THE
BUSINESS END
OF A
MINSTREL SHOW
BY
ALBERT CARLTON
PUBLISHED BY
M. WITMARK & SONS
NEW YORK Witmark Buildings LONDON
CHICAGO PARIS
Copyrighted 1906 by
M. WITMARK & SONS
New York
International Copyright Secured
PREFACE.
THERE are just three fundamental elements of a minstrel
show Business Management—Stage Management—Talent.
Upon this three-fold foundation rises the superstructure of
a Successful Performance.
The order in which these points appear is the order of their
importance. Each is a complete element in itself; yet each
is interdependent upon the others. They are like the
late Siamese twins, Chang and Eng,—only these are triplets
—united by a vital ligament. That ligament is unity of pur¬
pose—that purpose success.
The Business End of a Minstrel Show is the least in evi¬
dence. It is none the less of the utmost importance. The
"business end" of a bee is quite insignificant—hardly vis¬
ible in fact. But it is none the less vital.
With Stage Management and Talent this booklet has
nothing to do. These two elements of Minstrelsy are thor¬
oughly treated in the Witmark Amateur Minstrel Guide,—
the only volume of the kind ever published.
In these pages Mr. Carlton has filled a long-felt want. Out
of the abundance of his experience the pen writes. And this
too, is the first book of the kind ever issued.
These two volumes cover the entire field of minstrelsy in
all its phases.
All Luch enterprises are divided into two parts which in
professional parlance are called "Behind the Footlights", and
"The Front of the House".
It is hard to say which is the more important. Steam is
useless without a boiler; the boiler is futile without steam.
That is, the Front of the House supplies the place and the
people; Behind the Footlights supplies the players and the
performance.
As above mentioned the stage end of minstrelsy has been
elaborately treated in another volume. This book will be devoted
exclusively to "The Business End".
3
FOREWORD.
For over a score of years, I have been active in the field of
amateur entertainment.
In past years of my work I had to do chiefly with the pro¬
duction, or stage end, which gave me all I could handle.
As is the case with many to-day, I was not awake to the
reality and importance of the "business end".
What brought about this awakening was a certain per¬
formance to which I wish to refer.
I had just brought off a most successful spectacular min¬
strel show for a local organization. Congratulations were
being showered upon me for the great artistic triumph whicli
my boys" had attained.
In the midst of this rejoicing came the thunderbolt out ol
the blue. It was in the person of one of the committee who
said: "In spite of the large attendance we have not made
expenses". Inquiry showed that the finances had been wretch¬
edly handled.
Needless to say, the congratulations sounded like a mock
4
THE BUSINESS END OF A MINSTREL SHOW
5
ery. Then there burst upon me the necessity for a complete
organization before as well as behind the footlights, if am¬
ateur performances were to be financially successful. The
"business end" must be run along absolutely economical
lines—conducted on strict business principles.
When I undertook my next commission for an amateur
minstrel performance, you may be sure I had given careful
and detailed attention to the "business end". I was deter¬
mined not again to be connected with a "Successful Failure".
"A Successful Failure" sounds paradoxical—does it not?
Yet such a thing is not uncommon. An excellent entertain¬
ment may be financial fiasco. Why? Because the "bus¬
iness end" was neglected. Because it was left to persons in¬
competent in that field. Because all the members of the
company concentrated their energies on the performance it¬
self to the exclusion of the business end. Because "Behind
the Footlights" forgot "The. Front of the House".
This latter performance convinced me that I had begun a
new career in the field of Amateur Minstrelsy.—that of all
'round success. In subsequent productions I always have
lived up to a system.
It is that system which I gladly present in the following
pages.
Its very simplicity recommends it.
CHAPTER I.
THE ADVANTAGES OF AN AMATEUR MINSTREL
SHOW.
URING the twenty odd years of exper¬
ience as a promoter of amateur en¬
tertainments, my favorite always has
been and still is, the Minstrel Show.
I find, too, that the experience of
others in the broad field of amusement
enterprises, tends to the same view. The
concensus of opinion, therfore, is that
Minstrelsy is par excellence the
best vehicle through which to obtain the most
satisfactory results.
Let me give a few reasons why it is the most advantageous
form of entertainment:
1—It is the most elastic in cost. It may be moderate or
extravagant—hence suits every purse, meets every financial
condition. It may be costumed gorgeously or in tatters;—
either is equally effective.
There are, of course, other entertainments which may be
presented at a minimum of expense. But with the same outlay,
they cannot compare with a minstrel show in the percentage
of "returns".
Minstrelsy, however moderate the production, is an "en¬
tertainment that entertains". This is due to the splendid
opportunity for introducing "locals" or "personal hits", and
the wide scope for a diversity of talent.
2—It permits of production anywhere. If conditions, either
of place or of purse, preclude an elaborate performance,
a minstrel show may be given sans stage, sans platform, sans
scenery, sans curtain, sans everything save a few necessities.
6
the business end of a minstrel, show 7
This fact alone should recommend it as the best medium
for raising money.
3—An entire Minstrel show may be bought ready made.
In the early days, a "coach" or professional stage director
was a sine qua non: you could not do without him. To-day,
at a mere nominal cost, you may purchase guides and para¬
phernalia so correctly planned, so readily understood, and
above all so appropriate to any grade or style of production,
that a performance is complete—all but the giving—before
the local musician or director calls the first rehearsal. As
with the modern "Skyscrapers", the stone is all cut, the steel
^.11 cast, and "ready to put up" when the parts reach their
destination.
To this end the best efforts of professional authors and
writers, designed for the professional entertainer, have been
adapted, arranged and modified. This has been done by
the foremost promoters and the most experienced adapters
in the amateur field in a concise and intelligible manner.
The result is that tried and never-failing professional mat-
-erial may now successfully be presented with amateur talent.
To further facilitate an amateur minstrel performance,
accessories that heretofore were not to be had, unless made
■to order, are now manufactured for this purpose, and in
-quantities. The prices are within the reach of all. This
is particularly true with regard to such articles for which the
only depot was the theatrical property maker or the cos-
tumer. And even from them they were hard to obtain, ex¬
cepting at prohibitive prices.
In this class may be mentioned such unusual furnishings
as First Part Chair Covers to dress the circle, which are
-now carried in stock and may be bought or rented; various
stage effects, such as Rain, Snow, Thunder, Lightning, Horse
and Railroad effects; Minstrel "End" Collars and Ties, Dickeys,
Comedy Slap-sticks, Cork, Burlesque Jewelry, Costumes and
Decorations, to say nothing of the special properties and ef¬
fects required in the comedy acts.
8 THE BUSINESS END OF A MINSTREL SHOW
I might say here that special scenery can also be made or
furnished at a price within the means of the producer of
amateur minstrels. In fact, such is the case in each of the-
many departments.
Take, for instance, the First Part, with its many different
kinds of minstrel overtures. A large choice of these have-
been harmonized for nearly every occasion, for male and fe¬
male organizations, and with minute directions and full or¬
chestrations, at one-twenty-fifth the cost of specially arranging-
them. This is true also of songs, printed orchestrations, (an¬
other big saving) ; funny stories, gags, and cross fires, all
arranged and classified; finales (musical and comedy),,
and unique specialties for the "Ends".
The Olio or Part Second, with its varied novelties, its
straight and character monologs, its big songs and dances, Its
musical and magic specialties, its up-to-date negro farces and
burlesques, its quartets, sextets, conversation songs, etc., are-
all to be had with full instructions and complete parapher¬
nalia, without any trouble and at small cost.
Then there is the "Afterpiece", which is optional. If there-
are facilities for producing one, it is always a fitting close;
especially if the organization is fortunate enough to have
some really funny comedians. Good sketches, farces and'
burlesques, (some that can be localized,) are plentiful, and the
properties and other materials required are to-day only a,
matter of "placing the order".
When I become retrospective and think of the days when
I was obliged to write, arrange or have made my materials
and properties at an enormous cost and with great worry and
anxi'-ty as to whether my goods ordered from the four corners
of the country would arrive in time to be of use, I appreciate
the modern, up-to-date manner in which the field of enter¬
taining is being catered to to-day. And when I realize that
all materials for all entertainments, no matter what kind,
can be had from one centre, I am really thankful; and so,
I am sure, are my brother-producers, particularly those who.
The business end of a minstrel show 9
like myself, have experienced not a little headache and heart¬
ache when getting up a performance in "the days lang syne."
There is not in a Minstrel performance, that continuity
which necessitates much rehearsing. One does not depend
on the other for lines as in a Play or Musical Piece, or as in
the Musical Review, If a participant should disappoint it
is not necessary to begin rehearsals all over again for his
successor. The understudy or substitute simply learns his
song with the director, or his gags with the interlocutor, and
the show goes on just as if nothing had happened.
For example, on one occasion, when I was rehearsing a
Minstrel first part, I was suddenly, though very politely in¬
formed that for certain reasons, my middleman and the two
principal ends refused to go on. This was two evenings be¬
fore the date set for the performance. While, I admit, it
gave me a set-back for the moment, I did not worry, because
I felt it only involved the three, while in a musical comedy
it would have upset the entire cast and caused a postponement,
We quickly sustituted, gave the performance on time and,
in spite of the unpleasant interruption, it was voted a great
success.
5—A minstrel show permits of more participants and they
can be better satisfied than in any other kind of performance.
This, too, in spite of limited space and in the face of lim¬
ited appropriation.
The drama has its limited cast, which is an objection, in
as much as some members are not anxious to "hide their
light" and become "supers"; especially when they feel that
they can do better work.
There is the same objection to the operatic cast, which
makes it necessary to "cast" some (probably talented) mem¬
bers for the chorus. The only other chance is a Musical
Review, which, being a hodge-podge of local or national events,
invaribly requires a large number of solo participants for
the various skits, satires, etc., and for the large singing and
dancing specialties.
10 THE BUSINESS END OF A MINSTREL SHOW
While I have produced a number of these with gratifying
results it meant as much elaboration and almost as much
expense as a regular professional enterprise. To do this
style of performance justice a large fund is required for new
scenery, costumes and special materials. It requires an
exceptionally clever cast, (it takes the best of our profession¬
al comedians to make a success of burlesque and satire)—
trained singers, most of whom must read music, a profes¬
sional stage director of ability, and principally the right par¬
ty to "author" such a work satisfactorily. Add to these the
nights of hard work at rehearsals and the weeks of prepar¬
ation, and you have only a slight idea of the stupendousness
of such an affair. Of course, the results amply repay if the
entertainment terminates successfully. But the chances are
many against it, while in a Minstrel performance they arc
minimized, and you have practically the same same singing,
the same jokes, the same locals, the same novelties, etc., only
in a different form with which to amuse your audience.
And under this head may be mentioned the fact, (which
should not be lost sight of) that the larger the cast, the lar¬
ger is apt to be the audience, as each member is sure to in¬
fluence some personal following.
6—And conversely to section five, an entire evening's
minstrel performance can be given with a very small coterie
of thespians.
I have seen minstrel parties of five and seven keep a large
audience convulsed with laughter and entranced by their
singing for two hours and a half on a platform with no
scenery and no curtain, the players walking on singing
a chorus or to some instrumental accompaniment—quite an im¬
possibility in any other kind of entertainment given by so
few people.
7—A Minstrel Show is capable of repetition. A perfor¬
mance can be given every season by the same organization in
the same place with the same success, because of the elas¬
ticity of this kind of entertainment. The variations oi styles
THE BUSINESS END OP A MINSTREL SHOW 11
in first parts are almost without number. I know of a great
many first parts, one different from the other, each out of
the ordinary and peculiar to itself, to fit almost any occasion
and event; the suitable music and other materials for which
are carried in stock.
8—From a moral standpoint it is the "safest" performance
to give. For the arrangement of the entertainment and the
selection of the material with which to entertain is in the
hands that control—the organization itself. While in the
other cases, such as operas and plays, particularly so-called
"society" or "Problem" plays the material cannot be so ar¬
ranged, as it is already written and "set" to be played as
directed.
CHAPTER II.
THB BUSINESS END.
HIS little phrase implies a deal more than
is apparent at a first glance. The prev-
valent idea seems to be that, when an
amateur company is organized for the
giving of a Minstrel Performance, all
energies are to be concentrated on the
performance itself, or rather that part
which is known as "behind the foot¬
lights", to the utter exclusion of the
business part of the enterprise. It is just because of such
undivided interest in the one direction that energy and time
have been wasted and unnecessary expenditures have been
made.
In almost every case the intent is to make a financial suc¬
cess of such an entertainment; especially if the receipts are
to be devoted to a charitable purpose, or when it is with
pride that the organization desires to turn over a large sum
of money to decrease the debt of a church, club, lodge or
favored society. Often in professional and in amateur af¬
fairs the gross receipts are enormous; but often also, af¬
ter all items and expenditures, as well as house sharing, have
been deducted the returns are so small as hardly to repay for
the trouble involved. In fact, a collection taken among the
friends of an individual or the members of a society often
bring much better results.
The outcome of my experience as related elsewhere
was, I said, the devising a working system for my
next commission.
At the first meeting of the committee, I made inquiries as
12
THE BUSINESS END OF A MINSTREL SHOW 13
to the executive ability of its members, and after satisfying
myself, I selected my Business Manager to whom I gave ab¬
solute charge of the business end. I informed him that he
liad the full power of his office and that he would be held
responsible for the actions of his assistants, as well as for
his own. His position was clearly defined, and his duties ful¬
ly explained.
He was also given to understand that, first and foremost,
he was to co-operate with the Stage Manager, who had full
charge behind the curtain. Although each was absolute in
his own office, neither was to interfere with the other in the
•discharge of his duty. They were to meet and discuss the
situation from time to time for the betterment of the con¬
ditions looking to the ultimate success of the show in every
■department.
To be more explicit, then, the modus operandi is as follows.
The club or organization elects or appoints a Business Man¬
ager at the same time that the Stage Manager and Musical
Director are selected. The Business Manager is given a
Treasurer and the latter receives his orders from him. The
Treasurer thus appointed may hold the same office for the
organization, or, if he is taking part in the performance, an¬
other member may be appointed by the club to act as Treas¬
urer for the Minstrels. This constitutes the Business Staff;
although it is within the province of the Business Manager
to appoint an assistant, if pressure of business demands it.
The dividing of the duties between Business and Stage-
Managers facilitates a more perfect performance and simpli¬
fies matters so that less time for preparation is required.
The Business and Stage Managers should be allowed to is¬
sue a certain number of passes for services that cannot
very well be bought for cash, for the press and for valuable
favors received such as the loaning of stage furniture, dec¬
orations, etc.; but in all cases the free list should be limited.
The club or organization votes how much money is to
be expended for preparations, advertising, materials, etc.,
14 THE BUSINESS END OF A MINSTREL SHOW
and that amount is at tlie disposal of the Business Manager
until exhausted. In the event of more money being required,
a meeting may be called and, at the discretion of the organ¬
ization, an additional sum appropriated.
It goes without saying that it is to the credit of the bus¬
iness staff to work on as economic a basis as possible but
without jeopardizing the chances of a good performance.
Often the saving of a little money at the wrong time will
have a tendency not only to mar a good show but also to
spoil all chances of future patronage. While I advocate econ¬
omy, I do not wish to be misunderstood, for I do not believe
in stinting any more than I believe in extravagance. Save
judiciously and get the best you can for the least money ex¬
pended.
CHAPTER III.
THE DUTIES OF THE BUSINESS MANAGER.
HE Business Manager receives and an¬
swers all business correspondence which
he signs as business manager. He is
to make all contracts in the name of the
organization, signed by him as Business
Manager of said organization, (or in his
own name, according to whatever un¬
derstanding is arrived at), for the thea¬
tre or hall, license, printing, advertising,
orchestra and (if required) the band. He arranges route and
secures permits from the local authorities for the parade, if
the latter is desired.
Very often parades are made in carriages, in which event
the Business Manager who, with the Treasurer and the Pres¬
ident of the organization, leads the parade, awards the con¬
tracts to the lowest bidder for the best vehicles. It is not ad¬
visable to make a poor showing in parade, as this is likely
to militate against the sale of seats for the performance.
The Business Manager purchases all requirements for the
stage performance; such as tambourines, bones, cork, cos¬
tumes, chair-covers, music, overtures, songs, instruction and
joke books, after-pieces, finales, musical instruments, orches¬
trations, decorations, calcium and other lights. In short,
he finds everything that is necessary for the performance,
whether plain or elaborate, from a list furnished and signed
by the Stage Manager.
He countersigns the order to secure necessities required by
the property man, who, being under the direction of the
Stage Manager, must bring a signed order from him before
the goods are bought.
15
1<> THE BUSINESS END OF A MINSTREL, SHOW
So as not to delay rehearsals, the Business Manager must
place his orders for these goods promptly and keep a record
of the approximate date when materials should arrive, sn
that in case there is a delay he is prepared to take immediate
action and investigate.
In order to avoid confusion in delivery and consequent de¬
lay, the Business Manager must insist upon ordering all the
necessities through his office, whether for the organization or
for an individual taking part, and he alone must carry on
the correspondence pertaining to the same.
To show the importance of this, let me cite ONE OF
THE MANY CASES IN POINT:
Recently a certain supply house received an order from
one member of an organization, and the order was filed un¬
der his name. Owing to a slight delay in the mails, the supply
house received a communication from the same organization
under another signature. Inasmuch as the latter party had
no previous business correspondence with the house, no
card bearing his name appeared in its files, and the tracer
which should have been sent out immediately was delayed
until the first party wrote in again. This is only one of the
simplest complications which can be avoided.
The Business Manager keeps full account of all transactions,
and submits his full reports together with all vouchers and
receipts, at the first meeting after the performance or at
such time thereafter that the organization designates.
The Business Manager is just as essential to a small min¬
strel company as to a larger one. Of course, his duties arr
not so manifold and he can therefore assume the duties of
treasurer, in which case he makes a combined report to his
organization. The Treasurer's duties are specified in the next
chapter.
The conscientious Business Manager loves his work. To
"realize" a success is more to him than the pecuniary re¬
muneration that is in it for him; for no matter what he re¬
ceives, he can never be repaid for the untiring effort, the
THE BUSINESS END OF A MINSTREL* SHOW 17
enthusiasm, the sleepness nights, planning, scheming, hoping
and bending every energy to accomplish that one goal—"the
successful night". There are a few things that haven't "a
price"; and one of them is the disinterested interest of a
conscientious manager; for if he be working for money or
for charity, he strives just the same.
CHAPTER IV.
DUTIES OF THE TREASURER.
HE Treasurer is to receive the money ap¬
propriated by the organization, for which
he receipts. If the amount is large, it
is advisable that he deposit it in sowe
business bank. It is optional with the
organization whether he furnishes a
bond or not.
He is to pay all bills (by check it
possible) that are o. k'd by the Business
Manager, of which he is to keep strict account, and receive
proper receipts.
He is to be "on the door" the night of the entertainment,
either to take tickets himself (if the hall or theatre has been
rented), or to see to it that the house ticket-taker is doing'
his duty. He is not to allow anyone to pass without proper
tickets or passes or an order from the Business Manager.
COUNTING UP.
When the performance is given on sharing terms, the trea-
urer is to "count up" and make settlement with the House
Treasurer (generally about nine or ten o'clock, according to
the hour the performance begins, but always after the per¬
formance has been running about an hour) by the Treasur¬
er first securing what is known as a "rough count from the
rack".—meaning a statement from the House Treasurer of all
tne coupon tickets he has over in his rack, before the boxes
containing the tickets are gathered from the doors. In this
way the Treasurer knows how many tickets are out and makes
an advantageous settlement accordingly. For, on the other
18
the business end op a minstrel show 19
hand, should he open the boxes and count from them first,
he may not find quit a few tickets that were purchased
and paid for at the box office but not dropped in any of
the boxes, because the purchasers for some reason or other
did not use them. After the rack is counted, the boxes are
opened and the coupons are counted. All passes are credited
accordingly to the arrangement made between the Business
Manager and the House Manager, and if the statement made
by the House Treasurer is correct, it is signed by him and coun¬
tersigned by the Organization Treasurer, who collects and
receipts for his share of the takings.
If Club tickets are issued, the Treasurer must have all the
tickets in, or their value in money, before the box office is
opened for the exchange of tickets for reserved seat cou¬
pons. Just before the sale begins, he turns over to the
House Treasurer a list of the club tickets sold, enumerating
how many 50 cent tickets, how many 75 cent tickets, etc., with
cash( which he has taken in) to cover the total, for which
he takes receipt. At "Counting Up", after the rack count
(this first always) the House Treasurer must produce all the
club tickets as per list, or refund the difference before the
box count is taken; for inasmuch as the house coupon tic¬
ket is not used, the profit should go to the organization, be¬
cause many tickets are bought for the benefit of the organ¬
ization which are never used.
If Admission tickets (not reserved) are issued by club
the money is paid to the House Treasurer as in the other
case, but the count is taken from the boxes.
If the hall is rented and the Business Manager and Treasurer
are handling the tickets exclusively between them, it would
be advisable to issue the club ticket only (without exchange)
which would entitle the holder to a designated section, ac¬
cording to price, but in which section no seats are reserved;
—first come first served. This will save double book-keep¬
ing and the cost of an extra set of tickets.
In order to give all his attention to his office, the Trea-
20 THE BUSINESS END OF A MINSTREL SHOW
surer cannot in any manner take actual part in the stage
performance.
The Treasurer receives and deposits all moneys for ticket!
and keeps strict account of same; aisc places tickets on sale
at local (drug) stores, at the club house, and allots to mem*
bers, and makes final collection, for all of which he takei
receipts.
It is also the duty of the Treasurer to make out a full
report of the receipts and disbursements, the cash on hand
and outstanding, and to present it at the first meeting afteff
the entertainment, or at such other time as the organization
may designate.
CHAPTER V.
ADVERTISING THE SHOW.
T matters very little how good your per¬
formance is on the night it is given, if
the people were not convinced of that
fact before it came off. The most neces¬
sary thing to insure success is to sell
tickets—to have a good audience.
If you give a real good show and
have but a small audience, true, you
have a right to expect a larger one the
following year. But do you wish to wait a year for returns?
Do you care to invest money on the chance that it will be
repaid the next year? It has been my experience that a
very general desire exists to have the returns now.
As a consequence, the "publicity" or Advertising end as¬
sumes great importance. To have an audience, people must
be led to think there will be a good performance, one amply
worth while the time and the price. If they believe that, they
will go—yes, and in flocks—and the Treasurer can assume a
complacent smile. But let the opposite be the case—no re¬
ceipts—well, the Treasurer's lot is really a hard one.
So we must devise the means of bringing the dollars to
the Box office; and there's only one person who is respon¬
sible for that end, and that is the Business Manager. It
seems he must bestir himself, even before the rehearsals be¬
gin; for it takes time to get printing, write copy, etc.,—to
say nothing of giving the matter some thought.
If the show were to be given a number of nights, the Stage
Manager would be the vital element, for he would be expected
to give such a meritorious performance as to be its own
21
22 THE BUSINESS END OF A MINSTREL SHOW
advertisement—its own press agent. But such is not usually
the case. As a rule there is but one performance. So some¬
body must convince the public that its going to be worth their
time and interest—and that somebody is the Business Man¬
ager.
It is usually advisable to give the advertising, circulars and
other small printing, etc., or most of it, to the leading local
paper or papers, which have printing offices. They will re¬
ciprocate with advance announcements, special write-ups, and
notices.
Always use plenty of printing—not an extravagant lot. A
neat folder announcing the affair, giving cast and half-tone
cuts of the leading participants, etc., is very effective. Full
sheet posters and window cards are excellent, and above all,
pictorial lithographs.
Lithographs for amateur minstrels are perfected to such
a high degree that amateurs can get at short notice from
certain entertainment supply houses, any quantity they want,
in a wide variety of subjects for a very nominal sum. These
lithographs that are furnished are identical with those used by
leading professional companies, and only require the date
line to be attached, giving the name of your organization, the
time and the place of the performance.
Another paying method of advertising is to use "Minstrel
Postals". These can be procured at a small cost, and when
printed up with an advertisement pertinent to your show,
and sent out in the mail, pull good results.
The lithographs and other printing ordered from out of
town must be in the possession of the Business Manager at
least one week in advance of the time they are required.
It does not pay to wait until the last moment and meet
such contingencies as "out of stock", strikes, railroad delays,
etc.
As good advertising as can be desired is personal interest
and enthusiasm displayed by all taking part, and "mouth to
THE BUSINESS END OF A MINSTREL SHOW 23
ear" announcements of the progress of rehearsals by par¬
ticipants and members of the organization.
A souvenir program is a splendid vehicle, not alone to
swell the fund from the advertisments secured, but to in¬
cite an interest in the affair; for at least everyone who is
approached for an advertisement must know that such a
thing as a minstrel performance is to be given. Thousands
of dollars have bedn realized from souvenir programs which
in turn cost quite a little to get up. The Business Manager
must be careful that the charges for advertisments are not
so low as to run him into debt. He must figure that each
page must bring him a certain profit on cost of production.
Unless a strictly charitable affair, wise program promoters
offer a prize or premium to advertisement collectors, who se¬
cure best results. The cost of premiums must be charged
against program. Premiums must not be too expensive.
Two prizes are sometimes given: one for the largest number
of advertisements secured and the other for the most money
taken in. One person may secure only ten advertisements
but they may all be full pages, which naturally brings in more
cash than a greater number of small advertisements.
To embellish program and announcements use little min¬
strel caricatures, cuts of which may now be had. In a small
way they help to make a good and appropriate showing.
The Business Manager is to write all advertisements, notices
and announcements, prepare the same for the printers and
news papers, write copy for tickets and other matter, and at¬
tend personally to their completion and prompt delivery.
He personally contracts for the distribution of the ad¬
vertising matter, the posting of wall and window printing,
counts and stamps or initials the tickets when delivered to
him from the printer. He, then transfers the latter to the
Treasurer, whose receipt he takes If he is sharing with the
theatre he must acquaint himself with the capacity of the
house and post his treasurer accordingly.
CHAPTER VI.
ARRANGEMENTS ABOUT THE HALL.
HE Business Manager secures the place
for rehearsals and he sees to it that the
proper scenery or stage setting is furn¬
ish by the theatre management in proper
time.
It is advisable when making arrange¬
ments for a hall, to rent, if it can be
done profitably. Of course, if a hall or
theatre is rented, generally all other
expense, such as the orchestra, license, programs, bill posters
and in many cases the lightning devolves upon the organi¬
zation. After carefully comparing figures and advantages it
is the duty of the Business Manager to decide whether to meet
the rent proposition with the other expenses, or to make
good terms on a sharing basis whereby the House Manager
assumes all or part of these expenses, as he would do were
he sharing with a professional theatrical company.
Arrangements may be made whereby a theatre or hall can
be rented and in the rental price be figured the house ex¬
penses as above enumerated, which often is better plan than
sharing. Of course, if the Business Manager is clever he
will first ascertain the best sharing terms that theatrical
companies receive in his city, and if his affair is to be given
for a charity, he will try to get even better terms. Under any
circumstances, whether renting or sharing, he should try to
get better terms by emphasizing to the House Manager the
importance of his organization's patronage. The shrewd
manager will see the force and justice of this kind of an
24
the business end of a minstrel show 25
argument when diplomatically presented and make concessions
accordingly.
In making the arrangements, especially in the larger cities
where several halls or theatres are available, some discre¬
tion should be used in the choice. There are many points
of desirability or otherwise to be thought of.
Each house has its peculiar reputation and is identified
with certain forms of amusement.
Every hall or theatre has a certain clientele
beyond which it is very difficult to draw. You cannot always
rely upon your personal following to fill a house To a cer¬
tain and often large extent you must appeal to the general
public for patronage.
As a general proposition—other things being equal—the
best house in town is the house you want. A secular or¬
ganization, such as a social club, lodge, etc., should act on
this proposition.
On the other hand, a religious organization, expecting to
draw from a single church alone, can go most anywhere.
Charity entertainments had best be given in the best places
available, as in the majority of cases they appeal to the
public at large for support.
Again, that is not always the cheapest hall which may be
rented for the fewest dollars. There is such a thing a&
being "penny wise and pound foolish".
I know of more than one case where an organization, de¬
siring to economize, secured the cheapest hall it could find.
Then, before the performance took place, it became necessary
to spend more money in making it presentable and usable
than if they had rented the best equipped place in town.
Plumbing was out of order, lighting bad, poor acoustics and
entrance dark and gloomy.
Another point. It may that in your town there are two
or more houses whose managers are anxious to play your
attraction. Here is the chance for the Business Manager to
26 THE BUSINESS END OK A MINSTREL SHOW
display his acumen and ability by securing a "certainty"
guarantee.
That is, he has the House Manager guarantee a certain
amount to the organization. This sum is to be paid the
company in the event of the shows percentage not equalling
that amount. The company receives its percentage also on
all amounts over and above this guarantee.
In this same connection, it is hardly necessary to say that
when two or more houses are after the attraction, the Bus¬
iness Manager, of course, signs with the one offering the
highest "certainty"—other things being equal; and "other
things" referring to location of house, its reputation, equip¬
ment, etc. The securing of a house being a purely business
matter, the selection should cause no ill feeling.
All the above mentioned points have to do only with se¬
curing the house on the sharing basis.
In conclusion, it might be well to give a list of "who furn¬
ishes what" on the sharing plan.
The Theatre furnishes:—The house, well lighted and clean¬
ed ; stock scenery, stage-hands, carpenters, gas man, elec¬
trician, etc., ticket sellers, doorman, orchestra, or piano (tun¬
ed) ; house programs, license, bill board posting, distributing
of heralds or dodgers, etc., news-paper "ads.", properties, cou¬
pon tickets and looks after advance sales of tickets.
The organization furnishes:—The company, the entertain-1
ment, special scenery, and light effects, perishable properties,
all printed matter (not above specified) lithographs, etc.
CHAPTER VII.
AS TO THE SALE OF SEATS.
N the event that the theatre cannot issue
house coupon tickets early enough for
the Club's distribution, the Business
Manager can have printed a club ticket
that may be exchanged at the box of¬
fice for a reserved seat coupon ticket on
the morning of performance day. When
printing a club (exchange) ticket, be
sure to add to the regular matter an
announcement regarding the exchange on the following or¬
der : "This ticket entitles holder to one 50 cent reserved
seat if presented at box office on the morning of performance,
after nine o'clock" or, "Exchange this card for a SO cent
reserved seat coupon at box office, morning of performance
after nine o'clock."
Of course if the price of the seats vary, then corresponding
club tickets must be varied, and it would be advisable to
have a different color ticket for each price so as to avoid
confusion. Viz:—White for admission (if used); Pink
for SO cent; Blue for 75 cent and Grey for $1.00. Care must
be taken in "counting up" that the right amount of club
tickets must be in the box office to cover the coupon tickets
that was exchanged for same.
The Business Manager must always arrive at some under¬
standing with the House Manager as to the amount of pass¬
es that may be issued by each. The issuing of "paper" is
not advocated, unless absolutely necessary. You cannot pay
bills with passes and the success of your show is oftimes
judged by the number of passes you give away.
27
28 THE BUSINESS END OF A MINSTREL, SHOW
In selecting places for the sale of seats, it is the best pol¬
icy to choose those places where seats are usually sold for the
best performances which play the town.
In case of rental, and the house does not furnish the tickets,
a very nice ticket can be printed by your local job printer.
Here are several points which should be kept in mind:
The price should be on all tickets.
Different price tickets should be in different colors.
When you rent your place of performance, your own man
should invariably be in the Box Office.
Also when renting, always use your own Door Checks.
CHAPTER VIII.
ADDITIONAL PERFORMANCES.
F the entertainment is a success, with
the sanction of the organization the
Business Manager can arrange to have
performance repeated, either in his own
city, or by booking a tour of the neigh¬
boring towns. In this latter case he must
add the office of "advance man" to his
other duties and arrange for railroad
fares, transportation of baggage and
hotel accommodations. Certain hotels offer theatrical rates.
He can make all preliminary negotiations by mail, such as
arranging terms with theatre, the hotel, sending advance no¬
tices, etc. Of course, he cannot expect as good terms as at
home, but it does no harm to try for them. He can then
visit all the towns about ten days ahead, to complete arrange¬
ments and sign all contracts, while his assistant remains with
and takes charge of the company in conjunction with the trea¬
surer. If he has a trusted and clever assistant, the latter
can "go ahead" to look over the ground and agitate pub¬
licity in behalf of his company, after the Business Manager has
made the preliminary announcements and has instructed him
fully what to do.
29
CHAPTER IX.
THE EVOLUTION OF MINSTRELSY.
HE man who hath not music in his soul,
and is not moved by a concord of sweet
sounds, is fit for treason, stratagem and
spoils.
Man has always been more or less
swayed by music, and his destiny has of¬
ten hung in the balance and finally been
decided in an antipodal direction by a
sweet strain of music, or the sound of a
voice awaking tender memories from a lethargic slumber.
So close is music associated with our very existence in
these latter days that it is difficult to conceive of a time
when life was and music was not. One of the earliest modes
of expressing music was by the harp, and one of the first
minstrels mentioned in history is King David, who in his
pastoral days as a shepherd composed many beautiful psalms,
and was called in the bible the "sweet singer of Israel".
Again, in the days of Alfred the Great, King of West Sax¬
ony, prior to the year 1,000, when Alfred was forced to flee
he disguised himself as a strolling minstrel, and was conse¬
quently treated as such. But the genuine minstrel became
prominent in England after the Norman Conquest. At first
they were professionals and composed their ballads which
they sang, to the accompaniment of their own instruments.
The man who was gifted with the poetic spirit, and a mus¬
ical voice to give expression to his thought, naturally turned
towards the profession of minstrelsy, even though he were
of high degree. In the fifteenth century, however, Hot alone
the man of talents but the idle vagabond, rogue or worthless
30
the; business end op a minstrex show 31
fellow, essayed to be a minstrel and instead of original verse
makers they became ordinary story tellers and buffoons.
It must be remembered that when this form of minstrel¬
sy was in its palmiest days there was little traveling done,
and what was done from necessity or through an adventur¬
ous spirit was at the risk of life and limb. Stage coaches
were unwieldy, slow and cumbersome, and were subject to
highwaymen and robbers, or of being overturned on dark and
perilous roads. Horsemen were liable to attack and slaughter
so that the castle and the lord welcomed the daring, venture¬
some traveling minstrel as an entertainer, a purveyor of news,
an enlivener, and one who relieved the tedium of weary
hours.
Traveling did for the minstrel what it has continued to do
ever since,—broadened man's mind and made keen his wit,
so that he appeared as a hero, at least to the gentler sex. The
tender of the drawbridge never refused him entrance, nor the
lord of the castle a cozy corner with abundance of food and
drink. With flames roaring up the fireplace, and with a gen¬
erous supply of home-brewed ale in the tankards, from the
King to the lowest retainer all were ready to give ear to
the utterance of the man from the outside world, who was
waiting to disseminate the knowledge he had gathered since
last he had sat at their board.
Rich gifts rewarded the minstrel's efforts, unless perchance
the owner of the castle or manor house was an unusually
surly person, or who had the gout which caused him to re¬
call by its twinges that life was not all merrymaking and
song. Bright eyes, too, always flashed a welcome to him
who could tell more entrancing tales, and sing more potent
love songs than any other retainer within.
Without opera house, theatre or music hall in those days,
the minstrel was obliged to find his audience. As the people
could not go to him he was forced to seek an outlet for his
talents and incidentally as soft a berth for himself as his
charms could command.
32 THE BUSINESS END OF A MINSTREL SHOW
In France and Italy the minstrel was known as a trouba¬
dour, and was considered the originator of a kind of lyric,
the subjects of which were love, chivalry, etc. Men of hi^h
stations, even Knights became troubadours, and cultivated
the high arts of music and poetry. They were held in high
esteem, but with them also the art declined. In Provence
still ancient customs and traditions prevail amid the roses
and the vineyards, notwithstanding they are keenly alive to
modern money values.
From the troubadour descended the trouvere, an epic poet
who flourished from the 11th to the 14th centuries. Oliver
Wendell Holmes declared that "it is to them we look for
the true origin of our modern literature".
In Germany, despite slow and stolid natures, the people
have ever been open and receptive to music. In the 11th
and 12th centuries the Minnesaenger sang in Swabian high
German of the fickle springtime, of nature and of the lady of
his heart. Often he was of Knightly rank, and his music
was complicated and difficult, while sweet and alluring. His
patrons were men of influence including some of Austria's
Dukes.
So if the profession of the minstrel declined, the desire
of the people for entertainment but increased the more.
Gleemen and choristers in England have always been approv¬
ed of, and still go round on special occasions, notably on
Advent Night, singing their carols and receiving gifts. In
our own country the picturesque negro of the South, with
his overflowing spirits and his natural love of rythm and
melody, sitting at the door of his little cabin, twanging his
banjo, or up at the big house where his services were called
into requisition to make music for the dance, he may be
said to have been suggestive of American minstrelsy.
The field for the Negro Minstrels, as they were termed,
proved a broad one, and the companies formed, met with un¬
paralleled success. The theme of their songs was of the
plantation and of the slavery days, interpolated with jokes and
the; business end op a minstrei, show 33
laughter. This unique form of entertainment proved a tri¬
umph of the director's skill and art, and the minstrel show
has ever continued on its uninterrupted and prosperous course.
In the earliest organized companies the orchestra was not
a separate and distinct part of the company as it is to-day,
but every member played and sang. Madrigal boys also took
part in these programs and were a very pleasing feature.
While ever mankind loves music, song, and merry jest,
and seeks to find these pleasures in their cleanest and most
acceptable amusement form, just so long will Minstrelsy flour¬
ish—and that is forever.
Minstrelsy though one of the oldest forms of entertain¬
ment, like love,—will never grow old—will never die.
Many who are now famous in Drama and Opera began
their stage career and won many of their triumphs with "The
Minstrels," and some of the best comedians of our day
are still, or have been minstrels.
Of those who have done much to develop, and bring up
to its present high standard, this form of entertaining, no one
is better known, loved, and looked up to as an authority,
than is Mr. Frank Dumont to whom I am indebted for
many of the points in this little volume, and who has writ¬
ten, from the marvelous amount of data ,etc., he has collected,
the very interesting, though brief history of minstrelsy that
makes up the next chapter.
CHAPTER X.
A CONCISE HISTORY OF NEGRO MINSTRELSY
FROM ITS ORIGIN TO THE PRESENT DAY.
By Frank Dumont.
HE first minstrel troupe appeared in pub¬
lic January 31, 1843. They appeared
for the benefit of one of their number
Dick Pelham. The troupe comprised
just four: — Dan Emmett, the author
of Dixie—Frank Brower Bones dancer
and comedian, Billy Whitlock, ban joist
and dancer, and R. W. Pelham (Dick)
who played the tamborine and danced,
also. The four had been connected with circus companies—
introducing dancing and negro songs in the ring, and meeting
in the winter of 1843 they conceived the ideal of merging
their talents for the benefit of their brother performer, Dick
Pelham, who was appearing between the acts in the Nation¬
al Theatre, Chatham Street, near Roosevelt—afterwards known
as Purdy's National Theatre. Previous to this, individual
singers of negro songs had appeared, notably "Daddy" Rice
who sang "Jump Jim Crow" and from whom the segar
store figures "Jim Crow" and at present the "Jim Crow" cars
of the South got their name and are still re¬
minders of that great and popular exponent of
negro songs and dances. But it remained for
Emmett, Brower, Whitlock and Pelham to organize and pre¬
sent the very first minstrel troupe in the world. I have the
program of this initial performance (perhaps the only one
in existence) and the songs and dances it contains are of
34
the business end of a minstrei* show 35
the plantation variety entirely, viz: "Such a gettin' up stairs",
"My old Aunt Sally," "Gwine over de Mountain," "Old Dan
Tucker," "I wish I was in ole Virginia," "Dance de Boat¬
men Dance." Then a trial breakdown or a jig dance enliv¬
ened the bill, and a banjo solo such as the "Coon Hunt"
"Buffalo Gals Are You Coming Out To-night" or "Jordan am
a Hard Road to Trabble." This made up a bill which prob¬
ably lasted a half hour. The novelty was so pronounced
and so successful that the four, who called themselves the
"Virginia Mintrels" appeared the night following at the
Bowery Amphi-Theatre which was located about where the
Windsor Theatre is situated, nearly opposite the old Bow¬
ery Theatre. The four went on a short tour as far as Bos¬
ton and sailed for England, where they took London by storm.
Meanwhile other negro performers or "Negro singers" as
they were then called, formed bands and the minstrel troupes
began to multiply and flourish. One of the earliest was the
"Congo Minstrels" organized by the Buckleys, father and
three sons, Bishop, Fred and Swaine. They were very tal¬
ented and thorough musicians. They were the first to har¬
monize the negro melodies and songs. Several years af¬
terwards they travelled under the name of "Buckley's Seren¬
ades." Fred Buckley was a composer of note. He was the
author of nearly all the popular songs of his day. He was
the first to introduce an intrument called the melophone,
an instrument of great compass and sweetness. In shape
it resembled a guitar, with 84 keys in its handle connecting
to steel reeds in the body of the instrument. This instru¬
ment is now in my possession. About the time the Buckleys
began to attract attention, a banjoist by the name of E. P.
Christy organized a small troupe in Buffalo. This was about
1845 or 1846. They did not at first call themselves the
"Christy Mintrels," but a year afterwards their bills announc¬
ed "Christy's Minstrels".
A wonderful genius by the name of George Harrington
was with this troupe. He afterwards became famous as
36 THE BUSINESS END OK A MINSTREL SHOW
George Christy. This troupe appeared about 184o at the
Society Library Rooms, New York, and next at Palmo's
Opera House, Chambers Street, near Broadway.
In 1847 they opened at 472 Broadway, Mechanics Hall, and
remained there until 1854.
Christy retired wealthy, but at the beginning of the war,
1861, he began to fear the loss of his money and securities,
and in a moment of dementia hurled himself from an upper
window. He lived but a short time afterwards, and died,
universally regretted. He was the greatest actor, dancer,
singer and burlesque artist of his time, and is ever mentioned
in connection with minstrelsy.
Ramsey and Newcomb, also the Campbells Minstrels flour¬
ished for a decade before the war. All the minstrels of note
were with these troupes. Jerry Bryant, W. W. Newcomb,
Frank Brower, Eph. Horn, Matt. Peel, Luke West, Sam
Wells, Dave Wambold, Pony Moore, Fred Wilson, Tim
Noron, Billy Birch, Ben Cotton, John Mulligan, Dave Reed,
J. R. Thomas, the composer, Hughey Dougherty, Paul Ber¬
gen, M. Ainsley Scott, Billy Arlington, Kelly and Leon, R.
M. Hooley, C. W. H. Griffin, Cool White, S. S. S inford,
Archie Hughes, and others.
Wood's Minstrels began at 444 Broadway about 1851, succeed¬
ing Fellow's Minstrels. Charley White had a Minstrel Hall,
at 53 Bowery, where all the famous minstrels appeared. Sam
Sharpley and Ben Cotton were located at 514 Broadway.
The Bryant's Minstrels opened 472 Broadway on February
23, 1857, and remained there many years before going up
to Tammany Hall (Pastor's Theatre). Dan Emmett wrote
"Dixie" for a walk around, in 1859 During the Civil War
the confederates took the song as a "War Hymn." One line
in it made it dear to the southern heart "In Dixieland, I'll
take my stand to live and die in Dixie." The great singers
of the Bryant's were Tom Pendergast, Dave Wambold, Jules
Stratton, C. C. Templeton, S. C. Campbell, J. W. Ililton,
the business end of a minstrel show 37
Napoleon W. Gould, Ainsley Scott, Frank Leslie, Charles
Henry, W. P. Grier, Master Adams, Rollin Howard, etc.
It is strange to look back over the old collection of songs,
and see the evolution both in minstrelsy and the style of
ballad long before the war. Such songs as "Cottage by the
Sea," "Rock me to sleep, Mother," -"Old Dog Tray," "Belle
Brandon," "Willie we have missed you," "Rosalie the Prairie
Flower," "Bonnie Eloise the Belle of the Mohawk Yale,"
"Annie Lisle," "Annie of the Vale," "Nellie Gray," "Nelly
was a lady," "Nancy Till," etc., were great and popular
songs. Then came the war, with its ballads, "When this Cruel
War is Over," "Mother Kissed Me In My Dream," "Brother
Fainting at the Door," "Tramp, Tramp," "Rally Round The
Flag," "Tenting To-night," and "Babylon Is Fallen." Then
came another change in which the titles of songs were
about a sweetheart's name and she invariably died in the
second verse. Then came a swarm of "Mother Songs" all
about mother. But one song was written about father,
and that was called "Come Home Father" and as Billy
Birch used to say "they had to get the old man drunk before
he would go home."
Kelly and Leon's Minstrels were at 720 Broadway for quite
a while beginning about 1866 or '67. Birch, Wambold, Bern¬
ard and Backus opened 585 Broadway in April, 1865 and
became the most popular troupe ever located in New York. They
continued popular as ever up to 1883. In this troupe were
some of the greatest singers and comedians in the world.
Billy Birch, Charley Beekins, Dave Wambold, George That¬
cher, Billy Sweatman, Bob Slavin, Johnson & Powers, Edwin
French, T. B. Dixon, J. P. Witmark, Arthur Cook, C. F.
Shattuck, W. H. Frillman, Frank Wilson, Harry Roe, W. S.
Mullaly, Frank Dumont, Harry Kennedy, Harry Richmond,
Stanley Grey, J. M. Woods, Beaumont Read, A. C. Moreland
and a host of talent including Schoolcraft and Coes, Frank
Cushman, the Only Leon, the Big Four, and Ricardo were
members.' The early minstrels appeared in striped pants,
38 THE BUSSINESS END OF A MINSTREL SHOW
checked shirts, and sometimes wore straw hats intending to
represent plantation darkies. Later on they appeared in even¬
ing dress and announced themselves as "Dandy Darkies Of
the North". This portion is the one now retained as the
first part in minstrelsy. Ordway's Minstrels were located
in Boston from 1849 to about 1860. Fred Wilson was the
first to int oduce a clog dance in minstrelsy. With them
was Gilmo e's Band; P. C. Gilmore playing the tambor-
ine. Then the Morris Brothers were their successors. The
first to we; r the full evening dress, swallow tail coats, white
vests and black pants were Dumbolton's Serenaders who
flourished from 1845 to 1850. Jerry Bryant and Matt Peel
were members of this company.
When E. P. Christy went to England the name survived,
it being applied to any and all minstrels; our English cou¬
sins calling them "Christies."
In later days we have had some very popular minstrel
companies, the progenitors of these companies have brought
modern minstrelsy up to a very high plane, and have yet
retained all of its original charm.
Among the most notable of these are Al. G. Fields Min¬
strels, a popular organization known from coast to
coast as the exponent of all that is best in minstrel¬
sy; Ilaverly's Minstrels (everybody knew and loved Col
Jack Haverly whose famous "forty, count'em" is
known wherever minstrels have played) ; Lew Dockstader's
Minstrels, headed by Lew Dockstader whose personal mag¬
netism is wonderful and who stands at the front in humor¬
ous monologs and coon songs; McNish, Johnson & Slavin's
Minstrels; Barlow, Wilson, Primrose & West's which later
became Thatcher, Primrose & West's, then Thatcher with¬
drew to give us his Minstrel Novelty "Tuxedo" of pleasant
memory, and Primrose & West minstrels continued together
under that title; Then Primrose's Minstrels with George Prim¬
rose at their head and West's Minstrels, New Orleans Min¬
strels, Gorman Bros. Minstrels, Vogel's Minstrels, Otis Sun's
The business end oe a minstrel show 39
Minstrels, Richards and Pringles, Kersands Minstrels, and
many others have been continually before the public.
For permanent Minstrels, New York, Philadelphia, San
Francisco, and London claim the honor of long contin¬
ued runs.
In New York, the San Francisco Minstrels had an unin¬
terrupted course of prosperity and fun for many years. In
San Francisco, Billy Emerson's Minstrels played a long con¬
tinued engagement. In London a theatre that could boast
of not closing its doors for 28 years on this favorite form
of amusement. Here the famous Moore & Burgess Min¬
strels held forth. In Philadelphia, Sam Cartee leased the Elev¬
enth Street Opera House and opened it on December 4th,
1854, with the "Julien Seranaders" or Minstrels." Then
came Sandford's Minstrels, and in 1862 Carncross and Dix-
ey and their Minstrels, opened there and continued until about
fifteen years ago, when the famous old home of minstrelsj
passed under my control, and here "Dumont's Minstrels'
hold forth mightly.
Some of my singers and comedians have been with me
ten years or more, and from this stage graduated Chaunce\
Olcott, Eddie Foy, Jack Raffael, John C. Rice, George Fro-
thingham, Daly Brothers, Lew Dockstader, Carroll John¬
son, Press Eldridge, Weber and Fields, W. P. Sweatnem,
and many, many others, some of whom have long since
been "gathered unto their fathers," while others are still
spreading their gospel of sunshine.
The Institution of Minstrelsy is upon a firmer footing to¬
day than ever before, and many thousands of dollars are
expended for the scenery, costumes, and electrical effects
which give it its present grand spectacular setting and which
tend to make it more popular than ever.
SOME SUGGESTIONS FOR COSTUMED MINSTREL
FIRST PARTS.
(First seven from the "Witmark Amateur Minstrel Guide".)
"Our Navy" (Marine) Male.
"Our Boys in Camp" (Military) Male.
"Our Girl Graduates" (College) Female.
"The Lawn Party" (Summer) Mixed.
"Uncle Tom's Cabin" (Plantation) Mixed.
"Congress of all Nations" (International costumes)
Male, Female or Mixed.
"Shakesperian Carnival" (Character) Male.
"In the Far East" (Japanese or Oriental)
Male, Female or Mixed.
"On the Campus" (College) Male.
"The Land of the Free" (Patriotic)
Male, Female or Mixed.
"Dear Old Ireland" (Celtic) Characters Male.
"In the Land of Cotton" (South before de war)
Male, Female or Mixed.
"Hoch! Der Vaterland" (German)
Characters Male, Female or Mixed.
"Good Old Songs" (Songs impersonated by characters in
costume, i. e., "Ben Bolt", "Nellie was a Lady", etc.,)
Mixed.
"The Sporty Boys" (Character) Male.
"The New Women's Club" (Character) Female.
"Land of the Midnight Sun" (Eskimo)
Male, Female and Mixed.
"Kitchen Belles" (Cook, Laundress, Waitresses, Maids)
Female.
40
THE BUSINESS END OF A MINSTREL SHOW. 41
Court of Napoleon" (French characters) Mixed.
The Opera Club Reception" (Characters from the prin¬
cipal grand operas) Male or Mixed.
NOTE:—Mr. Carlton will be pleased to go into further
detail regarding any of the above first parts, and to
give all the suggestions required to assist the stage
director to "realize" the same. He will be glad also
to advise with any director or organization regard¬
ing a unique First Part to suit a special or unusal
occasion.
THE PUBLISHERS.
Don't Invite Failure
When the Investment of One Dollar Insures
You Against the Loss of Hundreds.
The Artistic Success
OF AN
Amateur Minstrel
Performance
Depends Upon tlie Stage
Manager.
The "Guide" is the
Best Minstrel Stage
Manager Available.
" IT TAKES GOOD TOOLS TO DO GOOD
WORK."
Order a Copy Now and Be Prepared.
CREST TRADING CO.,
144' West 37tH Street, New YorK.
PRICE |l OO POST-PAID
Advertise Your Show
OOOD LITHOGRAPHS WILL
DO THE WORK.
We Carry a Complete Line, All Sizes and Designs. Prices
on Application.
A NEW MINSTREL ADVERTISING FEATURE.
"CREST" MINSTREL POST CARD.
FILL THEM OUT AND SEND TO FRIENDS.
A Sample Package, 12 Original Designs, for 2 Cent Stamp
ORIGINAL « MINSTREL CUTS," LARGE AND
SHALL,
FOB PROGRAMS, NEWSPAPER ADS, LETTER
HEADS, ETC.
Send for Catalogue No. 66.
CREST TRADING CO.,
144 Crest 37th Street, New YorK.
WHEN THE SUBJECT IS
AMATEUR MINSTRELSY
THERE IS NOTHING ELSE IN SIGHT
FROM THE
BEGINNING TO THE END
BUT
"CREST TRADING."
WE SUPPLY EVERYTHING,
FROM THE
BURNT CORK TO THE DROP CURTAIN,
WITH A
A COMPLETE LINE OF GRAY MATTER, ON HOW
TO DO EVERYTHING.
You Can Use All, or a Portion, As
Occasion Demands.
CREST TRADING CO,,
1 Ar4r West 37th Street, New YorK.
niNSTRELSY.
OVERTURES AND OPENING CHORUSES, GAG AND
JOKE BOOKS.
MEDLEYS, SONG BOOKS, QUARTETS.
FIRST PART AND SPECIALTY SONGS AND
ORCHESTRATIONS.
SONGS AND DANCES.
PORTRAITS OF FAMOUS MINSTRELS,
INTERLUDES, FARCES, BURLESQUES.
" CREST » STUMP SPEECHES AND PARODIES.
SKETCHES AND AFTERPIECES,
FIRST PART COMEDY AND MUSICAL FINALES.
ILLUSTRATED SONGS.
SUGGESTIONS FOR PROGRAMS.
Wigs, Bones, Tambos, Burnt Cork, Jfowtiers, Urease
Paints, Scenery, Clogs, Slap-Shoes, Slap-Sticks,
Fancy Shirt Fronts, Costumes, Bladders, Spank¬
ers, Stage Diamonds, Wood Crashes, Chair Cov¬
ers, 'Horse Effects. Cake-Walk Canes, Gloves,
Fans, Zobos, Vocophones, Kovelty Instruments.
Etc., Etc., Etc.
COMPLETE CATALOG ON APPLICATION
All Stage Paraphernalia and Accessories,
EVERYTHING IN EVERY DETAIL.
CREST TRADING CO.,
14-4 West 37tH Street, New YorK.