| Description | Files on:
Customs & Excise (1943 - 1955) - including getting exemptions from Entertainments Tax for educational purposes; letters from companies and individuals unable to get exemption for certain plays including one urging Sir Barry Jackson as 'the Doyen of the Repertory movement in this country' to call a conference to get the authorities to give a precise ruling on what qualifies for exemption; notices from Customs & Excise giving exemptions.
Summer visiting companies (1947 - 1952) - including enquiries about performing at The Rep with examples of programmes and publicity photos; arranging dates for performances, contracts e.g. Ballet Rambert, Lanchester Theatre (performing 'Shakes Versus Shav' - puppet play written by George Bernard Shaw), Ballet Negres; details for programmes and publicity.
BBC (1949 - 1956) - including The Rep taking part in broadcasting performances e.g. 'The Proposal' (14 September 1949), 'Doctor's Delight' (on 28 December 1949), 'The Loving Heart' (09 November 1953), rehearsals for 'Yellow Sands' and interviews with Rep staff including Sir Barry Jackson for broadcast on the European (French Service) programme 'Both Sides Of The Channel' looking at The Rep and the Comedie de St. Etienne (26 February 1954), television excerpt from 'Yellow Sands' (15 March 1954), television programme 'Out Of Town' concerning The Rep's visit to Paris in July (18 January 1956), television production of 'You Never Can Tell' (26 April 1955), television production of 'The Miser' (19 July 1956), The Rep supplying photos for publicity (such as Radio Times billings).
Rep tour of Holland (1949 - 1950) - includes programme for 'The Importance Of Being Earnest' (for two weeks at Rep before Netherlands tour), getting scenery and costumes to Holland, cast and work permits requirements, promotional work by Sir Barry Jackson, collection of royalties after the tour, tour schedule, biography of Sir Barry Jackson and The Rep, notes on director Michael Langham and the cast, BBC wanting to interview Sir Barry Jackson about the tour, talk by Jackson organised by the British Council.
Civic Theatre (1950 - 1951) - including correspondence with City of Birmingham (Public Works Department) about possibility of a civic theatre in the city, planned meetings with Herbert Manzoni, City Engineer & Surveyor at suggested site of a theatre in Smallbrook Street (and at The Rep), letter from the Arts Council of Great Britain and the British Drama League to the Town Clerk of Birmingham suggesting the involvement of Sir Barry Jackson in any plans for a civic theatre in Birmingham; Civic Entertainments Powers Advisory Committee writing to Sir Barry for his comments on the plays to be performed by the Intimate Theatre Group during the summer season's plays at Cannon Hill Park and Handsworth Park (with Jackson's reply); programme for University Civic Theatre, Denver, Colorado 21st season; note on subsidised theatres in Belgium and France; submission by The British Drama League on The Civic Theatre Scheme (November 1942); pamphlet by The Civic Theatres Committee of British Actors' Equity Association on the theatre and civic entertainment (1950).
Hima Kesarcodi (1951 - 1952) - Indian dancer.
The Blue Bird (1950 - 1951) - including plans for Christmas performances; BBC wanting to broadcast the play and decision not to go ahead because of objections from the Theatrical Managers' Association; wanting to take out option to extend licence for rights but delays because of copyright issues relating to settling of estates.
Theatre Maintenance (workshop tests) - inspection of hoists, winches etc (1946 - 1953).
Also loose correspondence on various productions:
'Murder Will Speak' (1954 - 1955) including with author J.M.E. Hutton-Squire about his play based on the story 'The Case Of The Strange Corpse' by Robert van Gulik [one of the stories from his novel 'Celebrated Cases Of Judge Dee'], with signed copy memorandum of agreement (1954), and suggestions by Hutton-Squire on dialogue and costume.
'Walker, London' - letter from Samuel French Ltd (1962) granting exclusive licence for Rep to perform the play.
'Gammer Gurton's Needle' (1959) including with Cecil W. Davies regarding Rep's production at the Edinburgh Festival and the omission of details about it being an adaptation written by himself and Ronald Lane.
'The Apple Cart' (1952) including with The Society of Authors about possibility of Rep performing it during its 1953 spring season.
'The Enchanted' (1954 - 1955) including with Christopher Mann Management Ltd about Rep performing it in May 1955.
'The Moon In The Yellow River' (1953 - 1954) including seeking permission from author Denis Johnston and royalty payments.
'The Private Life Of Helen' (1953 - 1954) including seeking permission, letters from Lord Chamberlain's Office about changes wanted in script, annoyance from Tennent Production Ltd that prompt script was broken up (includes comment from John Henderson that "we here take a pride in our forty years of full and accurate records, and our library of prompt copies must be nearly unique").
'South Wind' (1951 - 1952) including with agent concerning purchase of scripts (and using one as a prompt copy).
'Beauty And The Beast' (1951) including with Christopher Mann Ltd about performing for Christmas 1951, royalties, music, costumes, restrictions on performances by others during the run at The Rep.
'The Cocktail Party' (1952) including licence from The League Of Dramatists.
'Abraham Lincoln' (1952) including licence and request for scripts.
'Emmy' (1952) including Sir Barry Jackson's translation of the original 'Emdee' from French to English, the agreement, suggestions for changes to be made during the run.
'Point Of Departure' (1952) - letter concerning royalty payment.
'The Summer Of The Seventeenth Doll' - correspondence with author and agents about getting permission.
'Be Good Sweet Maid' (1957) - correspondence with the Arts Council about claiming guarantee.
'Anatol' (1956) including correspondence with agent Margaret ( Peggy') Ramsay.
'Anne Boleyn' (1956) - correspondence with the Lord Chamberlain's Office about cuts required and approval.
'Red Peppers' (1954) - alterations required from Lord Chamberlain's Office.
'La Belle Au Bois' (1955) - mix up over percentages in accounting figures.
'Creditors' (1959) including correspondence with Lord Chamberlain's Office over alterations required, getting permission from heirs of executors of August Strindberg.
'You Can't Take It WithYou' (1959) - getting permission, royalty rate.
Letter (15 July 1959) and copy sample agreement confirming arrangements for The Rep's production's of 'Gammer Gurton's Needle' and 'Fratricide Punished' at the 1959 Edinburgh Festival.
'Fear Came To Supper' (1958) [a new play first known as 'Visitor In The Evening'] including letters concerning options, royalty rate, agreement with author.
'Lizard On The Rock' (1956 - 1957) - including with author about meeting Sir Barry Jackson and attending rehersals at The Rep.
'Thorn In The Flesh' (1959) including with author Andrew Cruickshank and his theatre company Theatre 33, memorandum of agreement, notes for the programme including biographical details on Cruickshank.
Ballet Rambert - memorandum of agreement for production at The Rep in August 1954.
'Gaslight' (1953) - permission to perform.
'The River Line' (1953) - copies of text.
'The Loving Heart' (1953) - also includes correspondence relating to 'Puss In Boots' and 'Iphigenia In Aulis' and 'Iphigenia In Tauris' as dealing with same agency ('Puss In Boots' was postponed because of lack of time and it was decided to perform 'The Princess And The Swineheard' instead.
'Yellow Sands' and 'Tartuffe' (1953) - permission to perform.
'The Boy With A Cart' (1953) - royalty rate, agreement, subsequent decision to pull out and perform play at a later date.
'Point Of Departure' and 'A Penny For A Song' (1951 - 1952) including script hire. |