Some people imagine that a black face, a pair of large check trousers and a rather dilapidated hat, are all that’s necessary to make a nigger minstrel. This is, however, a great mistake, and whosoever feels the stirring of an ambition to amuse his friends with a nigger entertainment, must not be discouraged if he finds the road harder than he expected. Its difficulties, however, are far from insurmountable.

For a really successful nigger entertainment seven persons are necessary; the interlocutor—usually known as Mr. Johnson—one bass and one tenor singer and four “end-men.” The troupe should be arranged as shown in Fig. 1. Now, before describing what to do, a few words as to how you should arrange yourselves will not be out of place. The stage should be raised, if possible, to enable any member of the audience to see the performers. Unless you are performing a farce or drama, such as will be described later, a curtain is not absolutely necessary, provided the troupe can get to the stage without having to pass right through the assembled company.

Minstrels’ “Make-up”

As far as “make-up” is concerned, this should present no difficulty whatever. Many barbers, and some music shops, can supply “nigger black,” which must be rubbed into the face and hands, after the skin has been well washed and dried. When the performance is over the black can easily be removed by means of soap and hot water. To redden the lips and enlarge the mouth, use carmine or rouge; cover the lips and paint them to appear as though stretching almost from ear to ear (Fig. 2). Cheap wigs can be obtained for but a small sum from any hairdresser. Those of Mr. Johnson and the sentimentalists should be as shown in Fig. 3, while each of the “end-men” should provide himself with one similar to that depicted in Fig. 4. The “interlocutor” and sentimentalists usually wear ordinary evening dress, the “end-men,” however, wearing frilled collars, cuffs and fronts, as shown in Fig. 5. A complete outfit comprising stockinette face, head, eyes, teeth, and hat can be purchased for about $2.50.

Music is a necessity with a troupe, and you will accordingly require another person to play the piano as an accompaniment to the songs and choruses, as well as for the overture and instrumental pieces. It is also presumed that the members of the troupe have fairly good voices and are able to sing, not only in tune but in time with one another.

In serious or sentimental songs, such as “Swanee River” and other favorites, the “end-men” must forego their love of mirth and take part in all solemnity, reserving their facetious behavior for a more timely moment. After these remarks the principal characters in the troupe may be discussed.

The interlocutor is one of the most important persons upon the stage. It is his duty to introduce each number of the programme to the audience; to be the butt of the “end-men’s” jokes; and to assume upon every occasion an air of the utmost ignorance and simplicity, that shall prove an admirable foil to the exuberant humor of his companions. He must appear absolutely innocent of any idea of the answers to the riddles and conundrums asked, and must reply to the occasionally personal remarks of his friends with the utmost suavity and good humor. In short, what with helping the others to sing and keeping the ball rolling generally, Mr. Johnson is responsible, to a large extent, for the success or failure of the entertainment.

From Failure to Success

The “end-men,” with whom lies the task of producing most of the fun of the nigger entertainment, must be possessed of a ready wit—able to tide over awkward pauses, prepared with some “gag” when the fun is beginning to flag, and capable of turning disaster into a mighty success. From Mr. Johnson’s placid obtuseness they will be able to draw much sport, and bandying jokes at each other’s and the interlocutor’s expense, should keep the audience shaking with laughter.

Whilst on the subject of jokes a note of warning may be struck. The moment humor changes to vulgarity, it produces disgust in any respectable audience. It is therefore well worth while to think over the regular jokes you intend introducing into the performance, and if there be any that are in the remotest way likely to offend the feelings of any person in the company, cut them out.

There is another point worth remembering in the matter of jokes. It may seem a truism to remark that a joke should be funny, yet the very funniest of jokes will fall flat if it is not led up to suitably. Don’t ask Mr. Johnson a conundrum in a meek tone as though you were requesting him to tell you the time. His immovably suave ignorance will extract the answer from you, it is true, but the chances are ten to one that the audience have either missed the question or will fail to see the point of the answer.

Jokes should be introduced by a certain amount of patter which serves to engage the attention of the hearers in such a way that when the inevitable fun really comes they are perfectly prepared to appreciate it. Books can be bought containing numbers of these jokes with the suitable patter, and these will prove very useful to the amateur, who must nevertheless remember that success really depends upon the way in which he springs the joke upon the audience.

Coon Songs

And now a word about the singing. It goes without saying that the larger the troupe and the better trained the voices, so much the more enjoyable will be the choruses. The number of songs from which to select is legion; the best plan is to write to some leading musical publisher, telling him what you want. He will be only too pleased to send his catalogue with some advice as to what will prove suitable. Avoid any comic songs with a double or doubtful meaning, and keep to strictly characteristic songs as far as possible. Old favorites never fail to win applause, and are always safe to fall back upon; but do not be too conservative—try some novelties.

Songs and “Gags”

Nigger entertainments are usually divided into two parts, the first consisting of songs and “gags,” as the short dialogues and impromptu jokes are called, whilst the second is devoted to stump speeches and one-act dramas or farces. So far as stump speeches are concerned, excellent collections are published by the leading publishers of that class of entertainment. Your bookseller will obtain a catalogue for you, and a choice can then be made. The speeches should be very carefully learnt by heart, together with the appropriate gestures (for which full instructions are always given), and unceasingly practiced until you are able to make your stump oratory bring down the house with delight. Stump speeches are the province of the “end-men,” and properly delivered, can be relied upon to prove one of the successes of the evening.

One-Act Dramas

With regard to one-act dramas and farces, a very exhaustive catalogue can be furnished by publishers, with full instructions as to how they should be performed. A word of advice, however, to the intending actors. Too much care cannot be expended upon preparation and rehearsals. Nothing will go of itself in this world, and least of all plays and sketches; it is a fatal mistake to imagine that the smallest drama or even “gag” will succeed by its own merits and with only a little help from yourself. Endless trouble and care must be taken in preparing the simplest joke, and boisterous as the fun may prove upon the stage, it cannot be spontaneous, but must be diligently rehearsed again and again before it can be presented to your audience.

Your great object is, not to enjoy the fun yourself but to make the others enjoy it, and if this is borne in mind, you will not only amuse them but have a delightful time yourself. Again, never forget that in a play one actor relies upon another to repeat the actual words of the “book,” as cues and stage directions depend upon verbal accuracy. Do not, therefore, introduce any novelties of your own—learn the words and keep to them, for any original introductions on your part may throw the whole play into disorder, exasperate the other actors and disgust the audience.

To keep to the “book” is easy enough, and if you act in earnest—and this is essential for the most comic pieces—you will find no difficulty in sustaining your part correctly and intelligently. Do not laugh at your own jokes, unless you are instructed to do so, but keep a grave face and appear as though to find yourself in the most farcical situations were a matter of everyday life.

To give an idea of a reasonably simple programme which shall include a farce, the following is suggested:—

PART I

Overture on the piano. A march.

Chorus. Some song in which all voices can join.

Solo. Preferably a sentimental song.

Jokes. Properly led up to by an end-man.

Comic Song. Also by an end-man.

Solo. Another sentimental song. And so on for ten or eleven turns, after which comes the

Interval. During this the pianist can entertain the audience with some operatic piece.

PART II

Chorus. As above.

Piano Solo. Whilst this is being played the stage should be prepared for the

Stump Speech.

Curtain and Piano Solo. During which the stage is arranged for the

Farce.

Solo. Sentimental song.

Finale.

This programme must, of course, be adapted to any exigencies of time, space or other circumstances, but will serve as an example of what can be done.

To conclude with a few hints as to the actual entertainment. If possible, have a sufficient number of programmes printed, or carefully and legibly written by hand, as the most tolerant audience grows restive if it does not know “what comes next.” Distribute these, and let one of your party make it his business to see that the company are properly and comfortably seated. Begin punctually; if your audience have to wait they become impatient, and as there are few people more incapable of seeing a joke than impatient folk, it will be to your own advantage to begin at the proper time. Be as silent as possible behind the scenes; it is very tantalizing for the spectators to hear a wild rushing hither and thither, hoarse whispering, and the various signs of excitement in which they are not allowed to participate.

Of course a certain amount of bustle is unavoidable, but reduce it to a silent minimum. Do not be shy; remember in the first place that the black hides all your blushes, and in the second place that nobody is there to see you, but to see a “nigger” who is going to make them laugh. Half of your audience have probably done the same in their time, whilst the other half would have done so if they could; so take heart, and show them all how really well it can be done. However well-disposed your company may be, do not let that be any excuse for slovenliness on your part, but let it rather incite you to work all the harder, so that when everything is finished and the black is off your faces, the universal opinion will be—“We would never have imagined that it could be carried out so well!”