THEATRE

8pp., 8vo. Unpaginated. Stapled and unbound. In fair condition, aged and worn. Foreword on 'The Raymond Mander and Joe Mitchenson Theatre Collection', and 'Introduction to the Exhibition by Raymond Mander & Joe Mitchenson'. The body of the pamphlet is taken up by a list (52 items) of 'The Plays of George Bernard Shaw in order of writing'. The final page lists the five films of plays by Shaw, with a photograph of Mander and Michenson. In manuscript at head of front cover: 'With Compliments | Raymond Mander & Joe Michenson'.

All items in fair condition, on six pieces of lightly aged and worn paper. ONE: Black ink pencil drawing, signed in bottom left-hand corner '"King Lear" | Peter Ustinov'. On 38 x 27.5 cm paper. Striking caricature of a hawkish and hairy Lear, eyes blazing, clutching his crown in his right hand while a courtier looks on from the bottom right. TWO: Black ink drawing, captioned by Ustinov at bottom right 'Carlo Goldoni'. On 38 x 27.5 cm paper. A head and shoulders portrait of a bewigged Goldoni, staring impishly to his right.

Between 1916 and circa 1966. 'Chu Chin Chow' was a hugely-popular extravaganza based on 'Ali Baba and the Forty Thieves', which, produced and directed by the Australian actor-manager Oscar Asche (1871-1936), premièred in London in 1916, and ran for five years and 2238 performances (more than twice as many as any previous piece), followed by numerous productions and revivals worldwide, as well as two British feature films. The phenomenal success of the piece may be gauged from the fact that it earned Asche alone £200,000.

Watson's translation of 'La Cantatrice Chauve' (1950) was first published in London by Calder in 1958, and his version of 'Le Salon de l'Automobile' (1951) by the same publisher in the fifth volume of Ionesco's plays in 1963. The two scripts typed in uniform style, on rectos of leaves, and stapled together. ONE: 'The Bald Prima Donna'. 19pp., 8vo. In good condition, on aged paper, with somewhat-appropriate child's markings in black ink on blank parts of first page.

1p., 16mo. In good condition, lightly-aged. The note reads: 'Tuesday | Dear Walter | Yes - yes - yes. | The places I will send to Saville | Tomorrow I read Macbeth in Birmingham | Every yours aff | Henry'.

105pp., 8vo. Duplicated typescript, in two parts, each with title-page, continuously paginated. In good condition, lightly aged and worn. The piece, described as a 'musikdramatiskt' (music drama), was produced in 1976 by the Kungliga Teatern, Operan, and in 1977 on the Sveriges Radio. No other copy traced, either on COPAC or OCLC WorldCat.

In his obituary in the Independent, Lane was described as 'one of those writers whose published oeuvre is only matched by the supreme fiction of their own existence'. The present two pieces, both unpublished, date from his time studying theatre design at Wimbledon Art School, before 'launching himself across the globe, seemingly supported only by his verbal brilliance, good looks, perfect wardrobe and genius to amuse'. ONE: '"ANAGRAMS [no closing quotation mark] | A One Act Play - by Simon Lane'. [3] + 19pp., 8vo. Duplicated typescript on loose leaves held together by paper clip.

"Royal Institution of Great Britain. Weekly Evening Meeting, Friday, February 7, 1890. John Rae [...] in the Chair". Seven pages, unbound as issued, stapled, good condition. No copy listed on COPAC or WorldCat.

An interesting piece of First World War London social history107pp., 12mo. In good condition, on aged paper, in aged and worn black cloth notebook. On first page: ''Sheena Tennant | 49 Wimpole Street | W. | Concerts, Theatres etc | 1916'. Carefully and neatly compiled, with the date, theatre, production, and often the cast and the names of those she went with.

91pp., 12mo. In good condition, lightly aged, in aged and worn notebook with cloth spine and brown marbled covers, with label on front cover. Carefully and neatly written, with date, venue, title and musicians and actors names. The volume begins with concerts at St Andrew's Hall, Glasgow, with other performances in London, Cambridge and Liverpool, but 29 September 1904 on p.32, the performances are seen in Munich. Among the artistes are Leonard Borwick, Bernard Stavenhagen, Felix Weingartner, Berthe Marx-Goldschmidt, Theresa Carreno.

2pp., 8vo. In very good condition, on lightly-aged paper. She begins by asking whether the recipient is 'the same gentleman who wrote to me from Bournemouth', and to whom she replied that she was 'unable to give the information required, for many years before my husband's death we were seperated [sic]'. She explains that when Fisher was not 'travelling about in the Country he lived with his Father I believe, who has now been dead some years. The whole thing was very tragic and painful, & I shall feel obliged to you not writing to me again on the subject'.

Dibdin's letter: 1p., 12mo. On bifolium, with the Signed Autograph Copy of Chapple's reply (also 1p., 12mo) on the reverse of the same leaf. Reverse of second leaf addressed to 'C. Chapple Esq', with a nineteenth-century shelfmark at the foot of the page: 'C.68.Coll.CR.' In fair condtion, on aged paper.

The fifteen items are in good condition, lightly aged and worn. Totalling 19pp., 12mo; 4pp., 8vo; 1p., 4to. Eleven signed 'Rudge', three 'J. Rudge Harding', and one 'J. Rudge H.' Ten addressed to 'My dear Alderson', four to 'My dear Horne', and one to 'My dear Alderson Horne'. A friendly, chatty correspondence.

2pp., 4to. Bifolium. In fair condition, aged and worn. Contract, signed on Tree's behalf by Henry Dana. A printed form, completed in a second hand, headed 'HIS MAJESTY'S THEATRE', and dated 14 March 1908. Signed by Dana: 'pp H Beerbohm Tree | Henry Dana'. Engaging 'Miss Sylvia Dryhurst' for 'The run of "The Merchant of Venice", at the salary of one guinea per week of six performances. 'This engagement is terminable by two weeks' notice on either side'. Not signed by SL. The second page carries the fifteen 'Rules and Regulations' of 'His Majesty's Theatre. | Proprietor and Manager - Mr. TREE.'

1p., 4to. In fair condition, on aged and worn paper. He found Wheeler's letter on his return from a trip abroad, and is 'most interested to hear that there is a scheme on foot for another theatre'. As far as 'financiers who are likely to be theatrical patrons', those known to him will probably already know any Baring might suggest. He concludes: 'Personally I believe the old Court Theatre plan was the best & in fact the only possible way of getting those kind plays done.'

1p., 4to. In fair condition, on lightly-aged paper. The letter begins: 'Never having forgotten that you once asked me "What is the sense of knowing Mrs Lynd if you don't make use of her?" I am sending you a spare set of proofs of the new book. The publishers, having made me add thousands of words to it, now tell me that it is a bit too long'. The second part of the letter refers to a visit by 'Lennox [i.e. Lennox Robinson] and his wife [...] He has just been doing June in Belfast, he has Aodh de Blacam's translation, A Saint in a Hurry!

On both sides of an 8.5 x 11 cm card. The item has been soaked in order to remove it from backing, and this has resulted in fading of the ink and slight ruckling. She explains that she would have been pleased to accept the recipient's offer 'under usual circumstances', but that 'firms are volunteering to let me have their articles at wholesale prices', so she is 'bound in the interest of Boys and Girls to accept their more favorable terms'.?>

1p., 16mo. In fair condition, lightly aged and creased, with slight rust spotting at head and trimmed margins. Concerning 'quattro versi di numero, i quali dicono soltanto un idea che mi venne spontanea'.

2pp., 12mo. In good condition, lightly aged. Addressed to 'Dear Sir and Brother'. He apologises for 'having inflicted pain' on the recipient, but reminds him that 'imperative duty towards my office, no less than the security of Francis and myself required my insisting on the possession of the Books'. Even in the 'usual circumstances of the Province' he should have been 'most reluctant to remain in a position which, to say the least of it, would have betrayed carelessness on my part', but 'in the divided and almost hostile relation in which we (more particularly G.

3pp., 12mo. Bifolium. In fair condition, creased and lightly-aged. The letter begins: 'My dear Lord Errington, | You know the difficulties I had to run through because of my loss of money. The rest of my present fortune I am not allowed to withdraw without, for one sum, a years notice, the other, 18 months, the whole sum being 5 or £6,000.' He proceeds explains the particulars of his proposal to 'deposite [sic] with A. B. [i.e. Alexander Baring] two bills of exhcange each of half the sum above mentioned'.

Helpmann's ebullient signature ('Robert Helpmann') written diagonally across a piece of 7.5 x 11 cm thin card. Lightly aged.

1p., 12mo. In good condition, on lightly-aged paper. Reads: 'My dear Young | Jack Calthorpe-Clayton is in the country: and I don't know when he will be home. He will be much grieved, I know, not to be here to welcome you back to our dingy old capital, when he knows of your apparition here | Yours very truly | J Palgrave Simpson'. The identity of 'Jack Calthorpe-Clayton' is uncertain. The name is certainly spelt thus, but may be a mistake for 'Colthorpe-Clayton'.

1p., 12mo. In fair condition, on aged paper, but with loss at foot and traces of mount on reverse. The letter is addressed to 'Mrs Ashurst Morris | Victoria Hotel | ' (the last word damaged at the foot of the page). It reads: 'Dear Madam, | Thanks for your letter. Pardon my delay in answering, but our plans have been a little uncertain. We shall not be staying in London after the date mentioned, otherwise, we should have been very glad to continue our present sojourn at your comfortable flat.

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'.

Each of the twelve designs is on a piece of card, ranging in size from 21.5 x 14 cm to 14.5 x 9 cm. In fair condition, aged and worn, with occasional loss to extremities. Little is known about Crage, but he does have 26 watercolour designs in the Victoria & Albert Museum, and one item in the National Portrait Gallery ('Henry Relph as Little Tich'). All twelve in the present collection show women wearing Crage's designs, and the three largest (all signed 'Basil Crage 94'), are part of the same series as two of those held by the Victoria and Albert Museum.

Theatre programme, 8pp., 12mo, slightly crumpled, with closed tear at spine. Vladimir is played by Hugh Burden not Paul Daneman, who started the run.

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'.

16pp., 8vo. Stapled. Printed in brown on white. In fair condition, lightly aged and worn. One correction in manuscript: on p.5 'Peter O'Toole' replaces the subject of the sentence 'Miss Jean Simmons carries the script used in the film Hamlet.' Other worthies involved in the service are: Douglas Fairbanks, Michael Caine, Maggie Smith, Paul Scofield, Derek Jacobi, Ian McKellen, Dorothy Tutin, Frank Finlay, Albert Finney, Sir John Mills, Peggy Ashcroft, Sir John Gielgud, Sir Alec Guinness. Uncommon: the only copies on COPAC at the British Library and London Library. The ticket ('No.

The two items are both on both sides of 8.5 x 11cm grey cards (the first gilt-edged). In good condition, lightly aged, with traces of mount adhering to one edge of each. ONE: From Redlands (of Rolling Stones fame). He begins: 'My dear Seymour | I enormously enjoyed your book [presumably 'If I were your Father' (1919): I've read it thrice! It's great fun, with an immense amount of real good sense: & it sparkles, Seymour, almost as much as you do when you stand on the <?> at the Garrick & let go at us!' He thanks him for sending the book, and hopes to see him at 'the Club' the following week.

1p., landscape 12mo. In fair condition, on lightly aged and worn paper, with cropped margins. He begins by explaining that O'Donnell's letter has been sent to him 'from Theatre Royal, Drury Lane, on the staff of which I am and whose whose [sic] historian I am too'. He continues: 'I fear a night vigil would be of little use so far as the Ghost is concerned. He is a day time visitant. Never yet has he been seen before 9 a.m. or after six p.m. Between those hours - frequently.' He refers O'Donnell to the 'full account' in his book 'Theatre Royal'.