The main grounds of their opposition to minstrel performances in general, and to those of the Georgia Minstrels in particular, may be stated briefly, but fairly, as follows: That these performances consist, for the most part, in a disgusting caricaturing ostensibly of the speech and action of the more unfortunate members of the colored race, but which are really made to reflect against the whole; that these public performances do much to belittle their race generally, arouse and keep alive in the breasts of other races a feeling of contempt for it; and that these effects are greatly enhanced when colored men themselves engage in such performances, as they thus give "aid and comfort to the enemy." I shall not attempt to refute these statements. They may be true; but, whether they are or not, it is not within the province of this book to discuss. They are placed here in order that both sides may be heard. Against their severe and somewhat sweeping character I place the fine musical achievements of the subjects of this sketch. Of these, assuredly, we can all be proud; and therefore the recounting of these shall serve as a full justification of the course I have taken in presenting the sketch.
The author well remembers, that, when only a boy of fourteen years, he was so much opposed to seeing colored men appear as minstrels, that he indignantly refused to comply when requested to post and otherwise distribute play-bills for a company of colored minstrels who were to appear in the town in which he lived; for he considered it alike disgraceful for them to thus appear, and himself to give aid to such appearance. He fully retained this feeling of aversion up to a year or two ago, when, contemplating the preparation of this book (which, by the way, was for the sake of consistency, as a work on music, to trace the footsteps of the remarkable colored musician wherever they might lead), he had to force himself, so to say, into the hall, to witness the performances of the Georgia Minstrels. He resolved as he entered, however, that he would give his particular attention to the musical part of the programme, and try to discover in that such evidences of talent and fine attainments as would justify him in sketching the troupe. He was not pleased, of course, with that portion of the performance (a part of which he was compelled to witness) devoted to burlesque. Nevertheless, he found in the vocal and instrumental part much that was in the highest degree gratifying; for during the evening he listened to some of the most pleasing music of the time, sung and played in a manner evincing on the part of the troupe not only fine natural talent, but much of high musical culture. And so he came away, thinking, on the whole, that there were, to say the least, two sides to the minstrel question; feeling that the Georgia Minstrels had presented so much that was really charming in a musical way as to almost compensate the sensitive auditor for what he was ready to confess he suffered while witnessing that part of the performance devoted to caricature.
Commencing about twelve years ago, composed of men some of whom had been slaves in Georgia, all possessed of much natural musical talent, without (except in one or two instances) scientific training, the Georgia Minstrels began their career under the leadership of Mr. George B. Hicks. Although from the first attracting by their performances no little attention, their fortune was for some time only a varying one; nor did they attain to a firm position before the public until after Mr. George B. Callender assumed the directorship. By studious application, most of the original "Georgias" became fairly versed in music. The places of those who left were from time to time filled by adding to the company educated musicians and performers of high merit; the skilful director "pressing into the service," so to speak, as he passed through the country, the best talent obtainable. At present, only two or three of the original members are with the company.
The troupe is now composed of twenty-one performers; and each possesses either rare vocal or instrumental (most of them both) natural talents and acquirements; and, when these qualities are combined, a performance of such delightful beauty and finish is presented, as to elicit from their audiences the most enthusiastic applause. From the instrumentalists of this company either a fine orchestra or brass band can at any time, as occasion requires, be formed; while they present solo, single and double quartet, and ensemble singing, of most charming power and sweetness. At least four of their number have been in the past accomplished teachers of music; one has played in some of the best orchestras of England; one is a superior performer upon at least four instruments, while he is a fair player of twelve; several are excellent performers on two or three instruments; and three of the troupe arrange and write music.
The following-named persons are members of the troupe at this writing (May, 1877):—
| GEORGE B. CALLENDER | Manager. |
| GEORGE A. SKILLINGS | Musical Director. |
| RICHARD G. LITTLE | Stage Manager. |
| WILLIAM W. MORRIS | Interlocutor. |
| F.E. LEWIS, SAMUEL JONES, WILLIAM ELMER LYLE, WILLIAM KERSANDS, JAS. EMIDY, PETER DEVONEAR, GEORGE COOPER, ROBERT MACK, | DAVID SCUDDER, JNO. T. DOUGLASS, JAS. GRACE, OCT. MOORE, R. EMIDY, ROBERT HIGHT, CHARLES ANDERSON, JAS. FERNAND, |
| and Messrs. THOMPSON and GAINES. | |
As showing the estimation in which the vocalism of their quartet is held by persons of culture, I may state, that a year or two ago, while the company remained over Sunday in a Western city in which they had performed during the previous week, this quartet was invited to sing (as its choir) in one of the most fashionable churches there. The invitation was accepted; and it may be remarked, that although these fine singers did full justice to the proprieties of the occasion, and thus justified the bestowment of a marked honor upon them,—it may be remarked, I say, that they thus enjoyed a distinction rarely if ever before conferred upon members of a minstrel troupe.
While in Boston in 1876, the company were invited to a "camp-fire" of Grand Army Post 115, composed for the most part of ex-officers of high rank, and all gentlemen of education and good social position. On this occasion, their own classical quartet and that of the "Georgias" united in presenting some of the most exquisite music, while other pleasing incidents of the evening rendered it one long to be remembered. In the same city, at another time, they were entertained at the residence of one of the most accomplished of its musicians. I mention these pleasant occurrences simply to show the character and extent of the popularity which this excellent troupe everywhere wins: for to please a miscellaneous throng in public halls and theatres, and, after the curtain falls at the close of the performance, to be almost forgotten by the same, is the experience of most all minstrel companies; but to be sought after when off the stage by people of the best character, and invited to contribute with their fine musical attainments and social qualities to the enjoyments of select private circles, is a distinction, in the constant winning of which the Georgia Minstrels stand almost if not entirely alone.
And now, as proofs of the great popularity of this company on the stage, I shall present a few from among the many press notices, regarding their performances, in my possession. These, while fully in harmony with what I have said respecting the merits of these famous performers, add some points of interesting description.