Rice had made the Jim Crow character his signature act by 1832.
Rice went from one theater to another, singing his Jim Crow Song.
He became known as "Jim Crow Rice".
There had been other blackface performers before Rice, and there were many more afterwards.
But it was "Daddy Rice" who became so indelibly associated with a single character.
 Rice claimed to have been inspired by a crippled black stable groom, who sang and danced as he did his work,  and even claimed to have bought the man's clothes for "authenticity."
 The time, place and truth of this claim have been disputed.

He soon expanded his repertoire, with his most popular routine being his "shadow dance."
 Rice would appear on stage carrying a sack slung over his shoulder, then sing the song "Me and My Shadow" (not the better-known 1920s song).
 As Rice began to dance, a child actor in blackface would crawl out of the sack, and emulate each of Rice's moves and steps.
 Rice also performed as the "Yankee" character, an already-established stage stereotype who represented rural America and dressed in a long blue coat and striped pants.

Rice's greatest prominence came in the 1830s, before the rise of full-blown blackface minstrel shows, when blackface performances were typically part of a variety show or as an entr'acte in another play.

During the years of his peak popularity, from roughly 1832 to 1844, Rice often encountered sold-out houses, with audiences demanding numerous encores.
In 1836 he popularized blackface entertainment with English audiences when he appeared in London, although he and his character were known there by reputation at least by 1833.

Rice not only performed in more than 100 plays, but also created plays of his own, providing himself slight variants on the Jim Crow persona—as Cuff in Oh, Hush! (
1833), Ginger Blue in Virginia Mummy (1835), and Bone Squash in Bone Squash Diavolo (1835).
Shortly after making his first hit in London in Oh, Hush, Rice starred in a more prestigious production, a three-act play at the Adelphi Theatre in London.
Moreover, Rice wrote and starred in Otello (1844); he also played the title character in Uncle Tom's Cabin.
Starting in 1854 he played in one of the more prominent (and one of the least abolitionist) "Tom shows", loosely based on Harriet Beecher Stowe's book.

"The Virginny Cupids" was an operatic olio and the most popular of the time.
It is centered on a song "Coal Black Rose", which predated the playlet.
Rice played Cuff, boss of the bootblacks, and he wins the girl, Rose, away from the black dandy Sambo Johnson, a former bootblack who made money by winning a lottery.

According to Broadbent, "T. D. Rice, the celebrated negro comedian, performed "Jump Jim Crow" with witty local allusions" at Ducrow's Royal Amphitheatre (now The Royal Court Theatre), Liverpool, England.

At least initially, blackface could also give voice to an oppositional dynamic that was prohibited by society.
 As early as 1832, Rice was singing, "An' I caution all white dandies not to come in my way, / For if dey insult me, dey'll in de gutter lay."
 It also on occasion equated lower-class white and lower-class black audiences; while parodying Shakespeare, Rice sang, "Aldough I'm a black man, de white is call'd my broder."
Rice had made the Jim Crow character his signature act by 1832. Rice went from one theater to another, singing his Jim Crow Song. He became known as "Jim Crow Rice". There had been other blackface performers before Rice, and there were many more afterwards. But it was "Daddy Rice" who became so indelibly associated with a single character.  Rice claimed to have been inspired by a crippled black stable groom, who sang and danced as he did his work,  and even claimed to have bought the man's clothes for "authenticity."  The time, place and truth of this claim have been disputed.
He soon expanded his repertoire, with his most popular routine being his "shadow dance."  Rice would appear on stage carrying a sack slung over his shoulder, then sing the song "Me and My Shadow" (not the better-known 1920s song).  As Rice began to dance, a child actor in blackface would crawl out of the sack, and emulate each of Rice's moves and steps.  Rice also performed as the "Yankee" character, an already-established stage stereotype who represented rural America and dressed in a long blue coat and striped pants.
Rice's greatest prominence came in the 1830s, before the rise of full-blown blackface minstrel shows, when blackface performances were typically part of a variety show or as an entr'acte in another play.
During the years of his peak popularity, from roughly 1832 to 1844, Rice often encountered sold-out houses, with audiences demanding numerous encores. In 1836 he popularized blackface entertainment with English audiences when he appeared in London, although he and his character were known there by reputation at least by 1833.
Rice not only performed in more than 100 plays, but also created plays of his own, providing himself slight variants on the Jim Crow persona—as Cuff in Oh, Hush! (1833), Ginger Blue in Virginia Mummy (1835), and Bone Squash in Bone Squash Diavolo (1835). Shortly after making his first hit in London in Oh, Hush, Rice starred in a more prestigious production, a three-act play at the Adelphi Theatre in London. Moreover, Rice wrote and starred in Otello (1844); he also played the title character in Uncle Tom's Cabin. Starting in 1854 he played in one of the more prominent (and one of the least abolitionist) "Tom shows", loosely based on Harriet Beecher Stowe's book.
"The Virginny Cupids" was an operatic olio and the most popular of the time. It is centered on a song "Coal Black Rose", which predated the playlet. Rice played Cuff, boss of the bootblacks, and he wins the girl, Rose, away from the black dandy Sambo Johnson, a former bootblack who made money by winning a lottery.
According to Broadbent, "T. D. Rice, the celebrated negro comedian, performed "Jump Jim Crow" with witty local allusions" at Ducrow's Royal Amphitheatre (now The Royal Court Theatre), Liverpool, England.
At least initially, blackface could also give voice to an oppositional dynamic that was prohibited by society.  As early as 1832, Rice was singing, "An' I caution all white dandies not to come in my way, / For if dey insult me, dey'll in de gutter lay."  It also on occasion equated lower-class white and lower-class black audiences; while parodying Shakespeare, Rice sang, "Aldough I'm a black man, de white is call'd my broder."
Thomas D. Rice