As a black blackface entertainer and influential international star, Bert Williams has held a continuous fascination for theatre historians, in large part because Williams signifies the contradictions of blackface as much as he lived the history of African American minstrelsy. His work with George Walker starting in the 1890s, groundbreaking musicals of the 1900s, and career with Ziegfeld’s Follies in the 1910s have been detailed in numerous [ . . . ]