PLAYS

See his entry, with those of his brother Lionel and Lacy, in the Oxford DNB. 1p, landscape 8vo. On grey paper. Neatly placed in a trimmed windowpane mount, with a triangle of paper lost on opening the seal skilfully replaced with paper. In fair condition, folded for postage. On the reverse is a penny red stamp, a black wax seal, and two postmarks, with the address by Brough: ?T. H. Lacy Esqr. / 17 Wellington Street / Strand / London?, and Brough?s initials ?R. B. B.? at bottom left.

Emerson’s novels have undergone a re-evaluation in recent years. The first six were republished by Quartet Books as ‘Rediscovered Classics’ in 2017, and in 2021 by Quadrant Books. ‘Books and Bookmen’ was one of a stable of seven London arts magazines owned by Philip Dosse (1925-1980) of Hansom Books. Emerson, who was the editor of the magazine at the time of Dosse’s suicide, has published an account of her time there: ‘Death of a Bookman’, Standpoint, October 2018.

From the Sylvia and Robert Lynd papers. A scarce piece of Abbey Theatre ephemera: the National Library of Ireland has a copies of the programmes for later revivals of the play in the Joseph Holloway collection (1918-1920), but does not have this one. ‘The Prodigal’ was Riddall’s only play. It ran for five performances between 30 September and 3 October, Riddall having died earlier in the year. It was revived in 1916, 1919 and 1923. 4pp, 12mo. Stapled into grey Abbey Theatre wraps. In fair condition, aged and worn, with one vertical fold.

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.

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.

See his appreciative entry in the Oxford DNB, concluding with praise of his ‘undeniable’ achievements. 1p, 12mo. In good condition, lightly aged, with the blank reverse carrying very slight staining to one edge from glue from mount. Folded once. Neatly and firmly written, with the underlined signature with a deliberate upwards slope. Clearly sent in response to a request for an autograph. Reads: ‘ “A man dies but once, a woman twice - the first time when she marries, and then, as at the last, wondering at the thereafter.” / Lady Bountiful. / Act IV. / Arthur W. Pinero. / 23rd. February 1897.’

See his entry in the Oxford DNB. 2pp, 12mo. Bifolium. In good condition, lightly aged. Folded once. The valediction reads ‘Yours alway faithfully / Arthur W. Pinero’, and it is written with quite a flourish: the ‘y’ of ‘faithfully’ hooks downwards in a long squiggle, exrending downwards past the right of the termination of Pinero’s signature, which rises upwards, being dotted above and below the signature’s underlining. He feels that her ‘kind letter is all the more welcome inasmuch as it gives signs’ that she is recovering from her recent illness.

196pp, 4to. In ruled notebook. Internally in fair condition, on aged and lightly-worn paper, with covers detached and worn. Providing an interesting view of the day to day challenges of amateur dramatic production in the 1970s. Each set of minutes is signed by one member of the committee. The first set, 7 June 1973, list Philip Rayner as chairman, Bernard Wigginton as secretary, Philip Hickson as Treasurer, with other committee members Gill Ager, Derek Barrett, Peter Orton and Sue Rowlands.

For the context of the letter see Pamela M. King's 2007 paper 'Twentieth-Century Medieval-Drama Revivals and the Universities', which states that at the time of the writing, there was in Canterbury 'to be a new play by Robert Gittings about St Alphege and the Danish invasion entitled Makers of Violence', and that at the Pilgrim Players in Norwich planned to put on, at the church of St Peter Mancroft, a production of Fry's 'Sleep of Prisoners'. 2pp, 8vo. In fair condition, lightly aged, with a little light damp spotting. Folded once.

2pp., 4to. Bifolium. Addressed on reverse of second leaf, with seal of a harp in green wax, 'To | - Webster Esqre. | Theatre Royal Haymarket'. Writing two days before her father's death, she explains that she commissioned a friend to offer a guinea for his 'Interlude of "Pay for Peeping"', but finds that 'in return you expect one pound eleven for it'. She points out that she was 'the original (at the Strand Theatre) in the piece', and that she is offering the same terms accepted from her by 'Mr Selby for his "Day in Paris"'.

16pp. (of which 12pp. in 8vo and 4pp. in 4to). In fair condition, on aged and worn paper. Neatly written out, with underlinings in red ink. Loosely inserted in the marbled wraps of an exercise book, with 'Adelphi' in pencil on the inside of the front cover. The first scene is written out complete on ten leaves from the exercise book (now loose), with the main text on ten pages, and additions on two versos. In addition to this is a grey paper bifolium, carrying over 4pp., 4to, additional matter to be inserted at the beginning of the second scene.

ONE: Christmas card. 12mo bifolium, with coloured illustration of Christmas candle on cover. Pearson writes: 'FOR [corrected from 'from'] | Edward. A. Carrick | from his old inspirer | George Pearson | 1970'. The association between the two men was warm.

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!

ONE: Typed playscript. 64pp., 8vo. Typed in purple ink, on rectos only. In pink card 'Ludgate File', with white typed label on front cover: 'THE FAIRYLAND EXPRESS'. In fair condition, aged and worn, with the leaves bound in with a rusted metal bar. Initial blank leaf with ownership inscription: 'Jack Denton | 12 Montague Road | Richmond | Surrey', as well as 'Mr Percy Nash | see phone'. The first page gives Denton's typed address as '25 Monmouth Road | Watford', and lists the cast, headed by 'Prudence . . . a little girl from Kensington', and 'Eric' and 'Marjorie', who are 'Her cousins . .

The Oxford DNB's entry on Bunn states that from 1819 to 1824 he held the lease of the Theatre Royal, Birmingham. 1p., 8vo. Bifolium. Addressed on reverse of second leaf to '- Perkins Esq'. In fair condition, with light signs of age and wear. Bunn begins his letter: 'My dear Sir, | The dreadful bustle attendant on producing "Waterloo" must be my apology. The Music & Manuscript are herewith sent - & not a note or a syllable of either has been copied.' He thanks 'Mr Howes for his kindness', which he offers to reciprocate, 'whenever in my power'.

1p., 12mo. In fair condition, aged and worn, with staining from glue used in previous mounting. He apologises for not being able to 'do what you asked', as he 'did not go to the Garrick until to day when I found your letter with others waiting me'.

[1] + 32pp., 4to. Bound with brass clasps in grey paper wraps. On aged paper, in worn binding. A 'Duplicate Carbon Copy', with the stamp of Miss Dickens's Type Writing Office, 3, Tavistock Street, Strand. The first of the play's four acts. Text typed on rectos only, with stage directions in pencil on facing versos, and with numerous emendations (presumably by Brandon) in pencil throughout, including the deleting of a number of passages. Facing the first page is a pencil diagram of the stage setting.

86pp., 4to. With each of the three acts bound into separate grey wraps, with typed labels on covers. Internally in good condition, on aged paper, in worn and aged wraps. This unpublished anonymous translation predates the one by Sara Tracy Barrows, with an introduction by Ludwig Lewisohn, published in New York by Doubleday in 1916. There is no record of an English production.

93pp., 4to. Bound with pink ribbon in buff card wraps. Creasing to front cover and first few leaves, otherwise in good condition, on aged paper, in aged and worn wraps. Ownership inscription on front cover and title-page: 'Robins MIllar | 9 Park Quadrant | Glasgow C3'. A high-society comedy, set in London. No record regarding this play has been discovered. Millar's papers are in the University of Glasgow.

107pp., 4to. Stapled and attached with pink ribbon. Aged and worn, with last few leaves detached, with worn front cover only also detached. With a couple of manuscript emendations. Millar begins a full-page introduction: 'The mood of this play is gay comedy. | It arises from the threat of gossip in a small country town.' No record regarding this play has been discovered. Millar's papers are in the University of Glasgow.

For more about Corrie see his entry in the Oxford DNB, which states that 'His most effective mature work, A Master of Men, about the conflict between a mine manager, the mine owners, and the miners, was performed by the Glasgow Citizens' Theatre in 1944.' 111pp., 4to. On paper of various colours. Autograph title-page: 'English Version | A Master of Men | A Play | Joe Corrie | Hill's Hotel | 41 Princes Sq. | London W2 | Tel. Bay. 0118'. (Many of Corrie's plays were written in Lowland Scots.) In good condition, lightly-aged, in worn buff card wraps. With a few autograph emendations.

168pp., 4to. Pages typed in black and red (by Active Secretarial Bureau, Wardour Street) on versos only. Bound in grey card wraps, with red tape spine. Typed title on cover, with circular red label of 'British and Continental Plays Ltd'. The main characters include the unnamed members of a continental royal family, together with 'Baroness Sibyl Konigsmark' and 'Section-Leader Grumb', and the scene is set at an Old Castle and Summer Palace, and 'Late in June of the year 1941. Three o'clock p.m.' and periods shortly following.

Unattributed, but in Wheatley's hand. The 'List of Plays seen by Pepys from 1660 to 1669' is 5pp., foolscap 8vo, on loose leaves of unwatermarked ruled paper. In fair condition, aged and worn. It is neatly written out in ink, with occasional pencil emendations, giving dates, theatres and titles. A few comments on the theatres are included, for example on 'Davenant's New Theatre in Lincolns Inn Fields'.

On one side of a piece of 2.5 x 8 cm thin card. In good condition, lightly aged and worn, with slight creasing (not affecting text). Possibly in response to a request for an autograph. Reads: 'Nigel Playfair'.

First edition, 8vo. Laurence A216a. Original red cloth, speckled, lettered in gilt on spine, hinges cracked, in damaged dustwrapper. below). Inscribed on the half-title: "to Yvette Pienne, player and writer, | G. Bernard Shaw | Malvern | 23/8/36." WITH: unpublished photograph, 19 x 14.5, of Bernard Shaw with a bevy of youngish ladies including Yvette Pienne according to a note (NOT in Shaw's hand, prob. Pienne's) on the reverse, "Malvern Festival 1938 || G. Bernard Shaw | [?] Lewis | Yvette Pienne|".

1p., 4to. In fair condition, lightly aged and creased. He asks her whether she means by 'a favourite recipe' one 'which I know of that others are likely not to know of? Or just one that I like but might well be familiar?' He ends by suggesting that she try asking Alan Bates, 'who I think has a secret recipe'. He gives an address for the actor.

12pp., 12mo. In original printed wraps bearing the title, dramatis personae, printer's slug, and contemporary pencil note: 'Performed at Literary Institute Wednesday June 8th 1898.' On aged and worn paper, with curling to fore-edge, and a cloth strip sewn on to strengthen spine. A comedy in heroic couplets. Excessively scarce: no copies on COPAC or WorldCat OCLC. Kirshaw was active between the 1870s and 1890s.

One page, obl. 12mo, good condition. He appreicates being told about the Georges Neveux play on the radio [French playwright], but "unluckily" he missed it. "I had a very pleasant surprise in Italy. As I was entering my room at the hotel a door next door to it opened and Neveux was staying there. I had a long talk with him and he said that some french p[roducers (friends of his) who are interested in the story, might like to have a talk about the possibilities of an English collaboration and they might come to London with Georges. Of course I haven't heard from him since [...]".

1p., 4to. On aged and lightly-creased paper. Giving breakdowns for different seats in matinee and evening productions, as well as for programmes, with the number of complimentary tickets. The Arts Theatre Club was founded in 1927, 'in an attractive building in Great Newport-street shaped somewhat like the House of Commons' (Times, 9 May 1927). On its relaunch in 1933, its stated aim was 'to select plays of theatrical merit [...] with an entire disregard for their commercial possibilities' (Times, 18 December 1933).

1p., 4to. On aged and grubby paper. The letter provides an interesting insight into the niceties of Regency theatrical practice. Colman peremptorily addresses it to 'Madam', before expressing his displeasure and defending his imposition of a penalty, as a result of the non-attendance of the recipient (apparently an actress) at a performance at the Haymarket.