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.
[Illustration:
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.
[Illustration: AL. JOLSON.]
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.”
[Illustration:
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.
Typical exponents of
Minstrelsy
[Illustration]
The Gorman Bros.
[Illustration]
Jas. Gorman, Gen. Producer
----FOR----
Cohan and Harris’ Attractions
[Illustration]
John Gorman, with Marie Dressler,
----IN----
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[Illustration]
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----IN----
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+William J.
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=COMPOSER
and LYRICIST=
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Many Minstrel
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[Illustration]
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Jas. W.
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_may be had. Gives names, right names, dates
and places of births and deaths of eleven hundred
performers, past and present._
_To close out; 25 cents each._
_EDW. LE ROY RICE_
_Room 10, 22 North William Street_
_N_E_W YORK CITY_
JOHN P. HOGAN
[Illustration: _John P. Hogan_]
THE WELL KNOWN
⁂ MINSTREL ⁂
Originator of
~Step and Stage Dancing~
TAUGHT BY MAIL
Fully Covered By Copyright
Address for prospectus
JOHN P. HOGAN
108 West 43rd Street,
New York City.
Transcriber’s Notes
The (many) inconsistencies and oddities in the printed source text
have been retained, including those in the spelling of proper
names, the use of periods after (shortened or diminutive) names,
other punctuation, etc., as well as in the use of section headings.
Pejorative and offensive language has not been adjusted.
Depending on the hard- and software used to read this text and on
their settings, not all elements may display as intended.
Page 19, In support of this at one time gave a statement of receipts
...: the subject of the sentence appears to be lacking.
Page 23, ... born in Baltimore, Md., May 9, 1909; he died in
Philadelphia, September 10, 1874 ...: the year of birth is obviously
wrong; other sources mention (May 5,) 1809 as date of birth.
Page 26, He soon after returned to his heath: as printed, possibly
an error for ... to his hearth. ... also Lida Gardner ...: probably
intended to read ... also of Lida Gardner ....
Page 179, He was born in Bambury, England, ...: possibly an error for
Banbury.
Page 285, illustration: the available scans were not sufficiently
clear to read all individual names. The three men in the centre are
(from left to right) Gustave Frohman, William Welch and Charles
Frohman.
Page 307, Pettergill: possibly an error for Pettengill.
Page 314, “At the request of either Dan or Jerry Bryant, ...: there
is no closing quote mark.
Page 319, ... twelve shows a day, seven shows a week: possibly an
error for ... twelve shows a day, seven days a week.
Page 324, Mrs. James Speye: possibly a misprint of Mrs. James Speyer.
Page 340, Pontotlyn: possibly Pontlotyn or Pontlottyn.
Page 359, “As a boy, Master Dove ...: there is no closing quote mark.
Changes.
Illustrations have been moved outside text paragraphs.
Several obvious minor typographical errors corrected silently.
Index and list of illustrations: several names standardised to
reflect the spelling used in the text; some page numbers and
punctuation corrected silently.
Page 2: ... just as he is saying if his wife would show up ...
changed to ... just as he is saying it his wife would show up ....
Page 22: December 6, 1871 changed to December 6, 1791.
Page 30: Julius A. von Vonhurst changed to Julius A. von Bonhorst.
Page 52: ... co-proprietor with “Pony” More ... changed to ...
co-proprietor with “Pony” Moore ....
Page 76: ... the following well-known burnt cork organization ...
changed to ... the following well-known burnt cork organizations ....
Page 88: ... when he had eaten a square real ... changed to ... when
he had eaten a square meal ....
Page 98: ... achieved fame upon the sage ... changed to ... achieved
fame upon the stage ....
Page 99: ... as shrunk in his chair ... changed to ... as he shrunk
in his chair ....
Page 150: Hubert W. Egan is one of the few ... changed to Hubert W.
Eagan is one of the few....
Page 160: Pawtuckett changed to Pawtucket.
Page 183: Excelsion Bone Player changed to Excelsior Bone Player.
Page 196: JOE. CAWTHORN changed to JOE. CAWTHORNE. The common caption
on page 196 for the double-page illustration of pages 196 and 197 has
been moved to page 197.
Page 227: Press Eldridge was born in Philadelphia ... changed to
Press Eldredge was born in Philadelphia ....
Page 234: ... his professional entre’ ... changed to ... his
professional entrée ....
Page 250: Plattville, Wis. changed to Platteville, Wis.
Page 279: ... with Tony Hart in a “Toy Pistol” ... changed to ...
with Tony Hart in “A Toy Pistol” ....
Page 283: ... is not mostly devoted to ... changed to ... is now
mostly devoted to ....
Page 290: Newburg changed to Newburgh.
Page 299: Düerkheim changed to Dürkheim.
Page 304: Portorlington changed to Portarlington.
Page 306: ... the realms of burn-cork amusements. changed to ... the
realms of burnt-cork amusements.
Advertisement for Madison’s Budget: farcial afterpieces changed (in
text) to farcical afterpieces.