THEATRE

Guttman was, as one of his wife's letters in this collection states, Fry's 'prophet' in Holland, supporting his work from the earliest days. In 1961 Guttman directed the world premiere of Fry's 'Curtmantle' at Tilburg, and in 1981 he directed a production of 'The Lady's not for Burning' in Vienna. The collection is in good condition, with light signs of age and wear. The letters are all in English, long and intimate, addressed to 'Kit' and sometimes to 'Phyl', i.e. Fry's wife Phyllis.

An interesting correspondence on theatre matters, from one of Canada's most influential critics and designers to 'a favourite poet', the English verse dramatist Christopher Fry. Whittaker discusses, among other matters, mutual acquaintances including Sir John Gielgud and Leonard White, past productions of Fry's plays, a 1998 meeting with the playwright at his West Dean home, and a reading he organises of Fry's 'A Ringing of Bells' at the Toronto Arts and Letters Club. The eight letters are in good condition, lightly aged.

Nine items, all in good condition. All of the letters are signed 'Anthony', and four of them (two autograph and two typed) are each 1p, 8vo. The other letter, in autograph, is 1p, 16mo. With four items of material relating to Hostage Action Worldwide. The first letter (11 May 1989) accompanies 'our first reply to our first 350 donors – we're hoping to build rapidly now'. He reports that 'The Archbishop of Canterbury has this week responded positively to us and appointed a man, John Lyttle to our Advisory Council.

1p, 8vo. In good condition. Folded twice. With secretarial note in blue pencil, recording response by 'C.F.' The letter concerns Fry's screenplay for the 1966 film 'The Bible: In the Beginning...', produced by Dino De Laurentiis and directed by John Huston, which recounts the first 22 chapters of the Book of Genesis. Stallworthy wonders whether Fry remembers 'that, “in the dark backward and abyss of time”, the OUP wanted to publish your screen-play for the film of Genesis, but the film company's lawyers wouldn't allow it.

Both items in good condition, but the postcard (of a Viennese street scene) with stamp torn off. ONE: ALS. Signed 'Walter (Rilla)'. Vienna; 7 November 1966. 1p, 8vo. Twenty-six lines of text, in a neat close hand.

All three items in good condition, with both letters lightly-creased at the foot. ONE: TLS. Signed 'John Mortimer'. 11 November 1995. 1p, 8vo. He was delighted to receive Fry's letter and would 'like to visit a writing group with which you're connected. If I'm free on May 10th I'll come. I'm just waiting to hear about a trip to Florida – so do let the committee write to me. I'll know by then more clearly what I'm doing.' TWO: TLS. Signed 'John', with Mortimer deleting the typed word 'sincerely'. 1 March 1997. 1p, 8vo. He found it 'a delight' to hear Fry's 'lecture at the RSL'.

Both 2pp, 12mo. In good condition, lightly aged. Written in Whistler's calligraphic hand. ONE: 13 December 1961. He will be 'so pleased' if Fry will accept a copy of his poems, 'which I like to send you because of my admiration for your work, and sense of sympathy with what you express, or create'. TWO: 21 August 1963. 33 lines of text, written following the death of his friend Christopher Hassall.

Printed in black on one side of a 51 x 39 cm piece of light-green paper. Heavily inked, in the variety of types and point sizes typical of the period. Printed on high-acidity paper, and perhaps a unique survival. Aged and worn, with chipping and short closed tears to extremities. Reads: 'Imperial College | Literary and Debating Society | [thick-thin rule] | A LECTURE | ON | “The Interaction of Life | and Matter” | BY | SIR OLIVER LODGE, | D.Sc., F.R.S.

1p, 12m. In good condition, lightly aged. Linklater writes that he is enclosing, as requested, his own copy of 'The Devil's in the News'. He asks Ashmore to 'consider the play your own property for the next six months', and to 'take any profit you can from it'. He does not expect royalties. Ashmore is 'at liberty to make any minor alterations, additions, or subtractions' that he may 'consider advisable'. The letter concludes: 'This is my only copy, and I shall be glad if some day you will return it.'

4pp, 12mo. Bifolium. In good condition, lightly aged. The letter is addressed to 'My dear Mrs. Wigan' and begins: 'I am sorry to find that the friends I mentioned to you, have decided on another house already – but if I hear of any one else who would be glad of your very charming house, I will not fail to mention it.' She thanks her for offering to 'help Charlie some day with a word or two of advice – in case he should eventually decide on choosing the Stage as his career'. She would be 'very grateful for your valuable opinion on many points connected with it'.

11 + [1]pp, 4to. Stitched with pink thread and unbound. In fair condition, lightly aged. Nicely printed on laid paper, with cover illustration in black and green of view from back of stage of dancer receiving a bouquet from an audience. The second page gives details of the performance, with a list of the names of the 'Executive Committee'. The programme is on pp.3-11. Divided into 16 numbers. After five songs, the main feature (numbers 6-15 pp.4-8) is 'Chelsea on Tiptoe | New Version', with 'A Prologue | Written specially for “Ellen Terry's Bouquet” | By E. V.

2pp, 12mo. In fair condition, on aged and worn paper, with binder holes in one margin. Folded once. He apologises for not answering her letter sooner, but he has been 'buried in a film studio for the past four months'. She will know that the film he is working on is 'Green for Danger'. The film has a planned autumn release.

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.

ONE: Typed Letter Signed from 'Bertie' (i.e. Herbert van Thal) to 'John' (i.e. J. C. Trewin). 15 March 1978. On letterhead of the London publishers Weidenfeld & Nicolson. In fair condition, lightly aged and worn. The letter reads: 'My dear John, Alas, they do not think that they would be able to sell this Eugene Aram idea here, without the backing of a television programme or a film to back it up. But Orbis recently asked me if I had any ideas, and I have sent it on to them. Will let you know what they have to say.

A satisfying association: a copy of the typescript of a play set in 'Mid-Rhondda', for a production by an amateur dramatic company from Mid-Rhondda. [1] + 80pp, 4to. Duplicated typescript. In fair condition, on aged and worn paper. Each page is on the recto of a separate leaf. Stapled into a dark-blue card binding, with cloth spine, the front cover of which carries: '”RHONDDA ROUNDABOUT” | A Play in 3 Acts by | JACK JONES | GARRICK DRAMATIC SOCIETY | Mid – Rhondda'. Preceding the text of the play is a page carrying a list of characters and their ages, and a 'Scene-Sequence'.

1p, 4to. In fair condition, aged and worn, folded three times, with labels from mount on blank reverse. With RSPCA date stamp. Singular signature, with all three parts of Fiske's name running into one another, and the middle name elongated. Addressed to Fairholme at the RSPCA, London. 'I regret that the article by Senor de Toledo [i.e. J. Garcia de Toledo of Malaga, Honorary President of the IHA] d[i]d not reach me in time to make it possible for me to send it with our other Anti-Bull-Fight MSS, to the Humane Conference.

1p, 8vo. In good condition, lightly aged, folded twice. He does not have a copy of his book 'Flying Eggs', but intends 'to order a few. Since computerization, ordering is a longwinded business, but there's reasonable hope they'd arrive before the Christmas post.' He gives instruction concerning payment and postage. He makes a suggestion if McPherson should 'at any point in the future [be] tempted to buy my first book of short stories, PENNINE TALES' (go for the paperback which is cheaper and 'much better edited').

1p, 12mo. In good condition, on lightly-aged paper, folded twice. An elegantly-expressed sentiment: 'Mademoiselle, | Les malheureux sont mes Amis, et l'oeuvre à la quelle vous vous interressez à [sic] toutes mes sympathies; malheureusement je suis si peu de choses que je ne puis vous témoigner que mon bon vouloir a l'oeuvre à la quelle vous vous interressez [sic]si vivement.'

2pp, 16mo. Bifolium, with the letter on the recto of the first leaf, and a long postscript on the recto of the second. In good condition, lightly aged, folded twice. A friend of Charles Dickens and his circle, and physician to Queen Victoria's uncle Prince Leopold, Quin founded the London Homeopathic Hospital in 1849. The letter invites Quin to 'dine with us on Tuesday the 23rd. Inst at a quarter before seven o' clock'. The pith is in the two postscripts: 'P.S.

1p, 4to. In good condition, lightly aged, with minor traces of mount adhering to one edge, folded several times. 'Mrs. Macready' in a contemporary hand at the head of the page. Written in a neat hand the letter reads: 'Mrs. Macready presents her compliments to Mr. Kenneth, - any Letters directed to Mr. Macready Theatre Royal Birmingham will find Mr. Macready until Saturday Morng. 24th Inst.'

A highly interesting letter from a leading Victorian dramatic critic (Thomas describes himself in the letter as 'For five & twenty years [...] theatrical critic of the Daily news & the Graphic', who has 'served under at least thirteen editors') to a leading actor-manager (Hare was knighted in 1907), on the subject of alleged editorial pressure on Fleet Street's theatre critics. 4pp, 8vo. On four leaves. Aged and worn, but with text complete and clear.

On one side of 8 x 13.5 cm leaf of cream paper. In good condition, lightly aged and worn, with slight creasing to one corner. A good, firm underlined signature. Reads: 'Good luck to Enid! | Max Wall | 1951'. On the reverse is the autograph of an unknown signatory: 'To Enid | [Sister? Lister?] [J?] Ferguson'.

First two letters 1p., 4to; third letter 2pp., 4to. All three signed 'John Cartier'. In fair condition, lightly aged and worn. In the last letter he states that he has received the 'envelopes', and has 'distributed them round to various singers and musicians who will eventually, I am sure, be sending you a photograph with best wishes'. He apologises for being unable to invite him to visit: 'You see, this is a very tiny flat and, in fact, I am very seldom here for any length of time as my work means continual journeying from place to place for concerts and shows.

Sequeira was born in Aldgate. In the years following his service in the London Regiment during the First World War, he acted in Shakespeare at the Old Vic, and he would continue as an actor into the age of film and television. In addition to acting Sequeira taught (including a youthful Peter Cushing) at Guildhall School of Music and Drama, painted, and in 1953 published a book on stage make-up. The present four items, all undated, are in good condition, lightly aged. ONE: Autograph duologue titled 'Seeing the Coronation'. 5pp., foolscap 8vo. With revised conclusion, 1p., 12mo.

2pp., 4to. Aged and worn, but legible. A splendid effervescent letter, highly characteristic, written in demotic English in a close unruly hand. Tchelitchew was a close friend (lover?) of Edith Sitwell, and in addition to her brother Osbert, the letter contains references to Lincoln Kirstein (1907-1996), influential figure in New York culture, founder with George Balanchine of the New York City Ballet and the School of American Ballet, and the book he was writing on Tchelitchew, as well as to Tchelitchew's partner the writer Charles Henry Ford (1908-2002).

1p., 4to. On bifolium. Aged and worn, with small spots at head and foot. Irving's signature is firm and bold. The only other words in his autograph are 'Dear Hall Caine', but there is slight offsetting of other writing by Irving on the blank second leaf. The circular is an invitation to be 'placed on the list of Stewards on the occasion of the Annual Dinner of "The Actors' Benevolent Fund," of which I am the President'. Irving will be in the chair, and the dinner will take place at the Whitehall Rooms, Hotel Metropole.

4pp., 16mo. Bifolium with mourning border, on paper embossed with the Macready crest. In fair condition, lightly aged, with torn hole to one corner of the first leaf (not affecting text), presumably caused by removal from mount. The recipient is clearly a member of the Hawtrey family (and presumably a relation of Edward Craven Hawtrey of Eton), as the letter concludes with the Macready family's best wishes 'to Mrs. Hawtrey'. It must date from before Macready's departure for Cheltenham in 1860.

An interesting exchange, casting light on manegerial practices in late-Victorian theatre. ONE: Typed Letter Signed by 'W. Lestocq'. 2pp., 4to. In good condition, lightly aged. A long letter, single-spaced. He has 'talked over the whole matter of the prospects of “The Christian” tour with Mr Frohman for next season, and he does not desire to send out a company on tour himself. Now I could of course let it on Mr Frohman's behalf or perhaps sell his rights and the production outright.' He gives details of his first choice if the latter course were pursued.

The nine letters are in good condition, lightly aged. They total nineteen pages, on a mixture of 4to and 12mo leaves, and cards. A chatty and gossipy correspondence, written in a flowing loose hand, going well beyond business matters. The first letter, 9 May 1965, is signed 'Enid B.', the others being signed 'Enid'. It is the only letter in its envelope, which is marked 'Private' by EB and addressed by her to 'Stanley Hall Esq | Wig Creations | 25 Portman Close | Baker Street | London W.1'. The tone of the first letter is representative.

1p., landscape 12mo. In good condition, lightly aged and worn. The letter reads: 'Dear Madam, | As far as I am concerned I shall be very glad for you to copy Cromwell into Braille, but I think you ought to get the formal permission of my publishers, Messers Sidgwick and Jackson, which I am sure that they will give you.'