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Minstrel [performance] was one of the first beginnings of [African American] theater although it was not to sensitive on the content it became popular due to the fact that Europeans thought it was [entertainment] to see blacks typecast as lazy, stupid, Manish, wild, serving them and going out of their way to please their “boss” or “massa”. Although the minstrel shows were extremely popular, being consistently packed with families from all walks of life and [every] ethnic group, they were also very controversial. Racial integrationists labeled the production as falsely showing happy slaves while at the same time making fun of them, segregationists thought such shows were [disrespectful] of social norms, portrayed runaway slaves with sympathy and would undermine the race.
The typical minstrel performance followed a three-act structure. The troupe first danced onto stage then exchanged wisecracks and sang songs. The second part featured a variety of entertainments, including a pun-filled stump speech. The final act consisted of a slapstick musical plantation skit or a send-up of a popular play. Minstrel songs and sketches featured several stereotype characters, most popularized the slave and the dandy. These were further divided into sub-archetypes such as the mammy, her counterpart the old darky, the provocative mulatto wench, and the black soldier.

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