According to The Crisis magazine in 1923, the aims of The Ethiopian Art Theater were to create "dramatic pieces" that have "universal appeal" for both African Americans as for other races including Caucasians and Asians.
In addition, O'Neil revised Salome for one week in May 1923 to include African American features, and created a jazzy version of Shakespeare's Comedy of Errors.
[7] It was not a financial success but W.E.B DuBois lauded it: The Negro Drama in America took another step forward when The Ethiopian Art Players under Raymond O'Neil, came to Broadway, New York.
Financially the experiment was a failure; but dramatically and spiritually it was one of the greatest successes this country as ever seen.In its brief existence, The Ethiopian Art Theatre managed to stir-up considerable controversy — to a level that, in some instances, challenged its otherwise well-established credibility.
The biggest controversy came from external conflicts " ... when the show opened in New York on 7 May 1923, it faced enforced segregated seating at Broadway's Frazee Theatre.
"[9] David Krasner writes, "[m]any attendees of the opening night's performance had to be forcibly removed from the theatre, while others interrupted with "laughter and loud talk" during "the climax of the play.
"[9] "With only modest success, they [The Ethiopian Art Theatre] opened on Broadway for only two weeks and then returned to Lafayette before closing their New York engagement and disbanding entirely.
"[9] The company gave rise to several noteworthy careers such as: Evelyn Preer (1896–1932) who was considered a "pioneer in the cinema world for colored women",[9] Sidney Kirkpatrick, Marion Taylor, Laura Bowman, Solomon Bruce, and Aurthur Ray.
Nor did other works produced by The Ethiopian Art Players stereotype African Americans as drunks, prostitutes, criminals, or clowns who grin and sham their way through life.