank Lynch, Pike, Powers, &c., &c. They organized in Boston and traveled principally through the Eastern states with very great success for a long time.

We now arrive at the true position of White’s Serenaders. They organized in 1846 and consisted of C. White, R. White, F. Stanton, W. Smith, H. Neil, and Master Juba. They performed at White’s Melodeon, White’s Varieties, and White’s Opera House, all in the Bowery. They remained here, continually playing, for a space of eleven years—a longer active permanency than ever attained by any similar exhibition; during which time, and at which places, many of the present prominent performers graduated under the favorable auspices of Mr. White’s establishments.

I shall now record the names of the Sable Harmonists, whom I certainly class as among the best. I am unable to name the exact time of their organization but am almost positive it was in the early part of 1846. They traveled principally through the Southern and Western country. The band consisted of Messrs. Plumer, Archer, J. Farrell, W. Roark, Nelson Kneas, J. Murphy, &c., &c. They performed for a short time at the Minerva Rooms, Broadway, in this city, November, 1847. Now we come to the starting place of the Original Campbell Minstrels, who were brought together in June, 1847, by a gentleman named Mr. John Campbell, who at that time was the proprietor of a restaurant corner of Bayard Street and the Bowery, in this city. The company, all complete, consisted of W. B. Donaldson, Jerry Bryant, John Rea, James Carter, Harry Mestayer, and David Raymond. Shortly after its organization, Mr. Rea withdrew from the company and joined the Original Christy’s Minstrels. Soon after, Mr. Donaldson resigned and the now deceased and much lamented Luke West took his place. They were playing at the American Museum at the time.

Next we come to a company known as the Sable Brothers, consisting of Messrs. Evans, Turpin, Cleveland, &c., &c. They performed at Convention Hall in Wooster Street and afterwards appeared at Barnum’s American Museum. The time of their organization is not known but I am under the impression that they succeeded the Campbells.

From this point, my qualified friends will coincide with me in placing the remaining companies in rotation as follows: the “Nightingale Serenaders,” formerly known as Kunkel’s Minstrels; Sandford’s Opera Troupe, still in operation; Sliter’s Empire Minstrels, Washington Uterpians, Ordway’s Aeolians, Pierce’s Minstrels, at the Olympic; Fellows’ Minstrels, Horn & White’s Opera Troupe, Kimberly’s Campbell Minstrels, Norris’ Campbell Minstrels, New York Serenaders, California, 1850; Raynor’s Serenaders, California, 1850, afterwards appeared in Australia, 1852; Murphy, West & Peel’s Campbell Minstrels, 1852; Backus’ Minstrels, California, 1853; George Christy’s & Wood’s Minstrels, at 444 Broadway, 1854; Perham’s Burlesque Opera Troupe, 1854; Pierce and Raynor’s Christy’s Minstrels, now in Europe, 1856; Bryant’s Minstrels, at Mechanics Hall, 472 Broadway, February 22, 1857; Rumsey & Newcomb’s Campbell Minstrels, April 28, 1857; Morris Brothers, Pell & Huntley’s Minstrels, 1857; Fox & War- den’s Campbell Minstrels,” now in Europe, 1859; Mrs. Matt. Peel’s Campbell’s Minstrels, 1859; Hooley & Campbell’s (late George Christy’s) Minstrels, January 30, 1860; Converse’s Campbell Minstrels, March 12, 1860.

Before concluding these remarks, I will again repeat that it is impossible at this late day to tell who first set the “ball rolling” in negro minstrel business. No one has any idea of its existence beyond the time above mentioned. I would, however, say that individual Negro business was done in character sixty-one years ago at the Federal Street Theatre, Boston. I have in my possession the actual newspaper which gives this information; and for the gratification of the profession particularly, will give a duplicate of the advertisement relative to the fact as it appeared in Russell’s Boston Gazette dated December 30, 1799, which journal, at that time, was the largest in America. The following performance took place on the night in question: “Orinoko, or the Royal Slave” was the first piece and at the end of Act II, “Song of the Negro Boy in Character” by Mr. Grawpner; after which, a pantomime called “Gil Blas, or the Cave of the Robbers”; the whole to conclude with a Representation of A Spanish Fair. It is also underlined at the bottom of same bill that “the Theatre will be hung with mourning.” This was the month and year that Washington died—hence the cause of mourning. The newspaper from which I gather these important facts is also in deep mourning for the same lamentable cause. Thus ends the explanation of negro minstrelsy up to the present time, 1860. I could make the subject somewhat more lengthy by introducing many outside particulars, but as my intention was merely to give a brief sketch of my profession, I trust those who peruse it will look at it as such only.

*The New York Clipper, also known as The Clipper, was a weekly entertainment newspaper published in New York City from 1853 to 1924.
Ref: http://en.wikipedia.org/wiki/New York Clipper