THEATRICAL

96pp., 8vo. In exercise book, in blue ink with red underlining. With two additional passages on slips of paper pinned onto leaves. Aged and worn, in red card wraps with repaired spine. Nicoll notes an earlier title 'All for Him'. Set in the house of London stockbroker David Carne. Considering the play's popularity in the provinces, its fall into oblivion is surprising. Productions are noted at Southampton (1918-1919, 1930-1931), Oxford (1919), Swansea (1920), Sunderland (1924, the poster announcing: 'J. R. C.

68pp., 4to. In fair condition on lightly aged and worn watermarked laid paper. Sewn into brown paper wraps with 'The Unfortunate Youth. | T. R. H.' on cover. The title on the title-page is retitled in pencil 'The Unfortunate Boy! or Always in for it.' Possibly in Webster's hand, but with what may be the initials of the transcriber following the 'FINIS' on the final page. The text of the play is on the rectos, with occasional writing on versos. Emendations in ink and pencil, including additional dialogue.

The four items present here are the prompt books for performances of Shakespeare plays by the 'Young Ladies of the University of Vermont', under the direction of New York actor Ernest Elton. BACKGROUND: Professor George B. Bryan, in a 'History of Theatre at the University of Vermont' writes that around the turn of the century 'The women students launched their own dramatic activities. If the men could stage their frivolities at the Howard Opera House, the ladies would perform classical plays on the lawn of Grasse Mount.

Jeffrey Richards, in his 'Imperialism and Music: Britain, 1876-1953' (2001), pp.272-274, discusses this piece at some length, beginning: 'There was a late entry in the imperial cycle, the now-forgotten The Song of The Drum, written by Fred Thompson and Guy Bolton, which opened at the Theatre Royal, Drury Lane, on 9 January 1931. It starred Derek Oldham as Captain Anthony Darrell, Bobby Howes as comic relief Chips Wilcox, Peter Haddon as silly-ass "Goofy" Topham and Marie Burke as glamorous spy Countess Olga von Haulstein.

A total of 97pp., mostly 4to, with a further four slips. Around thirty separate parts, unbound. Written in at least two hands. In fair condition, with light signs of age and wear. Fifteen of the parts (mostly from the first act) carry the name of the actor or actress at the head: 'Mr Bland', 'Mr Jonas', 'Mr. Gray', 'Mr Howard', 'Miss Barratt', 'Mr Webster', 'Mrs Baker', 'Mr Bedford', 'Mr. Lynne', 'Mr F. Lloyd', 'Mr Hailes', 'Mrs Ridgway', 'Mr Ridgway', 'Mr Hailes', 'Mr. P. C'. Bulwer-Lytton's book was published in 1834, and was an enormous success.

4pp., 12mo. Bifolium. In fair condiion, on aged and worn paper. Marked 'Private', and written with an urgency suggesting the involvement of royalty behind the request. The letter begins: 'Sir William Martins presents his Compliments to Mr Webster and at theh rather earnest wish of a former Lord Chamberlain entreats Mr Webster, if it be practicable to allow the Farce of "Powder & Ball" to be played at the Adelphi one evening this Week either Wednesday Thursday or Friday'. He will 'explain further' and writes 'in case he should not be fortunate enough to meet Mr Webster at the Theatre'.

1p., 12mo. Addressed to 'My dear Mrs. Atkinson', and with contemporary note at head stating that the letter is 'To Mrs. Atkinson Grove end - about the year 1829', Grove End in Paddington being the estate of the architect William Atkinson. In good condition, lightly-aged, with minor traces of stub adhering to one edge on blank reverse. He thanks her for her 'beautiful present' and informs her that he has 'secured 6 places in the front Boxes for to-morrow evening - and shall do myself the pleasure of bringing up admissions for that Number either to day or early to morrow morning'.

1p., 12mo. Bifolium, addressed on second leaf to 'Rd. Wilson Esqr | Lincolns Inn Fields'. In good condition, with light signs of age and wear. The letter begins: 'My dear Sir | I have so much responsibility on my shoulders in the new farce that I really dare not venture into society on those days on which I perform in it.' If he had a holiday he would accept Wilson's 'polite invitation', 'but so situated I am sorry to say it is impossible'.

1p., 4to. In fair condition, aged and creased, with slight tearing at edges. She begins: 'Please forgive me for not answering your letter before, but I have been so rushed!' She is not able to 'sit for Mr. Priest just at present': 'We are just on the point of starting rehearsals for several plays to be toured and, in addition, my two small girls are ill, so that I want to spend all my spare time with them.' She is trying to 'get out of' sittings for another artist.

1p., 4to. Bifolium. Addressed on second leaf to 'Wm Campbell Esqr. | Brook Street'. In good condition, lightly-aged. The letter begins: 'Had I been aware, before dinner, of what our friend Geddes has just informed me after dinner, - that you are at present a Batchelor, you certainly should have had no excuse for not returning with him to a friendly knife & fork in Mount Street'. He asks him, if he is 'quite alone', to 'come immeditely & lecture him for his remissness - & drink to his better behaviour - we are quite en famille with only Geddes'.

2pp., 12mo. Bifolium. In fair condition, lightly aged and creased. Lowe's request has been laid before the Club's committee, and there is no possibility of acceding to it: 'You say in your letter that you are aware that the privilege engraving the pictures in the Club Collection is "rarely" granted, but in this matter I fear you must have been misinformed as it is against the Rules to grant it at all'.

ONE: The earlier of the two drafts, titled 'It Was Top of the Bill | The Story of Music Hall. | by | W. Macqueen-Pope.' 14pp., 4to. Paginated 1-12, with two further pages carrying material to be inserted. With a few autograph emendations, including an addition to the ending. Macqueen-Pope writes knowledgeably and with a passion for his theme, which is that 'Music Hall reflected public taste even more accurately than did the "legitimate" Theatre because it was created by the people themselves. The basis of the Drama of the Theatre - was religion.

Two chatty and characteristic letters. ONE: 15 July [1953]. 2pp., 4to. On aged paper, with wear to edges and vertical closed tear at foot. She begins by praising his books 'Ladies First' (1952) and 'Shirtfronts and Sables' (1953), adding in an autograph note 'Yes I bought them when in London.' The first contains 'that wonderfully beautiful tribute to Ellen Terry. I don't know when I have read anything which moved me so deeply, you rose to great heights when you wrote that. You are beginning to run James Agate very close on my shelves'.

8pp., 12mo. Text complete on aged and worn paper. A charming and high-spirited description of life in the provincial theatre in Victorian England, in better than average verse showing the influence of Byron's humorous poetry.

2pp., 4to. In good condition, on lightly-aged paper. The letter begins with a reference to W. Macqueen-Pope, 'who has been a close friend of mine in the worlds of journalism and the theatre for more years than either of us may wish to remember - at least forty'. Having applied unsuccessfully for seats at the premiere of 'My Fair Lady' he suggests a 'special performance' for 'those members of the journalistic profession who fall by the wayside'.

1p., 12mo. In fair condition, on aged and worn paper. He has had a conversation with 'Tomkins', and as a consequence has 'made a few alterations in the last scene of the "Hulk"'. He asks him to read the last scene and 'manage, if possible, to get the Prompter's Copy set right before the reading of the Piece'. He feels his changes make the play 'more original, and more likely to render the Piece effective'. With postscript. 'The Haunted Hulk', a Nautical Drama in two Acts was performed at the Adelphi in 1831.

107pp., 4to. With each of the play's three acts bound with brass studs in separate grey paper wraps, with typed labels on covers. Internally in good condition, with light signs of age, in aged and worn bindings. With a handful of minor manuscript corrections. ' Aimé des femmes! Pièce en trois actes' by Maurice Hennequin and Georges Mitchell, was published in Paris in 1922..There is no record of Burton's adaptation having been published.

An interesting collection, giving an insight into theatre practices in post-war Britain. Hartnoll is commissioned by the actress Freda Jackson, then at the height of her popularity, to produce an adaptation of the play, Jackson gets impressario Jack Hylton and producer Anthony Hawtrey on board, and there is the inevitable falling out between the actress and the author, with Macqueen-Pope, who is acting as Hartnoll's agent, playing the mediator, as matters become acrimonious.

[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.

Collier was the author of a number of melodramas and farces in the period between the Boer War and the Great War, including one written in conjunction with F. H. Dudley, but little is to be discovered about him, with no mention of these three titles. All three items in fair condition, on aged paper, in aged and worn bindings. ONE: '"In the Hands of the Mormons" Or "The Mormon Peril" A Drama in FOUR acts written by Hal Collier'. [1] + 45pp., 4to. Stitched into grey paper wraps. With pencil emendations throughout, including extensive deletions.

144pp., 4to. Stapled into red card wraps, with typed label on cover. A carbon copy with label of the London typing bureau Curtis and Page. The play was published in London by Victor Gollancz in 1941, with a second edition from the same publisher in 1954.

149pp., 4to. Carbon copy. On rectos of leaves only, and bound in a buff card folder with metal clasps. Internally in good condition, on lightly-aged paper, in worn binding. The play centres around 'the "Hibiscus" night-club, one of those London resorts which are alike the despair of Social Reformers and the delight of the Forces when on Leave. It is situated somewhere between Berkeley Square and Dover Street.' The typescript is clearly an actual play and not a radio play, but there is no record of it having been performed on stage.

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.

106pp., 4to. In good condition internally, on lightly-aged paper, in worn grey-cloth binding, with large and wordy French label on front cover. Rubens's score is not present. The text is preceded by twelve pages carrying: a 'List of Scenery and Properties', 'a 'Scene Plot', 'Light Plots', 'Property Plot', 'Hand Properties', 'Prompter's Cues' and 'Costumes and Wigs'. Possibly a prompt copy, with a number of passages deleted, and a few minor emendations made, in pencil, as well as call notes typed on the versos of some leaves, opposite the relevant text.

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.

De Cordova was a voluminous author (see his entry in Who Was Who). Several of the couple's works were adapted for the cinema during the silent era. Of the four items present here, 'The Man in Mourning' was published in the Green Book Magazine, February 1916, and de Cordova's entry in Who's Who 1914 lists 'The Earthquake' among 'seven sensational dramas for the London Hippodrome'. No record has been found of the other two pieces. Four duplicated typescripts. In fair condition, with some wear and aging. ONE: '"The Earthquake" A Dramatic Sketch by Alicia Ramsey and Rudolph de Cordova'. A play.

Item Three below does not name the translators, while Items One and Two do not. Item Three has the characters' names anglicised and the text more stilted than that of One and Two. In fair condition, lightly aged and worn. ONE: Typescript of the whole play, with each of the three acts bound separately. 127pp., 4to. The first two acts bound in grey card wraps, with typed labels on covers, the unbound leaves of the third act attached with a brass stud. First two acts with stamp of Miss Christian of the Trafalgar Type Writing Office, London.

'The Bird of Paradise', Tully's best-known play, is set in Hawaii during the 'Revolutionary Days of the Early Nineties'. It was the subject of what the New York Times called 'one of the bitterest plagiarism suits on record'. A schoolteacher named Grace Fender was initially successful in her claim that it was based on her play 'In Hawaii', but the case was reversed on appeal. It was first produced in Rochester, USA, in December 1911, with productions at Daly's in New York in 1912, and the Lyric Theatre, London, in September 1915. A total of 158pp., 4to.

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.