BROADCAST

[‘Suzette Tarri’, music hall comedienne.] Typed Letter Signed to P. W. Kerby and Typed Letter (signed on her behalf by her husband David Jenkins) to ‘Mr. Horsfield’, regarding bookings, with Autograph Letter Signed to W. Macqueen-Pope from Jenkins.

Author: 
Suzette Tarri [stage name of Ada Barbara Harriett Tarry (1881-1955), music hall and 'radio comedienne'; her husband and accompanist David Edmund Jenkins [W. Macqueen-Pope, theatre historian]
Publication details: 
ONE (ST to Kerby): 23 January 1944; her Southgate letterhead. TWO (ST to Horsfield): 29 March [no year]. THREE (Jenkins to Macqueen-Pope): 23 June 1950; different Southgate letterhead.
£100.00

From the papers of theatre historian Walter James Macqueen-Pope (1888-1960). (See his entry in the Oxford DNB.) The three items are in fair condition, lightly aged and worn. Her two letters are pinned together. The letter to Kerby has the large and firm signature ‘Suzette Tarri’; the letter to Horsfield is evidently signed ‘Suzette Terri’ on her behalf by her husband. ONE (ST to P. W. Kerby): 23 January 1944. Letterhead of ‘“Suda” / 25 Manor Drive, Southgate, N. 14’ (‘SUZETTE TARRI / RADIO COMEDIENNE / WITH / DAVID JENKINS / THE POPULAR PIANIST-VOCALIST’). 1p, 4to.

[W. J. Macqueen-Pope, theatre historian.] 27 items: fifteen Typed Scripts of BBC broadcasts, including eleven concerning different London theatres, five earlier drafts, three sets of music lists and two letters to MP from BBC producer Mary Treadgold.

Author: 
W. J. Macqueen-Pope [Walter James Macqueen-Pope], theatre historian and theatre manager, associated in particular with the Theatre Royal, Drury Lane, London [Mary Treadgold, BBC producer; British Broa
Publication details: 
Treadgold’s two letters from the BBC,200 Oxford Street, London, both dated 1951. Three of MP’s scripts dated from the same year, and the rest of the material from around this time.
£1,500.00

The material collected here is perhaps unique: it is not clear whether any material relating to Macqueen-Pope’s BBC broadcasts has survived elsewhere. It is hard to overestimate the significance of ‘Popie’ to the history of the London stage. Other items from among his papers offered seperately attest to the regard in which he was held by both actors and those behind the scenes, as the foremost chronicler of a cherished era that was quickly passing into oblivion.

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