[Percy Nash, pioneering British film director rewrites Oliver Goldsmith’s ‘She Stoops to Conquer’.] File of related material, including a typescript of Nash’s version, and letters from theatre impressario Jack Gladwyn and Stanford Robinson of BBC.

Ten items relating to Percy Nash’s unsuccessful attempt to turn Goldsmith’s ‘She Stoops to Conquer’ into a musical, casting light on English theatre production practices in the immediate postwar period. Despite interest from the theatre impressario Jack Gladwyn, the project stalls. Percy Nash (1868-1958), who made around 70 films between 1912 and 1927, was a key figure in the creation of Elstree Studios. His career as a film maker was effectively ended following the screening of his 1921 film 'How Kitchener was betrayed'. See Bernard Ince, ' “For the Love of the Art”: The Life and Work of Percy Nash, Film Producer and Director of the Silent Era’, ‘Film History’, September 2007. The file of ten items present here is in good overall condition, with the inevitable signs of age and wear. ONE: Typescript of Nash’s rewrite of ‘She Stoops to Conquer’. 47pp, 4to, with each page on one side only of a leaf; the last 10pp (Act 3, Scene 3) on cartridge paper, the other 37pp on thicker and whiter pages, possibly implying a rewritten conclusion. A rough draft, with numerous autograph emendations (some on the blank reverses of the leaves), additions and deletions, and the reordering of Act 1 Scene 3 as Act 2. In fair condition, a little worn and aged, with various scenes attached with rusting paperclips. Nash’s version modernizes the text, but not too drastically, as the commencement indicates: ‘Act One Scene One / Hardcastle discovered asleep in chair, Mrs Hardcastle enters followed by maid with dishes of tea, Maid retires and Mrs H wakes Hardcastle, who rouses himself, rubs his hands and prepares to enjoy his tea / Hard. Home Sweet home and a country one for preference / Mrs. H. Well give me London for a change once in a while. / Hard. The follies and fopperies of London nowadays travel faster than a stage coach - now, in my time - / Mrs H. Ay, your times were fine times indeed, you’ve been telling of them for many a long year. [...]’. TWO: Typewritten ‘CAST’ list. 1p, 4to. Suggested cast list: ‘Mr Hardcastle Dennis Noble / Mrs Hardcastle Binnie Hale / Kate Hardcastle Gladys Ripley / Constance Loreley Dyer / [...] / Tony Lumpkin Leslie French / [...]’. Other characters are to be played by such figures as ‘Straight Character Actor’ and ‘Tall Heavy Bass character Actor’. THREE, FOUR and FIVE. Two Typed Letters Signed and one Autograph Letter Signed from theatre impressario Jack Gladwin to Nash. All three on letterhead of Jack Gladwin Theatres, with imposing illustration of a large and modern theatre. The first signed ‘Jack. G.’ and the other two ‘Jack’. All three addressed to ‘My dear Percy’. The first, typed, 9 December 1949: It is ‘a very busy time’ and he has been ‘glued to the telephone’, but ‘With regard to your play, I feel greatly interested and it seems very good to me, at the same time, with all my other commitments I could not undertake this alone. I am placing this matter before some business friends and will see what their reaction is.’ Long autograph postcript, stating that there must be a careful consideration of the cast ‘before embarking on an expensive venture. The names suggested seem very good - but what they will want is another matter.’ Second, in autograph, 13 December 1949. 1p, 4to. Trying to arrange a time to phone. Third, typed, 4 March 1950. 1p, 4to. ‘Over luncheon the other day I had a long chat with a financial friend regarding your Musical Play. I mentioned I would take over the work and produce at Norwich if I can [find] the necessary backing. I should much like to do myself but have so many other interests I dont feel like finding the money. It could be done for a week to try out but dont think this would be worth all the trouble - unless we had a tour to follow.’ His ‘colleague’ did not think it was ‘a good time to try out a[n] entirely new venture - later I think he might be persuaded’. Nash’s collaborator (the ‘S. D.’ of Item Ten?) rang him ‘and seemed anxious to have done at once’, so he suggested that if there was ‘anyone else in mind not to wait for me; [...] No use leaving it in abeyance if you have a prospect of finding other help’. SIX and SEVEN: Carbon of letter from Nash to Stanford Robinson at the BBC, 21 November 1949 (a few words of text blotted in the carbon); with Robinson’s actual Typed Letter Signed in reply, 29 November 1949. Among other information he provides, Nash explains that he has ‘just completed a Musical version of “She Stoops to Conquer” with the Music taken from Mendelssohn’s “[...] Words”, and a Scherzo (Not [t]he Dream one). [...] / It would need a Star Cast, and Gladys Ripley, who has read the M.S.S. would like to play Kate Hardcastle. Dennis Noble also sees himself as Hardcastle. Leslie French would be an excellent Tony Lumbkin and Marie Burke would be right as Mrs. Hardcastle. I am wondering if Miss Lorelie Dyer would care to play Constance? [...]’ In his reply Robinson writes: ‘You don’t really make it clear what you want me to do, but if you only want to know if Miss Dyer would like to play “Constance” I suggest you send her the manuscript’. He provides her address. EIGHT: Carbon of letter from Nash to ‘Miss Dyer’ (Lorelie Dyer) of 27 December 1949. 1p, 4to. Asking if the part ‘has interested you enough to consider playing it if produced’. He asks for the ‘early return of the M.S.S.’, as it is ‘the only one and I want to get other copies made as soon as possible’. With ‘Certificate of Posting’ from ‘Miss L. Dyer’. NINE: Typed Note Signed to Nash from Patricia Grassick, ‘Secretary to Miss Ripley’. 24 August 1949; on letterhead of The Bay House, Aldwick Bay Estate, Aldwick, Sussex. 1p, landscape 12mo. ‘Miss Gladys Ripley has asked me to return this manuscript to you in her absence’. TEN: Autograph Note to Nash from ‘S. D.’ 2 December 1949. 1p, 12mo. ‘Dear Nash, / Here are the memoranda of the people approached. Best wishes. / S. D.’