Cool Burgess — Minstrel Shows at Reilly’s Hotel

Cool Burgess — Minstrel Shows at Reilly’s Hotel


 “Cool” Burgess was always a favourite at Reilly’s Hall when he appeared with his Minstrel Troupe in Almonte. In the hearts of those who knew him in our town there will be a sigh of regret to learn of the death of Mr. Burgess who died in the Toronto General Hospital. Burgess was 65 when he died of heart failure after an illness which had extended over several months.

reillys_hotel (1).jpg


As Cool Burgess he was for years the leader on the minstrel stage and was widely known in Canada, the United States and England. In June he was very ill and it was hoped by the population of Almonte that there were would be some hope for his recovery.

Born in Yorkville he became a clever entertainer in his teens when he left Toronto for the United States and eventually became the highest paid entertainer on the minstrel stage. He introduced the monologue form of entertainment and at the height of his career he received a weekly salary of $350. He was also a clever dancer and has lived lately in Toronto quietly. He was never particularly a robust man and lately he had been suffering from dropsy. A condolence letter will be sent from the town of Almonte.– Almonte Gazette 1905


Information Wanted  Almonte Gazette–6th March, 1873 

Sir,— I understand there exists a bylaw in this village, and very rightly too, making it necessary that proprietors of Minstrel Troops, clog-dancing and other like shows, are obliged to take out a before they are privileged to open such exhibitions.

Since your last issue, two of these parasites have made a drain upon our industrious villagers without adding any quota to our village. It appears to the writer that not only is this by law, but several others are nothing more or less than a dead letter. I would like to know who are the proper parties to put these bylaws in force in the absence of a mayor or enforcer of bylaws. Or would it net be more advisable that the Council should appoint an officer for that purpose, with a reasonable allowance of salary for his trouble, in order that the dignity of the law would be sustained.






Rising Sun Hotel

 - Battle-1 I por-1 1 par-1 I I improve-1 COOL...

Clipped from

  1. Carlisle Weekly Herald,
  2. 14 Aug 1879, Thu,
  3. Page 1


BURGESS, COLIN (Cool), minstrel and theatrical manager; b. 20 Dec. 1840 in Yorkville (Toronto), youngest son of Colin Burgess (d. 1842) and E. Marten; m. 19 May 1862 Edna Stephenson Taylor in Toronto, and they had three sons and two daughters; d. there 20 Oct. 1905.

Ironically, Colin Burgess was born in the year the black community of Toronto first petitioned against the caricatured depiction of blacks on stage and in circuses. His early years at the grammar school on Bloor Street run by the Reverend John George Delhoste MacKenzie* and at the Yorkville public school were, in Burgess’s words, “not very eventful.” His musical talents were noted, however, and it must have been fun living in the Rising Sun hotel, built by his Scottish-born father on Yonge Street, south of the toll-gate at Bloor. Leaving school at 15, he was apprenticed to Clark Brothers, a carriage-making firm, where he would train for three years as a painter.

But minstrelsy – America’s first indigenous form of entertainment – called. Colin frequented St Lawrence Hall when visiting troupes played, and with his friends he put together makeshift minstrel concerts in barns and saloons, where he honed his comic gifts, clacked the bones (ebony sticks), and sang. By February 1857 he had blacked his face to sing at Toronto’s Royal Lyceum Theatre in the chorus of Uncle Tom’s cabin, in which American-born Denman Thompson played Uncle Tom and Charlotte Nickinson was Eliza. Burgess credited the Lyceum’s printer, Alexander Jacques, later his advance-agent, with first applying the burnt cork to his face professionally and encouraging him to take up minstrelsy as a vocation. In April 1858 Burgess, Patrick Redmond, and Thompson opened a concert hall on Adelaide Street East with a two-night minstrel show. For these performances Colin changed his name to Cool, sang, delivered a comic monologue on “Woman’s rights,” and played the character of Bones in the comic afterpiece A ghostIn spite of himself. In December 1858 he celebrated his 18th birthday at the Royal Lyceum as part of Burgess and Redmond’s Ethiopian Star Troupe, probably his first touring company, and he returned there a year later with Cool Burgess’s Chicago Minstrels. For the next 30 years his name would be front and centre on the playbills of North America.

Burgess’s big break came in 1862 when Duprez and Green’s minstrels, an American group, played Toronto and needed a comic end-man on short notice. Cool was recommended and hired at $50 a week. Throughout the 1860s and 1870s he led and toured with a succession of leading American companies. In Canada he tended to put together his own troupes such as the Trans Atlantic Company, which featured Scottish, English, and Dutch entertainers brought to Canada after Cool’s highly successful visit to Britain in 1873. While touring in 1867 he had discovered George Henry Primrose, a bellboy at the Tecumseh House in London, Ont., and pointed “the infant clog dancer” to fame as Canada’s second great minstrel performer. In 1877 Cool’s was the first professional company to visit Winnipeg.

The tripartite form of minstrel shows varied little in the early years. In the first part, which began and ended with a rousing musical dance number, Burgess was always featured as Brother Bones, because of the instrument he played. He sat at one end of the semi-circular chorus opposite his comedic counterpart, Brudder Tambo (on the tambourine). In the centre was the white-faced Mr Interlocutor, who served as master of ceremonies and the butt of a rapid exchange of wheezes, puns, riddles, and malapropisms, all punctuated with slaps on the tambourine or runs on the bones. In 1875 a Toronto columnist reported that Burgess’s “stock of witticisms seems to be inexhaustible.” The second section of the show, the olio, was a grab-bag of variety acts, and the concluding part a plantation drama or farcical burlesque.

Interspersed among the exchanges were sentimental and silly songs. As early as 1873 Burgess was combining “whiteface songs with darkey characters.” Much of the parlour sheet music of the era came from minstrel shows. At least three songs performed by Burgess were published in Toronto in the 1870s and collections came out in New York in 1877 and around 1880. An obituary would describe his “Shoo, fly! Don’t bodder me!” as “the most popular minstrel song of its decade.”

Remembered for his bluff, forceful personality and boisterous laugh, Burgess developed a repertoire of hilarious and often original specialty numbers. In “Nicodemus Johnson,” his most “irresistibly funny” routine, his blacked-up character wore three-foot-long shoes and made the dust fly as he welted the floor and pranced exhaustingly. New York newspapers assured their readers that Burgess had not only introduced the blackface monologue – a questionable claim – but had been the first “long-shoe” dancer.

After the emancipation of slaves in the United States, blacks were finally allowed to perform and they gravitated to the minstrel show, creating their own all-coloured companies and more authentic depictions of plantation life. In response, white minstrelsy began to change during the 1870s and 1880s. Lavish new production values moved it towards musical revue and the second part of the show began to be separated out. Burgess shone in the olio and the titles of his shows, such as “Olio of oddities” (Kingston, Ont., 1871) and “Carnival of novelties” (Ottawa, 1872), reflected the new direction. Theatre historian Gerald Lenton-Young postulates that the name of Burgess’s Gaiete Vaudeville Company, which operated in Ontario in 1871, contains one of the earliest recorded uses of the word vaudeville. Later in the same year Burgess appeared in New York with Antonio Pastor, the man generally acknowledged to be the originator of this form of entertainment. Like him, Burgess had a reputation for a clean variety show, with nothing “that would offend good taste.” Although Burgess continued to appear with notable minstrel troupes, from the mid 1870s he became more and more associated with variety and early attempts at vaudeville. In his last regular year of performing, 1890, he was on the Brotherhood Combination Vaudeville bill in the Bowery district of New York with a featherweight boxer and a dog act.

In 1866 Burgess had been hailed in the Toronto Daily Telegraph as the “champion of Ethiopian delineators . . . his name alone is sufficient to draw a good house.” The New York Morning Telegraph commented at his death that he had got his nickname, Cool, not only by abbreviating Colin but by handling his business affairs with aplomb. At his height he was once given a contract paying him $300 a week whether he worked or not. He, never accepted a smaller amount and was the first minstrel to command such a salary when others of comparable rank were getting only $40. There is a story of his carriage arriving at a theatre in Philadelphia and the tall and lanky minstrel with the drooping moustache refusing to dismount until he was paid in full before the performance. Such payment was to become one of his customary business stipulations.

In 1885 Burgess tried his hand at running a hotel in New York, in addition to performing, but by 1891 he had retired to Toronto, where he had always maintained a residence and where his children were educated. A final performance is recorded at Tony Pastor’s 14th Street Theatre in New York in 1899. About 1901 Burgess moved to a small farm on Eglinton Avenue. In 1905, after a lingering bout of dropsy, he died of heart failure at Toronto General Hospital. Theatre-goers in New York and Toronto mourned the passing of the “idol of the minstrel world” and “the prince of burnt-cork comedians.”

David Gardner


 - THREE NIGHTS O NLY ! Saturday Matinee. CGDL...



 - was probably about 18SS, I went to Hew 1 Tork...

Clipped from

  1. Buffalo Morning Express and Illustrated Buffalo Express,
  2. 22 Oct 1905, Sun,
  3. Page 18

Clipped from

  1. The Times,
  2. 07 Aug 1879, Thu,
  3. Page 1

Information where you can buy all Linda Seccaspina’s books-You can also read Linda in The Townships Sun and the Sherbrooke Record and and Screamin’ Mamas (USA

Come and visit the Lanark County Genealogical Society Facebook page– what’s there? Cool old photos–and lots of things interesting to read. Also check out The Tales of Carleton Place. Tales of Almonte and Arnprior Then and Now


relatedreading (1)

What is Heritage? — The Old Hotel in Almonte

Susie’s Kitchen Band– Names Names Names

He Said-and– He Said! Oh Let the Song of Words Play!

Uncle Tom’s Cabin in Carleton Place

Weird and Thrilling Concert in Carleton Place? The Fisk Jubilee Singers of Tennessee University

Did Blind Tom Play in Carleton Place?

About lindaseccaspina

Linda Knight Seccaspina was born in Cowansville, Quebec about the same time as the wheel was invented and the first time she realized she could tell a tale was when she got caught passing her smutty stories around in Grade 7 at CHS by Mrs. Blinn. When Derek "Wheels" Wheeler from Degrassi Jr. High died in 2010, Linda wrote her own obituary. Some people said she should think about a career in writing obituaries. Before she laid her fingers to a keyboard, Linda owned the eclectic store Flash Cadilac and Savannah Devilles in Ottawa from 1976-1996. After writing for years about things that she cared about or pissed her off she finally found her calling. Is it sex drugs and rock n' roll you might ask? No, it is history. Seeing that her very first boyfriend in Grade 5 (who she won a Twist contest with in the 60s) is the head of the Brome Misissiquoi Historical Society and also specializes in local history back in Quebec, she finds that quite funny. She writes every single day and is also a columnist for Hometown News and Screamin's Mamas. She is a volunteer for the Carleton Place and Beckwith Heritage Museum, an admin for the Lanark County Genealogical Society Facebook page, and a local guest speaker. She has been now labelled an historian by the locals which in her mind is wrong. You see she will never be like the iconic local Lanark County historian Howard Morton Brown, nor like famed local writer Mary Cook. She proudly calls herself The National Enquirer Historical writer of Lanark County, and that she can live with. Linda has been called the most stubborn woman in Lanark County, and has requested her ashes to be distributed in any Casino parking lot as close to any Wheel of Fortune machine as you can get. But since she wrote her obituary, most people assume she's already dead. Linda has published six books, "Menopausal Woman From the Corn," "Cowansville High Misremembered," "Naked Yoga, Twinkies and Celebrities," "Cancer Calls Collect," "The Tilted Kilt-Vintage Whispers of Carleton Place," and "Flashbacks of Little Miss Flash Cadilac." All are available at Amazon in paperback and Kindle. Linda's books are for sale on Amazon or at Wisteria · 62 Bridge Street · Carleton Place, Ottawa, Canada, and at the Carleton Place and Beckwith Heritage Museum · 267 Edmund Street · Carleton Place, Ottawa, Canada--Appleton Museum-Mississippi Textile Mill and Mill Street Books and Heritage House Museum and The Artists Loft in Smith Falls.

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