McINTYRE and HEATH
are beyond all question the greatest duo of black-face delineators of the real Southern darky that the stage ever has or ever will know.
They give an absolutely faithful portrayal of the black man as he really exists.
Mr. McIntyre as a pessimistic coon, and Mr. Heath as the colored gemmen with pronounced optimistic ideas of life, are excruciatingly funny in everything they do; but as the “Georgia Minstrels” their talents probably appear to the greatest advantage.
McIntyre and Heath joined hands in San Antonio, Texas, in the Spring of 1874, at the Vaudeville Theatre. They played many variety and circus engagements until the fall of 1878, when they organized McIntyre and Heath’s Minstrels. A year later they made their first New York appearance at Tony Pastor’s Theatre; their success was instantaneous and pronounced.
In the Fall of 1880 they engaged with the Alice Oates Company, playing “Long Branch.”
In the Fall of 1881 they again headed their own minstrel organization, and the following season McIntyre and Heath’s Specialty Company took the road.
In 1883 they were under the management of Hyde and Behman, and the following season headed their own company under the direction of Primrose and West. In 1886, Spencer, McIntyre and Heath’s Minstrels toured.
Their next important minstrel engagement was with Lew Dockstader’s Company in 1891. Subsequently they played extended engagements with Hyde & Behman’s Company, and Weber and Fields’ organization.
It was with the latter company that their famous “Georgia Minstrels” was first produced at the Gayety Theatre, Brooklyn, N. Y., in August, 1894.
McIntyre and Heath played vaudeville until 1906, when they starred in the “Ham Tree,” a big musical production written, around the talents of these famous funsters. They continued with that play for three seasons. In 1909 they appeared with “In Hayti,” another pretentious musical offering, in which they, of course, played black-face parts.
James McIntyre began his professional career at Chicago in the Fall of 1868, at Pete Kerwin’s, doing a song and dance in black-face; this particular song was called “My Name Was Little Ned.”
The following year he went with Katie Putnam’s Company, where he played Willie in “East Lynne,” and did a double clog with Peter Lester it is now, but at that time, Peter Johnson. McIntyre and Johnson played engagements with McKenzie’s Circus and Burton and Ridgway’s Minstrels and a return to Katie Putnam’s Company.
The Minstrels closed at Indianapolis, Ind., in the Winter of 1871, and Mr. McIntyre met Billy Fleming, and they decided to become pedestrians; they “pedestered” from Indianapolis to Terre Haute, giving performances at the various school houses en route.
Evansville, Ind., was the next objective point, after which Mr. Fleming became enamoured with Mr. McIntyre’s professional attire, and without permission from the latter young man, took them for his own.
* * * Mr. McIntyre’s next engagement was in a livery stable in Henderson, Ky., where he remained two months, during which time he organized an amateur minstrel company from local talent available; they played four nights, the receipts of which were donated to McIntyre to get him a new wardrobe, and a ticket to Louisville.
Several of Henderson, Ky’s. most prominent future citizens blacked up in that memorable year of 1871, among whom were Jeff. Davis, Harry Gilligan, Newton Shaw, John Reichert, Jr., and “Killis” Callender; and when thirty-seven years later McIntyre and Heath returned to play an engagement in the thrifty Blue Grass City, many of those “minstrels of ’71” responded to Mr. McIntyre’s invitation to a banquet, and pleasant recollections were recalled.
Mr. McIntyre subsequently formed a partnership with Mike Butler, and as McIntyre and Butler worked for several months; subsequently William Carroll, (afterwards one of the Miaco Brothers), and Mr. McIntyre were partners.
In the Spring of 1874 he again joined Butler and continued with him until he met Mr. Heath.
Thomas K. Heath first “acted” at Mr. Kit Burns’ Theatorium in New York City, 1867; the salary was $12 per week, most of which has been invested in real estate at Deer Park, Long Island.
Mr. Heath then learned the trade of book binder, and continued at it until he became programmer for Joseph Murphy in “Help”; this was in 1872. That same year he formed a partnership with George Howard, and as Howard and Heath they did a black-face song and dance act, playing the many variety theatres, finally landing at San Antonio, Texas, where he formed a partnership with Mr. McIntyre.
James McIntyre was born in Kenosha, Wis., August 8, 1857.
Thomas K. Heath was born in Philadelphia, August 11, 1853.
Al. Decker (Ladd) entered the profession about 1873 as partner with Walter Gibbs.
A few years later he formed an alliance with Charles H. Yale, doing black-face songs and dances, and pantomimic business. He continued with Mr. Yale for several seasons, and after the latter branched into the managerial field, he also was with him.
Mr. Decker died at Fall River, Mass., January 24, 1898; age 44 years.
Billy Williams (Carmody) ranked with the best of wench impersonators.
His stage experience began at the age of three years at the Front Street Theatre, in Baltimore. Later he did acrobatic work in circuses until 1870, when on September 30, that year, he joined Billy Manning’s Minstrels in Chicago.
 |  |
| EDDIE MAZIER | SAM. LEE |
 |  |
| EARL BENHAM | HARRY JOLSON |
 |  |
| CLARENCE MARKS | ARTHUR GUY |
| THEY’RE WORKING NOW; THAT’S WHY THEY SMILE. | |
He remained with Manning for a long period, and then played the variety houses until 1876, when he formed a partnership with William J. Sully, and as Williams and Sully did a black-face song and dance act for eleven years.
Since which time Mr. Williams did mostly dramatic work. Billy Williams was born in New York, July 1, 1854; he died in Elizabeth, N. J., July 25, 1910.
Patsy Howard, one of the original “Bay State Boys,” made his first appearance as a clog and jig dancer in his native city in 1868, at the old Globe Hall.
September 13, 1869, he organized the above act comprising John Harrington, Jimmy Fitzpatrick, Henry Drummond and Patsy Howard, making their first appearance on that date at the Howard Athenaeum in Boston; they remained there five weeks, doing clog dances. After that engagement they played two weeks at Morris Brother’s Minstrels in the same city. After several variety engagements they returned to their native heath and joined Dougherty, Wild, Barney and Mac’s Minstrels. The four disbanded in 1871, Mr. Howard forming a partnership with Harrington, who took the name of McVickar; Howard that of Sully; they were known as McVicker and Sully until they separated in 1873, after which he formed an alliance with Billy Sully; this lasted a year. Mr. Howard then retired from the profession in 1874, and lived happily ever afterwards.
Patsy Howard was born in Boston, Mass., June 26, 1854.
George Richards, the well-known comedian, for many seasons associated with the late Eugene Canfield, was a member of Emerson’s Minstrels about five years, commencing 1870; he was a regular comic.
Mr. Richards was born in Somerville, Mass., January 3, 1854.
Mackin and Wilson were one of the premier song and dance teams of minstrelsy during a period when that style of performance had its greatest vogue many years ago.
Jimmy Mackin and Francis Wilson (then known as Frank Wilson) were boys in their ’teens when they formed a partnership that lasted for seven years; during which time they played engagements with some of the foremost minstrel organizations of their day.
Their initial appearance as a team was at the Metropolitan Theatre, Indianapolis, Ind., August 7, 1871.
July 1 following, they began a brief engagement with Sam Sharpley’s Minstrels.
Their first New York appearance was at the Comique, commencing September 16, 1872; they reappeared there October 28, following, after which they opened in Chicago with Arlington, Cotton and Kemble’s Minstrels, December 2, same year. They remained with the above organization the balance of the season, and part of the next one, commencing August 26, 1873. September 3, 1874, they began a season’s engagement with Birch, Wambold and Backus’ famous San Francisco Minstrels in New York, after which they joined Emerson’s Minstrels, July, 1875.
Later they were with Hooley, Haverly and Maguire.
They rejoined Emerson’s Company in Detroit, September 30, 1875; January 13, 1877, they left Emerson; and nine days later became members of Sweatnam and Fraser’s Minstrels in Philadelphia.
There Mackin and Wilson decided to head their own organization, and accordingly on the twenty-first day of May, 1877, Mackin and Wilson, Sutton and “Bernardo’s” Minstrels left Philadelphia to win fame and fortune; they did neither. The thrilling account of the trials and tribulations of this little band are best explained in Mr. Wilson’s own letter, which will be found [elsewhere] in this volume.
The name of the company underwent several changes before its dissolution in September, 1877; the obsequies were held in Cleveland, Ohio.
Mackin and Wilson next engaged with Neil Bryant’s Minstrels in New York, opening October 8 following; they closed December 8.
Shortly after this they joined Simmons, Slocum and Sweatnam’s Minstrels in Philadelphia, where they remained until the end of the season, May 11, 1878; this was followed by a supplemental tour, after which Mackin and Wilson separated, each going their respective ways.
James F. Mackin was an exceptionally clever clog dancer and good performer, when with Tom Sullivan he joined Harry McCarthy’s Minstrels in Indianapolis, Ind., September 14, 1870. The team was known as Mackin and Sullivan; they continued with the company until it closed, January 26, 1871.
After separating from Mr. Wilson, he joined the late John D. Griffin in New York, doing a black-face song and dance, week of July 1, 1878; he continued with Griffin a few weeks, after which he became a member of Barlow, Wilson, Primrose and West’s Minstrels; he remained with this company until 1881.
Mr. Mackin played various variety engagements after this until his death.
Francis Wilson first made the acquaintance of burnt cork in his native city in the middle 60’s; Mr. Wilson’s parents was not made aware of the acquaintance until some time later. It was not all honey, and not all jam in those days, as Mr. Wilson will Frankly admit (jest).
It was not until October 29, 1868, that he saw his name in print, for it was on that date that the first performance of the “Amateur Minstrels” at the Assembly Buildings in Philadelphia was given; the entertainment closed with the “Grand Duchess, 2d.” Whether or not Mr. Wilson was the Duchess on this august occasion, history does not state.
After severing relations with Mackin, Mr. Wilson entered the ranks of the Chestnut Street Theatre Stock Company in Philadelphia, where, on September 9, 1878, he played his first part in white-face; that of Cool, in “London Assurance.”
He made rapid strides in his new field of endeavor, and continued as a member of the stock until February 21, 1880; two days later he joined “Our Goblins,” a musical comedy, playing the role of Octavius Longfellow Warbler. Subsequently Mr. Wilson purchased an interest in the company, and played the more important part of Alfred Comstock Silvermine.
August 1, 1881, he began a two weeks’ engagement at the Walnut Street Theatre, Philadelphia, as Moe Jewell, in the “World.”
Mr. Wilson afterwards returned to “Our Goblins,” and he also played Templeton Fake with Annie Pixley in “M’liss.” His subsequent career in light opera and other amusements are too well known to require further mention.
Probably no one man in the annals of theatricals has achieved more in his chosen profession than Francis Wilson.
When Mackin and Wilson dissolved partnership the team were getting a good salary; and when Mr. Wilson applied for a small position in the stock company in Philadelphia he was told he would have to begin all over again; Mr. Wilson, however, was willing; and the weekly stipend was just about 25 per cent. of what he received as a song and dance performer. But Francis Wilson had the courage of his convictions, for he never considered his minstrel and variety days in any other than a school for the talents he later intended to develop.
Mr. Wilson was always a student; and when his companions would invite him to participate in their nightly dissipations, he would politely but firmly refuse; study was more to his liking.
Francis Wilson is a man of letters; the author of “Reminiscences of a Fellow Player,” “Recollections of a Player,” and the comedy in which he is now appearing, the “Bachelor’s Baby.”
Likewise did he write the “Life of Jos. Jefferson,” the “Eugene Field I Knew,” and contributed several short stories to magazines.
He is co-proprietor with Mrs. Wilson (formerly Miss Myra V. Barrie) of the Misses Adelaide and Frances Wilson.
James F. Mackin was born in Providence, R. I.; he died in Sturgis, Dak., May 4, 1883.
Francis B. Wilson was born in Philadelphia, February 7, 1854.
Billy Ginniven, the well known black-face song and dance performer, worked at various times with John E. Henshaw, Charley Gilday, and his wife, professionally known as Frankie Lee, whom he married about 1878.
He died in Denver, Colo., January 11, 1879.
Petrie and Fish formed a partnership in 1876, doing a black-face act.
In 1878 they were joined by Connors and Kelly, and as the Original Four they met with great success in the United States and Europe. They subsequently separated, Mr. Petrie doing an act with his wife in the variety houses, billed as Petrie and Elise, in “Passing the Toll Gate.”
In 1896 Mr. and Mrs. Petrie, with their two sons, formed the Four Olifans, a grotesque act, which they performed successfully for several seasons. Mr. Petrie married Margaret Cockrell in 1880.
Mr. Fish formed one of the team of Fish and Quigg, a “big and little act,” and was very successful after separating from Mr. Petrie.
William O. Petrie was born in Lockport, Ill., in 1855; he died in Chicago, Ill., May 26, 1901.
Fred C. Fish died in New York, December 8, 1900; age 40 years.
BARLOW, WILSON AND RANKIN’S MINSTRELS.
Frankfort, Ky., 25 Years Ago.
Keating and Sands were one of the earliest and best of black-face musical acts.
They formed an alliance in the 70’s, which practically continued until Mr. Sands’ death.
They were said to be the first act of their kind to visit Europe; they played a two years’ engagement there with Hague’s Minstrels.
Subsequent to the death of Sands, Mr. Keating worked with several partners, notably Harry Barton, Harry Leopold and Tom Ardell. He was also of the team of Keating and Harris.
John J. Keating died in Boston, Mass., April 26, 1897; age 43 years.
Edw. Sands (Stanstedt) was born in Boston, Mass.; he died there February 12, 1887; age 30 years.
Murphy and Morton were equally as well known in black-face specialties as they were in white. They made their first appearance about 1874 with Tony Pastor in New York. They played the principal variety houses, and were with such well-known minstrel companies as Hooley’s; Thatcher’s, in Philadelphia; Emerson’s, in San Francisco; Hooley’s, in Chicago; Haverly, same city, and Carncross, in Philadelphia. About 1880, they joined forces with Griffin and Rice, and did a “four” act for about two seasons. All told, Mr. Murphy has spent about twenty years at Carncross’, and half that at Dumont’s Minstrels in Philadelphia.
He has been also associated with Alf. Gibson, and produced Murphy and Gibson’s Minstrels in Atlantic City, N. J., for several years past.
John E. Murphy (DeAngelis) was born in Philadelphia, July 26, 1855.
Jos. Morton (McGarvey) was born in Philadelphia; he died there July 17, 1884; age 29 years.
The highest salary ever drawn by any black-face team in the history of theatricals was paid to McIntyre and Heath.
The Three Rankins achieved enviable distinction for their musical act, which was one of the best. Originally there were four brothers, Carl, Will, Rit and Fitch, and they played an engagement with E. M. Hall’s Minstrels, opening in Chicago, June 29, 1878. In the Fall of the same year Fitch Rankin retiring, the Three Rankins joined Wagner and Cotton’s Minstrels for a short season.
The following year with Lew Simmons, they organized Simmons and Rankin’s Minstrels, and after the dissolution they re-organized as Three Rankin’s Minstrels, opening at Columbus, Ohio, November 27, 1879, and closing same date.
December 20, 1880, they joined Kyle’s “Christy” Minstrels in Boston for a brief engagement.
After the death of Rit his place was taken by John Mosure, and as the “Three Rankins” they played with Leavitt’s Giganteans, in 1882. The death of Will broke up the act, and Carl joined Thatcher, Primrose and West’s Minstrels July 3, 1885. A few weeks after this he left the company to become a partner with George Wilson in his company, which was known as Barlow, Wilson and Rankin’s Minstrels.
Carl Rankin’s last appearance was with Lew Dockstader’s permanent minstrel company in New York, which he joined in 1887.
Carl Rankin had a superb bass voice, and as a comedian had developed into one of the best in minstrelsy. His death was a severe blow to the profession.
Rit Rankin died in Columbus, Ohio, December 11, 1881.
Will Rankin died in Philadelphia, January 31, 1885; age 30 years.
Carl Rankin was born in Columbus, Ohio, October, 1859; he died in Philadelphia, November 25, 1888.
Harrigan and Hart formed a partnership in the Spring of 1871. Prior to this Tony Hart, who was known as Master Anthony Cannon, appeared with various minstrel companies as a ballad singer.
February 26, 1872, they began an engagement with Arlington, Cotton and Kemble’s Minstrels in Chicago. In later years they each played in black-face on several occasions, notably Mr. Harrigan as “Pete.” Mr. Hart was probably the best “genteel wench” that ever trod the boards.
Edw. Harrigan was born in New York, October 26, 1845.
Tony Hart (Anthony Cannon) was born in Worcester, Mass., July 25, 1855; he died there November 4, 1891.
George Robert Guy, the senior member of the famous Guy Family, blacked his face for the first time in 1863, and has been successfully following his profession ever since; and is now fairly in sight of the half-century mark as a minstrel performer. This is a record that is probably unique in the annals of minstrelsy; more than forty-seven years continuously and exclusively as a black-face performer; and the end is not in sight, for those who know, declare George Guy is as alert and active as any performer of half his years.
Mr. Guy’s first appearance was in New York in 1863, dressed as a little clown; the following week at Newark, N. J., he blacked his face for the first time.
About two years later, with his brother Willie, they joined Hooley’s Minstrels in Brooklyn, N. Y., remaining several months, subsequently playing an engagement with Geo. Christy’s in New York.
October 1, 1866, they were at the opening performance of Kelly and Leon’s Minstrels in New York, where Mr. Guy and his brother soon after produced for the first time on any stage, Mr. Guy claims, a “boy and girl” duet, portraits of which may be seen [elsewhere]. Mr. Guy continued with Kelly and Leon for several years, and in the Summer of 1869 went to England with Smith and Taylor’s Minstrels, and later appeared with Moore and Burgess’ Company in London. About 1870 he joined Harry Robinson’s Minstrels, and some months later was with Welch, Hughes and White in Brooklyn, N. Y.
Next came the organization of the Guy Bros. Minstrels; subsequently the Guy Family in concerts, after which the Guy Bros. Minstrels were reorganized, and Mr. Guy has been continuously identified with that company for more than thirty-five years. For several seasons past he has been sole proprietor and manager. Truly George Guy is a monument to the profession he so befittingly represents.
George R. Guy was born in Hartford, Conn., October 7, 1855.