Madame Rentz's Female Minstrels

Last updated April 22, 2019

Madame Rentz's Female Minstrels was a blackface minstrel troupe composed completely of women. M. B. Leavitt founded the company in 1870. Unlike mainstream minstrelsy at the time, Leavitt's cast was entirely made up of women, whose primary role was to showcase their scantily clad bodies and tights, not the traditional role of comedy routines or song and dance numbers. The women still performed a basic minstrel show, but they added new pieces that titillated the audience. John E. Henshaw, who began his career as a stage hand with Madame Rentz's Female Minstrels, recalled,

Blackface is a form of theatrical make-up used predominantly by non-black performers to represent a caricature of a black person. The practice gained popularity during the 19th century and contributed to the spread of racial stereotypes such as the "happy-go-lucky darky on the plantation" or the "dandified coon". By the middle of the century, blackface minstrel shows had become a distinctive American artform, translating formal works such as opera into popular terms for a general audience. Early in the 20th century, blackface branched off from the minstrel show and became a form in its own right. In the United States, blackface had largely fallen out of favor by the turn of the 21st century, and is now generally considered offensive and disrespectful, though the practice continues in other countries.

The minstrel show, or minstrelsy, was an American form of entertainment developed in the early 19th century. Each show consisted of comic skits, variety acts, dancing, and music performances that depicted people specifically of African descent. The shows were performed by white people in make-up or blackface for the purpose of playing the role of black people. There were also some African-American performers and all-black minstrel groups that formed and toured under the direction of white people. Minstrel shows lampooned black people as dim-witted, lazy, buffoonish, superstitious, and happy-go-lucky.

"In San Francisco, we had advertised that we were going to put on the can-can. Mabel Santley did this number and when the music came to the dum-de-dum, she raised her foot just about twelve inches; whereupon the entire audience hollored[ sic ] 'Whooooo!' It set them crazy."^[1]
San Francisco, officially the City and County of San Francisco, is a city in, and the cultural, commercial, and financial center of, Northern California. San Francisco is the 13th-most populous city in the United States, and the fourth-most populous in California, with 883,305 residents as of 2018. It covers an area of about 46.89 square miles (121.4 km²), mostly at the north end of the San Francisco Peninsula in the San Francisco Bay Area, making it the second-most densely populated large US city, and the fifth-most densely populated U.S. county, behind only four of the five New York City boroughs. San Francisco is also part of the fifth-most populous primary statistical area in the United States, the San Jose–San Francisco–Oakland, CA Combined Statistical Area.
The can-can is a high-energy, physically demanding dance that became a popular music hall dance in the 1840s, continuing in popularity in French cabaret to this day. Originally danced by both sexes, it is now traditionally associated with a chorus line of female dancers. The main features of the dance are the vigorous manipulation of skirts and petticoats, along with high kicks, splits, and cartwheels.
The Latin adverb sic inserted after a quoted word or passage indicates that the quoted matter has been transcribed or translated exactly as found in the source text, complete with any erroneous, archaic, or otherwise nonstandard spelling. It also applies to any surprising assertion, faulty reasoning, or other matter that might be likely interpreted as an error of transcription.

The company was a success, and by 1871, at least eleven rival troupes of female minstrels had sprung up, one of which did away with blackface altogether. This movement eventually gave rise to the "girlie show".

Notes

↑ Sobel, Bernard (1956). A Pictorial History of Burlesque, 45-6. Quoted in Toll 138.

Related Research Articles

The Virginia Minstrels or Virginia Serenaders was a group of 19th-century American entertainers who helped invent the entertainment form known as the minstrel show. Led by Dan Emmett, the original lineup consisted of Emmett, Billy Whitlock, Dick Pelham, and Frank Brower.

Christy's Minstrels, sometimes referred to as the Christy Minstrels, were a blackface group formed by Edwin Pearce Christy, a well-known ballad singer, in 1843, in Buffalo, New York. They were instrumental in the solidification of the minstrel show into a fixed three-act form. The troupe also invented or popularized "the line", the structured grouping that constituted the first act of the standardized three-act minstrel show, with the interlocutor in the middle and "Mr. Tambo" and "Mr. Bones" on the ends.

Thomas Dilward (1840–1902), also known by the stage name Japanese Tommy, was an African-American dwarf who performed in the blackface minstrel show. He was also sometimes billed as "The African 'Tom Thumb'" and the "African Dwarf Tommy".

The Ethiopian Serenaders was a blackface minstrel troupe from the 1840s. Their first major performance was for John Tyler at the White House in 1844 as part of the "Especial Amusement of the President of the United States, His Family and Friends". After this success, the troupe altered its act to make it more "refined" and to appeal to a higher-class audience than had traditionally patronized blackface entertainment. They billed their shows as blackface "concerts" and added songs of a sentimental, romantic nature, even going so far as to perform pieces from popular operas. In exchange, they cut bawdy, humorous material like that used by the Virginia Minstrels and other troupes.

Jack H. Haverly (1837–1901) or J. H. Haverly was an entrepreneur and promoter of blackface minstrel shows. During the 1870s and 1880s, he created an entertainment empire centered on his minstrel troupes, particularly Haverly's United Mastodon Minstrels and Haverly's Colored Minstrels. Under his guidance, these troupes grew to impressive sizes and featured elaborate sets and costumes. They toured widely, enlarging minstrelsy's audience to encompass the entire United States as well as England. Haverly's methods sparked a revolution in minstrelsy as other troupes scrambled to compete. As the costs of minstrelsy increased, many troupes went out of business.

Billy Kersands was an African-American comedian and dancer. He was the most popular black comedian of his day, best known for his work in blackface minstrelsy. In addition to his skillful acrobatics, dancing, singing, and instrument playing, Kersands was renowned for his comic routines involving his large mouth, which he could contort comically or fill with objects such as billiard balls or saucers. His stage persona was that of the dim-witted black man of the type that had been popularized in white minstrel shows. Modern commentators such as Mel Watkins cite him as one of the earliest black entertainers to have faced the dilemma of striking a balance between social satire and the reinforcement of negative stereotypes.

Haverly's United Mastodon Minstrels was a blackface minstrel troupe created in 1877, when J. H. Haverly merged four of the companies he owned and managed.

Sam Hague was a British blackface minstrel dancer and troupe owner. He was a pioneering white owner of a minstrel troupe composed of black members, and the success he saw with this troupe inspired many other white minstrel managers to tour with black companies.

Francis Leon was a blackface minstrel performer best known for his work as a female impersonator. He was largely responsible for making the prima donna a fixture of blackface minstrelsy.

Primrose and West was the name of a blackface song-and-dance team made up of partners George Primrose and William H. "Billy" West. They later went into the business of minstrel troupe ownership with a refined, high-class approach that signaled the final stage in the development of minstrelsy as a distinct form of entertainment.

Charles Barney Hicks was an African-American advance man, manager, performer, and owner of blackface minstrel troupes composed of African-American performers. Hicks himself was a talented minstrel performer who could sing and play challenging roles such as the minstrel-show interlocutor or endmen. However, he was most interested in the business side of minstrelsy. Over the course of his career, he worked with most successful black minstrel troupes as manager, owner or both. The white-dominated minstrel market proved hostile to a black owner, and Hicks had to travel abroad or manage for white owners in order to make a reliable living. Nevertheless, both white and black rivals came to respect him. One observer in 1891 wrote, "This man Hicks was a dangerous man to all outside managers and they all were afraid of him." In 1912, Hicks was the sole African American listed on M. B. Leavitt's list of "best known advance agents during the last fifty years".

Lew Johnson was an African-American owner and business manager of blackface minstrel troupes composed of African-American performers. His career began in the mid-1860s and spanned 25 years. Johnson is the only black minstrel-troupe owner to have enjoyed any consistent success. This was due to his keeping well away from the lucrative markets dominated by white owners. He primarily toured in the Midwestern and Western United States, playing countless one-nighters in rural settlements. The people in these areas could be racist, which made the itinerant lifestyle a hard one for Johnson and his minstrels. Johnson made a brief venture into the Eastern market in 1886, but his troupe fared poorly and fled back west.

Bryant's Minstrels was a blackface minstrel troupe that performed in the mid-19th century, primarily in New York City. The troupe was led by the O'Neill brothers from upstate New York, who took the stage name Bryant.

The stump speech was a comic monologue from blackface minstrelsy. A typical stump speech consisted of malapropisms, nonsense sentences, and puns delivered in a parodied version of Black Vernacular English. The stump speaker wore blackface makeup and moved about like a clown. Topics varied from pure nonsense to parodies of politics, science, and social issues. Although both the topic itself and the black character's inability to comprehend it served as sources of comedy, minstrels used such speeches to deliver social commentary that might be considered taboo in another setting. The stump speech was an important precursor to modern stand-up comedy.

Rentz may refer to:

Michael B. Leavitt (1843–1935) was an American theater entrepreneur, manager, and producer. He entered show business as a blackface minstrel show singer. By the 1860s, Leavitt had made the leap to management and, following the precedent set by others, was touring variety show troupes in rural areas, billing them as authentic city entertainment. By 1870, Leavitt had made a name in the theater industry by importing acts to North America from Europe. Leavitt's companies toured both the United States and Mexico; he had a corner on the best theaters in the latter. He sometimes worked in partnership with his brother, Abraham Leavitt. Acts he managed include magicians Alexander Herrmann and Harry Kellar.

Louise Linden was a nineteenth-century American saxophone virtuoso. From 1877–1881, when female woodwind and brass players were rare, Linden performed throughout the eastern United States as a soloist in regional theatrical circuits, female minstrelsy, and vaudeville.

References

Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.

[1] Sobel, Bernard (1956). A Pictorial History of Burlesque, 45-6. Quoted in Toll 138.