Henry C. Miner

An ex-cop from the Bowery (and former employee of Buffalo Bill’s Wild West), Henry Clay Miner opened his first museum and variety hall in Baltimore, Maryland in 1863. This was the height of the Civil War, in a state technically occupied by a foreign army (a slave state, Maryland was occupied by Federal troops), so it is not surprising that the venture was short-lived. Four years later Miner was back on the Bowery, managing a place called Falk’s Volk’s Garden.

From there, he went on to establish the London Theatre, the success of which permitted him three years later to open the establishment that was his greatest legacy: Miner’s Bowery Theatre. It is to Miner’s that posterity owes the invention of “the hook” (as in “Give ‘im da hook!”) The amateur night at Miner’s was popular; the audience, rowdy. A saloon and poolroom adjoined the theatre helping fuel the rambunctious energy, necessitating the use of hired “policemen” to roam the theatre ready to bust the heads of any troublemakers. Somewhere along the line, someone got the bright idea of yanking particularly clueless acts offstage with a shepherd’s crook. The innovation lives on in popular memory, even though Miner’s does not.

Miner, himself deserves to be better known however. In addition to owning his many theatres, he was also a major printer and publisher, pharmacist, and served one term as a U.S. Congressman!

To find out more about the history of vaudevilleconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.

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6 Responses to “Henry C. Miner”

  1. [...] was thereafter a regular there and the other top New York theatres of the day: Tony Pastor’s, Henry Miner’s, and Hyde & Behmans. She was quickly established as the top soubrette of her era, with a [...]

  2. [...] 1894 they worked Miner’s Bowery Theatre, an incremental step up from the Bar Mitzvah Circuit. That year he met and married the love of his [...]

  3. [...] married Hattie Hughes, a chorus girl who became his stage assistant. In 1899 he made his debut at Miner’s Bowery Theatre. He then embarked on a tour with Irwin’s Burlesquers. At this stage he was already getting great [...]

  4. Gene Meier Says:

    I am writing the first book from the American point of view about 19th century rotunda panoramas.These were the biggest paintings in the world, 50 x 400=20,000 square feet, housed in their own rotundas which were 16-sided polygons. Chicago in 1893 had 6 panorama companies and 6 panorama rotundas. Recently I chanced upon HARRY MINER’S AMERICAN DRAMATIC DIRECTORY 1884-1885 on-line and was delighted to find mention of scenic artists who also painted rotunda panoramas: Louis Kindt,Walter Burridge, Charles Henry Ritter, Ernest Albert .So I culled the names of the scenic artists, and created an outline.My HOPE was that later volumes of the Directory would reveal detail about my own interest in rotunda panorama. So I secured through inter-library loan volumes 1885-1886 and 1887-1888 of the Directory.Although the term “panorama” is never mentioned, I was heartened to realize that wherever rotunda panoramas were displayed from coast-to-coast “and beyond”,they did not exist in a vaccuum: scenic artists and their venues were at-hand and near-by. Sometimes local scenic artists were mentioned in newspaper articles about rotunda panoramas–Phillip Goatcher worked with Paul Philippoteaux at the panorama studio in Mott Haven, The Bronx. Interestingly,there were much fewer scenic artists who were listed in full-time staff positions at theatres and opera houses than, say, the number of stage carpenters listed. So I was surprised to learn that the LANYON OPERA HOUSE in Englewood, Illinois,employed a full-time scenic artist in 1885-6 and 1887-8 — Louis Chevalier. Englewood in the 1880s was a suburb of Chicago, and in the 1890s was a Chicago neighborhood. From September 1885 through September 1888 Howard H.Gross (1853-1920) and his panorama crew, including several “Duveneck Boys”, produced every 90 days units of the BATTLE OF GETTYSBURG and JERUSALEM ON THE DAY OF THE CRUCIFIXION for cities from coast to coast and beyond. In Autumn 1888 the studio closed and removed to Australia, where Gross erected two rotundas in Melbourne, one in Sydney,one in Adelaide,.Later the studio returned to Chicago and created the CHICAGO FIRE panorama, and held a contract to decorate the California Building. In summer 1893 panorama artist Thad Welch and wife Ludmilla lived in the Lanyon Opera House,which served as an “off campus” workshop to produce art for the Exposition. I have much info to share.

    • Fascinating stuff — please do! It would be amazing to try and recreate those works…

    • kathy kindt Says:

      Hi, i am a descendant of louis kindt. Are there any images of his work anywhere? thanks kathy in florida

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