A still more successful couplet brought a still more tempestuous response, and the invocation of the baggage-carrier was unheard and unheeded. Driven to desperation, and forgetful in the emergency of every sense of propriety, Cuff, in ludicrous undress as he was, started from his place, rushed upon the stage, and laying his hand upon the performer’s shoulder, called out excitedly: “Massa Rice, Massa Rice, gi’ me nigga’s hat—nigga’s coat—nigga’s shoes—gi’ me nigga’s t’ings! Massa Griffif wants ’im—STEAMBOAT’S COMIN’!!”
The incident was the touch, in the mirthful experience of that night, that passed endurance. Pit and circles were one scene of such convulsive merriment that it was impossible to proceed in the performance; and the extinguishment of the footlights, the fall of the curtain, and the throwing wide of the doors for exit, indicated that the entertainment was ended.
Such were the circumstances—authentic in every particular—under which the first work of the distinct art of Negro Minstrelsy was presented.
Next day found the song of Jim Crow, in one style of delivery or another, on everybody’s tongue. Clerks hummed it serving customers at shop counters, artisans thundered it at their toils to the time-beat of sledge and of tilt-hammer, boys whistled it on the streets, ladies warbled it in parlors, and house-maids repeated it to the clink of crockery in kitchens. Rice made up his mind to profit further by its popularity: he determined to publish it. Mr. W. C. Peters, afterwards of Cincinnati, and well known as a composer and publisher, was at that time a music dealer on Market Street in Pittsburg. Rice, ignorant himself of the simplest elements of musical science, waited upon Mr. Peters, and solicited his co-operation in the preparation of his song for the press. Some difficulty was experienced before Rice could be induced to consent to the correction of certain trifling informalities, rhythmical mainly, in his melody; but, yielding finally, the air as it now stands, with a pianoforte accompaniment by Mr. Peters, was put upon paper. The manuscript was put into the hands of Mr. John Newton, who reproduced it on stone with an elaborately embellished title-page, including a portrait of the subject of the song, precisely as it has been copied through succeeding editions to the present time. It was the first specimen of lithography ever executed in Pittsburg.
Jim Crow was repeated nightly throughout the season at the theatre; and when that was ended, Beale’s Long Room, at the corner of Third and Market Streets, was engaged for rehearsals exclusively in the Ethiopian line. “Clar de Kitchen” soon appeared as a companion piece, followed speedily by “Lucy Long,” “Sich a Gittin’ up Stairs,” “Long-Tail Blue,” and so on, until quite a repertoire was at command from which to select for an evening’s entertainment.
Rice remained in Pittsburg some two years. He then visited Philadelphia, Boston, and New York, whence he sailed for England, where he met with high favor in his novel character.
Before he sang “Jim Crow,” Rice was considered only a mediocre performer. Jos. N. Ireland, in his “Records of the New York Stage,” says that he drew more money to the Bowery Theatre than any other performer in the same period of time. His appearances were generally with dramatic organizations, where he usually performed between the acts. His minstrel performances were comparatively few, and mostly confined to Charley White’s Serenaders; though he played a star engagement at Wood’s Minstrels in August, 1858, also in New York. At the Bowery Theatre in the Metropolis, he appeared with much success for several weeks as Uncle Tom, commencing January 16, 1854. He was the author of several early negro farces, the most popular being, “Oh, Hush!” “The Mummy” and “Bone Squash.” The first New York performance of “O, Hush” was given August 15, 1832. He was noted for his eccentricity of dress; the buttons on his coat and vest were five and ten dollar gold pieces, which he would give away indiscriminately as souvenirs. He married a Miss Gladstone in England, June 18, 1837. “Daddy” Rice was born in New York City, May 20, 1808. He died there September 19, 1860.
THE FIRST MINSTREL PERFORMANCE.
There has always been considerable discussion as to the exact date when this interesting event took place; two things are certain, and have never been disputed, viz.: that it actually did occur, and that the initial presentation was in New York City, between January 31 and February 17, 1843.
That the idea of amalgamating the respective talents of the original four, Emmett, Brower, Pelham and Whitlock, was conceived by the latter, there is no doubt; the following was furnished by him many years before his death.