Chapter IX: Introduction (9)

He made his first New York appearance at the American Theatre, and remained there one year. In May, 1866, he joined Boyce and Mudge’s Minstrels; subsequently appearing with Sam Sharpley’s, and later with Joseph Trowbridge, he had the Bloodgood and Trowbridge’s Minstrels; their season ended July 16, 1871; Mr. Bloodgood then taking his own show, with which he traveled intermittently for several seasons.

In 1869 he also was associated with Delehanty, Hengler and Bloodgood’s Minstrels.

Mr. Bloodgood was without exception the most pronounced favorite that ever played the old Howard Athenæum in Boston; he was in the stock there at various times, covering a period of several years.

About 1881 he wrote and appeared in the play, “Hix’s Fix,” sharing the lead with W. A. Mestayer; the piece was afterwards called “Wanted, A Partner.”

Mr. Bloodgood married Helene Smith, the danseuse, about 1864; they were divorced in the spring of 1867; and on January 20, 1870, in Boston, he married Clara Gettis, also a dancer. It was not until about three years later that he found connubial blessedness, when he married Lisle Riddell, with whom he lived most happily the balance of his life.

FRANK GEYER
(of Turner & Geyer)

HEN. ALLEN
(of Devere & Allen)

ARTIE HUGHES
(of Foster & Hughes)

EDW. SANDS
(of Keating & Sands)

JOHN BOWMAN
(of Bowman & Harris)

TOMMY TURNER
(of Three Turner Brothers)

FRED BRYANT
(of Bryant & Hoey)

EDDIE BOGERT
(of Bogert & O’Brien)

BILLY WILLIAMS
(of Williams & Sully)

CHARLEY SEAMON
(of Seamon & Sommers)

JOHN D. GILBERT
(of Courtright & Gilbert)

EDW. KENNEDY
(of Cheevers & Kennedy)

“ALL ALONE”; THEY PINE FOR THEIR PARTNERS.]

Mr. Bloodgood made a distinct hit playing Uncle Tom at the Boston Theatre, with an all-star cast.

Harry Bloodgood was born in Savannah, Georgia, March 31, 1845; he died in N. Conway, N. H., June 12, 1886.

LUCIUS M. PHELPS, of the well-known song and dance team of Stiles and Phelps, also Armstrong, Stiles and Phelps, had been out of the profession about four years prior to his death, which occurred in Springfield, Mass., about August, 1876.

He had been with Unsworth’s Minstrels in 1871; Moran and Dixey’s in 1872, and also with the companies of Skiff and Gaylord, Carncross and Dixey, and Hooley’s.

NED FOX was a brother of Jim Fox, of Goss and Fox, and was very well known during his comparatively brief career, as a comedian of more than ordinary merit.

After his death, the following lines by Billy Devere, were dedicated to his (Fox’s) widow:

“Another old-timer gone they said.
As I came to the green-room door to-night;
Another “old pard” has passed away
To that beauteous land of joy and light--
Buoyed aloft by a Saviour’s love,
Searching the home of the good and true
As Noah from the Ark sent the carrier dove
Out of the old world into the new.”

Ned Fox died at Hartford, Conn., March 28, 1875; age about 30 years.

W. S. MULLALLY was one of the best and most prominent of minstrel leaders.

As early as when he was fifteen years of age he was leader at a Boston theatre. His final minstrel engagement was about 1864 with Hy. Rumsey’s Company.

The following year he joined the San Francisco Minstrels in New York, and continued with them about fifteen years. In the summer of 1869 he played in Liverpool, England, with Smith and Taylor’s Minstrels. He was with Charley Reed’s Minstrels in San Francisco in 1884.

Subsequently he played an extended engagement with Dockstader’s Minstrels in New York, and later was with several legitimate and farcical attractions. He had composed considerable dramatic and popular music, and was the author of “Mottoes That Are Framed Upon the Wall.”

He was born in Manchester, England, in 1845; he died in Westboro, Mass., August 2, 1905.

HARRY PERCY (John H. Peabody) a prominent vocalist of many important minstrel companies, died at Jersey City, N. J., January 2, 1880.

CHARLES GOODYEAR was well-known as a capable and clever comedian.

He entered the profession when a boy, and had been prominently associated with such well-known minstrel organizations as Haverly’s, Primrose and West’s, and Cleveland’s. He was also co-proprietor of Goodyear, Cook and Dillon’s, and Goodyear, Schilling and Elitch’s Minstrels.

He was especially instrumental in the planning and building of Elitch’s Garden in Denver, Colorado, and had been connected with it since its opening.

Charles Goodyear was born on Staten Island, N. Y., February 18, 1845; he died in Denver, Colorado, May 13, 1897.

JOHNNY SHAY, who excelled in the delineation of negro characters, began his professional career in Louisville, Ky.

He was several seasons with Harrigan and Hart in New York, where he enjoyed wide popularity.

He was born in Liverpool, England, in 1845; he died in New York, October 20, 1879.

JOHNNY MCVEIGH entered the variety profession about 1858; he was a good black-face performer and dancer.

He was born in Bambury, England, in 1845; he died in New York, January 20, 1883.

“LOTTA” (Lotta Crabtree), one of the greatest and most famous soubrettes of the American stage, “blacked up” many times in her early career. In October, 1863, she was a member of a minstrel company playing Virginia City, California, at Maguire’s Theatre.

* * * * *

Barry Maxwell says that when he was with Spalding and Manning’s Minstrels more than four years ago, a colored boy in Columbia, Tenn., came up and asked for the boss; having found him, he inquired if he wanted anyone to “tote catalogues.” He wanted to pass bills.

* * * * *

WILLIS PALMER SWEATNAM, long known to his familiars as “Billy,” began his theatrical career at the age of seven years, playing comedy parts in white-face with a juvenile company called the Union Children.

His first black-face appearance was at the Western Museum in Cincinnati, four years later, occupying the bone end in a minstrel show.

Mr. Sweatnam entered minstrelsy proper at the age of fifteen, when he was a member of a boat show plying the Little Miami Canal in Ohio; the boat was the “Huron,” and was the fastest boat of that name that traveled the canal. Mr. Sweatnam shortly after this went South, and became lessee of the Savannah Theatre, where minstrel performances were given.

Subsequently he became a member of Fred Wilson’s Minstrels in St. Louis, Newcomb’s Minstrels in Cincinnati, Skiff and Gaylord’s, and Morris Brothers.

Mr. Sweatnam was the principal comedian of Simmons and Slocum’s Minstrels at the opening of that famous organization in Philadelphia. September 6, 1875, he was taken in as a partner, the firm name being Simmons, Slocum and Sweatnam’s Minstrels, by which it was known until October 28, 1876, after which it became Sweatnam’s Minstrels, and later, December 25, 1876, Sweatnam and Fraser’s Minstrels. Mr. Sweatnam played several engagements in San Francisco with Charley Reed’s, Emerson’s, and Maguire’s Minstrels; with Dockstader’s, and Birch and Backus in New York; with Haverly in Chicago, also in Europe; Moore and Burgess in London, England, and Carncross in Philadelphia.

In 1887, commencing July 25, at Albany, N. Y., Sweatnam, Rice and Fagan’s Minstrels were organized; this was one of the most magnificent companies of its kind the world ever saw.

Mr. Sweatnam subsequently played an extended engagement with Cleveland’s Minstrels, and shortly afterwards made his appearance in the “City Directory,” a famous farce of twenty years ago; he was with this company three seasons; several more under the management of Charles E. Blaney, and then with the “County Chairman” for three years.

He was next seen in “George Washington, Jr.”; in all of these plays Mr. Sweatnam’s art shone forth resplendently.

As a delineator of the negro character he is alone and without a peer; there is but one Sweatnam, nor is it likely we will ever have another. During the present season of 1910 he played a black-face part with the “Summer Widowers.”

Willis P. Sweatnam was born in Zanesville, Ohio.

FRANK HOWARD (Martindale), famed as one of minstrelsy’s greatest tenors, and who was with McNish, Johnson and Slavin’s; Thatcher, Primrose and West’s, and Barlow, Wilson, Primrose and West’s Minstrels in the 80’s; is said to be living in Chicago.

CHARLES FOSTELLE (Stephens) of late years was best known for his portrayal of eccentric female characters, but long before--well, just read on.

His first appearance was made in Detroit, Mich., in dramatic stock. The year following he made his first appearance in black-face with Cal. Wagner’s Minstrels, as a wench dancer.

Subsequent minstrel engagements were with Billy Arlington’s; Dingess and Green’s; Harry Robinson’s; Simmons and Slocum’s, (Philadelphia); (Wm. Henry) Rice’s, in Cincinnati; Purdy and Vincent’s; Arlington, Cotton and Kemble’s; Allen, Delehanty and Hengler’s, and his own company, Purdy, Scott and Fostelle’s Minstrels, opening at Denver, Colorado, March 4, 1872. His last minstrel engagement was with Sweatnam, Rice and Fagan’s Minstrels, season of 1887-88.

Since then Mr. Fostelle has appeared with Corinne for ten years; starred in “Mrs. Partington” for five years, and for a season was located in New York City with the Weber & Field’s Company.

Charles Fostelle was born in New York City, and he’s there now.

JOHN S. STOUT (Shafer) is one of the best-known singers in minstrelsy.

He first appeared with Rumsey’s Minstrels in 1864, and has appeared successfully, if not successively with such well known companies as Skiff and Gaylord’s; Buckley’s; Simmons and Slocum’s; Haverly’s; Barlow, Wilson, Primrose and West’s; Sharpley’s; Duprez and Benedict’s; Cal. Wagner’s and many others.

His last minstrel engagement was with the Barlow, Wilson Company.

John S. Stout was born in Dayton, Ohio, July 4, 1845.

JOE. BUCKLEY

BOB. SHEPPARD

JOHN L. CARNCROSS

BOB. FRASER

JAMES GLENN

EPH. HORN

A PAGE OF PHILADELPHIANS.]

ROBERT J. FILKINS, at one time one of Haverly’s most valued executives, got his early schooling with John Robinson’s circus; with which organization he became identified with in about 1867.

In 1874 he met Col. Haverly in New Orleans, and at once joined the latter’s forces, and continued under the Haverly banner for three years.

In 1879 he was in charge of the business management of the present 14th Street Theatre, New York, at that time Haverly’s Theatre.

Grace Filkins, the present well-known actress, was his wife.

Robert J. Filkins was born in Michigan; he died in Wichita, Kansas, April 19, 1886; age about 40 years.

IKE WITHERS was one of the early ones to do a musical act in a minstrel show.

His first professional appearance was with Bryant’s Minstrels in New York in 1862.

Subsequent minstrel engagements were with Wilson’s Minstrels in St. Louis; Kelly and Leon’s; Newcomb and Arlington’s; Skiff and Gaylord’s; Sharpley’s; Simmons and Slocum’s, and the San Franciscos, in New York, where he remained thirteen years.

Ike Withers was born in Palmyra, N. Y., July 29, 1845; he is now a guest at the Actors’ Home, Staten Island, N. Y.

JAMES SHARPLEY was the last surviving member of the three Sharpley’s; Fred, Charles and James; a prominent musical act of the 70’s.

Mr. Sharpley, who had been blind some time previous to his death, was an exceptionally clever performer on the concertina.

He was born in Liverpool, England, and died in New York City, May 12, 1902; age 57 years.

WILLIAM H. CRANE, one of America’s foremost legitimate comedians, appeared in black-face with an amateur organization called the “Young Campbell” Minstrels; Mr. Crane fixes the date in the fall of 1860.

The little band were offered $2.50 a piece to play the small town of Stoughton, Mass., irrespective of the fact that the comedians services might possibly be rated higher than one of the musicians. Nevertheless the juvenile “corkers” accepted; the $30.00 went into the coffers of the most popular restaurant to be found that same evening.

William H. Crane was born in Leicester, Mass., April 30, 1845.

R. G. (“BOOTS”) ALLEN was an excellent banjoist and in conjunction with Fred. Huber in 1878-79, played the principal variety houses.

In the Spring of 1880, with Harry Woodson, he formed Woodson and Allen’s Minstrels, which continued at intermittent periods for about two or three years.

In December, 1881, he played an engagement with Emerson’s Minstrels in San Francisco, and in the summer of 1886 Allen’s Banjo Minstrels inaugurated a brief season.

R. G. Allen died May 21, 1892; age 47 years.

B. C. HART, who has so long and ably represented the New York _Morning Telegraph_, and who is personally known to nearly every vaudevillian in the country, did a black-face act with the late Billy Barry in Memphis, Tenn., in 1868; that was the first. Since then and as late as 1881, Mr. Hart met with flattering success in his portrayal of “Old Black Joe” and in the sketch of the “Old Servant’s Return.”

As a “bingler on the bones,” and “thumber of the tambourine,” Mr. Hart has often responded to “Gentlemen, be seated.” Now for a secret. B. C. Hart was born in Cincinnati, Ohio, September 10, 1845. Wouldn’t believe it would you?

SHERIDAN AND MACK were a great protean character sketch team. They never had their superiors, and it is doubtful if their equal was known during their partnership, which was formed in the middle 60’s, doing black-face songs and dances. They soon left off burnt cork and were the first recognized black-face team to do so. They played innumerable minstrel engagements, and were always in demand. Mr. Sheridan’s first professional appearance was April 12, 1864. After separating from Mr. Mack he played minstrel engagements, doing a single specialty. Later he went to Australia where he met with phenomenal success playing a female Irish part in “Fun on the Bristol.”

John F. Sheridan was born in Providence, R. I.; he died in Sydney, Australia, December 25, 1908.

James H. Mack (McGrath) was born in Providence, R. I.; he was the husband of Ada Boshell, the well-known actress.

Mr. Mack died in New York, December 24, 1889; age 41 years.

E. M. HALL was one of minstrelsy’s greatest banjoists, and a good comedian. His career began in 1865, doing a song and dance with Sharpley’s Minstrels; subsequently he did banjo duets with Harry Stanwood. Later he was identified with such well-known minstrel organizations as Emerson’s, in San Francisco; Manning’s, in Chicago; Carncross’, in Philadelphia; and Moore and Burgess’, in London, England, in 1880. In the latter city he joined Haverly’s Minstrels, with whom he was a star feature for several seasons. In 1875 he was associated with E. M. Kayne and Ned. Wambold in a minstrel venture bearing their names. December 30, 1903, Mr. Hall purchased a ticket for the matinee performance at the Iroquois Theatre in Chicago; that was the date of the fearful holocaust, and he has never been seen since.

E. M. Hall was born in Chelsea, Me., about 1845.

JOHN LANG, a well-known and popular tenor vocalist, who was with Arlington, Cotton and Kemble’s Minstrels in Chicago, died in that city, December 5, 1874.

HUGH HAMALL was the fourth son of the late Arthur Hamall, and a singer of more than ordinary merit. Previous to his death he had been a member of Hamall’s Serenaders.

Mr. Hamall died in Montreal, Canada, October 10, 1875.

J. C. (“TOOTHLESS”) MURPHY, the old-time comedian and “Excelsior Bone Player,” was with Harry Robinson’s Minstrels in 1874, and other prominent organizations subsequently. Mr. Murphy was the husband of Marie De Von, from whom he separated in Chicago, April 6, 1877. Mr. Murphy is still active, and a resident of Nashville, Tenn.

DELEHANTY AND HENGLER--These truly wonderful artists were the greatest in their line that the world ever knew, or ever will know, in all probability.

William H. Delehanty made his first appearance in his native city at the old Green Street Theatre, at the age of 14; he did a bone solo, and incidentally it may be remarked that in their manipulation he ranked with the best in minstrelsy.

About 1865 he joined Skiff and Gaylord’s Minstrels, where he did songs and dances with John H. Ward, under the team name of Delehanty and Ward; they continued with this company until November 11, 1866, when Mr. Delehanty severed his business relations with Ward, and just one week later, joined T. M. Hengler with Dingess and Green’s Minstrels at Champaign, Ill.; this season closed at Penn Yan, N. Y., January 7, 1867.

Their first New York appearance was with Kelly and Leon’s Minstrels, August 12, 1867.

On September 22, 1869, (Johnny) Allen, Delehanty, Hengler and Pettengill’s (Charley) Minstrels gave their first performance in Brooklyn, N. Y.

Previous to this, and for several years subsequent, they had their own variety companies; in addition to playing the best variety theatres in the land; likewise were they identified with some of the foremost minstrel organizations; they also made a trip to Europe, playing England and Ireland.

In the Summer of 1875, Delehanty and Hengler separated in Pittsburg. Mr. Delehanty then formed a partnership with James Cummings, and as Delehanty and Cummings they made their first appearance at the Theatre Comique, New York, August 23, 1875.

December 4, 1876, Delehanty and Hengler, who were something more than business associates, again formed a partnership, reappearing at the Howard Athenaeum in Boston; the alliance was broken by the death of Delehanty.

William H. Delehanty was more than a good dancer; he was a thorough musician, and a man of intellect. He composed most of the songs and dances that the team used, notably “Little Bunch of Roses,” “Apple of My Eye,” “I Hope I Don’t Intrude,” “Strawberries and Cream” and many others. Delehanty and Hengler were the original “Happy Hottentots,” though this act was extensively copied.

T. M. Hengler came to this country at the age of three months, and at the age of two years his family settled in Albany, N. Y., where ten years later he made his first public appearance at the Green Street Theatre; subsequently he was with W. W. Newcomb’s Minstrels for three seasons; later he was with Sharpley’s Minstrels.

He joined W. H. Delehanty in 1866, and continued as his partner until 1875, after which time he did a single act, and was known as “The Merry Minstrel.”

In December, 1876, he rejoined Delehanty, and continued with him until the latter’s death.

When Mr. Delehanty died, Mr. Hengler seemed to lose all ambition for the stage; he mourned his old friend sincerely, and played infrequently; in the name only was he the “Merry Minstrel.”

Tom Hengler was likewise the author of several songs, notably “Sweet Aleen” and “My Pretty Little Kittie,” also the musical sketch “Fun in the Kitchen.”

Mr. Hengler married Miss May Fanning in 1870; they had two daughters who have helped to perpetuate their father’s name and fame--Flo and May Hengler.

FIRST PERFORMANCE OF “I WISH I WAS IN
DIXIE”

OLD LIVERPOOL, ENG., BILL

TWO RARE PROGRAMMES.]

William H. Delehanty was born in Albany, N. Y., September 25, 1846; he died in New York City, May 13, 1880.

T. M. Hengler (Slattery) was born in the town of Cashel, Ireland, in 1844; he died in Brooklyn, N. Y., August 21, 1888.

BILLY EMERSON (Redmond) was a unique figure in minstrelsy, for he stood absolutely alone in his chosen profession; never before his advent had his equal been seen, nor will we ever again.

The acme of versatility, the personification of grace, the quintessence of greatness, such was Billy Emerson, who was gifted with a voice that an opera singer might have envied, and endowed by Nature with talents that are but seldom given to man.

His very early days were spent in Oswego, N. Y., but soon with his family moved to Washington, D. C., where he made his first professional appearance with Joe Sweeney’s Minstrels about 1858. From 1860 to 1864 he played chiefly in the music halls; in that year he joined Robert’s and Wilson’s Minstrels; also in 1864 he was with Sanderson’s Minstrels.

His first prominent minstrel engagement was with Newcomb and Arlington in 1866. December 3, 1866, he made his initial New York appearance at Pastor’s Theatre. In 1867 he joined Newcomb’s Minstrels, and continued with them (barring a brief interval when he was with Spalding and Bidwell) until the organization of his own company, June, 1868, when Emerson, Allen and Manning’s Minstrels gave their initial performance in Brooklyn, N. Y.

May 22, 1869, Johnny Allen withdrew, and the company continued as Emerson and Manning’s Minstrels until January, 1870, when the two partners separated. February 11, 1870, the first performance of Emerson’s Minstrels was given, and on November 23, same year, he made his bow under the astute management of Tom Maguire, in San Francisco, the city which to this day reveres the memory of Billy Emerson.

Later the company moved to the Alhambra, and after a trip East, he returned and the name was changed to Emerson’s Minstrels.

May 12, 1873, with his company, he sailed for Australia, opening at Melbourne, August 2; subsequently Mr. Emerson made two other trips to the Antipodes.

On January 14, 1878, he took the management of the Olympic Theatre, New York, installing his company; the engagement was a brief one, and on the following February 28, in conjunction with Smith, Waldron, Lester and Allen, “Emerson and the Big Four Minstrels” were organized and traveled for several months.

In Chicago, June 30, 1879, with R. M. Hooley, the famous Megatherian Minstrels gave their first performance, and continued for a season.

Mr. Emerson was a member of Haverly’s Minstrels when they opened in London, England, July 31, 1880.

San Francisco welcomed its idol on October 17, 1881, when Emerson’s Minstrels opened at the Standard Theatre, and remained until the Spring of 1884.

Later he was with the Haverly-Cleveland Minstrels, and afterwards the Cleveland organization.

April 2, 1888, he became an equal partner with Frank McNish and Carroll Johnson with McNish, Johnson and Slavin’s Minstrels, owing to the indisposition of Bob Slavin, who was not appearing with the company. August 6, 1888, he again opened in San Francisco with Emerson’s Minstrels.

In the Summer of 1898 he was with the Wilson-Cleveland Minstrels a few weeks, and then played an engagement with William H. West’s Minstrels. Emerson’s career practically ended with this company.

Let us think of him only for his neat songs and dances, of which he was one of the pioneers, and in which he never had an equal.

Let us remember him for his “Big Sunflower,” written by another, but popularized by Emerson; for “Moriarity” will never be forgotten, and we hope that after the trials and vicissitudes of this world, he has “Backed the Winner” in the next.

He married Miss Maggie Homer, at Covington, Ky., June 25, 1869.

Billy Emerson was born in Belfast, Ireland, July 4, 1846; he died in Boston, Mass., February 22, 1902.

E. M. KAYNE (Kerr), was a well known and capable interlocutor and bass singer.

His professional career began about forty years ago when he appeared under his own name. April 10, 1875, in conjunction with E. M. Hall and Ned. Wambold, he organized a minstrel company which had a brief existence.

Mr. Kayne was one of Haverly’s original Mastodons in 1878, and continued with Haverly for several seasons.

For some time prior to his death, which occurred in Chicago a few years ago, he was employed in that city in a mercantile establishment.

HARRY KERNELL, one of the greatest Irish comedians the variety stage ever knew, was an end man with Hyde and Behman’s Minstrels in 1885; and for many years before that. He died in New York, March, 1893.

ED. MARBLE came from an old theatrical family of the legitimate stage.

He joined Thatcher, Primrose and West’s Minstrels in 1884 as interlocutor, and continued with them several seasons.

He subsequently wrote and produced “Tuxedo” for George Thatcher, and it was a pronounced success. Mr. Marble later played with Mr. Thatcher in vaudeville. His daughter is Mary Marble, well known in vaudeville circles.

Ed. Marble was born in Buffalo, N. Y., September 6, 1846; he died in Brooklyn, N. Y., August 9, 1900.

J. MELVILLE JANSEN entered the profession in 1874 at Fall River, Mass., with Gus Bruno, and as Johnson and Bruno, they continued as a black-face acrobatic song and dance team for five years; and they were rated with the best. They played the principal variety houses and some of the best minstrel companies, notably Sweatnam’s in 1878.

Mr. Jansen separated from Mr. Bruno about 1879, and afterwards worked alone, and did a stump speech; he then took his own name, so as not to conflict with Carroll Johnson, who was at that time also known as James Johnson.

About 1882 he formed a partnership with Sam Swain, doing a black-face act, and a few months later he made his appearance at Carncross’ Minstrels in Philadelphia; he remained seven years, after which he joined Primrose and West’s Company, and continued with them for a considerable period.

Mr. Jansen was a fine end man, and very clever in his imitations of a monkey.

J. Melville Jansen was born in Quebec, Can., he died at Downingtown, Pa., November 23, 1896; age about 50 years.

* * * * *

The season of 1882-83 there were thirty-two minstrel companies on the road.

* * * * *

BEN BROWN was one of the great jig dancers of his day, when dancers were plentiful and efficient.

Very early he saw his name on the billboards, he said; and in 1865 he won a diamond studded cross containing eleven stones; the contest was at Bryan’s Hall, Chicago; among the competitors were “English” Tommy Peel, Johnny Boyd and Alex Ross; all passed away.

But I’m ’way ahead of my story. His first regular appearance was with Billy Wray at Beller’s Music Hall, Detroit, Mich., playing “Young Scamp.” He was with the Mrs. Matt. Peel’s Minstrels in 1861. Leaving them he joined Booker and Evart’s Minstrels at Jackson, Mich., taking the place of the famed Dick Sliter, who had just died; this was May 21, 1861.

Subsequently he joined the DeHaven and Hutchins Show, touring Europe; other circus engagements were the John Robinson Company and Mike Lipman’s.

In 1870 he joined Cal. Wagner’s Minstrels at Syracuse, under “Jack” Haverly’s management; three years later Haverly started his own organization; but Mr. Brown remained faithful to his first love; and subsequently he toured with his own organization.

One of Mr. Brown’s feats in his earlier days was to do a jig with a glass full of water on his head, without disturbing the water--or his head; later on he danced with a plough on the same place where the glass was wont to rest.

In 1878 he married, and a couple of years later he settled down in St. Louis, Mo., where he resided until his death.

Ben Brown was born in Chicago, March 17, 1846; he died in St. Louis, Mo., June 10, 1910.

NEIL BURGESS, who won fame and fortune as Aunt Abigail in the “County Fair,” was a black-face performer for several years.

In 1875 he made a brief tour with Neil Burgess’ Minstrels; they closed at Brockville, Canada, June 14, that year.

Neil Burgess was born in Boston, Mass., June 29, 1846; he died in New York, February 19, 1910.

JOHN PRENDERGAST was a clever song and dance performer, and the first partner of John Hogan, with whom he played a season’s engagement at Bryant’s Minstrels in New York City.

He joined Hogan in 1865. He died in Pittsburg, Pa., August 15, 1869; age 23 years.

GEO. THATCHER

has just rounded out forty-seven years of active theatrical life; for it was in September, 1863, that he made his first stage appearance, doing a jig (wonder if he can do it now?), and appearing in black-face; this was in Baltimore. Subsequently he came near being a Dutch comedian.

Middle 70’s.]

A year later Mr. Thatcher’s hopes of being a great song and dance performer received a severe jolt; Billy Emerson was the unconscious cause. Realizing that Emerson excelled him so far; Mr. Thatcher in his next engagement told gags between songs that he sang, and claims that then and there he originated the monologue.

Mr. Thatcher says his first important engagement was at Tony Pastor’s in New York in 1873. On November 10, that year, he made his first appearance with Simmons and Slocum’s Minstrels in Philadelphia, continuing with that organization and that of Simmons, Slocum and Sweatnam about four years.

August 20, 1877, he made his initial appearance with Haverly’s Minstrels in Philadelphia; in the Spring of the following year he played a brief engagement with the same company.

Mr. Thatcher joined the San Francisco Minstrels in New York, December 10, 1877; his last appearance there was December 11, 1880. Nine days later he opened in Philadelphia at the Arch Street Opera House with Thatcher and Ryman’s Minstrels, and continued under that trade-mark until the Spring of 1881. Season of 1881-1882 saw George Thatcher’s Minstrels at the same house. At Elmira, N. Y., August 3, 1882, the first performance of Thatcher, Primrose and West’s Minstrels was given; the organization disbanded in the Spring of 1889. The following season he was a feature with the Howard Athenaeum Company, doing his famous monologue.

In 1890 Thatcher’s Minstrels took the road; the three succeeding seasons produced “Tuxedo,” “Africa” and “About Gotham” respectively.

Then for two years with Carroll Johnson he headed Thatcher and Johnson’s Minstrels, terminating in the Spring of 1897.

Mr. Thatcher has since been in vaudeville singly, also at various periods with Ed. Marble, Charley Ernest, Banks Winter, Mrs. Zenaide Thatcher and Will Phillips.

Also did he play an engagement with Moore and Burgess’ Minstrels in London, England, about twenty-five years ago; his success there was nothing short of phenomenal.

Mr. Thatcher is a natural wit, always original, and an actor as well as a performer, as evinced by his clever interpretations of black-face characters in “The County Chairman” and “Cameo Kirby.”

In 1908 he was with Cohan and Harris’ Minstrels, and in 1909 the feature of Eddie Leonard’s Minstrels.

George Thatcher was born in Baltimore, Md., July 15, 1846.

JOHN P. HOGAN, besides being a great dancer himself, has the ability to impart his skill to others.

Mr. Hogan began his professional career doing a song and dance with Stanley and Mason’s Minstrels in 1862.

In 1865 he joined Raynor and Christy’s Minstrels, with Johnny Prendergast doing a neat song and dance, which by the way they were probably the _first_ team to do such an act. That same year they joined Bryant’s Minstrels in New York, and the following season he formed a partnership with Ruey Hughes at Bryant’s Minstrels. In 1867 they were with Griffin and Christy’s Minstrels, located in New York.

Their next minstrel engagement was with Bryant’s in 1868, also in the metropolis.

In 1869 the pair joined Buckley’s Serenaders, and the following year they were with Billy Manning’s Minstrels, located in Chicago, where in the Spring of 1871, Hogan and Hughes severed their business relations, owing to the illness of the latter.

In May, 1871, Mr. Hogan joined the Hooley Minstrels in Chicago for a supplemental traveling season; with this company he did a specialty with J. K. Campbell.

Subsequently with Jimmy Cummings, he played an engagement at Moran and Dixey’s Minstrels in Philadelphia, closing there about February 1, 1872, after which in a variety theatre in the same city he did “Let Me Be” with Harry Kernell, who afterward gained fame as an Irish comedian.

Hogan and Mudge’s Minstrels toured in 1872, likewise Hogan and Ella Chapman played in the principal variety houses.

In 1874 Mr. Hogan returned to Bryant’s Minstrels, and continued there until the death of Dan Bryant, April 10, 1875. A few months later he joined hands with Charley Lord, and as Hogan and Lord played an engagement with Kelly and Leon’s Minstrels.

John Hogan was born in Montreal, Canada, March 14, 1847.

ARTHUR MORELAND. Instances of black-face performers going from the minstrel to the dramatic stage are of very frequent occurrence, but when a legitimate performer goes into minstrelsy, we are inclined to rub our eyes, sit up and take notice.

Such was the case of the subject of this sketch, whose professional debut was made in Troy, N. Y., at the Griswold Opera House, April 14, 1865, in the “Lady of Lyons”; this was not an animal show, as unthinking persons might surmise.

Mr. Moreland next went to London, England, where for five months, commencing in 1865, he played a stock engagement at the Sadler’s Wells Theatre. Returning to the United States extended engagements followed at St. Louis, New Orleans, Louisville, Cincinnati and New York City. In 1872 he assumed the management of Johnny Thompson, in “On Hand.”

Mr. Moreland’s next move was to the Olympic Theatre, in Brooklyn, N. Y., 1873; it was here that Mr. Moreland first became a “corker,” though he had been a corking good fellow fully a quarter of a century prior to that date--and ever since.

His first minstrel engagement was with Hooley in 1876; the following year he was with Maguire’s Company in San Francisco, and later with Emerson’s Minstrels, same city. In 1880 Mr. Moreland became a member of the San Francisco Minstrels in New York City, where he remained four years.

In 1884-85 he did “nigger acts” with Dan Collyer; the following season he was a member of Harrigan’s Company in New York City. Mr. Moreland was one of the members of Lew Dockstader’s permanent minstrel company in New York, commencing September 17, 1886, and continuing with them during the existence as an organization, terminating in 1889.

As Col. Risener, in “Blue Jeans,” appearing in white-face, season of 1891-92, Mr. Moreland once more showed his versatility.

Mr. Moreland has long been recognized as the premier interlocutor in minstrelsy, and the legitimate successor of Wm. H. Bernard, who retired in 1872.

Arthur Moreland was born in New York City, November 12, 1847.

GEORGE W. POWERS ran away from home in 1861; there was really no necessity for this, as the home was securely fastened. However, that’s not the argument. He boarded the steamboat “Charley Bowers,” did George Powers, and for several hours continued as a passenger, finally landing at Cairo, Ill., where he immediately sought out the manager, and was at once engaged to do a jig, in black-face; subsequently he was apprenticed to old Frank Howard, with whom he did “nigger acts” in the variety houses of St. Louis, Milwaukee, Chicago, Louisville and Memphis; at the latter place he appeared in Morningstar’s Varieties; it is now 1863, and all is well.

Mr. Powers next joined Castello’s Circus, and late in 1863 made his first appearance in minstrelsy; the honor belongs to the Weed and Morris Company.

The following year he was with LaRue’s Minstrels; the next burnt-cork aggregation to claim him was the Morris Bros. in Boston.

September 5, 1870, with Hooley’s Minstrels in Brooklyn, Johnson and Powers made their first appearance as a team, doing acrobatic songs and dances and high kicking--this man Johnson was Carroll Johnson, the present Beau Brummell of minstrelsy, but at that time known as James Johnson; for thirteen years did this duo do dances and other doings.

January 2, 1871, they opened with Hooley’s Minstrels in Chicago, at the first performance of that company in the Big Lake City.

In the Summer of 1872 Mr. Powers and his partner joined the famous San Francisco Minstrels in New York, and continued with them until 1882, barring the season of 1874-75, which was spent in Philadelphia with Carncross and Dixey’s Minstrels. In the Fall of 1882 they became members of Courtright and Hawkins’ Minstrels, also in Philadelphia, and the following January went to San Francisco, where they opened with Billy Emerson’s Minstrels on the 22d; they remained about three months and then joined Haverly’s Minstrels, and in June, 1883, the long partnership of Johnson and Powers was dissolved.

Mr. Powers subsequently gave most of his attention to the banjo, on which instrument in the execution of which he has no rival in minstrelsy; his rendition of “Home, Sweet Home,” with variations, is alone worth going miles to hear.

From 1885 to 1893 Mr. Powers appeared successfully with McNish, Johnson and Slavin’s; Thatcher, Primrose and West’s; Lew Dockstader’s, and Thatcher and Johnson’s Minstrels.

Early in 1910 he married the widow of the late John W. Thompson, of Dallas, Texas.

George W. Powers was born in Louisville, Ky., April 3, 1847.

LUKE SCHOOLCRAFT was naturally a great performer; born in the South amidst environments that gave him opportunities for noticing the peculiarities and idiosyncrasies of the negro character, he imbibed them without being aware of so doing.

At the age of five he made his first appearance, playing child parts; two years later he “blacked up” for the first time, in the play of “Masked Faces.”

FRANK HOWARD

BANKS WINTER

MANUEL ROMAIN

GEO. GALE

RICHARD J. JOSE

FRANK MORRELL

SIX SINGERS.]

Late in the 60’s at Memphis, Tenn., a butcher with the unminstrel name of Wiets, tiring of dispensing steaks, chops and sundry animal flesh to a ravenous clientele, and with visions of perhaps becoming a future burnt cork impressario, he organized the Great Western Opera Bouffe Company; a painfully short time later it disorganized itself.

It is an odd fact that this gifted performer, whom nature endowed with the ability to portray so faithfully the Southern “darky,” aspired to be a Dutch comedian: indeed, he appeared as such intermittently for several years in the variety houses.

July 29, 1872, at Cincinnati, he made his first appearance with Newcomb’s Minstrels, sitting on the end and doing an act in the olio with Andy McKee and E. M. Hall; a few weeks later he began a brief engagement with Simmons and Slocum’s Minstrels in Philadelphia, commencing August 18.

Mr. Schoolcraft formed a partnership with George H. Coes, in 1874, and on August 31 they opened with Kelly and Leon’s Minstrels in Chicago. They played various minstrel and variety engagements until April 2, 1877, when Schoolcraft and Coes’ Minstrels gave their first performance; the tour was of short duration. January 14, 1878, the team joined Emerson’s Minstrels at the Olympic Theatre in New York, and in the Summer of the following year they opened with Hooley and Emerson’s Megatherian Minstrels.

Season of 1881-82 they were with Barlow, Wilson, Primrose and West’s Company; a year later they joined the Barlow, Wilson & Co.’s Minstrels, and on September 3, 1883, they opened with the San Francisco Minstrels in New York City.

Schoolcraft and Coes dissolved partnership in 1889, and in the Spring of that year Mr. Schoolcraft joined Dockstader’s permanent minstrel company in New York City; this was his last minstrel engagement.

About a year later he became a member of the famous “City Directory” Company, under the management of John Russell, and continued with that organization until the time of his death.

Beyond all dispute Luke Schoolcraft ranked high with the great black-face performers of the land; he is one of the immortals of minstrelsy. While he was great in everything he ever did, his “Mrs. Dittimus’ Party” was a gem of purest ray serene.

Luke Schoolcraft was born in New Orleans, La., November 14, 1847; he died in Cincinnati, Ohio, March 10, 1893.

BOBBY NEWCOMB (Robert Hughes) stood alone in his particular line in minstrelsy, inasmuch as he wrote all the songs and dances he executed so admirably, as well as producing for many other performers, notably the “Big Sunflower” for Billy Emerson, which did so much to establish the popularity of that great artist.

The earliest record of Newcomb’s professional appearance was at Quebec, Canada, where on May 3, 1856, he appeared as Master Hughes with Perham’s Great Ethiopian Minstrel Opera and Burlesque Troupe.

The following year he was with Buckley’s Serenaders in New York; it was here that he attracted the attention of W. W. Newcomb, who, with Hy. Rumsey was about to organize Rumsey and Newcomb’s Minstrels; and Bobby Newcomb became a member, and continued with them for about five years; between seasons accepting other engagements with Geo. Christy’s (Hooley) Minstrels, in June, 1859, and a year later with Minor’s Ethiopian Minstrels. Early in 1861 he went to England with Rumsey and Newcomb, subsequently to Germany and back to England, where the company disbanded.

Mr. Newcomb joined Wood’s Minstrels in New York, March 9, 1863, as “Little Bobby,” the ladies’ pet. In 1860 he was billed as Master Robert Langlois.

In the Fall of 1863 he joined Christy’s Minstrels in New York; in 1865 he was with Raynor’s “Christy’s.”

December 9, 1869, he made his re-appearance with the San Francisco Minstrels in New York; the following year he was a member of Carncross and Dixey’s Minstrels in Philadelphia. It was with the latter company he first appeared as an end man, in Pittsburgh, Pa., May 15, 1871.

August 28, 1871, he rejoined the San Francisco Minstrels in New York for the season; subsequently he was with Arlington, Cotton and Kemble’s Minstrels in Chicago for a lengthy engagement.

He joined Maguire’s Minstrels in San Francisco, April 18, 1874; the following year he returned to Carncross and Dixey.

Mr. Newcomb played Topsy in “Uncle Tom’s Cabin” in 1876.

In 1877 he was with Haverly, and in 1881 played an engagement with Moore and Burgess’ Minstrels in London, England.

In 1883 he was again with Haverly. About 1885, with his wife and three talented daughters, he organized the Newcomb Family, and as such he traveled until his death.

In New York, September 28, 1867, he married Miss Mary Blake, a famous danseuse of that time. Blanche Newcomb, in private life, Mrs. John Cain, a clever soubrette, is his daughter.

Bobby Newcomb was born November 13, 1847; he died at Tacoma, Wash., June 1, 1888.

EDDIE FOX is known wherever minstrelsy is spoken.

Mr. Fox’s career began at the tender age of five years, and continued up until about 1897, when he “laid down the fiddle and the bow”--not because “there was no more work for poor Uncle Ned”--no, indeedy--for Mr. Fox refuses to grow old, and he could have work aplenty if he so desired.

Newcomb and Arlington’s Minstrels engaged him about 1867; subsequently he was with Newcomb’s Minstrels.

When Simmons and Slocum opened their minstrel house in Philadelphia in 1870, Eddie Fox was leader, and remained there several seasons. Likewise was he identified with Barlow, Wilson, Primrose and West’s Minstrels at their inception in 1877, and continued with them during their existence as an organization, terminating in June, 1882.

Other prominent minstrel engagements were Barlow, Wilson Company, George Wilson’s, Cleveland’s, and his last--Al. G. Field’s.

Mr. Fox composed some of the most popular music in minstrelsy, notably the “Big Sunflower,” immortalized by Billy Emerson; “Kaiser, Don’t You Want to Buy a Dog?” for Gus Williams; “Noreen Moreen,” “Goodbye, Liza Jane,” “Carry the News to Mary” and scores of others.

As a jig and reel player he is without a peer.

DAVE MONTGOMERY

FRED STONE

PERCY G. WILLIAMS

RAYMOND HITCHCOCK

JOE. CAWTHORNE

CORSE PAYTON

FRED. BAILEY

RALPH AUSTIN

CHAUNCEY OLCOTT

RICHARD CARLE

BILLY JEROME

JAS. J. CORBETT

MACLYN ARBUCKLE

JOHN L. SULLIVAN

BILLY S. CLIFFORD

NAT. GOODWIN

JERRY COHAN

DE WOLF HOPPER

GEO. M. COHAN

NAT. WILLS

JOHN C. RICE

BARNEY GILMORE

EDDIE FOY

BERT. LESLIE

SAM BERNARD

WM. HARRIS

CHAS. FROHMAN

DAN. FROHMAN

JOHN E. KELLERD

HENRY E. DIXEY

OTIS SKINNER

BILLY B. VAN

WILTON LACKAYE

WILLIE COLLIER

WM. H. CRANE

“HAP.” WARD

HARRY VOKES

ANDREW MACK

FRANCIS WILSON

HARRY BULGER

JAS. T. POWERS

GEO. BEBAN

JEFF D’ANGELIS

DENMAN THOMPSON

DAVID BELASCO

JOE. WEBER

LEW. FIELDS

CHAS. K. HARRIS

CHAS. HORWITZ

FRED V. BOWERS

THE “FAMOUS 50”; THEY ALL “BLACKED UP,” OR WERE ASSOCIATED WITH MINSTRELSY.]

Mr. Fox likewise enjoys the distinction of having been always the highest salaried “leader” in minstrelsy.

Eddie Fox was born in Glens Falls, N. Y., October 28, 1848; a letter addressed care of any minstrel show playing Philadelphia will always reach him.

THOMAS B. DIXON. The name of Tom Dixon will go down in the annals of minstrelsy for his magnificent rendition of the old ballad “Sally in Our Alley.”

Mr. Dixon joined Lew Benedict’s Minstrels in July, 1872, and again at Newark, N. J., September 21, 1876. In 1878 he was with Simmons and Slocum’s Minstrels in Philadelphia, and that same year became a member of the original Haverly’s Mastodons in Chicago, opening October 21, 1878. He went to London, England, with that company, opening at “Her Majesty’s” Theatre, July 31, 1880; the following year he was with Emerson in San Francisco; he was likewise identified with other prominent organizations. Mr. Dixon was one of the original California Quartette.

Thos. B. Dixon was born in 1847; he died in Nashua, N. H., November 25, 1890.

LEW. SPENCER (James Erhardt), well known as a black-face performer, began his professional career in his native city about 1865 as a Dutch comedian. He was with Duprez and Benedict’s Minstrels about 1869, and subsequently with the companies of Cal. Wagner; Barlow, Wilson; Haverly; Al. G. Fields and others as prominent.

He was born in Baltimore, Md.; he died in Chicago, Ill., December 7, 1904; age 56 years.

FRANK DUMONT is one of the most intellectual men in minstrelsy; originally a ballad singer, he has been connected with every branch of the black-face profession.

In the Fall of 1862, as Master Dumont, he was with Arlington and Donniker’s Minstrels, subsequently he was associated with John Cross and Tom Fish with Cross, Fish and Dumont’s Minstrels; this was in 1866.

The following year he was with Ned Davis’ Minstrels; early in 1869 he was with Dashington and Kling’s Minstrels and that same year he joined Duprez and Benedict’s Minstrels, and continued with them about eleven years.

Subsequently Mr. Dumont was with Carncross in Philadelphia, the San Francisco Minstrels in New York, and with Lew Dockstader’s Company. While with Sweatnam’s Minstrels, August 22, 1879, he sang “The Old Family Table.”

Mr. Dumont is the author of innumerable songs, sketches and plays, and produced all the shows at the Eleventh Street Opera House, Philadelphia, since the inception of Dumont’s Minstrels there January 27, 1896.

Frank Dumont was born in Utica, N. Y., January 25, 1848.

WILL G. MACK, once of the team of Mack and O’Day, had been in the profession about twenty-five years, and with Al G. Fields’, Barlow Bros., and other minstrel companies prior to his death, November 12, 1897.

CHARLES HEYWOOD (Frank Haffner), who has an international reputation in minstrelsy as a female impersonator, possesses a remarkably fine cultivated voice, which long experience has taught him to use to the best advantage.

Mr. Heywood made his debut with an amateur minstrel company in Newark, N. J., in 1867, at the famous old Library Hall.

In January, 1868, he appeared professionally in New York with Kelly and Leon’s Minstrels.

Later he was identified with Buckley’s, Duprez and Benedict; Emerson’s; Simmons and Slocum’s; Haverly’s, and several other notable organizations.

In 1881 he was with Thatcher and Ryman’s Minstrels in Philadelphia, and the following year with Clark and Ryman’s Minstrels he went to Australia--with his pigeons; for Heywood wouldn’t travel without his pigeons, and the pigeons wouldn’t travel without Heywood; so there you are.

After the pigeon engagement, which lasted sixty weeks, Mr. Heywood joined Haverly’s Mastodons in London, in 1884; again using the pigeons, 100 strong, as a feature of his act.

After several notable engagements in the music halls on the Continent, he returned to this country, and subsequently built a theatre in Newark, N. J. As a builder Mr. Heywood admits he wasn’t a success, but as a hustler he is second to none. And then he opened a conservatory, where several who since achieved success in their profession received their tuition. Of late years Mr. Heywood’s talents have been devoted chiefly to concert work.

Charles Heywood was born in New York City, October 24, 1848.

BARRY MAXWELL (Maxey) has been famous for many years for his delineation of the aged “darky,” of which he is a master.

His stage career began in his native city as a member of the Crescent City Serenaders, in which he was one of the end men.

With Ed Gibson, as Gibson and Maxwell, he joined Spalding and Manning’s Minstrels; other minstrel organizations he was identified with were Hooley’s; Haverly’s; Emerson and Reed’s, in San Francisco; Dockstader’s, in New York, from 1886 to 1889, and Schoolcraft and Maxwell’s Minstrels.

Mr. Maxwell was also of the team of Maxwell and Carroll.

For ten years he appeared successfully with the Chas. H. Hoyt shows, where he was called upon to play both white and black face characters, which he did with equal facility.

His portrayal of the black-face character of Othello, in the “Texas Steer,” and Sassafras Livingstone, in the “County Chairman,” received the highest encomiums from press and public.

Barry Maxwell was born in New Orleans, La., October 29, 1848.

QUILTER and GOLDRICH ranked with the best song and dance teams of minstrelsy.

They made their first appearance in 1869 at Pittsburgh, Pa., with Harry Williams.

During their partnership they played practically every first-class variety house in the country, as well as many of the principal minstrel companies, including Harry Robinson’s, Neil Bryant’s, and Kelly and Leon’s.

July 19, 1874, they sailed for England, where on August 10 they made their first appearance in Liverpool with Sam Hague’s Minstrels; subsequently going to Moore and Burgess’ Minstrels in London, in each city meeting with pronounced success.

They played an extended engagement with Harrigan and Hart’s Company in New York, and after the dissolution of that famous organization, June 13, 1885, they cast their fortunes with Edward Harrigan.

Mr. Goldrich’s demise occurred during this period, since when Mr. Quilter has appeared mostly in dramatic and musical productions. Some of the principal black-face parts portrayed were in “Princess Bonnie” and the “Traveling Salesman.”

Richard (“Dick”) Quilter was born in the County Kerry, Ireland, August 16, 1848.

Peter Goldrich (MacGoldrick) was born in Trenton, N. J., he died in New York City, June 4, 1891; age 42 years.

CHEEVERS and KENNEDY, originally known as the “Buffalo Boys,” a title given to them by Dan Bryant, when as the “infant wonders” they made their first appearance in New York, with Bryant’s Minstrels, doing a double clog reel April 25, 1864.

The following year they went to Carncross and Dixey’s Minstrels in Philadelphia, where they remained until 1871; part of this time they were billed as Masters Joseph and Eddie. August 28, 1871, they opened with the San Francisco Minstrels in New York for the season; that same week they, in conjunction with Charley Gibbons and Bobby Newcomb, formed a dancing quartette, which was then considered quite a novelty.

The following year they returned to Philadelphia as members of Frank Moran’s Minstrels. July 2, 1874, they sailed for England, opening at the London Pavilion July 19. Subsequently an engagement of fourteen months at the Cambridge, same city, followed.

Their success at this house was so pronounced that an extra gallery had to be built to accommodate the patrons of that popular establishment. Equally successful engagements in Dublin and Paris followed. It will be readily seen that these boys were “capital” performers.

Returning to the United States they rejoined Carncross and Dixey in Philadelphia.

Early in 1877 they began a brief engagement with Emerson’s Minstrels in San Francisco, and in the Spring of that year sailed for Australia, where they remained about four years.

A brief separation followed, during which time Mr. Cheevers worked alone; they subsequently came together again, playing successful engagements in the music halls.

August 27, 1886, they arrived in New York City; they played several engagements in the United States, subsequently returning to England; later their business relations were again severed; Mr. Cheevers assuming the management of the Phoenix Music Hall, Dover, England, and some years later entering the hotel business.

After a separation of about nine years, in the Fall of 1904 they once more reunited and for two or three years renewed former triumphs.

BURTON STANLEY

GEO. WILKES

“RICARDO”

GUS. MILLS

HARRY LANSING

STUART

JAMES MACK

HARRY CONSTANTINE

ARTHUR DOTY

FAMED FAVORITES WHO FEATURED FEMININE FANCIES.]

Following their final separation, Mr. Cheevers returned to the United States, where he has mostly remained.

Mr. Kennedy is a boniface in England.

Cheevers and Kennedy enjoyed a well-merited reputation for originality; their quick character changes and diversified dancing gave them a standing in their profession that any performer might envy.

Joseph E. Cheevers was born in Buffalo, N. Y., May 25, 1848.

Edw. J. Kennedy was born in Buffalo, N. Y., July 10, 1844.

GUS BRUNO made his first appearance professionally in his native city with Rentz’s Circus, in 1866, doing a hurdle act.

He came to the United States a few years later, and as the Limber Boy he played an engagement at Woodward’s Garden in San Francisco.

Charley Armstrong was his first partner; next came Clark and Bruno, and then Johnson and Bruno, who for five years did one of the greatest black-face acts in the country, playing the principal variety houses and minstrel organizations.

Mr. Bruno subsequently allied himself with the foremost farcical organizations; he is now playing vaudeville.

He is probably the best dialectician in America, and was the first to give the Swedish and Low Dutch dialects on the stage.

Gus Bruno was born in Copenhagen, Denmark, May 4, 1848.

RUEY HUGHES (James Quigg) was a fine dancer and a good general performer.

He appeared at the Green Street Theatre in Albany, N. Y., as early as 1863. The following year he was with A. P. Ball’s American Coliseum Circus.

In 1866 he formed a partnership with John Hogan, and as Hogan and Hughes they did neat songs and dances, and quickly made reputations for themselves.