Bryant's Minstrels

These older, proven pieces created a nostalgic format of primarily plantation-themed material that seemed to ignore contemporary discussion over abolition.

Songs on the bill included Stephen Foster's "Gentle Annie" and the Christy Minstrels' "See, Sir, See" and "Down in Alabama".

One reviewer wrote that "it is gratifying to find that we have yet among us those who will not suffer the original type of negro eccentricity to die out altogether.

The Clipper wrote on 20 June that "The different bands of Minstrels, in this city, have experienced a wonderful falling off in patronage since the advent among us of the 'Bryants.

In October or November 1858, Dan Emmett joined as a primary songwriter for what would prove the most prolific period of his career.

[10] The final act of most minstrel shows of the time were blackface burlesques of mainstream theater, but "Dixie" and songs like it prompted an industry-wide revival of plantation-related material.

[15] The late 1860s and 1870s saw minstrel production grow increasingly elaborate and expensive and troupe sizes enlarge.

[3] Adding the African American dwarf Thomas Dilward to their ranks in the late 1860s (under the stage name "Japanese Tommy") did little to stem the tide.

[16] Dan Bryant died in his New York City home in 1875, but the troupe carried on for seven more years under the management of his surviving brother Neil.