DEATH OF ONE OF
THE CHRISTY MINSTRELS —the well frequented Hall of these minstrels was dark and
silent last night on account of the lamented death of Mr. Henry Crocker, who
died yesterday afternoon, after a painful illness of nearly two years'
duration, at the age of thirty-five. Mr. Crocker was one of the joint
proprietors of the Christy Minstrels, and a performer in the original company.
He was a favourite with the public, and his loss will be deeply regretted by a
large circle of friends who esteemed his private character.
London Daily News
- Saturday 18 December 1869
We
know very little about J.P. Crocker of the Christy Minstrels. When he died the
London Daily News couldn’t even get his name right – he was certainly no Henry.
Other newspapers at least had his initials down correctly, JP, even if they
weren’t sure what they stood for. The Examiner said that he was “a robust
healthy man”, which seems unlikely, given that he had just died of tuberculosis.
He had been ill for two years and had not set foot on the stage for at least 12
months. Joseph Paul Crocker was born somewhere in the United States in 1834 and
came to England with his close friend and associate George Washington Moore in
1859. Both men had been members of Christy’s Minstrels in New York but for some
reason decided to leave the States to follow J. W. Raynor and Earl Pierce to
England where they had set up ‘Raynor & Pierces Christy Minstrels’ and
performed to great acclaim at the St James Hall in the West End. Both in the
United States and in England troupes of Christy’s Minstrels replicated by
binary fission, prolifically splitting up and taking on new members, with all
descendants claiming to be the original and genuine. Edward Pearce Christy, the
founder of the group, fought several legal battles in the States to retain
control of his name and in England the battle to be known as the genuine
Christy’s Minstrels also ended up in the courts. John Edmund Quick, a 26 year
old pretender, was prosecuted in 1868 for stealing £200 worth of handbills from
the St James Theatre and, after carefully excising the name of the proprietors,
using them to advertise an inferior and ersatz version of the Minstrels in
Banbury. JP Crocker was one of the proprietors of the St James Hall troupe of
Christy’s Minstrels along with George Moore. Frederick Burgess, who later took over after
Crocker’s premature death, was the manager. Moore and Crocker were both
performers. Crocker was a tambourine player and eccentric dancer whose
performances evoked roars of laughter according to the London Evening Standard
in a contemporary review which also said that he exhibited a “marvellous
command of his bodily muscles in a thick shoe dance.” I could only find one
picture of him, a drawing in the Illustrated
Sporting and Dramatic News of September 1893 showing him made up for the
stage, produced almost a quarter of a century after his death. The inscription
on Crocker’s grave in Brompton Cemetery reads “Sacred to the memory of JP
Crocker of the Christys Minstrels, St James Hall, who departed this life 17th
December aged 35, buried 23rd December, 1869. This memorial is dedicated to his
lasting memory by Fannie Crocker and his late colleagues G Washington Moore,
Frederick Burgess and the members of the Christys Minstrels in affectionate
remembrance and as a tribute to one whose kind heart endeared him to all who
knew him. Years of sickness affected not his courage or rich vein of genial
humour.”
Christy’s
Minstrels, formed by Edwin Pearce Christy in 1843, were the best known of the
original wave of blackface performers that emerged in the United States in the
decades before the civil war. In 1847
they performed at a benefit concert for Stephen Foster in Cincinnati; this was
the start of a close working relationship with the composer. They later
specialised in performances of his songs and he even granted them the exclusive
rights to his ‘Old Folks At Home’ (aka ‘Swanee River’). Christy popularised
three part minstrel shows which started with a ‘walkaround’, the entire company
marching onstage and singing and dancing their way through an opening number,
before sitting in a semi circle to exchange banter with the Interlocutor the master of ceremonies.
Minstrel shows had several stock characters, the slave Jim Crow and the dandy
Zip Coon (whose signature song had the familiar chorus ‘O Zip a duden duden, zip
a duden day’) and the inseparable pair Tambo and Bones. JP Crocker, the portly
tambourine player was Christy’s Tambo and GW Moore its Bones. This review of
Christy’s Minstrels in the London Evening Standard of 19 September 1865 gives a detailed account of
their London shows:
The entertainment
given last at the lower room, St. James's Hall, is certainly one the best and
diversified of the kind have seen or heard on any former occasion. It opens
with a painting called Christy's Magnificent Diorama, in two parts, the first
part descriptive of the outward voyage of the Great Eastern for New York, which
arrives in time for the passengers to witness a performance of the “Christy’s
Minstrels” at the Royal Academy of Music, New York ; the second part
illustrating a journey down South, through Washington to a plantation in
Dixie's Land, where the Southern “darkies” are beheld in their glory. After the
dioramic exhibition there is a concert interspersed with sundry displays of
Ethiopian wit between the Bones of the company, Mr. E. W. Moore and the
tambourinist and eccentric dancer, Mr. J. P. Crocker, which creates roars of
laughter. The diorama is followed by a new Christy's extravaganza, entitled
Hair Brushing by Patent Machinery supported by Messrs. J. P. Crocker, E. W.
Moore, and J. Ritter; to which succeeds an original sketch, by Mr. E. W. Moore,
called The Breakneck Act, characters by Messrs. Moore and Crocker; concluding
with Christy’s popular burlesque The Rival Darkies, parts sustained by
Messrs J.Ritter, L. Ludlow, Moore and
Crocker. The Rival Darkies and Break-neck Act, if we remember rightly, are old
friends; but Hair Brushing by Patent Machinery is new to London audiences.
Performances by the Christy's Minstrels'’ without singing to many may appear
uninviting; but the burlesque and extravaganza are exceedingly amusing, and all
three were received last night with roars of laughter. Perhaps a more
extraordinary entrance on the stage was never conceived than that of Mr. G. W.
Moore, in the Break-neck Act, in which is made to bound into a room through the
window, fall from height of some six or eight feet, and turn a somersault on the stage. Mr. Moore is wonderfully
active, besides being the most energetic and skilful of “Bones” and is, to boot,
a first-rate comic singer. But the activity of the company is no means absorbed
in the person of Mr. Moore. Mr. J. P. Crocker exhibits a marvellous command of
his bodily muscles in a thick shoe dance, and Mr. J. Ritter (the champion!) in
the Attakapas Jig—a sort of double-shuffle dance—displays an amount of
terpsichorean agility quite out the common way. It is, however, in the musical
line that the Christy Minstrels’ especially excel. There is not a weak hand in
this company, vocal or instrumental. The band is composed of a violin,
violoncello, cornet and harp— sufficient for their purposes their ensemble
playing is literally irreproachable. Their solo playing, too, is more than
creditable... The “Christy Minstrels” have announced the present as “positively
their last season in London prior to their return to the United States.”
Minstrel
shows proved to be even more popular in England than they were in the United
States. The Christy’s Minstrels run at the St James Hall lasted for almost 40
years, from 1865 to 1904. George Moore never went home to the States; he died
in London at the grand old age of 89 in 1909 and was buried a short distance
away from his friend JP Crocker in Brompton Cemetery. The appetite for racist
tomfoolery the pair planted in the English became an enduring legacy; 100 years
after the Christy’s opened at St James Hall we were still lapping up blackface
and Stephen Foster songs in the form of the hugely popular Black & White Minstrel Show. By 1964, when 73 million Americans
were tuning into the Ed Sullivan Show
to see the Beatles, 21 million Brits regularly tuned into the BBC to watch the
Black and White Minstrels. I was one of them. As a kid I loved them. I loved
them so much my parents took me to see one of the 6477 theatre shows the
Minstrels put on between 1962 and 1972 when they weren’t making TV shows (a
run which put them in the Guinness Book of Records at one time as the stage show seen by
the largest number of people). We only had a black and white television and I
was totally unprepared for the spectacle of the Black & White Minstrels in
colour; the female dancers (who were not in blackface) whose dresses were technicolour
southern belle taffeta confections and the Minstrels themselves strutted the boards in metallic gold frockcoats
and top hats. Inevitably I grew up and as a teenager in the Seventies the
Minstrels fell off my radar which had become more attuned to the likes of David
Bowie and Led Zeppelin. I was quite startled to discover that they carried on
broadcasting until 1978, well after the Sex Pistols had disbanded and the Ramones
and Siouxsie and the Banshees had found chart success. Looking back at my
childhood, sometimes it seems like I was born in 1860 rather than 1960. The
swinging Sixties never really arrived in the South Yorkshire pit village I grew
up in but the Victorians and Edwardians were still clinging on for grim death. Patronising
racist stereotypes abounded, not just blackface minstrel shows on Saturday
night TV; I loved ‘Song of the South’ when my uncle took me to see it at the
Pavilion cinema in Attercliffe, Sheffield. The films best known song is, of course, ‘Zip-a-dee-doo-dah’
whose chorus is a rephrasing of Zip Coon’s ‘Zip a duden duden, zip a duden day’.
I think I was already heavily into Enid Blyton’s retelling of the Brer Rabbit
stories before I saw the film. In school the Stephen Foster songbook was well thumbed and we often gathered around the piano to trill "I come from Alabama with a banjo on my knee, I'm going to Louisiana, my true love for to see" leadenly accompanied by the teacher. And of course there were the Golliwogs that you
could collect if you saved the tokens from Robertson’s jam (the company stopped
using Golliwogs in its advertising only in 1988 and stopped putting Gollys on
its jam jar labels in 2001!) and the Golly that leered at you from the wrapper
of Blackjack chews. There were the Tarzan films I adored where a white man marooned
in Africa who was brought up by apes manages, somehow, to learn to speak impeccable
English, live in a treehouse, cover up his genitals and generally learn to be
more civilised than the benighted natives who were utterly beholden to the
witchdoctor and died in their hundreds whenever there was a fight. And ‘Daktari’
and ‘Cowboy in Africa’ where the white people drove around in Land Rovers, wore
safari suits, lived in ranch houses and were the constant focus of attention
while the natives wore loincloths, lived in mud huts and were the comic
interludes or a dangerous threat according to the diktat of the storyline.
Dubious 60's shenanigans |
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