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Sanford's Opera Troupe

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Samuel S. Sanford as a minstrel character

Sanford's Opera Troupe was an American blackface minstrel troupe headed by Samuel S. Sanford (1821–1905). The troupe began in 1853 under the name Sanford's Minstrels. The name changed that same year to Sanford's Opera Troupe. The lineup changed in 1856 and again in 1857, when they disbanded.

S. S. Sanford Minstrels of Philadelphia performed and Sanford was described as the oldest living minstrel manager.

He and his minstrel group were advertised at a Sanford's "New Opera House".

See also

Notes

  1. Mahar 359.
  2. basinstreet.com/wp-content/uploads/2016/09/History-of-Minstrelsy.pdf
  3. "Sanford's new Opera House Race Street, between Second and Third. : Tuesday evening, Nov. 15th, 1864 Second night of the largest and best company of minstrels! In this or any other country. ... Mr Samuel S. Sanford, manager Mr Harry Rainor, stage manager Capt. Thos. G. Funston, treasurer Mr Geo. Wunderlich, scenic artist the opera house has undergone a thorough renovation, papering, upholstery, gas-fixtures, painting--together with a new and beautiful drop curtain by Mr. George Wunderlich. Programme: ... The exempts ... Les Miserables! ... To conclude with Dan Gardner's farce of Fanny's serenade ... Doors open at 7 o'clock. Commence quarter before 8. Cards of admission, 25 cents Orchestra chairs, 50 cents. Private boxes 1, 2, 3 and 4, dress circle, $5. Private boxes 1, 2, 3 and 4, family circle, $4. The box office will be open from 9 to 2 o'clock, for the sale of secured seats and the disposal of private boxes in preparation the shoemaker and tailor of Kensington in which Miss Julia Sanford will appear as Columbine., Tuesday evening, Nov. 15th, 1864 Second night of the largest and best company of minstrels!, Second night of the largest and best company of minstrels! | Library Company of Philadelphia Digital Collections".

References

  • Mahar, William J. (1999). Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture. Chicago: University of Illinois Press.


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