STAGE

See the two men’s entries in the Oxford DNB. In good condition. 11.5 x 9 cm card, without illustration. Printed in red at head: ‘MICHAEL REDGRAVE.’ The message concerns the London production of Fry’s ‘The Lark’ (a translation of Anouilh’s ‘L’Alouette’), which opened at the Lyric Theatre, Hammersmith, on 11 May 1955. Redgrave would star in Fry’s next play, ‘Tiger at the Gates’ (a translation of Giraudoux’s ‘La guerre de Troie n'aura pas lieu’), which premiered in New York on 3 October 1955.

See her entry and his in the Oxford DNB. 2pp, 12mo. In good condition, lightly aged. Folded for postage. Signed ‘Ruby’. Begins: ‘Popie, darling, / What are we coming to? / You - as a pierrot with the “Fol-de-Rols”! / BBC/TV must be mad not to let you do a talk on the St. James’s. / But after the Gaiety fiasco I can believe anything of them.

Part of leaf from autograph album, cut into an irregular shape. In fair condition, on lightly aged and discoloured paper, with film of dried glue from mount on blank reverse. The passage, which curiously enough does not correspondend with the printed text, reads (with three mistakes scored through): ‘Life of Napoleon III - Vol 2. / The Government, it is true, endeavoured to prevail upon Queen Hortense to request him to give his word that he would remain in America for ten years; but she replied that Prince Louis was master of his own actions & she would not endeavour to influence them.

Interesting content. The recipient Philip Dosse was proprietor of Hansom Books, publisher of a stable of seven arts magazines including Books and Bookmen and Plays and Players. See ‘Death of a Bookman’ by the novelist Sally Emerson (editor of ‘Books and Bookmen’ at the time of Dosse’s suicide), in Standpoint magazine, October 2018. The six items are in good condition, lightly aged, and one lightly creased with wear to one edge. The four letters are each 1p, 4to, and folded for postage. One of the letters is signed ‘A. Wesker’, the others ‘Arnold Wesker’. ONE: Wesker TLS, 10 September 1972.

Each of the seven plans is on a 27 x 35.5 cm piece of paper.The source has not been established, and each carries the pencil date 1878 in a modern hand. They are uniform in layout, each with heading of the name of the theatre followed by a plan in the form of a 22 x 15 cm lithographic illustration of the respective theatre, as viewed from the stage, with the seating numbered. Beneath each plan are names of proprietors, lessees and managers, prices of admission, and in every case the details of the two ticket agents ‘Mr.

Counsell, Ford and Fry all have entries in the Oxford DNB, that of Counsell noting that he was ‘assistant to Neville Grazebrook and composed the instrument of German surrender, signed at Rheims by General Jodl, which officially ended the war’. The two items are in good condition, lightly aged and creased from folding. Counsell’s TNS is stapled to the TLS from ‘Edward’, which is laid down on a leaf of ruled paper, at the head of which Fry has written: ‘Letter from John Counsell / re possible visit of H.M. The Queen to “Lady’s Not for Burning”’. ONE: Counsell’s TNS.

Lonsdale’s entry in the Oxford DNB has the following to say: ‘In 1925 The Last of Mrs Cheyney was produced at the St James's Theatre, with the leading roles played by Gladys Cooper, Ellis Jeffreys, Ronald Squire, and Sir Gerald Du Maurier. This, Lonsdale's most famous play, ran for 514 performances [from 22 September 1925] in London, and enjoyed comparable popularity in New York, Berlin, and Paris.

See his entry in the Oxford DNB. LETTER: 1p, 12mo. In fair condition, lightly aged, in remains of windowpane mount. Folded twice. Addressed to ‘Dear [Derrick?]’ and signed ‘J: R: Planché’. The year has been supplied in another hand in pencil. He informs him that ‘Charles Dance is out of town’, and that ‘the price would be one guinea - but I am sure that being for a benefit he will make no charges’. Planché is ‘of course not authorized to say so’, but he has ‘no doubt upon the subject’ and will tell Dormer so on his return.

See his entry in the Oxford DNB. The postcards are bromide prints, and 9 x 14 cm. The two identical images of Scott, dressed for the theatre, with curled moustache and flower in his buttonhole, are both inscribed. In the bottom margin of one he has written ‘late of the D. T.’; in the same position on the other, and rather poignantly considering his later history, ‘Remember me / Clement Scott / 1902’. The former card is addressed by Scott on the reverse, with Ingatestone postmark dated 27 February 1904, to ‘Mr S. Le Sage / Maisonette / Ingatestone / Essex’.

See his entry in the Oxford DNB. 1p, 12mo. On the recto of the first leaf of a bifolium, and addressed in autograph on the reverse of the second to ‘Mr. Raymond / Chester Street / Grosvenor Place / No. 3. / Hyde Park Corner’, with three postmarks and broken wafer. In fair condition, lightly aged, with spike hole through both leaves. Folded twice for postage. He is sorry Raymond had ‘so much trouble’ looking for him: ‘but the truth is I waited at home for you this morning till 12 -’. He explains that ‘the Copy Right of the Comedy’ is ‘purchas’d by Mr.

See his entry in the Oxford DNB. 2pp, 12mo. In good condition, lightly aged. On a bifolium the blank second leaf of which is laid down on part of a leaf from an album. Folded twice for postage. The recipient is ‘Henry Spicer Esq’, presumably a relation of the artist of the same name (d.1804; see ODNB), several of whose theatrical portraits are in the Garrick Club collection.

The Gilbert Miller production of ‘Pride and Prejudice’, designed by Rex Whistler, and starring Celia Johnson as Elizabeth Bennet and Hugh Williams as Mr Darcy, was a great success. It opened at the St James's Theatre, London, on 27 February 1936, and closed on 21 November 1936; with a Christmas revival between 26 December 1936 and 16 January 1937. There was a royal performance before Queen Mary on 15 February 1937, and the production went on tour for the rest of the year.

From the Macqueen-Pope papers. His entry in the Oxford DNB describes how, in the 1950s, he was ‘in demand as a lecturer on the theatrical subjects he loved, and he appeared often in the same capacity on radio and on television. Ironically he regarded these two forms of public entertainment, and television in particular, as representing a serious threat to the survival of theatre, about which he cared passionately’.

From the Macqueen-Pope papers. See his entry in the Oxford DNB. Known by his nickname ‘Popie’, Macqueen-Pope was widely regarded as the leading theatre historian of his day. His many books (from histories of individual theatres to a biography of Ivor Novello) sold well, and his broadcasts on the BBC were extremely popular. Eighteen items, providing something a glimpse of his working methods. The last two of the eighteen items are TLsS to MP: one from the editor of ‘Everybody's’ Greville Poke (also see his Oxford DNB entry), and the other Pauline Carter, ‘EDITORIAL’.

From the Macqueen-Pope papers. (See his entry in the Oxford DNB.) The seven items are in good condition, though one of Denham’s letters has slight wear to one edge. All date from the same period. The four Denham letters total 5pp, foolscap 8vo; three are signed ‘Reg’ and the other ‘Reginald’; two are on his letterhead. The fully-dated Denham letter (8 June 1951) is the longest at 2pp, 8vo. Addressed to ‘My dear Mac’, he gives details of a visit he is paying to England to settle his late mother’s affairs (‘She was 83.’) He is also going to ‘confer with Edward Percy.

See his entry in the Oxford DNB. 1p, 4to. Signed (‘With reiterated thanks’) ‘Gerald du Maurier’, with ‘President’ typed beneath. The letterhead is printed in black and green, with details of officers and committee members. On aged and creased paper, with closed tears and nicks to edges. Folded three times for postage. He asks him to accept his ‘most grateful thanks for your splendid efforts at the Garden Party’. He understands the ‘new show’ which Arlton ‘put in this year’ has proved ‘very popular’.

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.

From the Macqueen-Pope papers. (See his entry in the Oxford DNB.) 2pp, 4to. Signed ‘Michel Kovatchévitch’. On aged and worn paper. Folded twice for postage, with closed tears at edges of vertical fold, and nicks and creasing along one edge. He is working on a biography of Frederick Aldridge, ‘tragédien noir de langue anglaise (1807-1867)’, and asks for help in establishing the date of his debut, ‘dans le rôle d’Othello, au Royalty Theatre’.

From the Macqueen-Pope papers. See his entry, and that of Brooke, in the Oxford DNB. The five items are in good condition, lightly aged and worn. ONE: Carbon of Typed Article titled ‘London Was Unlucky to Him / The Story of Gustavus Brooke, The Tragic Tragedian’. 11pp, 4to, on eleven leaves. Begins: There is nothing so ephemeral as the art of the actor. Very very few of the names live on. Yet there are some, who in their day were of the first magnitude and are now forgotten, save for the delving historian.

From the Macqueen-Pope papers. See the two men’s entries in the Oxford DNB. MP is not named as the author, but there is no doubt that he is. Item one has corrections in his hand. Both versions are simply titled ‘Will Fyffe’. The two versions exhibit a number of differences from one another. It is not clear where the obituary was published, but it was probably the London magazine ‘Everybody’s’, for which MP contributed a weekly column. ONE: 4pp, 4to, double-spaced, on four leaves.

See the two men’s entries in the Oxford DNB. From the Macqueen-Pope papers. Each item in good condition, lightly aged, with creasing and rust staining to one corner from a paperclip. ONE: Swaffer to MP. TLS, signed ‘Swaff’. 1p, 4to. ‘Dear Popey, / Do you know anything about this woman? [From the context he is sending MP an enquiry he has received from ‘Mr. Le Poer Trench’] I presume she was a legitimate actress.

From the Macqueen-Pope papers. (See his entry in the Oxford DNB.) On 20 October 1922 Millais broadcast on 2LO radio, becoming the first comedian on what was later to become the BBC. In a performance on 21 November 1922 she became the third entertainer to appear on the week-old BBC. All three items in good condition, lightly aged, though the autograph letter has pin holes to a corner, and the typed letter rust from a paperclip. Both letters signed ‘Helena Millais’. ONE: TLS. 3pp, 12mo. Having met him ‘at various C.A.A. evenings, she asks him for advice about several books.

From the Macqueen-Pope papers. (See his entry in the Oxford DNB.) The Clan Chattan Association is a confederation of highland clans. 2pp, 4to. In fair condition, lightly aged, with slight creasing to one corner, and rust staining from paperclip. Folded twice for postage. Addressed to MP’s London address in Coventry Street. ‘I’ve heard about your James MacQueen. His name appears in quite a few locally published papers &c. on Culloden. His new teeth are quite famous up here.’ He accepts the proposal for an article: ‘if you could go to 900-1000 words I’d be happy’.

From the Macqueen-Pope papers. (See his entry in the Oxford DNB.) Both items in fair condition, lightly aged and creased. Pinned together. ONE: DM to MP. Signed ‘Mollie and Donovan Maule. / (Mollie Shiells)’, but the husband is clearly the author. 1p, 4to. Folded twice for postage. He thanks him for his ‘inspiring book’ on the Haymarket Theatre. ‘My wife and I (both ex-Haymarket artists) feel inseminated ith fresh optimism and jope while battling with the municipal authorities and Kenya Government to establish the first professional theatre ever known here.

From the papers of theatre historian W. Macqueen-Pope, who was for more than twenty years press representative for Drury Lane. (See his entry in the Oxford DNB.) The recipient is given by MP as ‘Jack Todd Esq / 446, Dimmick Street, Waterton, New York’. 2pp, 4to. 59 lines of text, single-spaced. An unsigned carbon copy, in fair condition, on lightly-aged and creasted cartridge paper.

From the Macqueen-Pope papers. (See his entry in the Oxford DNB.) 2pp, foolscap 8vo. In fair condition, lightly-aged, with creasing at head, which is annotated by MP ‘(author)’. After thanking him for his letter he writes: ‘It is fatal to have a book published without seeing a proof. In my “G[ilbert] & S[ullivan] Dictionary” I had occasion to mention “The Yeomen of the Guard” 14 times. The comp[ositor], aided by the reader, deliberately channged them to “Yeoman”.

From the Macqueen-Pope papers. (See his entry in the Oxford DNB.) 1p, 16mo. Signed ‘Bill Owen’. In fair condition, lightly aged and creased. Hailing him as ‘the greatest living authority on British Theatre’, he asks for advice. ‘My job is acting, and it has always been an ambition of mine to portray the life of Dan Leno, either on film or TV.

From the Macqueen-Pope papers. (See his entry in the Oxford DNB.) 1p, 4to. On light-blue paper, with letterhead in dark-blue and red. Signed ‘Ralom’, with ‘RALOM & ROSA’ typed beneath. In good condition, lightly aged. Writing to MP at the Evening News, London. ‘There has [sic] been quite a few remarks passed by critics of the “paucity” of Acts in the Variety profession.

From the papers of the evident recipient, theatre historian Walter James Macqueen-Pope. See his entry, and hers and her husband’s, in the Oxford DNB. 2pp, 12mo. Large bold signature ‘Sybil’. In fair condition, lightly aged and worn. Folded once for postage. The letter almost certainly relates to the unveiling ceremony of the Ivor Novello Memorial at the Theatre Royal, Drury Lane on 2 May 1952. The bust, by Clemence Dane, was unveiled by Thorndike with the reading of a poem by Mary Ellis. The preent item reads: ‘My dear. Of course I[’]ll do anything you want me to do for our beloved Ivor.

From the Macqueen-Pope papers. See the two men’s entries in the Oxford DNB. Ronald Harwood’s play and film ‘The Dresser’ are based on his experiences working in that position for Wolfit. From the Macqueen-Pope archive. The two items lightly aged and in fair condition, the first with a little rust spotting to one corner from a paperclip. In Item Two MP describes in detail his plans for a play about the nineteenth-century actor Edmund Kean, with Wolfit clearly envisaged in the leading role.