be amiss to state that it was Williams' ambition to appear in a higher type of drama, and David Belasco states in the introduction to The Son of Laughter, a biography of "Bert” Williams by Margaret Rowland, that his death probably prevented him from appearing under his direction as a star. Negro drama will always be indebted to the genius of this great comedian and appreciative of the fact that by breaking into The Follies "Bert" Williams unlocked the doors of the American theater to later Negro artists.
The reader will probably be familiar with the extraordinary successes of the latest Negro musical comedies, Shuffle Along, Runnin' Wild, and From Dixie to Broadway, and with the names of their stars—Sissle and Blake, Miller and Lyles, and Florence Mills. In many respects these shows represent notable advances over the musical shows that preceded them, yet fundamentally they carry-on the old minstrel tradition. Ludwig Lewisohn, the eminent New York critic, thus evaluates their work: “Much of this activity, granting talent and energy, is of slight interest; much of it always strikes me as an actual imitation of the white blacked-face' comedian—an imitation from the Negro's point of view of a caricature of himself. All of these things have little or no value as art, as an expression of either the Negro individual or the Negro race.” Yet in all justice it should be said that these shows have given a large number of talented Negroes their only opportunity for dramatic expression and have resulted in the development of much stage ability. "Bert” Williams and Florence Mills are examples of dramatic geniuses who have elevated their work in these productions to the highest art. Certainly historically these musical shows are a significant element in the groping of the Negro for dramatic expression, and who knows but that they may be the genesis for an important development of our drama in the future?
Serious Negro drama is a matter of recent growth and still is in its infancy. It is in this field of legitimate drama that the Negro must achieve success if he is to win real recognition in the onward sweep of American drama. The year 1910 may be said to mark the first significant step in this direction, for
