Primrose and West was an American 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. [1]
In 1877, Primrose and West were playing with a minstrel troupe owned by J. H. Haverly. That year, they both quit when their demands for more pay were not met. They formed their own company, which largely copied Haverly's United Mastodon Minstrels with its elaborate sets and visual spectacle. The troupe proved so successful that in 1879, The Clipper gave them a front-page story, treatment normally reserved for famous actors and actresses.
In 1881, the pair became familiar with Sam Hague's British Minstrels, then on a U.S. tour. Primrose and West adopted Hague's techniques of ultra-refinement: Ballet and high-class music played by a large orchestra replaced low comedy and African American-themed song and dance as the main focus, and sets and costumes came to mimic fancy European powdered wigs and eveningwear. Only the (sometimes) blackfaced endmen kept the new troupe from severing its ties to minstrelsy completely. George Thatcher, one of the troupe members who became a partner of Thatcher, Primrose & West (and later had his own troupe), explained later that "We were looking for novelty, and for a change tried white minstrelsy." When Milt Barlow left the troupe in 1882, Primrose and West did away with plantation and blackface material completely. In its place, audiences witnessed such upper-class pursuits as fox hunting, lawn tennis, and yacht racing. Primrose and West had a hit, and they came to be called "The Millionaires of Minstrelsy". [2]
Still, traditional blackface entertainers disliked the new approach. Lew Dockstader remarked that Primrose and West
had refined all the fun out of it. Minstrelsy in silk stockings, set in square cuts and bag wigs is about as palatable as an amusement as a salad of pine shavings and sawdust with a little salmon, lobster, or chicken. ... What is really good is killed by the surroundings. [3]
Nevertheless, Primrose and West's approach caught on, and the blackface act continued only with minor troupes and as a regular fixture of vaudeville.
George Primrose was mentioned in song as "Georgie Primrose" in the "Minstrel Number" during the 1954 movie White Christmas .
The minstrel show, also called minstrelsy, was an American form of theater developed in the early 19th century. The shows were performed by mostly white actors wearing blackface makeup for the purpose of comically portraying racial stereotypes of African Americans. There were also some African-American performers and black-only minstrel groups that formed and toured. Minstrel shows stereotyped blacks as dimwitted, lazy, buffoonish, cowardly, superstitious, and happy-go-lucky. Each show consisted of comic skits, variety acts, dancing, and music performances that depicted people specifically of African descent.
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.
The Ethiopian Serenaders was an American blackface minstrel troupe successful in the 1840s and 1850s. Through various line-ups they were managed and directed by James A. Dumbolton (c.1808–?), and are sometimes mentioned as the Boston Minstrels, Dumbolton Company or Dumbolton's Serenaders.
Christopher Haverly (1837–1901), better known as J. H. Haverly or John H. "Jack" Haverly, was an American theatre manager 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.
Wallace King was an African American blackface minstrel performer from the 19th century. He played with Callender's Georgia Minstrels, and in 1882 was second to only Billy Kersands in pay and popularity. King was a "Sweet Singing Tenor" and known for his emotional, romantic ballads.
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,
"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."
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.
Charles Callender was the owner of blackface minstrel troupes that featured African American performers. Although a tavern owner by trade, he entered show business in 1872 when he purchased Sam Hague's Slave Troupe of Georgia Minstrels.
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 (born Francis Patrick Glassey; November 21, 1844 – August 19, 1922 was an American vaudevillian actor best known as a blackface minstrel performer and female impersonator. He was largely responsible for making the prima donna a fixture of blackface minstrelsy.
Charles Barney Hicks was an American advance man, manager, performer, and owner of blackface minstrel troupes composed of African-American performers. Hicks himself was a 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".
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.
John Diamond, aka Jack or Johnny, was an Irish-American dancer and blackface minstrel performer. Diamond entered show business at age 17 and soon came to the attention of circus promoter P. T. Barnum. In less than a year, Diamond and Barnum had a falling-out, and Diamond left to perform with other blackface performers. Diamond's dance style merged elements of English, Irish, and African dance. For the most part, he performed in blackface and sang popular minstrel tunes or accompanied a singer or instrumentalist. Diamond's movements emphasized lower-body movements and rapid footwork with little movement above the waist.
William H. West was an American blackface performer, known as the "Progressive Minstrel". He was one of the first white owners of a minstrel troupe composed of black performers in the United States.
Lew Dockstader was an American singer, comedian, and vaudeville star, best known as a blackface minstrel show performer. Dockstader performed as a solo act and in his own popular minstrel troupe.
Luke Schoolcraft was an American minstrel music composer and performer. He appeared in numerous minstrel shows throughout the North after the American Civil War.
George H. Primrose was a Canadian-American entertainer who was a minstrel performer in vaudeville. He was one half of the duo of Primrose and West with William H. West.