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.
Master Juba was an African-American dancer active in the 1840s. He was one of the first black performers in the United States to play onstage for white audiences and the only one of the era to tour with a white minstrel group. His real name was believed to be William Henry Lane, and he was also known as "Boz's Juba" following Dickens's graphic description of him in American Notes.
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.
"Old Dan Tucker," also known as "Ole Dan Tucker," "Dan Tucker," and other variants, is an American popular song. Its origins remain obscure; the tune may have come from oral tradition, and the words may have been written by songwriter and performer Dan Emmett. The blackface troupe the Virginia Minstrels popularized "Old Dan Tucker" in 1843, and it quickly became a minstrel hit, behind only "Miss Lucy Long" and "Mary Blane" in popularity during the antebellum period. "Old Dan Tucker" entered the folk vernacular around the same time. Today it is a bluegrass and country music standard. It is no. 390 in the Roud Folk Song Index.
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.
Joel Walker Sweeney, also known as Joe Sweeney, was an American musician and early blackface minstrel performer. He is known for popularizing the playing of the banjo and has often been credited with advancing the physical development of the modern five-string banjo.
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.
Francis Leon 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.
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.
Buckley's Serenaders, also known as Buckley's Melodies, was a family troupe of English-born American blackface minstrels, established under that name in 1853 by James Buckley. They became one of the two most popular companies in the U.S. from the mid-1850s to the 1860s, the other being the Christy and Wood Minstrels.
"Miss Lucy Long", also known as "Lucy Long" as well as by other variants, is an American song that was popularized in the blackface minstrel show.
Francis Marion Brower was an American blackface performer active in the mid-19th century. Brower began performing blackface song-and-dance acts in circuses and variety shows when he was 13. He eventually introduced the bones to his act, helping to popularize it as a blackface instrument. Brower teamed with various other performers, forming his longest association with banjoist Dan Emmett beginning in 1841. Brower earned a reputation as a gifted dancer. In 1842, Brower and Emmett moved to New York City. They were out of work by January 1843, when they teamed up with Billy Whitlock and Richard Pelham to form the Virginia Minstrels. The group was the first to perform a full minstrel show as a complete evening's entertainment. Brower pioneered the role of the endman.
"Mary Blane", also known as "Mary Blain" and other variants, is an American song that was popularized in the blackface minstrel show. Several different versions are known, but all feature a male protagonist singing of his lover Mary Blane, her abduction, and eventual death. "Mary Blane" was by far the most popular female captivity song in antebellum minstrelsy.
George Washington "Pony" Moore was a New York-born British music hall impresario.
John Hodges ; known as Cool White, was an American blackface minstrel entertainer, who wrote or popularized the song "Buffalo Gals", published by him in 1844 under the title "Lubly Fan". There is some dispute as to whether he composed the tune or adapted a traditional air.
Ordway Hall (est.1852) was a theatre in Boston, Massachusetts located off Washington Street in the former Province House. John P. Ordway established and managed the hall, which specialized in "negro minstrelsy," particularly the Ordway Aeolians, his own troupe.
William A. Penno (1843–1929), known by his stage name William A. Huntley, was a composer, music teacher, and vocal and instrumental performer in minstrel and vaudeville traditions. Playing his 5-string banjo before crowds that came to number in the low thousands, he sang in a high tenor and played his banjo bare fingered, picking the strings in a style today named "classic banjo." His published compositions include banjo instrumentals and parlor music. Huntley spent his working life performing and teaching in the off season. He performed throughout the United States and toured Europe as a part of several different minstrel groups. A highlight of his performing career was to play before the Prince and Princess of Wales, about 1880 at Her Majesty's Theatre in London. He moved away from minstrel shows by the 1880s, and "took pride" that he could perform without blackface stage makeup. He focused on building respectability for the banjo, through teaching, composition, and performance recitals. He was featured in the S. S. Stewart Company's catalog and began to play the company's banjeaurine. In 1888 he performed before a crowd of 2,000 people in his hometown, Providence, Rhode Island.
James Unsworth was an English blackface comedian, banjo player and songwriter, who performed in Britain, Canada and the United States.
George Kunkel was an American theatre manager, impresario, actor, singer-songwriter, and playwright. His son, George Kunkel, was also an entertainer who worked as an opera singer and a silent film and stage actor.
