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1	Gainsborough Girls

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Papers of Sir Cecil Beaton

Title	Gainsborough Girls
Reference	A3/1
Covering Dates	1948–1975
Extent and Medium	97 items; paper

Content and context

Correspondence relating to Beaton's play "The Gainsborough Girls" also known as "Lanscape with Figures"

St John's Library/Beaton/A3/1 contains:

Typescript contract between Cecil Beaton and H.M. Tennent Ltd. of the Globe Theatre, London concerning the play "The Gainsborough Girl". In consideration of the sum of £200 paid to the licensor (Beaton) by the manager (H.M. Tennent Ltd.) the licensor grants to the manager the exclusive licence to produce the play in the UK, in Ireland and in the British Empire excluding Canada for 5 years from the date of the first perfornance provided a sufficient number of performances is reached. The manager should produce the play with a first-class cast at a first-class West End theatre within 6 months of the contract being signed. The manager may produce the play in the Provinces of the United Kindom prior to the production in London. If the West End production runs for not less than three consecutive weeks the manager has the following further rights: the exclusive option upon payment of $1000 to acquire the exclusive licence for a performance in the USA and Canada on the condition that the play be performed with a first-class cast in a first-cast theatre of New York City within six months of the last West End performance. The manager may produce the play at any other cities in the USA or Canada prior to the New York performance. The Manager will retain the exclusive licence for the USA and Canada for five years provided a sufficient number of performances is reached. For performances in the United Kingdom territory the manager must pay the following royalties to the licensor: 5% of the first £1000 of the weekly gross box office receipts; 7% of the next £400 ; 10% of the receipts in excess of £1400. For the USA and Canada the manager must pay the following royalties to the licensor: 5% of the first $4000 of the weekly gross box office receipts; 7,5% of the next $1600 ; 10% of the receipts in excess of $5600. The manager will be entitled to 20% all all sums paid to the licensor in the disposition of the motion picture rights.The cast and producer must be approved by the licensor. The licensor can have access to all rehearsals. The manager cannot alter the text without the licensor's consent. The name of the author must be advertised. Witness to the signature of Cecil Beaton: Laurence Evans, agent. Witness to the signature of Hugh Beaumont on behalf of H.M. Tennent Ltd.: Linda M. Gibbs. Witness to the signature of Laurence Evans on behalf of M.C.A. (London) Ltd.: Robin Fox, solicitor.
8 p.; paper.

15 Dec. 1948

Autograph letter signed to Beaton, from 25 Sutton Place, New York. Sherwood comments on the draft of "Gainsborough Girls" sent by Beaton. He initially praises the play. He stresses the importance of keeping an 18th century feel throughout. He was disappointed by the final act. He exposes his criticisms and makes detailed suggestions for improvement. He hopes that Beaton's play will show in London in the spring and adds that he hates receiving these kinds of letters himself.
Creator: Robert Emmet Sherwood.
4 p.; paper.

31 Jan. 1950

Typescript letter signed to Maud Nelson from the Globe Theatre, London. He read the script of "The Gainsborough Girls" carefully and has written to Beaton and Laurence Evans about his decision. Encloses A3/1/3 and A3/1/4.
Creator: Hugh Binkie Beaumont.
1 p.; paper.

6 Mar. 1950

Copy of typescript letter to Laurence Evans in London. He does not feel that the script of "The Gainsborough Girls" is ready for production and sends his embarrassed apologies for taking so long to reply.
Creator: Hugh Binkie Beaumont.
1 p..

6 Mar. 1950

Typescript letter signed to Beaton in New York from the Globe Theatre, London. He has read the latest script and is still not satisfied about it ( particularly the second scene of the second act ) and therefore does not want to produce it. He won't ask him to make any more alterations. Adrianne is flying back to England on the 25th. Eileen and Murray MacDonald are looking forward to seeing Beaton for "Mrs Tanqueray.".
Creator: Hugh Binkie Beaumont.
1 p.; paper.

6 Mar. 1950

Typescript letter signed to Beaton in New York from London. He is sorry that Beaumont decided against produncing the play. Quotes letter A3/1/2. He has told Maud Nelson and will try to have the play produced before the summer. He is looking forward to seeing him on the 25th.
Creator: Laurence Evans.
1 p.; paper.

7 Mar. 1950

Typescript letter signed to Beaton in New York. He enjoyed himself at the party. He would like to produce the Gainsborough Girls in London and New York.
Creator: Richard Aldrich.
1 p.; paper.

10 Mar. 1950

Typescript copy of letter to Lawrence Evans in London. Myers, Aldrich, Henry Sherek and Julius Fleishmann discussed the production of the Gainsborough Girls. Beaton and Peter Glenville wanted incidental music composed for the play by Henry Sauguet, but they think this an unnecessary expense unless the play goes to London and New York. Aldrich & Myers and Fleishmann agreed to a budget of six thousand pounds and they want to know the costs of the costume and set design and of Beaton's royalties. Myers discusses cast (Roger Livesey would be perfect) and director (Norman Marshall or Peter Potter, not Glenville). Myers et al would like to open the play in August at the seaside and continue with an extended tour of the provinces.
Creator: Richard Myers.
2 p.; paper.

9 June 1950

Typescript letter signed to Beaton in London from London. Sherek suggested Beaton's play for the Festival of Britain in Brighton. He cabled Laurence Evans asking him to see the Dickies to confirm they agreed but Evans cabled back saying he could not meet them until Monday because Aldrich's mother died.
Creator: Henry Sherek.
1 p.; paper.

10 Nov. 1950

Typescript copy of letter to Aldrich and Myers in New York. Understands Myers and Aldrich are trying to secure Cecil Parker for the role of Gainsborough and Peter Glenville as the director. Wished they had let him arrange this earlier, and the play had been presented at the Duke of York's Theatre, newly decorated by Cecil Beaton, for the opening. Informs them that Cecil Beaton is on his way to New York. Tries to persuade them to open the play in Brighton for the Festival of Britain rather than London, as he relies on the Queen visiting the play there, and cannot find the right cast for London.
Creator: Henry Sherek.
2 p.; paper.

1 Dec. 1950

Typescript copy of letter to Laurence Evans in London. Has now a stage-worthy script of the Gainsborough Girls. Him, Aldrich and Myers want to put the play on in April. Glenville is not free before June as he has to stay for "Romeo and Juliet" with Olivia de Havilland so they asked Peter Brook instead, but he is busy too. They met Marianne Davis who promised they could have the Duke of York's Theatre for the opening if they are ready soon. Beaton feels Gainsborough should not be played by a star as "it is really a play about the two daughters and their love affair with Angus." He discusses potential actors (H. Griffith, H. Horden, Laurence Hardy) and directors (Glen Byam Shaw, Frith Banbury, Peter Potter, Ken Tynan). Beaton is very anxious not to delay the play any further and slightly worried about Aldrich and Myers. He decided to make the decor for the City Centre Ballet of Swan Lake.
Creator: Cecil Beaton.
3 p.; paper.

3 Jan. 1951

Typescript letter signed from London to Beaton in New York. Wrote to Myers asking for a firm financial commitment (Sherek and Myers had agreed on £8000). Sherek cannot go ahead with the play without it. Margaret Johnson will be available, and they can have the Duke of York's theatre following the play "Point of Departure". Sherek approves of Banbury, but not Tynan. Horden is already engaged, and they don't know Hardy. Evans agrees it is time they made a formal deal with Aldrich and Myers. In London, Linnit and Dunfee want to produce Anouilh's play Ardele, with Fay Compton as the Countess and Peter Ashmore as the director. Evans wishes he could see Beaton's Swan Lake.
Creator: Laurence Evans.
2 p..

11 Jan. 1951

Typescript letter to Henry Sherek from the USA. Sherek's letter of 8 Feb. altered all their plans. Myers is very disappointed that the play cannot open in April, but they all agree that Margaret Johnson is worth waiting for. Glenville is exhausted by his production of "Romeo and Juliet" with Olivia de Havilland. Beaton cancelled his sailing to visit him in Boston and ask him to produce the play. If Glenville refuses he will come back by the next boat, otherwise he will work with him on the designs. Barring Glenville, Margaret Johnson and Beaton want Banbury to direct, and Beaton wants to know if he is free. Myers will agree to any director and cast. Beaton thinks Barry Jones may be interested.
Creator: Cecil Beaton.
2 p.; paper.

14 Feb. 1951

Typescript letter to Laurence Evans in London from the USA. Is very upset about the difficulties in putting on his play. They might have to postpone it until Autumn, in which case they should try to secure Roger Livesey. Kay Brown thinks that they should assemble a cast now, and that Beaton should go back to London immediately. Beaton, though, wants Evans to investigate potential directors and cast before his return. He apologizes for his apparent callousness when told about Peter Potter's leg amputation. He discusses potential actors and actresses: Irene Worth is his favourite, to play either daughter. Marianne Davis wants them to go ahead with the production in order to get into the Duke of York's. Beaton has heard that the celebrated Sam Berman has also had difficulties with his play, so maybe what he is going through is usual in the theatre world; remains hopeful.
Creator: Cecil Beaton.
2 p.; paper.

23 Feb. 1951

Typescript letter signed to Beaton in London. Agrees with Irene Worth that she is too old to play one of Gainsborough's daughters and turned her down.
Creator: Henry Sherek.
1 p.; paper.

7 Mar. 1951

Autograph letter signed to Sherek from Bournemouth. Read the Gainsborough Girls, which she likes enormously, but thinks she is too old to play either daughter. The actresses should be young to emphasize the "awful poignancy of their tragedies". Suggests Gwen Cherrell for either of the girls.
Creator: Irene Worth.
2 p.; paper.

1951

Typescript letter to Henry Sherek. Is encouraged by the good reception of the play's opening in Manchester and has ideas to rewrite it. The present company has much improved it since Brighton. Beaton discusses the place where the costumes are to be kept and asks Sherek to have them insured. He congratulates Sherek and hope he will have Laurence Hardy and Muriel Pavlow when the production is reassembled. He is going on a holiday until 8 Sept. He requests another copy of the play to work on it.
Creator: Cecil Beaton.
2 p.; paper.

14 Aug. 1951

Typescript letter signed to Beaton in London from New York. Reading the reviews made him realise he had lost perspective on the play, which can still be improved. He feels though that the critics are harsher with the play because the name Cecil Beaton is attached to it. He is sending Philippe de Croisset a cheque for 51,000 francs.
Creator: Arnold Weissberger.
1 p.; paper.

20 Aug. 1951

Typescript letter to Arnold Weissberger. Has just returned from Venice. Will delete the unpopular passages before it goes to New York. This experience made him realize how difficult it is to write a play. Agrees that the critical reception was harsh because of high expectations. Their great mistake was to to have invited the critics and Beaton's "so-called friends" to a raw opening performance. Beaton hasn't seen Ardele yet, but the reviews are not good. He thinks he will come to New York this autumn. He made a new décor for Casse Noisette at the Young Sadler's Wells. Jokes that as the last act takes place in the Hall of Sweets, it will be no setback if the critics deem his work "too chocolate-boxy".
Creator: Cecil Beaton.
2 p.; paper.

14 Sep. 1951

Typescript letter most probably to John Van Druten. Would be thrilled if Van Druten would direct the play for him. Aldrich and Myers would leave him carte blanche. Is going to do the decors for Quadrille, the best play Noel [Coward] has ever done, in his opinion, and a lovely opportunity for Alfred [Lunt] and Lynn [Fontanne].
Creator: Cecil Beaton.
1 p.; paper.

Apr. 1952

Typescript letter signed to Cecil Beaton in London. Had a talk with John Van Druten who is not ready to abandon his own plans for the summer to do Beaton's play. Aldrich and Myers haven't found a suitable director yet. Freedman feels very strongly that they should get a star for Margaret as the play should be centred around her.
Creator: Harold Freedman.
1 p.; paper.

15 May 1952

Autograph letter signed to Beaton from London. The one great quality of Gainsborough Girls is its "period charm". Burton puts the failure of the Brighton production down to three faults: Beaton's dialogue, the miscasting of Angus, and a production that sacrificed everything for the sake of efficiency. Burton approves of the rewritten dialogue which "strikes a happy balance between the 18th century and modern English". He is insistent that Beaton's "personal idiom", be preserved at all cost. A successful period play must convey "Ease, Grace, and Precision". The director must have knowledge of the period to convey a "sense of the past" or else the production will fail.
Creator: Hal Burton.
5 p.; paper.

14 July 1952

Typescript letter signed to Beaton in London. The death of Gertrude Lawrence [Aldrich's wife] disturbed all the activities of Aldrich and Myers. Freedman is waiting to hear from Aldrich to see if he can get ahead with the play. Freedman's wife, who really enjoyed the play, is writing to him separately about it.
Creator: Harold Freedman.
1 p.; paper.

30 Sep. 1952

Typescript letter signed to Beaton from London. Is interested to hear that Beaton has rewritten the Gainsborough Girls and would like to produce it. He is going to New York in September to appear in the Broadway production of Escapade, but thinks the play might not stay on for long because of the competition of television. He asks Beaton whether it would be possible to delay the casting until they know the fate of "Escapade", and wishes him to send him the new script.
Creator: Roger Livesey.
1 p.; paper.

10 Aug. 1953

Typescript letter to Cecil Beaton. The rewritten play is greatly improved, particularly Emma's character. She wishes he would let the play be produced in the summer stock theatres, even if it suffers from quick rehearsal. She thanks him for the flowers and misses him very much.
Creator: Constance Collier.
1 p.; paper.

1953–1954

Typescript copy of letter to Grace Kelly in New York. Heard Grace Kelly was interested in his play but was booked up with films in the following months. He thinks she would be perfect for the role. He has rewritten the play extensively since it was sent to her and wishes to send her the new version. Hopes she might be free for a production next winter.
Creator: Cecil Beaton.
1 p.; paper.

25 June 1954

Typescript letter signed to Cecil Beaton in London. Beaumont still isn't convinced the rewritten play is up for production. There was some improvement in the characters but the originality of Gainsborough's character has been lost. Beaumont is still very much against the opening scene of Act II scene 2.
Creator: Hugh Binkie Beaumont.
1 p.; paper.

12 Aug. 1954

Typescript letter signed from New York to Beaton in London. Aldrich and Myers both liked his new version, much improved. Grace Kelly will not be free from film commitments until Autumn 1955. He wants to talk to her to see if she is really interested and give her the new script. If she is, he is in favour of waiting for her.
Creator: Richard Myers.
1 p.; paper.

3 Sep. 1954

Autograph letter signed to Beaton from Stratford-upon-Avon. Liked the new version of the play very much. Has the impression the construction is firmer and the story stronger. Beaton needs an outstanding actor for Gainsborough, ideally Ralph Richardson, and strong casting generally. He is sorry he is too busy to produce Beaton's play. He encloses a little book with the plays that are on at the moment. He strongly advises him to see Troilus and Cressida. Angela [Baddeley] sends him love too.
Creator: Glen Byam Shaw.
2 p.; paper.

30 July 1954

Autograph letter signed to Beaton from Stratford-upon-Avon. Is happy Beaton found his advice useful. Thinks the play can be a success provided he gets the right cast and producer. He and Angela were very happy to see him.
Creator: Glen Byam Shaw.
2 p.; paper.

13 Aug. 1954

Typescript letter to Harold Freedman from London. Received his letter on his return from holidays the day before. Aldrich and Myers want to have the play put on at a summer stock theatre but Beaton is afraid they might not get the right cast and production. If Grace Kelly is willing to do it in 1955/56 she would not want to start on summer stock. Glen Byam Shaw thinks Beaton has a better chance of success in America as the English critics had not favourably received the first version. Shaw would have loved to direct it if he wasn't as busy. He felt Beaton needed a very robust director, and Frith Banbury would not do. Beaton would love to have Peter Glenville who is unfortunately booked up. Quotes from A3/1/29. Beaton will get in touch with Kitty Black to see if she has any suggestions. Binkie wrote to him an interesting letter, although Beaton disagrees with some of the objections. Beaton may come to America to work on Enid's play. He read the first act which he found "enchanting".
Creator: Cecil Beaton.
2 p.; paper.

7 Sep. 1954

Typescript letter signed Frank to Beaton from New York. Has just read the Gainsborough girls and is "terribly enthusiastic about it". Praises it for its "grace, charm and tact." Hopes Grace Kelly will decide to play Margaret. Beaton's subtle "moral comedy" is a refreshing change from the "pathetic romance[s]" they are used to seeing on stage in America. Gives a very detailed and mostly scathing review of the play Portrait of a Lady. He loved Beaton's costumes. [William] Archibald's shallow script lost the complexities of the novel, and the actors were apathetic, particularly Barbara O'Neil, although Cathleen Nesbitt was "great fun" and Miss [Jennifer] Jones was very good. Hopes Beaton is having pleasant holidays.
Creator: Frank O'Hara.
1 p.; negative.

27 Dec. 1954

Autograph letter signed to Beaton from Sloane. Sent a cable to him yesterday care of Harold Freedman. Having acted for so many years in costume plays in Stratford he now wants to act in plays set in modern settings. He is moreover going to play the leading part in Arthur Miller's "View from the Bridge" which he mentions as being banned in England, and has a long-standing obligation to Michael Powell to make a film for him the following year. Although Gainsborough is a fine part it is not what he wants to do "at the juncture of [his] life". Hopes Beaton will understand. Congratulates him on all the honours earned in the States.
Creator: Anthony Quayle.
2 p.; paper.

15 Sep. 1956

Typescript letter signed to Beaton in London from New York. The Premiere Theatre did not think the subject matter of the Gainsborough Girls was suitable for their type of audience, who expect plays in contemporary settings. Had a long telephone conversation with Mel Ferrer. Myers Would like Beaton to put even more emphasis on the older sister and the love story so that they can attract a star for the role. Hopes Beaton will have something to show Ferrer when he returns to Europe. Wonders what is going to happen to Beaton's musical [My Royal Past, the musical version of Cecil Beaton's satiric novel on royal diarists], that Gant Gaither was supposed to make. They are expecting O'Hara's final script before Thanksgiving.
Creator: Richard Myers.
1 p.; paper.

23 Oct. 1956

Typescript letter signed Harold to Beaton in London from New York. Thinks Peter Hall would be excellent for the play. His production of Waltz of the Toreadors was superb. Tried to push Myers into action with no results. Will talk to Herman Levin and Oliver Smith. Peter Glenville is coming to New York in a few weeks for a film and a play he has to do. Freedman will try to have him and Myers meet. Glenville's Hotel Paradiso is quite a success. Although she is not ideal, having Glynis would get Mel [Ferrer] and Myers to move. Perlita Neilson's name would mean nothing to Myers. Hope that when he comes over at the end of June he'll have better news.
Creator: Harold Freedman.
1 p.; paper.

13 May 1957

Typescript letter signed to Cecil Beaton in London. Beaton has improved his play greatly but Sherek still think it is for a "small, recherche audience, not for the general public", although he hopes he is wrong.
Creator: Henry Sherek.
1 p.; paper.

2 June 1958

Typescript letter to Richard Myers. Has started another re-write of the play, using suggestions made by Allen Davis, the producer, to make Gainsborough a much more important part so that they can get a star for the role. Is working on it with a friend. Told Jack Minster who thinks it's an excellent idea. Will send Myers the new draft in a few weeks' time, and hopes that this new version will be less difficult to put on. Hopes Myers and Suzy are having nice holidays.
Creator: Cecil Beaton.
2 p.; paper.

25 July 1958

Typescript letter signed to Beaton in London. Apologizes for not replying to Beaton's note earlier. Took his play to read on his train trip from Brighton to London but had to pretend to be asleep to avoid the drunken Scot sitting opposite him who insisted that he was "an English introvert", whereas he himself was "a good honest Scottish extrovert". Promises he will read it and discuss it.
Creator: Charles Laughton.
1 p.; paper.

24 Oct. 1958

Typescript letter signed to Beaton in London. Found his play "charming" but lacking in Beaton's usual "penetrating wit". Thinks it would be successful in the West End but not suitable for Broadway. Apologizes for taking so long to read the play, has been very busy with a project for American television.
Creator: Charles Laughton.
1 p.; paper.

8 Nov. 1958

Typescript letter signed Jack to Beaton in London. Donald [Wolfit] is interested in Landscape with Figures [the new version of the Gainsborough Girls] but has doubts around the first Act. He probably can be talked into doing it as "he takes flattery like cows eat grass".
Creator: Jack Minster.
1 p.; paper.

28 Apr. 1959

Autograph letter signed from Ankara to Jack Minster in London, with compliments slip forwarding it to Beaton. Thanks Minster for sending Beaton's play, and for thinking of him to direct it. Will read it very soon. Is at the stage of dress rehearsal for two plays simultaneously. Read the play seven years ago so must refresh his memories of it. Will get back at Whitsun week-end and phone Minster on the following Tuesday. Is working for the television over the summer, then will be busy with The Ring at Covent Garden in Sept-Oct and the Wexford festival until 1 Nov. Will confirm precise dates on his return.
Creator: Peter Potter.
2 p.; paper.

7 May 1959

Autograph letter signed from to Beaton. Thanks Beaton for his letter of 7 May. Compares his own face with Rembrandt's self-portrait sent with the letter. Thinks that with care he could look "equally like Rembrandt or even Michelangelo". There are problems with him playing Gainsborough. He already took an option on a play by Edward Percy and arranged for Reginald Denham to produce it for him. Promised he would wait for Denham's answer, currently in New York. He has a firm commitment in New Zealand from the end of December to early March. Thinks he can do a post-London tour of his play on his return. Does not want to jeodardize the success of Beaton's play by stipulating a length of runs. Drove to Arundel, Chichester and Petersfield that week. His part in Room at the Top was very well placed in the film.
Creator: Donald Wolfit.
4 p.; paper.

9 May 1959

Autograph letter signed Donald from Ibthorpe, Hampshire to Beaton. Has just received a letter from Reginald Denham, who will not be able to do Wolfit's play until the spring of next year. Wolfit is thus free to do Beaton's play from 1 July until the New Zealand tour planned at the end of the year, and wrote to Jack Minster about it.
Creator: Donald Wolfit.
1 p.; paper.

16 May 1959

Autograph letter signed Donald from Ibthorpe, Hampshire, to Beaton. Has written to Jack Minster to open the negotiations. Minster talked of August rehearsals and September opening. Wolfit wants to start as soon as possible because of his New Zealand commitment. He looks forward to seeing Beaton on his return. He will make the television adaptation of Volpone on 16 June. He finds it very hard to transfer a play in which he has already played into another medium.
Creator: Donald Wolfit.
1 p.; paper.

30 May 1959

Typescript entitled "Landscape with Figures ; Dress chart". Short description of dress worn by the different characters in each scene, detailing the costumes made and to be made, and the props. For example, "Gainsborough: Mushroom velvet. Green trousers and waistcoat. Pale green stockings.".
Creator: Cecil Beaton.
3 p.; paper.

May 1959-Aug. 1959

Autograph musical score dated and signed entitled "Musique de scene pour la Comedie de Cecil Beaton". Vocal score with piano reduction of orchestral parts. For 1 flute, 1 oboe and cor anglais, 1 viola, 1 harp, 1 percussion and 4 singers (potentially with children's voices). Sketch of a deer on the first page ; date and address (for the recording?). Acte I. Prelude: London street atmosphere. Entrance of the countess. The young Lord. Love scene with sinister cry. Mary's gay song: "He made me a promise, he gave me a ring". Musique for Gainsborough (Flute and viola). Gainsborough's voice. The family's exit, end of act I. Acte II. Prelude. Rosemary and bays (cries). Sailor with a guitar (song "The Golden Vanity"). Acte III. Prelude. Empty room. End of act III: Christmas song The Twelve days of Christmas.
Creator: Henri Sauguet.
11 p.; paper.

16 July 1959–23 July 1959

Autograph letter in French signed Henri to Beaton from Coutras, Fargues, Gironde (France). Started to write the music for Beaton's play eight days ago. Beaton's letter arrived miraculously the day before, although the address was wrong. Has now finished the composition. Is enclosing the piano reduction with indications of voice and scenes. If Beaton has comments to make he should write them in front of each number, and send the manuscript back, as there is only one copy. If he is happy with it he should have it copied in London so that the director can have it, and send the manuscript back. Sauguet will write the version for orchestra as soon as he receives it. Sauguet replaced the guitar by a harp. For the cries in the Prelude of act I Beaton can add words on the rhythms if wanted. Sauguet hopes Beaton will be happy with his music but if anything is not right, he should not hesitate to say so. Sauguet wants to produce a "tailor-made" piece of music ("un habit sur mesure") worthy of the perfect artist that is Beaton. Will need a few days to write the instrumental version upon reception of the manuscript. Will send it back to London so that Beaton can have it copied for each instrument and for the four voices. They will then record in due time ; Beaton will have to tell him when and where. Thanks Beaton for his kind invitation. Was very happy to see him again and to write the music for his play.
Creator: Henri Sauguet.
2 p.; paper.

24 July 1959

Autograph letter in French signed Henri to Beaton from Fargues, Gironde, France. Encloses the musical score, as Beaton agrees with his composition. Made the amendments desired by Beaton on "Primrose, Lavender, Juniper". Beaton will have to have each instumental and vocal part copied, so that the four chosen singers can learn them. There could be two children's voices, one woman's voice and a man's voice (for the sailor). Sauguet asks Beaton to let him know if he has managed to secure a studio for the recording, and when for. The five musicians will also have to be secured for that day. Sauguet wishes to know soon if he has to come to London - he will direct to avoid the added cost of a conductor - as friends of his are going to come over towards the end of the month, and there are plans of travelling to Florence and Lucca at the beginning of September. Assumes Beaton is back from New York and in full rehearsals.
Creator: Henri Sauguet.
2 p.; paper.

11 Aug. 1959

Autograph letter signed Henri in French to Beaton from Fargues (France). Received this morning Beaton's letter of the 12th confirming reception of the musical score. Thinks his prosody mistakes can be amended easily. Thought the sailor's song was to be recorded and so replaced the guitar with the harp. A singer would be needed to interpret it. If he has to sing on stage, a guitarist would have to accompany him on stage. Sauguet questions the necessity of this, as complicated and expensive. There will be a flute's theme for the countess' entrance and a oboe theme for the young lord's entrance. Onstage accompaniment is a convention so Sauguet doesn't understand why one instrument is more plausible than five, but will comply to the director's wishes. He is ready to come to London for the recording as soon as Beaton needs him. Thinks everything can be recorded in two or three hours. He can come one or two days earlier to have the singers rehearse. Insists that Beaton must have the musical and vocal parts copied. The small prosody mistakes must be explained to the singers. The shouts shouldn't be sung, they must be natural, like street shouts, while remaining poetic. Insists that Beaton should fix a date for the recording and let him know as soon as possible.
Creator: Henri Sauguet.
4 p.; paper.

14 Aug. 1959

Autograph letter in French signed Henri to Beaton from Coutras, Fargues, Gironde (France). Has been back to his "Landscape" [i.e. his home, Coutras] since the night before. There had been an enormous thunderstorm but the weather will be better now. Was delighted by his stay in London, and by Beaton's house and welcome, full of charm, grace and elegance. Is happy that Beaton likes his music. Tried to make it a portrait of Beaton. Hopes that Beaton's play will be very successful and is very proud to have been involved in it. Beaton has both the piano score given at Berman's, Beaton's costumier, and the orchestral score given to Marshall. Sauguet asks Beaton to keep them as a souvenir. Did not have the time to visit the museum before his departure - will do so when he comes back to London, hopefully to see the play. Postcript in very neat writing: took care to write legibly. Hopes that this time Beaton won't have to ask the services of the secretaries at the French embassy.
Creator: Henri Sauguet.
2 p.; paper.

29 Aug. 1959

Typescript inventory intitled "Props etc. stored with wardrobe at Redditch". Detailed list of props stored at Redditch, including pictures by Gainsborough ("Cornard Wood, Mrs Graham, The Mall, Family Group, Royal Princesses, landscape"), drawing material, plasters, dress and hat boxes, tea set, flowers. Some items are specified as being the property of H.S. Ltd., some as belonging to Cecil Beaton.
Creator: Cecil Beaton.
1 p.; paper.

Aug. 1959

Typescript cast of Landscape with figures. Gainsborough's young daughters: Margaret : Ann Firbank. Mary: Christine Finn. Mrs Gainsborough: Mona Washbourne. Gainsborough : Donald Wolfit. Luke, general servant to the Gainsborough: Roy Patrick. Mr Christie, a family friend and auctioneer by profession: Ernest Clark. The Countess of Codlington: Gladys Boot. Lord Phillpot, her son: William Russell. Emma Hart: Samantha Eggar. Two demi-reps employed at the Temple of Health: Dolly the Tall: Paddy Frost. Clara Haywart: Sheila Steafel. Alderman Sir Oliver Bundy: Patrick Newell. Directed by Douglas Seale.
Creator: Cecil Beaton.
1 p.; paper.

Aug. 1959

Typescript letter signed to Cecil Beaton in London, with A3/1/53 enclosed. Understands that Beaton is upset. Has been instructed by Minster Productions Ltd. Is engaged in a delicate correspondance with Wolfit's solicitors. Encloses A3/1/53. Hopes he can rely on Beaton's co-operation.
Creator: David Jacobs.
1 p.; paper.

2 Sep. 1959

Typescript copy signed of handwritten letter to Messrs Theodore Goddard and Co., Wolfit's solicitors, in London. Has read the letters written by them on behalf of their client Sir Wolfit. Thinks the matters raised can be solved by mutual cooperation. It is clear that if by 19 Sep. no London theatre has been secured Sir Wolfit is entitled to give two weeks' notice and terminate his engagement. His clients are actively engaged in negotiations to secure a London theatre. They have contracted to present the play at Newcastle, Dublin, Brighton and Wolverhampton, as agreed with Wolfit, and so cannot agree to replace him after the Dublin presentation. He must honour his obligations.
Creator: David Jacobs.
2 p.; paper.

2 Sep. 1959

Typescript copy of letter to Douglas Seale in London. Wished they had had the opportunity of working more closely together since the rehearsals have started. Knows Seale's position has been very difficult. Realizes that taking Wolfit was a great mistake and hopes to find a replacement for him.
Creator: Cecil Beaton.
1 p.; paper.

2 Sep. 1959

Typescript copy of letter to Jack Minster. They made a great mistake in taking Wolfit who has no team spirit. No progress has been made in ridding him of his "cliché tricks and barnstorming artifices". Hopes Minster will find an advantageous way of getting rid of him. Postscript: quotes A3/1/56 and comments: "the bully has deflated as soon as a firm stand was taken." Minster should on no account let him come to London.
Creator: Cecil Beaton.
1 p.; paper.

2 Sep. 1959–3 Sep. 1959

Telegram to Beaton in London from Hurstbourne Tarrant (Hampshire). All his endeavours during rehearsals were to help the play. Is sorry Beaton resents this. Wants to retire as soon as possible with no concern for his own reputation. Sends regards from his wife.
Creator: Donald Wolfit.
1 p.; paper.

2 Sep. 1959

Copy of reply to telegram to Wolfit. Thanks him for the telegram. Hopes that he will "forgive an author's intransigence insisting upon painting in the background as well as the face".
Creator: Cecil Beaton.
1 p.; paper.

3 Sep. 1959

"Well there was the Beaton decor...". Review of Landscape with Figures, cut from newspaper, not very favourable. The play, performed at the Theatre Royal, Newcastle, involve some "crude melodrama" although witty at places. Sir Donald Wolfit brings "characteristic power and command" ; the performances of Christine Finn and Ann Firbank are also praised. The main interest remains Beaton's décor.
Creator: P. McD.
1 p.; paper.

8 Sep. 1959–12 Sep. 1959

"Mr. Beaton's new creation is NOT a still life". Review of Landscape with Figures, cut from The Journal, mostly favourable, with a black and white picture of Sir Donald Wolfit and Ann Firbank. The journalist enjoyed the play, calling it "fine, melodramatic stuff." He especially enjoyed Beaton's scenary and costume, a "delight." He praises the performances of Wolfit and Ann Firbank but found Mona Washbourne as Mrs Gainsborough too grotesque.
Creator: A. B.
1 p.; paper.

8 Sep. 1959

"Successful Newcastle reception for the new Cecil Beaton play". Mixed review of Landscape with Figures, cut from newspaper. This "pleasant period piece" lacks dramatic tension because it is not clear whether it is about Gainsborough or his daughters. The journalist prefers Beaton's décor and costumes to his dialogue. He highly praises Wolfit, Ann Firbank and Christine Finn for their performances.
1 p.; paper.

8 Sep. 1959–12 Sep. 1959

Typescript copy of letter to Jack Minster. Thanks Minster for his encouraging comments. Justifies his right to intransigence in the interest of the play. Criticizes Wolfit for inserting big speeches of his own into the play without Beaton's agreement. Would prefer that the play did not go to London. He will try to be as civil as possible to Wolfit during the photo call. Feels that he does not have the support of Seale as he ought. Is ready to rewrite the play to include Seale's proposed improvements but wants Wolfit and Seale to respect his text. Asks Minster what time it would be convenient for them to meet with Seale.
Creator: Cecil Beaton.
2 p.; paper.

8 Sep. 1959

Text of telegram for Jack Minster, to be phoned by Eileen Hose to Bruce Montgomery. Suggests Minster should make a statement to the press saying management and director deplore Wolfit's statements about Beaton's play and they themselves have confidence in its future. Postscript: not considered wise, matter left in the hands of solicitors.
Creator: Eileen Hose.
1 p.; paper.

11 Sep. 1959

Autograph letter signed to Beaton. They "very much enjoyed all the evening"("all" underlined), play, acting, décor and costumes. They were all "disturbed" by the publicity given to Wolfit's views. Hopes that Beaton won't let himself be persuaded to alter the balance of the play. Sends his best wishes for its success.
Creator: Peter Trower.
1 p.; paper.

13 Sep. 1959

Autograph letter signed to Beaton. Was "horrified" to read of the public treatment Beaton had from Wolfit. Hopes it can be resolved without damages to Beaton's play. Thinks Beaton has come out of it with "with the greatest dignitiy".
Creator: Peter Hall.
2 p.; paper.

14 Sep. 1959

"Gainsborough's life in drama form entertaining qualities". Typescript transcript of a mixed review of Landscape with Figures performed at the Olympia Theatre, Dublin, from the London Times, written in Dublin. Beaton's dialogue is praised, but the "excellent central dramatic theme" - how an artist by his devotion to the ideal brought catastrophe on his family - is lost in subplots. Wolfit played the role of Gainsborough in a "gruff, honest John Bullish way", and Christine Finn's madness was not overdone. The play has "entertaining qualities" and "may appeal to commercial audiences" but "might so easily have succeeded on a higher level".
2 p.; paper.

14 Sep. 1959

Typescript letter signed with autograph postscript, to Beaton in London. Thinks it was for the best that the play did not go to London as they would have received "respectful criticism at best". Wolfit's behaviour was irritating and cost them money, and his acting was variable, but the play was unlikely to succeed even with a different actor. There is a limit to how many times a play can be rewritten. They should stop the production at Wolverhampton, and Beaton should write another play as soon as he feels up to it. Beaton has "an undoubted sense of the theatre" and this was a "near miss". It is his first duty as a manager to try to save his backers' money. Is sorry things turned out this way. Postscript: The performance at Brighton went well. They could have had the Westminster Theatre for four weeks but another management got it first. Has just had a talk with Freedman and given him the picture. Ernest Clark and Ann Firbank have other jobs.
Creator: Jack Minster.
2 p.; paper.

22 Sep. 1959

"Statement for the northern press", typescript, signed [never sent]. Accuses Wolfit's behaviour of having been "consistently and deliberately damaging" to the production. A "greedy actor", he inserted "coarse" speeches of his own into the play. Although he rehearsed for three weeks he did not return his signed contract to the management and used this as a threat to leave the production at any time. His performance on the opening night at Newcastle was appalling. When Beaton asked him to remove his speeches he flew into a rage and threatened to get a doctor's certificate. When Beaton thanked him for his second night's more sober performance Wolfit rebuffed him. The next day Beaton agreed to rewrite the play according to Wolfit's suggestions but Wolfit called the Press to say he wished to quit the show, which was disastrous for the Box Office. At no time Wolfit seemed mindful of the other actors and people involved in the production.
Creator: Cecil Beaton.
2 p.; paper.

Sep. 1959

Typescript letter signed from London to Wolfit in Hurstbourne Tarrant (Hampshire). Rehearses all his grievances against Wolfit. Wolfit was selfish during rehearsals. Resorted to "virtual blackmail" by threatening to walk out of the play. Gave a "shamefully unsuitable, old-fashioned performance". Failed to learn the part. Inserted "humourless, oversentimental phrases". Sought pity when afraid that his behaviour would make him unpopular. "Finally broke all theatre ethics" by communicating his private grievances to the press with no consideration for the other actors and people involved. Beaton could not refute his aspersions for fear of further damaging the play. He had been warned of Wolfit's "reputation for recalcitrance" when he approached him. Hopes "there will be less opportunities for [him] to create these disturbances in future".
Creator: Cecil Beaton.
2 p.; paper.

Sep. 1959

Typescript letter to Beaton. Went to see the solicitor who made the following comments about the three documents sent to him for consideration: About the equity statement: Although it contains libellous words such as "virtual blackmail" or "deliberately sabotaged" he thinks Beaton would be protected of charges of libels because he is reporting a misdemeanour in the theatrical profession to Equity. As both parties have a mutual interest in this, this would constitute a "privileged occasion" or exemption. The solicitor will investigate this. Beaton might have to rephrase some sentences. Has not been able to speak to Minster, who is not in London. Sykes does not know if Minster intends to report Wolfit, but in any case he would wait until after Wolverhampton. Beaton's statement can only go forward with Minster's support in writing, and he can't see how Minster can be forced. They must know what are his intentions. About the press statement. It is "libellous in every line" and the newspapers would probably not publish it. Should be destroyed. About the personal letter. It is full of libellous statements but Beaton can't be sued as long as he writes the letter in his own hand (i.e. no third party would be involved) and marks it PRIVATE AND CONFIDENTIAL. Will send the Brighton and Wolverhampton reviews as soon as he gets them.
Creator: Eileen Hose.
2 p.; paper.

25 Sep. 1959

Typescript letter to Beaton. Had a meeting with the solicitor and Helenus Milmo, a learned counsel, about whether a complaint to Equity would really constitute a "privileged occasion". Milmo will need to know the terms under which Equity deals with complaints. As Beaton is not a member of Equity he might not be protected. Minster is not a member either but he belongs to the Society of West End Theatre Managers. Sykes thinks he will probably report Wolfit to them, but not to Equity. Sykes says that recently there had been several cases of actors behaving badly and that managers are not properly protected against this in the existing standard contracts. This will certainly be put right. Both Equity and the Society of West End Theatre Managers are reluctant to give their rules to Beaton's solicitor. They might also try to contact the London Theatre Council. This might however prove very expensive and is unlikely to succeed. Sykes does not think Wolfit will get away from this with no damages; he will find it difficult to get another job. Milmo and the solicitor thought the proposed statement to Equity was well-balanced, but they are strongly against the press statement.
Creator: Eileen Hose.
2 p.; paper.

1 Oct. 1959

Typescript letter signed from New York to Eileen Hose. Beaton asked him to take down these notes while he dressed. He has just spoken to Weissberger who said that in the USA Beaton could sue Wolfit for damages. The complaint would be reported in the press, which would be very damaging to Wolfit, and then they could drop the suit. According to Beaton, Sykes' confidence that Wolfit would not find another job is "wishful thinking" and he is determined to denounce Wolfit even if it costs him money - but not too much. Asks Eileen if she has posted the private letter yet - Beaton does not want to read the reply when it comes. Weissberger suggested replacing the word "blackmail" by "exert pressure". Seale might be able to get a list of Equity Rules from Ernest Clark who said they were "all terribly sorry" about what Wolfit was doing to the play. Quotes the concluding sentences of the London Times Review [A3/1/65] which Jim will include in his report.
Creator: Jim.
2 p.; paper.

5 Oct. 1959

Typescript letter to Eileen Hose in London from New York. Beaton showed him her letter [A3/1/69]. If the statement to Equity is not a privileged communication, Weissberger agrees with Milmo that it shouldn't be sent, as Beaton would risk an action for libel. Beaton could tone down the document and send it to Minster to present to the Council of Theatre Managers in London. "Virtual blackmail" could be changed to "indirect pressure". Beaton is afraid however that Minster will be half-hearted about this. He wishes to do his utmost to expose Wolfit's misconduct to the public. Weissberger suggests suing for damages so that the press would report it. Mr Brendan Smith of the Dublin International Theatre Festival is reported in the Irish Independent of Sep. 22 to have said that Wolfit's statements made people think that the play was bad "with the result that many stayed away". Although Beaton wants to see Wolfit dealt with he does not want to involve himself in extravagant expenditures.
Creator: Arnold Weissberger.
2 p.; paper.

6 Oct. 1959

Typescript letter to Beaton signed with autograph postscript from London. Was afraid that Beaton had given up as she has not heard from him, until she received Weissberger's letter [A3/1/72] confirming that the reports of her visits to the solicitor and counsel had reached him. Was confused as to why he asked her if the private letter had been sent. Beaton needs to write it in his own hand, mark it private and ask for a receipt so that Wolfit won't be able to sue him. That "will be one sure good dig at him". They managed to get the rules of the Society of West End Theatre Managers through the Registrar of Friendly societies. Milmo and the solicitor will see which course of action can be taken in light of these rules. Will pass on Weissberger's suggestion to Milmo but thought Beaton did not want to go to court. Has supplied the solicitor with many press cuts and asks Beaton to send the latest one from the Irish press. Saw Alan [Tagg]'s play "One more River", which is "a bit coarse and sweaty, but very exciting". They all voted [for the general election of the 8 Oct.] and "tremble to hear the result". Postscript: Sykes told her that Berman is going to buy all the costumes.
Creator: Eileen Hose.
2 p.; paper.

8 Oct. 1959

Typescript letter to Beaton. Milmo studied the rules of Equity. A complaint from Beaton would not be a privileged occasion as he is not a member. Beaton would be open to a long and expensive libel action. His defence could only be a plea of justification, i.e. he would have to justify all the statements made in his complaint. Statements would have to be taken from Minster, Seale and the members of the cast. The hearing of the case would take at least a fortnight. Milmo will try to see if Equity has ever taken complaints from non members. Any complaints put forward to the Society of West End Theatre Managers by Minster, a member, would be privileged, so there is no need to change the statement.
Creator: Eileen Hose.
4 p.; paper.

14 Oct. 1959

Typescript letter signed to Beaton from London. Sir Donald has shown them Beaton's letter posted in New York. He wants Beaton to be reminded that within one week of rehearsals he requested to be released from his part. He was committed to play certain theatres without prior knowledge yet respected these engagements. Press reports prove that he did his utmost to save a "badly constructed part" far from the "star vehicle" he had signed for. He has been a respected actor manager for 21 years and is a member of the Society of West End Managers. He is "astonished" at the abuse contained in Beaton's letter and will take legal action should Beaton make his denunciation public.
Creator: Theodore Goddard and Co.
1 p.; paper.

16 Oct. 1959

Autograph letter signed to Eileen Hose with typescript postscript. Is frustrated that Wolfit might not get punished but will follow Milmo's advice. Hopes Minster will send his letter to the Managers. Stands by what he wrote. Tomorrow is Beaton's "big day": the costume parade for "Saratoga". Very disappointed by "Fiorello", the Harold Prince musical. Hated Chéri [a play by Anita Loos adapted from the novel by Colette] but not because of Anita's script. Took a "Modess" sitting and two more on Monday. Typescript postcript: Doesn't remember if he asked her to bill Modess in January for the three sittings. Asks her to have another picture made of Mrs Ogden Mills, Mrs Fell and Mrs Cushings for Vogue. Has already recieved a $25.00 cheque for this.
Creator: Cecil Beaton.
1 p.; paper.

16 Oct. 1959

Typescript letter signed from New York to Eileen Hose in London. Thanks Eileen for sending copy of her letter dated 14 Oct. [ A3/1/74]. Eileen's letter to Beaton was an exceptionally well written document coming from a non-lawyer. Subscribes to Milmo's conclusions.
Creator: Arnold Weissberger.
1 p.; paper.

19 Oct. 1959

Typescript letter signed to Beaton in New York. Eileen's letter [A3/1/74] "would do a lawyer credit". They must follow Milmo's conclusion. Their only way to get at Wolfit is via Minster to the Society of West End Theatre Managers. Thinks there is a cause of action for damages, although it would be difficult for Beaton to prove what the damages were. By bringing the action they would have a privileged document that the press could publish.
Creator: Arnold Weissberger.
1 p.; paper.

19 Oct. 1959

Typescript letter signed to Eileen Hose from London. As arranged in their telephone conversation of today, hereby returns the copy of Beaton's statement to Equity.
Creator: Paddy Marsh.
1 p.; paper.

21 Oct. 1959

"For the gentlemen of Equity". Statement to Equity, listing Beaton's grievances about Wolfit. Wolfit received the play in June 1959. Although initially halfhearted he became enthusiastic about the idea of playing Gainsborough. It was agreed that after a preliminary tour he would come to London and remain with the play until December 1959. Wolfit never returned the contract. Before the rehearsals started he became worried that Minster had not been able to book a London theatre. Rehearsals had to be delayed as Wolfit received an offer to appear on television. The rest of the cast started rehearsals one week before him, which he was unhappy about. During rehearsals Beaton rewrote a scene at short delay at the request of Wolfit, who wrote two more speeches of his own, disapproved by both author and director but which were kept nonetheless. Wolfit used "virtual blackmail in order to win more and more control of the entire production". During rehearsals he would stop in the middle of a speech to make disparaging comments about the text in front of Beaton. Beaton finally let Wolfit know that he was unhappy about his "embroidery". Quotes A3/1/59 and A3/1/60. Wolfit's opening performance at Newcastle was "excessively emotional and histrionic". When Beaton suggested that Act one was too slow because of Wolfit's ad-libbing he stormed away threatening he would get a doctor's certificate and refused to appear. However he omitted the objectionable speeches in his second performance but when Beaton thanked him for it he shouted: "I only wallked through the part, and want to get out as soon as possible". Despite warm reviews Beaton was willing to make some more changes but Wolfit phoned the Daily Telegraph saying he wished to quit the show as soon as possible, which had negative consequences on the box office. The manager of the Royal Theatre in Newcastle said that he had never seen such unprofessional behaviour. Wolfit had no consideration for his fellow actors and the money at stake, and his statement to the press meant they were unable to find an actor to replace him. Beaton thinks that Wolfit "deliberately sabotaged the play chances of success" and so should be "strongly censured by Equity, in order to protect other managements and artists from suffering similar treatment at his hands".
Creator: Cecil Beaton.
8 p.; paper.

Oct. 1959

Typescript letter signed to Jack Minster in London. Asks Minster to place the document in which he presents "dispassionately, [his] appreciation of the Wolfit matter" before the Society of West End Managers, if he agrees with it..
Creator: Cecil Beaton.
1 p.; paper.

22 Oct. 1959

Typescript letter signed to Beaton in London. Thanks Beaton for the document [A3/1/80], will speak to the Society about it. Hopes Beaton had a reasonable time in New York.
Creator: Jack Minster.
1 p.; paper.

26 Oct. 1959

Copy of typescript letter to Paddy Marsh in London. For record purposes encloses a copy of A3/1/75. Following their meetings with Milmo Beaton forwarded the statement initially intended for Equity onto Minster with a covering letter dictated by Milmo [A3/1/81]. Also encloses a copy of Minster's reply [A3/1/82].
Creator: Eileen Hose.
1 p.; paper.

29 Oct. 1959

Typescript letter signed to Beaton in London. Passed all the letters relating to Wolfit to the Secretary of the Society of West End Theatre Managers. Saw in the paper that Wolfit was to "favour the world with a tour from himself and his wife" so maybe he will be away when and if attacked.
Creator: Jack Minster.
1 p.; paper.

20 Nov. 1959

Typescript letter signed from London to Beaton in London. Apologizes for not answering his letter as had been out of town. Will take up the matter with Felix Aylmer [President of Equity from 1950 to 1969] and thinks the conduct of Wolfit is "lamentable and inexcusable". Had he expressed his views privately to Beaton the whole matter could have been settled without loss of dignity on either side.
Creator: Herbert Wilcox.
1 p.; paper.

8 Dec. 1859

Typescript letter signed to Beaton from Poros, Greece. Has just received Beaton's Christmas letter. Thinks Beaton should get an agent for England and the continent, as Freedman is too far away for such business. Suggests Suzanne Czech. She could sell Landscape to TV - She is trying to sell Hansen's play "The Garden of Sweets" in Germany. Gives her address. Is sorry about the death of Sister Beatrice: "life and death seem like different colored leads in the same automatic pencil: a push of the thumb and out pops black instead of white". Describes the New Year celebration in Greece. His play is progressing slowly. The weather in Poros is miserable.
Creator: Waldemar Hansen.
1 p.; paper.

4 Jan. 1960

Autograph letter signed to Eileen Hose from St Moritz. Thanks her for her birthday wishes. The weather has been very cold. Still has a hacking cough. Is annoyed by the Duchess of Kent's stupidity. Would be tempted to tell Philip Hay that he doesn't care "a tupenny toss" whether the article is published or not now that she has cut the final paragraph. But they can at least get the magazine to gives them "a very huge price" for it. Asks Eileen if he has any objections about the letter to Hall. He thinks he "allowed himself to get hot under the collar". Maybe a delay from him will "titillate P. o G." Asks her to whether Lila de Nobili's address is Peter Hall's. Received nice letter from Hansen.
Creator: Cecil Beaton.
3 p.; paper.

13 Jan. 1960

Autograph letter signed to Eileen Hose from St Moritz. Asks her to write to Freedman explaining that he thinks his play can be done on television in England or abroad, and asking whether he would agree to Czech taking care of this. Asks her to write to Czech explaining the situation and send her the last copy of the play. She can also tell her that Cyril Connolly gave a very favourable report of the play in Brighton. Beaton thinks they left the Sauguet piece of music at Denman's. Is returning by post the Henry Duke of Portland book. Asks Eileen to type out all that he marked. Is taking "a ghastly pleasure" in "Memento Mori.".
Creator: Cecil Beaton.
2 p.; paper.

13 Jan. 1960

Typescript copy of letter to Harold Freedman in New York. thinks his play could be done on television in England and /or other European countries. Heard of an agent in London who is used to dealing with the continent, Dr Suzanne Czech. Asks Freedman and asking whether he would agree to Czech taking care of this. Reports Cyril Connolly's praise of the play.
Creator: Cecil Beaton.
1 p.; paper.

21 Jan. 1960

Typescript letter signed to Beaton in London from New York. Knows about Dr. Czech and is happy for her to try to do something with the play in Central Europe, but suggests any agreement signed with her should be limited to time and territory, in the event that something can still be done with the play in England or America. Is delighted to hear about Cyril Connoly's review. When he comes to London this spring he will renew his effort to revive the play.
Creator: Harold Freedman.
1 p.; paper.

2 Feb. 1960–2 Feb 1960

Typescript copy of letter to Suzanne Czech in London. Further to their phone conversation, encloses the script of Landscape with Figures, so that she can tell them what chances the play might have in Central Europe, in the theatre and on TV, and whether she is willing to represent them in that part of the world.
Creator: Eileen Hose.
1 p.; paper.

8 Mar. 1960

Autograph letter signed to Beaton from Brighton. Is sad that the photograph that Beaton allowed her to use to illustrate her article in Woman will not be included because of space. A copy of the paper was sent to Eileen Hose. Herbert [Wilcox] has not seen Aylmer since his talk with Beaton in New York but will speak about Wolfit's inexcusable behaviour when the opportune moment arises. Neagle congratulates Beaton for his lovely photographs of the Princes.
Creator: Anna Neagle.
2 p.; paper.

29 May 1960

Account for the play "Landscape with figures" at the Theatre Royal, Newcastle, for week one ending 12 Sep. 1959. Loss on week: 847 £ 18 s. 2 p. ; Payments to date : 1766 £ 9 s. 1 p. ; Receipt for the 7 performances (6 evenings mon-sat, plus a Saturday matinee) 741 £ 8 s. ; Share at 60 %: 444 £ 16 s. 10 p. ; Expenses, including Salaries, Stage and General Expenses, Royalties (Author: 5% and Producer: 1,5 %), Theatre Contra Account, Advertising and Printing, Travelling (to Dublin), Insurance and Management: 1292 £ 15 s.
1 p.; paper.

17 Sep. 1959

Account for the play "Landscape with figures" at the Olympial, Dublin, for week two ending 19 Sep. 1959. Profit week ended 19 Sep. 1959: 533 £ 16 s. 2 p. Loss 2 weeks to date: 314 £ 2 s. ; Payments to date : 4216 £ 15 s. 6 p. ; Share guarantee: 2000 £ ; Expenses, including Travelling to Brighton: 1466 £ 3 s. 10 p.
1 p.; paper.

24 Sep. 1959

Account for the play "Landscape with figures" at the Theatre Royal, Brighton, for week three ending 26 Sep. 1959. Loss week ended 26 Sep. 1959: 314 £ 2 s. Loss 3 weeks to date: 458 £ 13 s. 8 p. ; Payments to date : 4316 £ 3 s. 10 p. ; Receipt for the 8 performances (6 evenings Mon-Sat, plus 2 matinees Thursday and Saturday): 1625 £ 5 s. 6 p ; Share at 60%: 975 £ 3 s. 3 p. ; Expenses, including Travelling to Wolverhampton): 1119 £ 14 s. 11 p.
1 p.; paper.

2 Oct. 1959

Account for the play "Landscape with figures" at the Grand Theatrel, Wolverhampton, for final week ending 3 Oct. 1959. Loss week ended 3 Oct. 1959: 640 £ 8 s 10 p. ; Loss 4 weeks to date (subject to closing expenses): 1099 £ 2 s. 6 p. ; Payments to date : 4922 £ 15 s. 2 p. ; Receipt for the 8 performances (6 evenings mon-sat, plus 2 matinees Wednesday and Saturday): 588 £ 13 s. 6 p ; Share at 62,5 %: 367 £ 18 s. 5 p. ; Expenses, including Travelling to London): 1008 £ 7 s. 3 p.
1 p.; paper.

6 Oct. 1959

Pamphlet intitled The Painter's Daughters chasing a butterfly. London, The National Gallery. 1975. Painting in focus Series ; no. 4, 'Gainsborough'. Focuses on Gainsborough's portrait of his daughters Mary and Margaret 'The Painter's Daughters Chasing a Butterfly', with black and white illustrations from the painter's other works. Features a detailed discussion of the artist and painting, and a comparison with children's portraits by previous artists, in particular Van Dyck and Hogarth.
Creator: Levey, Michael.
8 p.; paper.

1975

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