New-York tribune., 1920-02-15

AH group OF young producers has
N sprung up recently in New
York. who are presenting plays
worth while and In q serious manner.
At the head OF this group, perhaps,
stands John D. Williams, keen, alert,
we'll read. and with an inside knowl-
edge Of the theater He is Boston
man, Harvard graduate and received
his business training from an intimate
association with the late Charles Frob-
man.
Under forty, bachelor with all his
tine his own, MIR. Williams has a record
Of production in his five years as a
manager which is enviable, to say the
least. It Is difficult to think of any one
among the present-day managers who
HIS equaled it in the same time as q
combination Of quantity and quality.
With thorough appreciation Of the
commercial side Of his work, Mr.. Will
iams has the habit Of using his we'll
shaped head for better purpose than
that of hanging his hat upon 1t.
list of his productions in his short
managerial career will give an insight
into the Judgment and taste of this
coming man, who has already distinctly
arrived as an important factor in the
show world His first venture with Mrs.
Fiske in "Erstwhile Susan" was quickly
followed by his present. on of John
barrymore IN Justice" Another sur
prise was given to the habitues of the
theater when he announced John Drew
IN THE Gay Lord Quex."
This was followed by Lione! Barry
more In "The Copperhead," which is
now being presented in motion pic
lures. Then came Norman Trevor and
Constance Collier in Oscar Wilde's
play, "An Ideal Husband" "Toby's
Bow" and Trevor in Booth Tarking-
offered H. 3. Warner and Irene Bor-
doni In sleeping Partners" and then
Lionel Barrymore In "The Letter Of
tho Law" which is to have its New
York premier week from tomorrow
afternoon at the Criterion Theater.
Martha Hcdman In tho English COM
edy, Three for DIANA" was Mr.. Will
iams's next, followed by Somerset
Maugham's "Our Betters," which Dion
Boueicault is about to present in Lon
oon. His most recent productions are
Richard Bennett in "For the Defense"
and the Eugene O'Neill tragedy, "Be-
yond the Horizon"
His plans for the future are Of great
interest to the theater public, but let
Us first have look at the man and
listen to his story Of himself. with some
"reminiscences of his distinguished
mentor. Mr.. Frohman. Replying to the
opening question as to his forebears,
Mr.. Williams smiled his amusement
and, running strong but delicate fin-
gers through his dark hair, saids
II come Of Puritan and Irish immi-
grant stock. was born Outside Of
Boston and my father was an engineer.
Iy grandfather was an Irish immi-
grant and the sexton OF little church,
where he tolled the bell for services,
funerals and weddings"
what do you think the public wants
In tho theater iust now 2"
II wish / knew" said Mr.. Williams.
but really, as nearly as l can see,
they seem to be turning to the more
serious plays. suppose the great
war has had that effect. Take my two
present offerings. gave them a
splendid actor Richard Bennett. In the
sort Of thing to which they were ac-
customed, For the Defense an In
tense drama in which they ara kept
guessing as to who killed Cock
Robin7' until three minutes before
tho fnal curtain, when they are
genuinely surprised at tho revelation
Of the real slayer. Then, simulta-
neously, at matinees, I gave them the
ssmo actor with several of the same
company in the cast, In the sort OF
thing they had been saying they
wanted-the oNeill play. Beyond the
Horizon There they had them both
and could take their choice. And they
did. They chose tho better thing, the
serious O'Neill play, and forsook the
other.
William Gillette told mo years ago
that Just after the Civil War. che
people turned to the more serious, bst-