STAGE

Both items in good condition, on lightly-aged paper. ONE: ALS. 1p., 4to. In stamped envelope addressed to Ducan in St Martin's Court, London. Begins: 'O, thank you for the beautiful print. I think it's really lovely - couldn't be more delighted.' She thanks him for 'the charming note', adding: 'If I'd known it helped I'd have smiled more often!' TWO: ACS. In red ink. Begins: 'How lovely - the programme. So pleased to have it'. She ends: 'Hope we manage as well as they did!'

The two typed notes in good condition, lightly aged; the autograph note in fair condition, on aged paper. Two items signed 'Bernard Miles' and one 'B. M.' The first typed note suggests an exchange of material, with the autograph postscript 'One or two of the appeals for charity are endorsed by H. I. [ Henry Irving? ] himself.' The second typed note declines a collection: 'I managed to pick up an almost complete set in Leeds soon after we talked - nearly 200'. The autograph note simply acknowledges the sending of a cheque for a 'little lot of photographs I took away'.

4pp., folio. Bifolium. In fair condition, on aged paper slightly worn at head. The front page is headed 'H.R.H. Princess Christian and the Royal Members, are Patrons of a Private Farewell Matinee arrranged by Lady Romney on behalf of the Green Park Club for Mr. and Mrs. Luther Munday'. The names of twenty performers are listed beneath this, headed by Herbert Beerbohm Tree, with various other individuals named.

1p., landscape 12mo. In good condition, on lightly-aged paper. Reads, with manuscript text in square brackets: 'Royal Italian Opera, | Covent Garden. | [Madle Vestris] | Londres, [Le 6 Juin] 18[66]. | Recu de M. Gye la somme de [£40 - -] | [G Vestris | B.V, | £[40 : - : -']'.

147pp., 8vo. In fair condition, on aged paper, with rusty binding, in worn covers. In manuscript on the cover are the return address and 'Producer's Copy'. In the same hand is an addition to the ending: 'Judy | Then there is a ghost' | Geoffrey | Not a word to your father'. 'Who's Who in the Theatre' records a production of the play in 1938, but there is no reference to it on either OCLC WorldCat, or on COPAC.

ONE: TLS. 1p., 4to. In fair condition, on aged paper. The letter begins: 'Dear Mary, | I am writing a musical play called "Hearts Beloved". The central character is MARIA FITZHERBERT and it is the story of her love affair with GEORGE IV, (Prinny). I am very anxious for you to consider playing MARIA FITZHERBERT. The part would suit you very well and I think the present time is just the moment to produce a historical play on an English stage.' He has seen 'Tom Arnold's representative', who would be interested if she agreed. TWO: Typescript. 49pp., folio. No title page.

ONE: Letter. 1p., 8vo. In fair condition, on aged paper. Smudged signature. He is sending the play, which he thinks has 'originality and charm and would be very funny. Who could play "Chapeau"? - I could, but I expect I'm too old!!!!' TWO: Typescript of play. 91pp., 4to. With autograph emendations. In good condition, on aged paper, in worn card covers.

129pp., 4to. In fair condition, lightly-aged, in worn wraps with label on cover. Leaver's first name misspelled 'PHILLIP' on title-page. Unpublished.

[2] + 31pp., 4to. In pink card covers. In fair condition, on aged paper, in worn and stained covers. The play was published in London by H. F. W. Deane & Sons in 1953.

159pp., 4to. Typed in red and black. In good condition, on aged paper, in worn green card covers. TWO: Typed Note, signed by Enid Reynolds, 'Secretary to Mr. David Henley', sending the play to Macqueen-Pope. In good condition on aged paper. 1p., landscape 12mo. Lindsay and Crouse's 1939 adaptation of Clarence Day's book was the longest running non-musical Broadway play in history, spawning a film and television series.

ONE: Letter. 1p., landscape 12mo. Aged and creased. Addressed to 'My dear Popie'. He is sending the revised version of the play, 'which has been tightened up considerably from the earlier draft', asking whether it has 'commercial possibilities', or 'stinks'. He feels that five minutes with Pope gives him 'more practical dope on the theatre than 5 years at the RADA!' TWO: Early typescript of 'Death in Act IV'. The letter ends with a reference to 'Fanny K', Francis's 1950 biography 'Fanny Kelly of Drury Lane'. 68pp., 8vo. In fair condition, on aged and worn paper.

[1] + 15pp., 4to. In good condition, lightly aged. Nicely presented, attached by brass studs in grey covers, with paper labels on front. Unpublished. 'Who's Who in the Theatre' records this title among 4 plays by Macqueen-Pope.

ONE: Letter: 1p., 12mo. In good condition. Pope's 'stimulating verve' over 'an excellent lunch', at which 'Stoll' (a member of the family of Sir Oswald Stoll) was present, emboldens Platnauer to hope that his play might be 'a commercial success, despite the admittedly rational principles upon which theatrical choice is based today? Tastes change - usually before the pundits are aware of it.

BThe five items in fair condition, lightly-aged, with slight rust staining from paperclip. In a difficult hand. ONE: ALS to Macqueen-Pope, 20 March 1941. On his Larkwood letterhead, with 'From Allan Aynesworth' at head. Undated. 3pp., landscape 12mo. Providing a deal of information about his association with Maude, the last page beginning: 'Friendship about 50 years. We joined the Garrick & Beefsteak Clubs where we dined together with so many of our Theatre Friends Inc. Wyndham Irving Alexander Hare & Kendal to name a few.

1p., 8vo. On aged and creased paper. Lily Braytonis is a 'vague relative' of his, and she sends her 'good wishes [...] a propos the Chu Chin Chow article'. She would like to 'read through the relevant proofs' and Routh sends on her address. Brayton appeared in more than 2000 performances of 'Chu Chin Chow'. For more on Routh, see his obituary in the Independent, 8 June 2008.

The thirty-six items in the folder are in good condition, with light signs of age. ONE: Six Autograph Letters Signed, one Typed Letter Signed, and one Autograph Card Signed. All signed 'Moira Lister' except the last communication, the card, which is signed 'Moira d'Orthez'. With four stamped envelopes, addressed to Duncan at his bookshop in St Martin's Court. A courteous and businesslike correspondence, firmly parrying Duncan's efforts at greater familiarity. The first letter, typed, is dated 8 March 1955, and relates to the sale of books.

1p., 8vo. In fair condition, on aged paper. Tasteful floral design to letterhead, in Art Nouveau style. His affairs have forced him to advance his departure (from Paris) by an evening, but assures him that, before the moment comes, he will have himself sought out his wigs.

Printed on one 12mo page of a bifolium of thick orange paper. The invitation is to a show of 'Mr. Andrew Storie's drawings of modern, mediaeval and theatrical dresses at her studio on Friday, 20th July, 1928 from 4 to 7 - (p.m. of course)'. Casson's note, in top left-hand corner, reads: 'Mr. Ian Davison kindly told me he was sure you would be very interested in Mr. Storie's work. - I do hope you can find time to come. | Jill Casson'.

1p., 12mo. On bifolium, addressed on reverse of second leaf to '- Ward Esqr. -'. In fair condition, on aged paper. The note reads: 'My dear Sir, | Presuming an old acquaintance, I request the favour of your presenting the enclosed to the Committee'.

11pp., 12mo. Stapled into card covers. In good condition, with light signs of age and wear. Covers illustrated in colour by 'T. U. P.' The front cover carries, with the title, an illustration of a maid with a duster, captioned 'BESSAY NOTHING'. Humorous in intent.

1p., 12mo. In fair condition, with light signs of age. Addressed to 'My dear Percy' and headed 'Love's Strategy'. Regarding the play (which was based on Goldsmith's 'She Stoops to Conquer') Littler writes: 'I don't think the idea appeals to me very much, and I am not going to do any more productions in the West End until after Christmas.' He gives his phone number, writing that he would 'be very pleased to see you or have a word with you'. In the carbon of Nash's letter (dated 27 May 1948) he writes that he has 'not messed about with the Author.

The collection consists of around 140 items, and is in good condition, with light signs of age and wear. It includes two drafts of the play, correspondence with librettist and composer, agents, the syndicate backing the play, a disgruntled contributor, solicitors, theatre managers, and also includes returns, receipts, accounts and projections.

The material, from the Percy Nash papers, is in fair condition, with light signs of age and wear. It is arranged in the following description in ten sections. ONE: Two drafts of an autobiographical account by Nash, ending in 1933. Both 2pp., 4to. The first is headed 'Percy Nash' and the second 'PERCY NASH. born December 5th 1868'. Of interest are the following statements: 'Owing to indisposition of Harry Loveday, was engaged by Sir Henry Irving to Stage Manage (associated with Laurence) the production of "Robespierre" at the Lyceum Theatre, and remain with him for several years.

PLAY: 108pp., 4to. On rectos only. Attached with green ribbon in card folder. Information about characters given in manuscript. In fair condition, on aged paper, in aged and worn folder. LETTER: 2pp., 12mo. Signed 'Arthur Morris'. On aged and creased paper. Presumably referring to his collaborator, he begins the letter: 'Fred writes to say that you have a friend, who might be interested in our Play. It is kind of you to bother. I still believe in the poor old play, but we had a nasty shock when Edward abdicated!

Both items in good condition, on lightly-aged paper. ONE: Typed playscript. 85pp., 4to. Typed in black and red on rectos only. Typed by May Hemery of London. Bound into black card covers, with label on front. TWO: Typed Note Signed to theatre historian W. J. Macqueen-Pope from 'Evelyn Dagnall', i.e. the dramatic critic Mrs T. C. Dagnall.

1p., 16mo. In fair condition, on aged paper, laid down on damaged leaf from album. At head, in another hand: 'for Saturday'. Reads: 'My dear Sir: | I shd. feel greatly obliged if you could without inconvenience to yr interest, give me a box, any night this week, to see King Lear.' At head is note in another hand (see below): 'for Saturday'. From the collection of Macqueen-Pope, who has written at the foot of the leaf on which the letter is mounted: 'To Chas Kean Princess's Theatre | Note at top, either by CK or Massingham the boxoffice m[ana]g[e]r.'

Both in good condition, on aged paper. ONE: 2pp., 4to. He reminds Macqueen-Pope that two years previously he was 'kind enough to receive me at your Office and, after a long and most interesting chat on things theatrical (over an hour, as I recall!) you wrote into my copies of your "Drury Lane" and "Carriages at Eleven" two very greatly appreciated inscriptions, by way of friendship'. He now has his 'delightful "Gaiety" and splendid 'Haymarket", and asks for 'another pow-wow' at 359 Strand.

[2] + 29pp., 4to. On rectos only. Heavily-aged and worn, with some damp staining, stapled, with remains of grey front cover and last leaf loose. With numerous emendations to almost every page. Ends abruptly on p.29. A fast-paced comedy, with a seance connecting past and present. Two exchanges: 'Bobbie. I suppose you're going to wear tights again? | Maud. Well, I've a ripping good reason for doing so - two, in fact.' and (during the seance): 'Nerea. Dance for me, I pray you, Oh embodiment of lissom grace. | Bobbie.

1p., 8vo. In fair condition, lightly aged. He begins by thanking Macqueen-Pope for a 'kindly reference' to him in his 'admirable book about The Gaiety'. He has noted a reference to 'Henly' in the index, and identifies this figure as Edward John Henley, brother of William Ernest Henley, whose poem 'Ballade of Dead Actors' he transcribes. He explains that Henley stayed some time in America after going there with a production of 'Deacon Brodie', a play by his brother and R. L. Stevenson, 'and, in 1897, I made my first production, "John Gabriel Borkman," in New York, with E. J.

108pp., 4to. On rectos only. In brown card covers. In fair condition, lightly aged, with bottom of front cover (probably pr`eviously carrying agent's details) cut away. 'RELUCTANT HEROES' is typed onto the cover, with 'by | Colin Morris' added in manuscript (probably by Morris himself). The play, Morris's most famous farce, was acted in London in 1950 (published version by the English Theatre Guild in the following year), and turned into a film, with a script by the playwright in 1951.