 More specifically, they were interested in the ideas of Max Reinhardt, a German director, the designing techniques of Adolphe Appie and Gordon Craig, and the staging methods at the Théâtre-Libre in Paris, the Freie Bühne in Berlin, and the Moscow Art Theatre.Seeking larger audiences and with more complicated production ambitions, by the early 1920s, several leading companies of the movement had turned professional.The Provincetown Players, who produced O'Neill's first one-acts, moved to New York in 1916; members of the former Washington Square Players formed the Theatre Guild in 1919; but in its heyday, dozens of Little Theatre groups presented alternatives to mainstream commercial theatre.