Monarchs of minstrelsy, from "Daddy" Rice to dateRice, Edw. Le Roy (Edward Le Roy)
History
Monarchs of minstrelsy, from "Daddy" Rice to date
Rice, Edw. Le Roy (Edward Le Roy)
Actors -- United States; Minstrel shows
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.”
Public-domain text, read in full here on John Shaqi.
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