December 8, 1930

George Bernard Shaw, Esq.,
10 Adelphi Terrace
London, England.

Dear Sir:-

The writer, who is one of the founders
and directors of the Theatre Guild, is taking
this opportunity of dropping you a line on the
subject of possible future relations with the
Guild. I am leaving for England about the mid-
dle of January, and want to take up with you, on
my arrival, the question of doing some of your
other plays. "Heartbreak House" continues to go
extremely well, and we expect to have a prolong-
ed run.

Very truly yours,

LL:MM

AYOT ST LAWRENCE, WELWYN, HERTS.
STATION: WHEATHAMPSTEAD, G.N.R. 2¼ MILES.
TELEGRAMS: BERNARD SHAW, CODICOTE.

9th March 1921.

10 ADELPHI TERRACE, W.C.2.

Dear Lawrence Langner

At last I have got a complete set of proofs of the forthcoming volume. You will understand that I am breaking faith with my publishers in letting them out of my own hands for export, and that I must place you under the most blood-drinkingly sacred obligation not to shew them to a soul except in confidence to your colleagues of the T.G. in America. If any account of them or quotation from them reached the press in either country, there would be the devil to pay -- for me.

Further, as they are not finally corrected for press, will you send them back to me when the book is published, or else write me an assurance that you have destroyed them with your own hands. If you once let an imperfect text loose, you can never overtake it; and I always have to destroy my unused proofs with the greatest care.

Bon Voyage !

PS The final corrections will not involve any change which you need take into account. Also, you may regard the dialogue as drastically cut; so the producer has nothing more to hope in that direction.

COPY FOR THEATRE GUILD

May 16th, 1921.

Dear Mr. Shaw:-

Your letter from Stratford-on-Avon is just at hand, and I have very carefully noted what you say. You will gather from a letter I wrote you in the interim that I am inclined to believe that the second section will act better than it reads. I still maintain, however, that the first two sections are largely a preparation for the last three. Your ideas about the tickets seem very sensible, and if we decide to give the play I shall endeavor to persuade the others to follow them.

I note what you say regarding the publication. However, man proposes, the labor unions and God do the rest. There is a printers' strike at the present time, and we may not have to hurry quite as much as would otherwise be the case. I am sending you the programmes of two of the plays now running, as well as an announcement of our next season's subscription plans. If we decide to do METHUSELAH, it will naturally have to be done as a special proposition, and probably in a larger theatre.

I gather from reading METHUSELAH that if you want to live three hundred years, you will live three hundred years. If we keep on wanting the Earth consistently enough, we shall probably get it. Seriously, we are keen about THE DEVIL'S DISCIPLE, and the notices which you will see in the subscription announcement I am enclosing, should surely indicate our ability to give you a splendid production.

On read-

-2-

ing over my last letter, I note a misstatement in regard to Mr. Erlanger. This statement refers to Mr. Oliver Bailey, I was that Mr. Erlanger's agreement under the impression referred to New York theatres, but I find it covers road tours with the understanding that Erlanger will, if possible, secure a New York theatre, although he is not bound to do so. Mr. Bailey has since made an arrangement which gives us a first option for our plays at the Fulton Theatre, located on 46th Street and Broadway, right in the heart of the theatrical district. This theatre is capable of box office receipts of over $15,000.

I was hoping to be over this summer but it does not look as though I shall be able to make it. Mr. Philip Moeller, who is already known to you, expects to be in England during the summer and hopes to see you. With kind regards, I remain,

Very truly yours,

LL:MM

Eno.

July 28, 1921.

Mr. George Bernard Shaw,
10 Adelphia Terrace,
Strand,
London, England,

Dear Mr. Shaw:-

The lunatic has prevailed. God and
yourself willing, the curtain will ring up on "Back to
Methuselah" in February or March of the coming year (unless
some dire financial calamity happens to the Theatre Guild).

Meanwhile, I am writing to ask you to
let us have a contract of some sort. It need not be a
formal one, but I leave that to you. The question of terms
has been bothering me. I confess that with the idea in mind
of a "Festival", which will last perhaps only two weeks,
(it will be essential, in order to put the thing over, to
crowd everybody into the Theatre in as short a time as possible,
owing to the heavy expenses). I am somewhat perturbed at the
idea of paying the usual Shaw royalties.

We are going to ask everybody who takes
part in the venture to do it on a profit sharing basis; that
is, the theatre, the actors, the Guild and scenic artists
would each receive a minimum amount and if there is any profit,
this profit will be divided. It is only by securing the co-
operation of a large number of people willing to help, making
it a sort of semi-public affair, that we can hope to handle
the "Festival", and this is the way we propose to go about it.

Will you, therefore, let me know what you
think about royalties, making the arrangement such that it
would not hamper us in launching the "Festival", because I can
assure you we are not doing it for the purpose of making money,
although if we did make a financial success, we would not be

2 - Continuing letter to Mr. Shaw.

disappointed. Perhaps one way of doing it would be to give us a low royalty for the first two weeks. We should only extend the run if it were a financial success, and you could give us two more weeks at a somewhat higher royalty. If we decide to run it after the two additional weeks, we could pay you the regular royalty. I do not think this is an unfair arrangement, in view of the fact that a number of the actors will be playing only two nights a week, which means an exceptionally large company.

We shall, of course, perform the play without any cuts, (unless you, yourself, want some), and will endeavor to give the very best possible production.

How about coming over in the Spring and assisting us in the affair? We promise you full police protection and immunity from speech-making and social duties. We should like you to come, not only because we want your help, but also from the box office standpoint, because we are sure that your presence would stir up a tremendous interest in the proceedings which would be reflected in the play. The Guild would be happy to pay your expenses here and back, and show you how to invest your money in American securities in such a way that you do not have to pay Income Tax, either in England or the U. S. A.

This is an extremely mercenary letter upon so idealistic a conception as "Back to Methuselah", but I feel that your job is only half done if the play is written and not performed. It would be too bad if a tradition grew up that the play was only meant for reading, and not for acting. Having written a sort of Bible, your missionary work is not completed until people become familiar with it, and it requires something in the nature of a Billy Sunday revival spirit or the bombast of a Barnum & Bailey circus to get the crowds to come in droves and be converted.

We think that we have one thing to surprise you, and that is the excellence of our acting, our production, and our scenic investiture. I am convinced that we are doing better work than is being done anywhere in Europe today, so far as the "production" of plays is concerned, and I believe you would enjoy a visit from that angle alone.

awaiting your early answer, I remain, with kind regards,

Sincerely yours,

LL/AW

LL--GBS - 3/6/22

(2)

I have seen a good many productions of your plays
from time to time, both here and in England. Putting aside
such prejudices as I might be expected to have as a member
of the Theatre Guild, I have never seen such splendid act-
ing as has characterized the performance of each part at
the Garrick Theatre. This is reflected in all the press
notices and in the response of the audience. I have post-
poned coming to Europe because of the production of the play,
and I am only waiting until "As Far As Thought Can Reach"
before I sail for Paris. I shall be there a week or so,
and then am coming to London. If it will not be one of
the intrusions upon privacy which the Anglo-Saxon-Americans
have learned from the Irish in their midst, I would like to
see you while I am in London to tell you in person about
BACK TO METHUSelah, to give you some photographs and post-
ers, and to discuss the repertory season we are planning
next year.

With kind regards, I remain,

Sincerely yours,

G. Bernard Shaw, Esq.,
10, Adelphi Terrace,
London, England.

June 14, 1922

"My dear Langner,

"Yes: your letter of the 12th correctly summarized our understanding except that though I have stood out for a minimum payment of $2500 win lose or draw I have never asked for an advance, or been in a hurry for a contract. Of course I have no objection to either; but I wish to affirm that it is the Guild and not the Author that gets these attacks of nerves.

"I understood that Schildkraut was to be Dick Dudgeon, and Reicher, Caesar. Nothing was said about Barrymore. However, that will settle itself when the time comes. Meanwhile I am not to deal with the plays in New York without giving the Guild a look in, unless I yield to an overwhelming impulse to treat them shabbily and lose my reputation for being the most reasonable man now living."

To this should be added the following Legend on the back of a picture postcard from Madeira in 1923:

"Simultaneously with your cablegram comes one from Loraine to say that ARMS AND THE MAN is off, and that he is returning to England. Now the Actors Theatre, which has done pretty well with CANDIDA, wants to reap the harvest you have sown; but I am telling them and all other applicants that you have an option on all my plays, and that they can have only your leavings, if any.

"Any chance of your turning up here on a gin cruiser? We expect to sail for home on the 12th Feb."

Letter from G.B.S. giving the Guild option on all of his plays.

June 14, 1922

"My dear Langner,

To this should be added the following Legend on the back of a picture postcard from Mademoiselle in 1923:

LAWRENCE LANGNER

August 3rd 1922

G. Bernard Shaw, Esq.,
10 Adelphi Terrace,
Strand.

Dear Mr. Shaw,

I have asked Curtis Brown who are typing the MSS of my play "The Golden Calf" to send you a copy. I feel it is somewhat an impertinence on my part to ask you to read it, and I would not do so were it not for the fact that it represents a sincere attempt to write a play which will state a case apart from considerations of popularity. My only regret about the play as it stands, is that stupid people will regard it as anti-semitic when it is no more anti-semitic than it is anti-British or anti-American.

I usually work and work on my plays, and this is the first typed draft. I feel that it is very rough and will need a lot of polishing.

I cannot tell you how glad I shall be to have your criticisms and suggestions.

I am sailing back to America having successfully robbed you of Mr. Komisarjevsky, who has no business wasting his time in a country where he is appreciated only by a handful of people.

With kind regards to yourself and Mrs.

LAWRENCE LANGNER

Shaw and many thanks for your kindness.

I remain,

Very truly yours,

P.S. When you are through with the play would you kindly send it to the Garrick Theatre. In case you have forgotten your Bible, I would add that the last act agrees not only with the economic interpretation of history, but also with the Old Testament. The Jews actually did squabble as to who should own the Promised Land; moreover, in modern times, the greatest industrial exploitation takes place in the countries where they worship one god (officially) as compared with the Catholic and Buddhist countries where they worship a great number of gods (Saints, Ancestors, etc.) and it is these polytheistic countries which have developed the greatest mural and plastic art. Also remember that Epstein and Jo Davidson are considered two of the leading modern sculptors. The latter's father who was an orthodox Jew, disowned him when he became a sculptor.

August 3rd 1922

Dear Mr. Shaw,

I remain,

Very truly yours,

August 25th, 1922.

My dear Mr. Shaw:-

On arriving here I inquired into what loss had been incurred in respect of BACK TO METHUSelah, and found that it had amounted to about $20,000. It was not announced but the news leaked out as such news sometimes does leak out. Part of this loss was due to the fact that it ran two weeks longer than it should have run; it is not a total loss because most of the materials etc. which we used can be used over again, and anyway, the Guild is not the least bit worried about it. In having ventured to tackle so big a job we have made a tremendous number of friends and shall have nearly double the number of subscribers for the coming season as we had for this season so it will all come back to us eventually. I do not know whether you have yet had a chance to read my play, but when you are through with it perhaps you will send it to me at my office address, 171 William Street, under registered cover.

With kind regards to yourself and Mrs. Shaw, I remain,

G. Bernard Shaw - 2 -

Sept. 15, 1922.

look for our reward in Heaven. Some of it is coming to us in
the shape of new subscribers who felt they could not afford not
to belong to an organization that took such chances.

LL

G. Bernard Shaw, Esq.
10, Adelphi Terrace
London, England.

IO ADELPHI TERRACE
LONDON W.C.2.

September 30th 1922.

My dear Langer,

The Guild has cabled to me to give Jitta to Madame Kalich, probably blessing her for having extricated it from a difficult situation. But I am not at all happy about it. She seems the right woman for it; and she is very keen on it; but from what she has said to me I suspect that if the production is left in her hands she will suppress the comedy side of my version, and revert to the unrelieved gloom of the original; and I don't think this will succeed in America, because it means that the last two acts will merely wallow gloomily in the memories of the first. What I want is a management who will engage Madame Kalich with two first rate comedians for the widow and Jitta's husband, and will see that it gets full value for their salaries and that their parts, and the part of the play that belongs to them, are not sacrificed to Jitta's heroics. Also, I believe that if she takes a theatre from Woods or Schubert on sharing terms they will leave her with a sense of paying impossible royalties, as at 50-50 my percentages will be double what they really are on the whole business.

I saw your press communication about the play; but I do not want it suggested that it is 95% Shaw and 5% Trebitsch. Novelty is always valuable; and novelty is the one quality that I have lost hopelessly with the affirmation of my reputation. The line to take is to boom Trebitsch in New York (steps are being taken to that end on this side), and to suggest that as what has been lacking in my plays is HEART, the combination of the emotional Trebitsch with the intellectual Shaw is idle, and will make the most dramatic event of the season.

Is there any chance of the Guild doing Moses?

Lawrence Langner Esq
171 William Street
New York City, N.Y.

October 16th, 1932.

Dear Mr. Shaw:-

re:- Madame Kalich

I had the pleasure of meeting this lady before
your letter arrived; she spoke to me of having met you in
England, and made a proposition that the Theatre Guild manage
her in "Gitta's Atonement". We are, however, tied up at the
present time, owing to the fact that we let our last producer
go, expecting to replace him by Mr. Kommisarjevsky, who has
not yet arrived. Miss Kalich now tells me she has made arrange-
ments with another management, and I have told her I shall,
very glad myself to go to some of the rehearsals and assist in
any way I can in the production. I may add that Madame Kalich
is a very competent person, quite capable of handling the play
on a business-like basis and getting a theatre on good terms.
It is always the custom, whenever a play is produced in America
on sharing terms, to arrange the terms so that the company pays
the royalty while the theatre owner does not. I imagine that
this has happened in all your plays where the management of the
play did not actually own or lease the theatre.

The Guild has not accepted my play, although in
my own opinion, it is better than any that have been submitted
to them. They are beginning to take an interest in the remote
drama. We have just produced "R.U.R.", a sweet little melodrama
from the Czech-Slovakian. What chance has a mere Anglo-Ameri-
can author in the face of this mid-European competition?

Sincerely,

G. Bernard Shaw, Esq.,
10, Adelphi Terrace
London, England.

March 21st, 1923.

Dear Mr. Shaw:—

The Guild is decidedly in existence, although we poor devils who give our lives to it are nearly dead under the strain. So far, during the present season, we have produced Capak's "R.U.R.", A. A. Milne's "The Lucky One", Claudel's "The Tidings Brought to Mary", Ibsen's "Peer Gynt", an American play called "The Adding Machine" and now we are starting work on "The Devil's Disciple". After having produced nearly thirty plays in four years, we have all come to the conclusion that unless we begin a repertory we shall run through the entire dramatic literature of the world within the next three years. Repertory is impossible in the Carrick, so we are building a new theatre, borrowing the money from the public in order to do so. At the present moment the public response is really wonderful but as usual a large portion of the burden of the work falls upon me and I never get a minute in which to do the writing in which I am really keenly interested.

Your remarks about my one-act comedies are very encouraging. "Another Way Out" was a great success here and ran for nearly 120 performances with so e other one-act plays. I have been writing plays for years between the moments when I was not attending to business on the one hand and the Washington Square Players or the Theatre Guild on the other. It seems almost impossible to settle down to writing long plays without cutting one's self off from the rest of the world, and I find that very difficult. Your advice about cutting money into theatrical speculation is very good; I learned my lesson two years ago when I put on Henry Bataille's "L'Homme a la Rose" and lost over two thousand pounds and about eight weeks of good time. I made a vow then and there never to do anything of that sort again.

I expect to be over in England sometime during the summer and hope I may be able to see you again. With kind regards, I remain,

June 6th, 1923

George Bernard Shaw, Esq.,
10 Adelphi Terrace,
London, England.

Dear Mr. Shaw:—

In spite of the hot weather "The D.'s D." seems to be holding up pretty well and I think it ought to continue through to next Fall on an average business of $4,000 to $5,000 per week after which we expect the business to increase. From now on visitors will begin to come in to New York and they keep the theatres busy during the hot season.

I hope to be in London in about five weeks from this time of writing, and if you are thereabouts, I hope I shall be able to see you.

St. John Ervine has just written me that he has heard you have finished a new play on the subject of Joan of Arc. Provided that this is not the chronicle play in five hundred scenes, I think we shall want to do this, and I hope you will let us see it.

I was tremendously interested in your article about the theatre; I quite agree with you, and we are going into this new theatre with our eyes very wide open. St. John Ervine says that he wants to start a similar movement in London, and I have decided that while I am in London I will show them how we conducted the campaign and an absolutely sure way of raising money; that is, as sure as anything is sure in this uncertain world. We are going to launch an auxiliary campaign in a couple of months and have decided that we shall use your article as the principal propaganda, because the magazines thought the article too much like propaganda and would not pay a very high price. We will

George Bernard Shaw, Esq.

June 6th, 1923

therefore get the most out of it by using it for propaganda.

I am going to send you soon a copy of a new
modern play I have written called "THE THIRTEENTH APOSTLE,"
or perhaps I shall bring it with me.

Cordially yours,

LL:MJ