The career of Eugene has some obvious progressions, from short one-act plays (The Dreamy Kid, The Moon of Caribees), to essentially expressionistic dramas (The Emperor Jones), back to realism with hints of expressionism (All God's Chillun Got Wings), and finally to long fully-developed dramas (The Iceman Cometh) that are primarily realistic with elements of symbolism (as in Larry Slade's early description of bar in The Iceman Cometh as the No Chance Saloon, It's Bedrock Bar, End of Line Cafe). The extent of development of character proceeds accordingly: in short plays characters are often only twodimensional, at best showing a small range of emotion, and at worst are mere caricature, while in longer plays characters are, for most part, more complex, showing a great depth of emotional capability which is only suggested in early plays. O'Neill's depiction of Black characters generally falls along these same lines, achieving a growth in racial sensitivity from 1918 (the year of publication of The Dreamy Kid and first performance of The Moon of Caribees) to 1946 (the year of first performance of The Iceman Cometh). Some recent critics have noted this development, most notably Peter J. Gillett and Roger Oliver, but all fail to recognize racial bias that plagued until end, and conclude that in The Iceman Cometh had progressed to a state of racial equality.1 Characteristic is Roger Oliver's conclusion that in Joe Mott, O'Neill transcends his previous treatment of Black characters. Joe Mott's specific racial nature, seen in social rather than stereotyped personal terms, is balanced with his shared humanity.2 Throughout progression, however, and even as must be acknowledged as first American playwright to include serious Black characters in popular drama, continually clings to some serious misconceptions and popular stereotypes concerning Black characters, with no exception in Joe Mott. The Dreamy Kid (1918) earns a notable place in history of American drama as one of first plays to be cast with Black actors in serious roles by a 'white' producing company. When The Moon of Caribees was
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