APR.23

CLASS OF SERVICE

This is a full-rate
Telegram or Cable-
gram unless its de-
ferred character is in-
dicated by a suitable
symbol above or pre-
ceding the address.

WESTERN
UNION

A. N. WILLIAMS
PRESIDENT

1946

SYMBOLS

DL = Day Letter

NL = Night Letter

LC = Deferred Cable

NLT = Cable Night Letter

Ship Radiogram

The filing time shown in the date line on telegrams and day letters is STANDARD TIME at point of origin. Time of receipt is STANDARD TIME at point of destination

N259D473 55 NL PD

SI NEWYORK NY APR 22 1946

THERESA HELBURN THEATRE GUILD

23 WEST 53 ST NYK

IT WILL HELP US SO MUCH IN OUR WORK OF BRINGING LIFE AND HOPE TO THE JEWS OVERSEAS IF YOU WILL JOIN MRS. ROOSEVELT, BOB SHERWOOD, AND LEADERS OF AMUSEMENT INDUSTRY AT OUR UJA DINNER AT SHERRY'S ON TUESDAY, APRIL 30TH. JUST CALL ME AT CIRCLE 5-5200 AND LET ME KNOW THAT YOU WILL ATTEND

BILLY ROSE

1155P

THE COMPANY WILL APPRECIATE SUGGESTIONS FROM ITS PATRONS CONCERNING ITS SERVICE

ZIEGFELD THEATRE

1347 SIXTH AVENUE, NEW YORK 19, N.Y. • CIRCLE 5-5200

RECEIVED

March 17, 1950

MAR 20 1950

FITELSON AND MAYERS

Mr. William Fitelson
673 Fifth Avenue
New York City

Dear Bill:

As I told you over the phone yesterday, I was reluctant to put on
paper my feelings about The Theatre Guild and its attitude toward
investors in its enterprises - especially its attitude toward a
fellow like myself, who considers himself, after a hectic quarter
of a century in show business, a "pro."

To begin with, I don't think it's necessary for me to stress my
affectionate regard for Lawrence Langner and Theresa Helburn.
These two sweetie-pies have always been tops in my book, both as
human beings and as talented folk, and my unsuccessful experience
with them as the backer of Hemingway's "The Fifth Column" didn't
alter my feelings an iota.

Because of this confidence and affection, I invested in three of
their enterprises this season, without asking the usual questions
and without subjecting their projected plans and budgets to the
scrutiny of my auditors and myself.

Terry was decent enough to tell me, when I asked her about "AS YOU LIKE IT," that she didn't think the show would ever earn much money; that it was a fine venture and that the best I could look forward to was a small return on my capital. Nor were there any misrepresentations in connection with "COME BACK LITTLE SHEBA." This show, despite its mixed notices, in my opinion is a first-rate producing job, and when I left the theatre the opening night, I was proud of my oblique association with it.

However, I feel a lot differently about the situation on ARMS AND THE GIRL. I bought an $8,000. chunk of this show, without asking the usual questions, only because of my confidence in the management; and this confidence presupposed that, after thirty years in the theatre, the management wouldn't let me invest in a venture that was on the sick side even before it went into rehearsal. Here's a show playing to substantial grosses - in my book $35,000, a week is a heck of a lot of money - and the profit and loss statements indicate that, if it continued playing to these grosses, it would take the best part of two years to amortize the investment.

Had this been pointed out to me - and I think it should have been - I, of course, would have passed up this show. I strongly feel that in this instance I didn't get the square-shake information to which I was entitled.

-2-

Let me also get this into the record: I think all three shows in which I invested were produced with taste, skill and talent. I have no beef about the artistic ride I got for my dough. I, however, have a definite beef about the withholding of vital information in connection with ARMS AND THE GIRL, and I think, everything considered, the Guild ought to do whatever is right and proper under the circumstances.

I have ear-marked a considerable amount of money for theatrical investment in the future, and I'm genuinely sorry that I've run into this road block as far as the Guild is concerned. And my feelings, I assure you, have nothing to do with the loss of a few thousand dollars. When Rodgers and Hammerstein announced that they were closing "THE HEART OF THE MATTER," in which I had invested $6,000, I immediately communicated with them and told them that I approved of this decision. I didn't want to see these two old friends of mine, for the sake of any group of investors, bring a show to New York which might chalk up a red mark against their outstanding achievements.

When "LOST IN THE STARS" was offered to me - and I was offered a $25,000. chunk after the previews indicated that the show had considerable dramatic merit - I turned it down, because an examination of the budget and operating costs indicated that it would take almost a year to reach the break-even point.

In the case of Lawrence and Terry, because of my confidence in them, I asked no such questions.

Fond regards,

BILLY ROSE

BR:S