CONFIDENTIAL AND URGENT

5/17/47

RUSH REPORT

McCullers, C. Carson
and
Johnson, Greer

"THE MEMBER OF THE WEDDING"

VIA: TH (from JWG; Ann Watkins is agent but does not know of submission to the Guild)

Based on McCullers' novel of same name.

This is the most appealing writing talent that has come to the Guild. It has the kind of magic that makes the story itself of scant importance as in MY HEART'S IN THE HIGHLANDS and GLASS MENAGERIE.

It is a highly perceptive, deeply sensitive and poetic capturing of that painful and touching period of growing-up, known as adolescence.

Recommendation.

Wholeheartedly recommended. A play of this quality is rare indeed — and we're all for the Guild optioning it at once. It needs some work — we'll have to re-read the play to do a really constructive report on this but at first glance it captures mood and has rare beauty, the characters are loveable, human, real, and memorable — every member of an audience would identify himself with the people and situation. It is over-long — cutting would eliminate the few precious lines of dialogue; the preparation for John Henry's death does not lead us to expect meningitis — perhaps a brain tumor, but this is quibbling and can be discussed after more acquaintances with the play. ABOVE ALL, it needs utmost care in production — particularly sensitive casting and directing.

If the Guild has reservations about the play for the regular production schedule, can it be bought for the younger Guild group to do? NO TIME SHOULD BE LOST if there is interest.

(As an aside: why didn't we see this play from the agent — instead of by devious channels? This is a situation that needs correcting — the agent, incidentally, is coming for cocktails today.)

Miss Helburn has read the play and has no doubt passed it to Mr. Langner. For the record, we will do a second page with the story which will follow a little later.

Noted by AR 8/4/47

August 3, 1947

57 West 45
New York City 19

Dear Mr. Langner,

After our very instructive session Wednesday afternoon, I came home and thought of your suggestions. With a script in hand and some time to think it over, I saw that you were absolutely right about the re-arrangement. I have been working on a revised First Act (which was the first scene), keeping in mind what you wanted done in it. Also, I am incorporating Miss Hellburn's suggestions—that Frankie can begin to decide right here that she is to leave afterward with the bridge and the groom; that Berenice would worry more about the call to the police station. A reason is given for the wedding taking place at Frankie's home. As you said, we will have now a short first act, a long second act of two scenes, and a short third act of two scenes. Mr. Addams now appears again at the end of the First Act and offers more opposition to Frankie and helps set some tension as to just what she might do.

By the time you are ready to talk with me again, I will have this revised First Act ready for you. I enjoyed seeing you and Miss Hellburn, and I'm sorry that Mrs. Langner left early before we had a chance to meet. And further congratulations on Mary Anderson. She captivated me.

September 17, 1947

TO: Theresa Helburn
Anne Ross
Phyllis Anderson

FROM: Lawrence Langner

Re THE MEMBER OF THE WEDDING

I have had a talk with Greer Johnson (yesterday) and agreed on a plan of rewriting which covers conversations between TH and myself. He expects to get the job finished within the next couple of weeks.

I think that Paul Crabtree could direct this play and will talk with TH about the question of Paul Crabtree, Josh Logan, and Rouben Mamoulian.

We hope to meet Elizabeth Taylor in Boston, who has been suggested as a second candidate. Meanwhile, we must keep in close contact with Mary Anderson.

LL:mh
(Dictated,
but not read)

TO: MR. LANGNER

FROM: Anne Ross

May we have a few minutes with you on the above when you return?

Anne

September 17, 1947

Dear Mr. Langner,

Here is a revised THE MEMBER OF THE WEDDING. I have followed every one of the suggestions you made in our talk and in your notes with one small exception. I do not feel that Mr. Addams should have a telegram at the end of Act 1, for two reasons: one, it seems too pat in the context for the rest of the scene; two, he would already have told Berenice during the early evening so that Berenice could have made plans, and Berenice would mention it to Frankie as well as to Honey and T.T. (this casual hiring of them is atmospheric, anyway) before Addams could show the telegram.

I hope that you and Miss Helburn will like this version better. Of course, as we both know, Act One, incorporating as it does the two first and two longest scenes of the original version, is much too long. But I believe you agreed with me that I should not be the one to do any cutting.

Will you, please, for me, see that two copies of the revised version are reserved for Carson and me? (In case it is used, of course!) I think she should be sent one, and I would like to have the version which will be rehearsed. I have carbon of the new material, of course, but not of the put-together job!

I'll be so eager to hear what you think of the play now. And thank you very much for your helpful suggestions and your encouraging attitude Tuesday morning.

Afterthought: Unless you are opposed on principle to the two-act play, I wish you'd reconsider this version arranged like the first one. The first two scenes, Act 1, make just about half a play, being 60plus pages. And what is now Acts 2 and 3 could be four scenes of a balancing Act 2. Or perhaps it is better to break it up as is. The very short third act, 17 pages, bothers me; but I don't see how the material or the mood here can be enlarged to any noticeable extent.

G.J.

Memo From:
Armina Marshall

MEMO TO: TH, LL, AML

FROM: S.Weingarten

RE: Mary Anderson

Date: october 6, 1947

I should like to call attention to
the fact that Mary Anderson claims
she is remaining in New York only
because she thinks we want her to
play the lead in MEMBER OF THE WED-
DING. Subsequent to the reading
Greer Johnson told Mary that she was
a playwright's dream come true; that
she really was a perfect Frankie.

She called me a week and a half ago
to inquire about our plans for prod-
uction. I explained that you were in
Boston and concentrating on ALLEGRO
but that I was certain we could give
her some information when you returned.

Please advise as she is becoming
impatient and would appreciate know-
ing one way or another.

Sherlee

Memo From:
Armina Marshall

MEMO TO: TH, LL, AML, PC

CC: Greer Johnson

FROM: S. Weingarten

RE: MEMBER OF THE WEDDING

DATE: October 23, 1947

Ethel Waters is on tour appearing in nightclubs enroute to California. She is scheduled to play in DARK WOOD with Tyrone Power. Her agent says she will be available by the end of December. As our experience would indicate, however, motion picture schedules are rarely adhered to -- and what with retakes etc., we can probably count on an additional month and one-half or so. In view of this, would you like me to send her a script via her agent?

SW

November 19, 1947

Paris

Mr. Lawrence Langner,
The Theatre Guild, Inc.,
23 West 53rd Street,
New York City.

Dear Mr. Langner:

Enclosed you will find two copies of the "revised" revision of my wife's play. We have both been working on it day and night for two weeks making changes and deletions from Mister Greer Johnson's adaptation, of which she was very unhappy. She feels that he altered the entire spirit and poetry of her book and the play she did. If you intend producing this play she wishes that it be done in the vein of the enclosed revision.

We have had trouble. First I was in the hospital with a bad leg. I am OK now. But, four days ago she had what amounts to a stroke of paralysis. She is unable to move her left arm and leg; she is coherent, rational and can talk but the numerous doctors I have had in concur that it will be five or six months before she will be able to walk.

Fortunately I was able to get sleeper accommodations on a plane leaving Paris directly for NY on November 29. The doctors say that she must go to our home in Nyack and see no one for several months. She is to have nothing else to do with "The Member of the Wedding", the doctors say.

However, I know every word, line and paragraph of the book and the play and if you intend to produce it I should like to talk with you and the director when I get to NY. I can be reached at 436R Nyack, NY. If we miss connections I will come by your office. Johnson can have his goddam forty percent but Carson does not want him to have anything more to do with the play. He may be a good boy but in our opinion he does not know doodley-squat about theatre....in any event he does not understand what Carson was talking about in her book.

I do not like to talk ill about people--especially ones I have not met--but this business of the play is mainly contributory to her being ill and paralyzed.

I will see you when I get back to NY.

Reeves McCullerd, 131 South Broadway, Nyack, N. Y.

1.

Addams

Frankie!

(The light grows in the room for a moment, revealing
Frankie's bed, covers down, the occupant gone)

Oh, Frankie!

(He steps forward. Quietness. Frankie, still in the yard,
looks up at the sky, spreading out both arms. Then takes
a photograph from her hip pocket and stares at it
attentively.)

Frankie!

Frankie

Yes, Papa.

Addams

(Stomps down the back stairs into the kitchen. Light fades
in Frankie's room, comes up in kitchen. Addams crosses to
the stove and lights fire under a pot of coffee, made and
left the night before. His shoes crunch over sugar spilt
over the floor and he winces. Then, he approaches door
leading to yard and looks out.)

What are you doing out there all by yourself? And how many times
do I have to holler at you before you answer?

Frankie

(Puts photograph back in pocket, then with a sudden burst
of energy runs up back steps)

Is Berenice here yet?

Addams

Not yet.

(Moves about kitchen and his feet crunch on floor)

What in the almighty heaven have you done to this floor?

Frankie

I guess I spilt some sugar. I made a milk shake when I got up.
I got up at five o'clock this morning.

Addams

(He pours coffee with trembling hands)

Whatever for, Miss Early Riser?

Frankie

Because I felt I needed to think for a while.

Addams

Think about what, pray tell me?

Frankie

Oh, about my brother and the bride. About Janice and Jarvis.
About their coming here and the wedding tomorrow. Somehow, ever
since we got the letter and the picture of them taken together,
the wedding has preyed on my mind. It seems so queer.

Addams

Queer! What in the name of peace do you mean? Just because Jarvis
has found the girl he wants to marry and they're coming here for
the wedding tomorrow—what's queer about that?

2.

Frankie

(Takes off the Mexican hat and sits down tiredly. She
draws the photograph from her hip pocket and looks at it
again)

I think they are the two prettiest people I ever saw in my life.
I didn't hardly recognize Jarvis and she looks just like what a
bride ought to look like.

(Sighs and looks into space)

Even their names, Jarvis and Janice—go together so cute. And even
the fact that she comes from Winter Hill and they met there—that
seems so lovely to me. Winter Hill—it sounds so nice and cold
and it reminds me of snow. Although I know it's only a hundred
miles away.

(Looks again at photograph)

It's not a very good picture, though. The faces are kind of dark--
and mashed...

Addams

They're a nice looking couple, true enough.

Frankie

(Moves restlessly around kitchen, pours herself coffee)

So I got up and went downtown and walked up and down the main
street.

Addams

Downtown! This time of dawn!

Frankie

Yes, I felt like I wanted to talk to people and tell them about
the wedding.

Addams

What people! What in the world have you been up to!

Frankie

Just folks. One lady who was up early getting ready to canvas
and sell corsets from door to door. And a colored boy sweeping in
front of Finney's Place. Just folks.

Addams

Well, merciful heavens! And what did you tell these people, I'd
like to know?

Frankie

(Carefully)

Oh, about the wedding. About Jarvis being in the army a long time
and how he's got these few days of vacation from the armed services
and will marry Janice here and then go back to Winter Hill for a
short while. And then the two of them together go back to the
post. Things like that. And I showed the picture.

Addams

Frankie, you will be the death of me yet. Roaming around the
streets at dawn and talking nonsense to total strangers! You need
to be made to walk the chalk line, young lady.

3/4

Frankie

(Sadly)

I told about the wedding and how immediately afterwards they would be going away. Getting out of this old ugly town and going other places.

(Pause)

I wish with all my soul that after the wedding I could go with them.

Addams

Listen, you tell Berenice a man will be here with two croaker sacks of sweet potatoes. He'll leave them on the back porch. I guess there will be room there for the time being--you children treat those potatoes with respect, you hear? You and John Henry. Don't be cutting them up and throwing them around like balls.

Frankie

And did you think of this, I wonder? I have to have a dress for the wedding. I have to have a new dress.

Addams

You had a new dress just two weeks ago!

Frankie

I know. But this has got to be another kind of dress. Also, I have to have silver shoes and nylon stockings. A pink satin dress, maybe, and a ruffle around the neck and a ruffle around the hem--a long dress, too. Also, a silver bow in front and a pink satin sash--You listening to me? And maybe on the bow of the sash a rhinestone buckda. Okay?

Addams

Well, if it has to be, then charge you a dress at MacDougals.

Frankie

(Grumbling)

I don't like MacDougal's store. It's too old-timey and they wouldn't have what I want.

Addams

You heard me. It's MacDougals or nothing. He's always been one of my most loyal customers.

Frankie

Oh, I know. You fix all his watches and he's bought some valuable diamonds from you. But still his store don't suit me for this dress.

(Pauses)

A complete color scheme of pink and silver. A dress that will-

Addams

Go ahead and charge it.

(As they talk, Berenice enters...ETC. ETC.)

MEMBER OF THE WEDDING (Revision)

by Carson McCullers
and Greer Johnson

FROM: AR

TO:

11/4/47

I discussed my reaction to the revision with Mr. Langner last Friday, particularly with relation to the third act -- and what I thought ought to occur there.

This report is long -- but I wish you would overlook the usual policy of being brief, and bear with me in this circumstance.

The present Act III does not seem to me to be a logical outgrowth of Acts I and II. It dissipates the emotional build-up, rather than topping it. Things do not happen directly on stage but are talked about-- the two-part ending is novelistic rather than dramatic -- we might as well go a step further and see Frankie about to be married. Much of what occurs in the third act now is not relevant to the play. TT's being on a chain gang, the family's moving away, would all be interesting as a finale of a novel -- but are not directly pertinent to the subject of the play. What direct bearing does any of this have on a little girl who went though a summer of not belonging, found an answer, she thought, by deciding she was a member of the wedding, and was refused this membership. (It would probably be superfluous to add that what happens to TT is of little concern to us as an audience since we hardly know him, have only met him briefly as the man Berenice does not intend to marry, who collects for people's funerals, and so on. In the same way, it does not matter that Berenice will part with Frankie because they are selling the house, and so on, for this is extraneous and not to the dramatic problem raised earlier -- a little girl's growing-up.) In addition, Frankie herself does not come out very admirably in this act. We forgive Frankie a great deal for her actions in the first and second act because we sympathize with what she is going through but if this leads to nothing in the third act, if we leave her precocious and cute, I'm afraid we're sorry for having wasted our time on what turns out to be a pretty sappy youngster.

The fact is that when the second act curtain comes down, we are interested in what will happen to Frankie. Will she really run away -- will she meet with mishap -- will she kill herself -- will she meet with disaster -- will she be recovered -- will she return of her own accord -- in either case, what will be her feeling on her return -- if she is recovered, will she still be rebellious, will she be beaten, will she have learned something, will the exhausting emotional experience have been too much for her to feel anything immediately -- will she have learned something -- or has she learned something without being conscious of it yet -- how, on top of this, will the news of John Henry's illness (or death) affect her, and so on. These are the questions we ask ourselves -- and whatever the answer, we want to see it worked out dramatically. And when is the answer to the question not belonging to, loneliness that has been upended, then

What would the child be feeling in that early dawn after so much has happened. She's gone through a summer unlike any other, of not belonging to anything, of being neither adult nor child, of being loose, disconnected; what she considered an answer to solve and end this unbearable condition has ended in defeat and humiliation -- her cup runneth over -- she has been forced to run away. With this as a start, what happened to her in the loneliness of a dark stormy night -- the actual events themselves -- but more importantly, what happened inside the child -- what fears, what emotions -- on her own for the first time -- running away isn't the easy adventurous thing it seemed --

- 2 -

Whatever she is going through inside as a result of all of
this would be additionally affected by her being found by the
policeman, the trip home, and finally being back at home again.

I think she would be tired, wilted, crushed, beaten, cowed,
resigned, utterly subdued -- nothing matters any more.
The question of whether a child's spirit has been broken can be
even more heartbreaking, more suspenseful, than the question
of whether a child would be driven to suicide -- for the fact
is that few adolescents' desperation drive them to suicide
whereas many a child's spirit is broken by an experience, or
series of experiences, and their wrecked personalities go with
them into adulthood, and so on.

The third act, then, in my opinion, should be built on the
question of whether Frankie's spirit has been broken -- or
whether it has suffered an extreme blow which may, or may not,
be surmounted. Here, John Henry's death, which dramatically
could take the play away from Frankie if not properly handled,
could be directly channeled into the immediate problem of the
play -- of what is going to happen to Frankie. In the condition
the child is in, being confronted with the unexpected shock of
her little cousin's death could finish the process of devastation,
or, after her first emotional reaction, could be the galvanizing
action to put into use the things she has already unconsciously
leamed in the growing-up process, the last piece of the crazy
jig-saw puzzle.

The two suggestions that follow are exploratory towards such
a new third act, and not at all hard-and-fast.
I want to
re-read the play and see if there is anything to add to the few
notes I made on Acts I and II, and whether any new thoughts arise
for the ending -- but in the meantime I wish you would read
my suggestions below and think over their possibility:

## NO. I

1. Frankie's return home
Early dawn. Policeman tells how he discovered Frankie,
brought her home, etc. Frather and Berenice want more
details. Policeman supplies as much as he's able. Frankie
is silent, subdued. Father goes to Frankie, tells her how
worried he was, asks if she's all right; we see his real
concern and love for his child. Frankie sits quiet, withdrawn.
More desperate now, he asks what/ happened to her during the
night -- he wants to know what happened from the time she
left until the policeman found her because he wants a clue
as to what is going on inside the child. Frankie is quiet.
Berenice, alarmed too, goes to Frankie, tries to make the
child open up. The child doesn't answer. (The Policeman
can be characterized more than he is in the present third
act -- he might be developed along humorous lines -- he
just can't imagine how this quiet mouse of a child could have
the gumption to run away, cause all this rumpus, -- and so
he doesn't take the situation seriously .....or he might be
extremely touched by the quiet child, wonder what condition
could have driven her to run away.

- 3 -

As the audience, we want to know what's happened to Frankie/Jr., why she is acting so unlike herself, will she come out of it.

## 2. Policeman leaves

The policeman, having discharged his duty, is ready to leave. Father accompanies him out, as pretext to finding out how John Henry is. He can either indicate to Berenice that he is finding out about John Henry, and to keep the news from Frankie, fearful of how the child will react in the state she's in, or if this cannot be accomplished satisfactorily, he can get Berenice outside the house on some pretext (Frankie would hardly notice) to tell her --

## 3. Berenice tries to find out

If Berenice has gone out, she would return to find Frankie at the foot of the stairs --Frankie having gone there simultaneously with the whispered conversation outside the door. If she stays on, when the father and policeman go, Frankie could stir a little, walk to the stairway. In either case, finding Frankie at the stairs, Berenice would call to her: Where are you going? Frankie: Up to John Henry. Berenice, out of fear, says sharply: Never mind that! Unexpectedly, Frankie is submissive, walks away from stairs, sits again. Berenice truly alarmed (Frankie can be many things -- mean, ornery, rebellious, loving -- but never submissive), goes to Frankie, takes her in her arms, perhaps on her lap, mothers her, asks her "to tell Berenice what happened...Berenice will understand." Frankie tells her story of the night (from present third act) but with this difference: Frankie is not eager to tell her adventure!, the telling is conditioned and influenced by her own dejected, resigned state, and Berenice has to prod, persuade, question to make her finish it. Frankie tells how she was called for Charles-Charlina, concludes with the fact that there is nothing: home is ugly, and not belonging; outside is the same." By the end, she is emotional, beseeches Berenice desperately: "What is going to happen now?"

## 4. Berenice tries to help Frankie

Afraid that Frankie's spirit is broken, Berenice, in a rush, almost hysterical, tries to set Frankie straight: she repeats the promise of Act II -- how she'll make Frankie a party, how Frankie's name will be in the paper (etc); she goes back to the theme of not belonging, being loose (also Act II), her fear for Frankie makes her outdo herself: she tells Frankie she will have a friend and then everything will be different -- they'll have things in common: Michaelangelo (whatever can be used from present 3-2); they'll go to Europe together, and so on. It's a good try and Frankie listens for something she can hold on to -- but when Berenice is through, Frankie says, "I don't think so, Berenice." -- at that moment she seems the older of the two.

## 5. John Henry's Death

Father comes in with news about John Henry. Perhaps alone, perhaps with Honey. Honey might tell part of the story, how John Henry screamed, and so on.

Memo From:
Lawrence Langner

December 26, 1947

TO: TH

Dear Terry;

I called up Carson on Wednesday. She wants the Guild to do the play, but asks to have Kazan as director. I felt it best for the approach regarding the play to come from us to Gadge, but what about Paul?

Have written the enclosed memo to Bill, which explains everything.

LL:mh

Enclosure

Memo From:

Lawrence Langner

December 26, 1947

TO: H. William Fitelson

Re MEMBER OF THE WEDDING

Carson McCullers spoke to me the other day and said that Tennessee Williams had been to see her and suggested that Kazan should direct this play. Our option expires in May, and I don't want this to be another case where we lose a valuable property. She doesn't like the idea of Paul Crabtree directing the play and wants Kazan. Tennessee is definitely working against us.

What do you advise, under the circumstances?

LL:mh

cc; TH

Memo From:
**Lawrence Langner**

December 26, 1947

TO: Miss Helburn

Dear Miss Helburn:

When Paul spoke to me about Mary Anderson's reading in costume, which was set for today at 2:30, he did not mention that Mrs. McCullers and Mr. Tennessee Williams were to be there.

Marion Hubbell

Memo From:
H. William Fitelson

12/29/47

TO: MR. LANGNER

I have your memorandum of December 26th concern-
ing MEMBER OF THE WEDDING.

1. An author does have the right to approve the Director. But if an author withholds approval unreasonably, the matter can be arbitrated.

2. Naturally, I don't blame any author for wanting Kazan to direct his play. One of the ways of covering this is to have Kazan read it and get his reaction. If it is in the negative, it will be first rate evidence to supply McCullers.

The foregoing is my advice as a first step under the circumstances. Will you please let me know what happens?

H. WILLIAM FITELSON

December 30, 1947

TO: H. William Fitelson

FROM: Lawrence Langner

Dear Bill:

We may be getting into some legal complications regarding A MEMBER OF THE WEDDING. Our contract with Carson McCullers and Greer Johnson expires May 26th. Carson McCullers is the writer of the original play, and she has a contract with her collaborator, under which the rights expire if the play is not produced by May (exact dates unimportant). McCullers dislikes Johnson's work and has been advised by Tennessee Williams. She is rewriting the play herself, claiming she will not use any of Johnson's material. She is a very sick girl and I cannot be sure whether she will do a good job or not.

Tennessee Williams has advised her to go ahead and write the play herself. She has asked me to send a copy of the play to Kazan, and I have promised Kazan to do so. Carson called me up yesterday to say that the doctor tells her she is too ill to go through re-hearsals and that she wants us to postpone the play until the Fall. She will work on the rewriting now and says that when our present option expires, she will execute a new one.

I have today received the attached letter, dated December 29th, from her collaborator, Greer Johnson, who knows that Carson does not want to work with him. Apparently Carson is using her illness and doctor's report to postpone the production date beyond May, at which time her contract with her collaborator comes to an end.

I feel I should not answer Greer Johnson's letter without being sure of our legal position. It seems to me we have to keep ourselves clean in respect of both authors.

LL:mh

Enclosure

COPY

COPY

57 West 45
New York City 19

December 29, 1947

Miss Theresa Helburn
Mr. Lawrence Langner
The Theatre Guild
23 West 53
New York City

Dear Miss Helburn and Mr. Langner:

Since I have heard nothing from the Theatre Guild recently, I assume you are going ahead with production plans on "The Member of the Wedding" by Carson McCullers and Greer Johnson. As I inferred from my last talk with you in November, there would be possible revisions requested on the three-act version of the script asked for by Mr. Langner. I've had no further word on any new ideas conceived, nor have I been asked to submit any along the lines of your suggestions. Of course I am available for such discussion.

Having fulfilled my obligations to Carson McCullers as per our Memorandum of Agreement, signed by her, the Ann Watkins office, and myself, and as per the regulation Dramatists Guild contract, I am ready for further work agreed upon between ourselves and the Theatre Guild. Although the original and approved script was warmly commented upon by John Gassner, Jose Ferrer, and George Davis, among those who read it, I do want to assure you that I realize practical production may demand new treatment here and there.

Meanwhile, I trust that all is going well with the contemplated production.

Sincerely yours,

/s/greer Johnson

1/2/48

TO: MR. LANGNER

RE: MEMBER OF THE WEDDING

What do you think of the attached letter?

If you have any suggestions, please let me have
a memo with respect thereto.

In the meantime, I think you should answer Greer
Johnson's letter along the lines set forth in
the attached memo.

H. WILLIAM FITELSON

Attached:

Letter to LL from HWF

" to Greer Johnson from LL

Law Offices
Fitelson Mayers and London

673 Fifth Avenue
New York 22, N.Y.

CABLE ADDRESS "FILMLAW"

H. WILLIAM FITELSON
BERTRAM A. MAYERS
I. JACK LONDON
HAROLD J. SHERMAN
FLORIA V. LASKY
BENJAMIN ASLAN

January 2nd, 1948

Mr. Lawrence Langner
The Theatre Guild, Inc.
23 West 53rd Street
New York City, N. Y.

Dear Mr. Langner: RE: MEMBER OF THE WEDDING

We have examined the Dramatic Production Contract dated the 27th day of May, 1947, between The Theatre Guild, Inc., Carson McCullers and Greer Johnson with respect to MEMBER OF THE WEDDING, as well as your memorandum and correspondence in connection therewith.

We believe that you would be violating your agreement if you dealt with only one party thereto, as the agreement was with both parties, who together were specified as the Author. Furthermore, the obligation contained in Article Fourth of the agreement concerning the production date is of such essence that you may lose your rights if the play isn't produced on or before the date specified. The Dramatists Guild will not permit an extension of this date unless the Special Concessions Committee passes on it favorably.

It seems to us, therefore, that all of your rights are in jeopardy unless the authors settle their differences and permit you to proceed with the production in the normal fashion as you wish to do. And unless the differences of the authors are settled promptly, I think it advisable for you to take this matter up with the Dramatists Guild.

Received 1/16/48

Dear Lawrence:

After sending in my ms., I realized that
perhaps I was hasty; I have thought of several changes,
improvements, I feel the play needs. I would like to work
on it longer -- perhaps another month or six weeks.

I talked at length with Audrey Wood on the
telephone. Her criticisms of the play are perceptive
and creative. We agree on these points:

1. The cafe scenes should be more developed and the soldier needs development and understanding; he should be more clearly within the periphery of the central theme. The central theme of the play is the struggle of the individual to escape from loneliness and to become morally a part of the community, the "world." The soldier now adds nothing to this theme and is a hollow character -- demanding no sympathy or understanding. Now I have already thought of several new facets to the soldier scenes that should bring a real improvement.

2. money (also) should be more clearly within the main theme. It is not " ?" that causes his downfall. He takes "smoke" and runs amok because of the innerfranzy of not belonging, or being excluded from the world -- the white man's world. The money drama must be more carefully apportioned.

3. The kitchen scenes (Act 1 and Act 11, Scene 2) need more "outside" influences. The stagnancy of the kitchen must be agitated from the outside occasionally. Here, too,

I have new ideas.

I wish I had worked longer before sending the
play to you. I wish Kazan could have seen the play as it
will be when I finish with it. Please tell him about
these changes I propose. I would love for him to direct
the play. Give my best to Miss Helburn and Paul.

I hope the Greer Johnson business will be settled very soon.

I have written Watkins Inc. an explicit letter.

This is most important. I forgot to indicate in the script
that the *Narration* is spoken by the voice of Bereneice.

That is one reason why I was so keen about Etnel Waters.

Please indicate this for me, on the script before showing
it to anyone else. So sorry. Thanks.

January 22, 1948

Miss uloria Safier
57 West 58th Street
New York 19, New York

Dear Miss Safier:

Mr. Langner is out of the
city at the present moment, and has
asked me to reply to your letter of
January thirteenth concerning Miss
Bethel Leslie and THE MEMBER OF THE
WEDDING.

The play, as you probably
know, is not ready yet. I have shown
your letter to Miss Weingarten, who
told me that she talked to Miss Leslie
about the part about four months ago.

March 11, 1948

TO: Theresa Helburn

FROM: Lawrence Langner

Dear Terry:

Josh called me on the phone and said he had read THE MEMBER OF THE WEDDING. He was quite interested but couldn't make up his mind. He wants to read the novel, which I have asked Phyllis to send to him, and he will take it away with him.

He also said he liked Sam's version of Achard play. Thought he'd done a swell job. He felt that in the beginning of the play, outside of the father and mother, the other characters seemed very unpleasant, and that there should be some reason shown why they are that way that is stronger than it is now. The last act is good, but it should make the point of the play stronger.

I am trying to arrange for Sam to see him before he leaves on Tuesday, but he says that will be very difficult as every minute is taken up.

I am to call him, however, on Saturday morning to try to arrange the appointment.

LL:mh

(copy in Aupres file)

Memo From:
H. WILLIAM FITELSON

4/12/48

APR 13 1948

TO: LAWRENCE LANGNER
THERESA HELBURN

Please note and return the attached correspondence
with regard to extension of production date in
connection with MEMBER OF THE WEDDING.

H. William Fitelson

Attached:

Copy of letter to Dramatists Guild dated 4/6/48

Reply from Dramatists Guild dated 4/10/48

Memo From:
# PHYLLIS ANDERSON

August 2nd, 1948

TO TH
LL
AM
RE CARSON MC CULLERS

Liebling Wood office called. Carson Mc
Cullers called in today to say that she
is working on THE MEMBER OF THE WEDDING.

She has sold a story meantime to the
NEW YORKER. Two more came in today.....
(New Yorker has contracted for her stuff
for a year). Wood office says none of
these stories will dramatize - too slight.

We sent copies of MEMBER to Fitelson
office some months ago. One of the scripts
from the Guild is the copy McCullers took
to the country to do rewrites on......

Commercial Arbitration Tribunal

In the Matter of the Arbitration between
GREER JOHNSON
AND
CARSON MC CULLERS

Award of Arbitrator(s)

WE, (THE) THE UNDERSIGNED ARBITRATOR(S), having been designated in accordance with the Arbitration Agreement entered into by the above-named Parties, and dated April 25, 1947 and amended by a Stipulation dated November 3, 1948 and having been duly sworn and having duly heard the proofs and allegations of the Parties, AWARD (S), as follows:

1. Mrs. McCullers and Johnson are to do whatever is necessary and to execute all consents necessary to extend the Theatre Guild's option so as to provide for an actual opening of the play in New York or out of town not later than November 1, 1949.

2. The McCullers-Johnson contract of April 25, 1947, is to continue in full force and effect until November 1, 1949, unless the Theatre Guild terminates its option before that date, in which case the McCullers-Johnson contract is to terminate when the Theatre Guild drops its option, and the right to dramatize the novel "The Member of the Wedding" shall revert to Mrs. McCullers.

3. If the Theatre Guild decides to go ahead with the play, the McCullers-Johnson contract will continue in effect; and the Theatre Guild shall have the right to use whichever script it considers most desirable; and it shall be free to deal with either Mrs. McCullers or Johnson or both on revisions.

4. If the Theatre Guild produces the play at any time, the division of the proceeds, as well as the authorship credit, shall be as provided in the McCullers-Johnson contract of April 25, 1947.

5. The foregoing is subject to, and it is based on, the assumption by the Arbitrators that the Theatre Guild, if it produces the play, will use the several scripts prepared by both parties. If it uses the McCullers script wholly or almost wholly, so that Johnson's contribution is negligible, Johnson shall receive no authorship credit, but only his financial share. If the authors are unable to agree on authorship credit, the decision of Mr. Lawrence Langner of the Theatre Guild shall be final and binding on the authors.

DATED: NOVEMBER 8, 1948

STATE OF NEW YORK
COUNTY OF NEW YORK
SS.:

On this 9th day of NOVEMBER, 1948, before me personally
came and appeared ALEXANDER LINDEY

to me known and known to me to be the individual(s) described in and who executed the foregoing instrument and he acknowledged to me that he executed the same.

C-3489, NY-C-291-48

CASE No.

Form 14—AAA-5M-6-46

CARRYL MORITZ
Notary Public in the state of New York
Residing in Bronx County
Bronx Co. No. 35, Reg. No. 22-M-0
N.Y. No. 412-74, Reg. No. 571-M-0
Commission Expires March 31, 1959

TO J.H.
PLEASE NOTE AND RETURN TO
LAWRENCE LANGNER

NOTED

January 5, 1949

Mr. Ureer Johnson
57 West 45th Street
New York, New York

Dear Mr. Johnson:

Re THE MEMBER OF THE WEDDING

At a recent meeting of the Guild, we
had a discussion regarding THE MEMBER OF THE
WEDDING, and what we could contribute towards
it.

It was our feeling that, for a number
of reasons, we would be unable to promise a
production for next season, and that we should
not hold the play under these circumstances.
We are, therefore, because of these facts, re-
leasing the play with sincere regrets.

With kind personal regards, I remain,

LL:mh

P. S. I have notified Mrs. McCullers of this.

cc: Ann Watkins, Peter Davis

January 5, 1949

Mrs. Carson McCullers
131 South Broadway
Nyack, New York

Dear Mrs. McCullers:

Re THE MEMBER OF THE WEDDING

LL:mh

cc: Ann Watkins, Peter Davis

P. S. I have notified Mr. Johnson of this.

TO T4
PLEASE NOTE AND RETURN TO
LAWRENCE LANGNER
NOTED T4

FITELSON AND MAYERS

INTER-OFFICE MEMO

TO TH, LL, AM

DATE 1/2/53

FROM H. William Fitelson

SUBJECT MEMBER OF THE WEDDING

Paul Lazarus of Columbia Pictures felt that Columbia Pictures
did not wish to pay anything extra above actual cost to have
the Guild help in connection with MEMBER OF THE WEDDING.
I turned this deal down flatly and said we would have to have
at least 2-1/2% of the producers gross.

He called me again today and said that Columbia Pictures and
Stanley Kramer could not afford that. He said, however,
that they would offer 2-1/2% of the net profits. This is a
mythical compensation in view of the fact that the picture
cost over $800,000. However, it is possible that there could
be profits of several hundred thousand dollars, so I am
passing the proposal on to you for your consideration.

HWF

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To: L.L., T.H. AML, S.W.

From: Paul Crabtree

Re: Peggy Ann Garner

Peggy Ann Garner is in the new movie "Thunder in the Valley" now playing at the Roxey Theatre. She plays one of the leads in this picture and it would be a good chance to see her in regard to casting for "Member of the Weeding"..... It opens there tomorrow at 11;34 am.

Memories of my favorite days at home.

Paul.