Walker and Williams appeared in The Gold Bug (1895), Clorindy (1898), The Policy Player (1899), Sons of Ham (1900), In Dahomey (1903), Abyssinia (1906), and Bandanna Land (1907).

The two men set up an agency, The Williams and Walker Company, to support African-American actors and other performers, create networking, and produce new works.

[citation needed] He began his career as a child performer, touring in black minstrel and medicine shows.

With lighter skin expressing some European ancestry, and a fine voice, by the expectations of the time Williams would have performed as the "straight man" in comedy routines.

George Walker had performed in traveling medicine shows before ending up in San Francisco and joining up with Williams.

[citation needed] They participated in a "Benefit for New York's Poor" held on February 9, 1897 at the Metropolitan Opera House, their only appearance at that theater.

Couples would form a circle, promenade, prance with buckets of water on their heads to the sound of banjos playing, and clap their hands.

When Williams and Walker worked with the cakewalk, "the dance had many variations and in some was apparently a slightly veiled comic parody of their masters' pretentious posturing and high falutin' attitudes.

Unlike the vaudeville shows, it had a complete story line from beginning to end, although the songs were often loosely related to it.

Some critics have suggested that the story lines of later Bing Crosby and Bob Hope comedy films were similar.

By 1906, Williams and Walker were active in organizing an African-American actors' union called The Negro's Society.

[citation needed] The team produced and starred in two more successful plays, In Abyssinia and their final show, Bandanna Land (1907).

He died on January 6, 1911, in a sanitarium in Long Island and was buried at Oak Hill Cemetery, in his hometown of Lawrence, Kansas.

[6][page needed] As vaudevillians, Walker and Williams reached the top of national theatre by performing on Broadway and beyond.

The musical tells a story about a group of African Americans who find a pot of gold and move to Africa to become rulers of Dahomey.

[6][page needed] Bandanna Land (1907-1909) The story is about African-American realtors putting one over on white folks.

Preying on white fears of a black-owned, black-controlled public space, the realty corporation opened an African-American amusement park and “organized a big noisy negro jubilee to raise such Hades that the people bought them out” at an inflated price.

[6][page needed] The phenomenal success of The Williams and Walker Company depended on pushing beyond the stereotypes but only so far as white audiences could accept.

[page needed] Once Williams and Walker first became successful in New York with their 1896 vaudeville act, their “first move was to hire a flat in Fifty-third Street, furnish it, and throw our door open to all colored men who possessed theatrical and musical ability and ambition.” [6][page needed] They wanted to provide a space where “all professional colored people could meet and exchange views and feel perfectly at home,” and their own flat became “the headquarters of all artistic young men of our race who were stage struck.”[6][page needed] Walker explained, “by having these men around”, he and Williams “had an opportunity to study the musical and theatrical ability of the most talented members of our race.” (Theater Magazine, August 1906) Later, this place was known as the most “culturally stylish” black area of the city, became the center of the black theatrical world offstage and was later referred to as “Black Broadway” and “Black Bohemia.” [6][page needed] In addition to offering a creative outlet to talented Black American performers, The William and Walker Company supported their performers with pay.