RICHARD S. CHILDS

8 WEST 9TH STREET
NEW YORK

March 18th, 1926.

Mr. Lawrence Langner,
c/o Messrs. Langner, Parry, Card & Langner,
177 William Street,
New York City.

My dear Mr. Langner:

I am glad to see that the Theatre Guild contemplates producing PYGMALION, and I wonder if you have forecast in your minds the necessary alterations in the lines to Americanize the climax of the play, so that it will have the same explosive effect that it had in England?

The climax hangs on the use of the scurrilous word "bloody". I saw the original production in London in 1914, and remember well my bewilderment when the audience exploded and stopped the play by their shocked laughter. The newspapers were full of letters as to whether Shaw had exceeded all bounds, and in a revue the scene was parodied.

A 100% American audience would miss the point altogether, although it is the critical turning point of the plot. On the other hand, PYGMALION is one of Shaw's best things, and least known to Americans, having, I think, only had one brief production here. The thing you must do, as I see it, is to substitute the only truly comparable phrase which has become almost fashionable now by reason of certain pioneering experiments in "Rain" and "What Price Glory", and the critical line would then read, as I remember it:

"You had better not, you son of a bitch! "

There is further reference a moment later to the word "sanguinary" in the English version for which "canine" would be a workable substitute, and, with PYGMALION thus amended you will run for a thousand nights, and I won't ask for any royalties!

With best regards,

Very truly yours,

RSC-S

Copy for Miss Helburn

March 23, 1926

Dear Mr. Childs:

I am very glad to have
your letter of March 18th and your very
kind suggestion regarding "Pygmalion."

I decided the best thing
to do was to send
your letter in its tout
ensemble to C. B. S., and we will see what
kind of answer we get.

Very truly yours,

Richard S. Childs, Esq.
8 West 9th Street
New York City

Telegrams
AUTORIDAD, WESTCENT, LONDON.

Telephone:
MUSEUM 9966.

from

The Incorporated Society of Authors,
Playwrights and Composers,

11, GOWER STREET,
LONDON, W.C. 1.

Information.

To

Bernard Shaw Esq

4 Whitehall Court

S W

December 14th.1927

See Cutting enclosed.

March 4, 1930

VERNE PORTER
METRO-GOLDWYN MAY-R
LOS ANGELES - CAL

Guild has released *Arms and Man* but recent letter from Shaw seems to suggest that he will not consent to *Arms and Man* being bought for *Chocolate Soldier*. Have transmitted your suggestions to him.

Lawrence Langner

Malvern Festival, 1932

BOOKING ARRANGEMENTS

The programme is completed in six nights (Monday to Saturday), the second and third weeks being an exact repetition of the first.

All applications for seats must be made on this form and sent by post, with remittance, direct to the Manager, Malvern Theatre, Malvern, England.

PRICES OF SERIAL TICKETS:

(For Six Evening Performances, including Tax)

<table><tr><td rowspan="2">STALLS</td><td>First Seven Rows</td><td>£3 11 0</td></tr><tr><td>Next Five Rows</td><td>£2 11 0</td></tr></table>

For Method of Payment, see overleaf.

Other seats cannot be booked until *after June 25th*, (details inside).

**NOTE.** All Seats applied for will be allotted strictly in order of the applications as received by mail at Malvern.

ORDER FORM FOR SERIAL TICKETS

To the Manager, Malvern Theatre, Malvern.

Please supply me with.........................serial tickets priced as shown hereunder. I enclose check value £ s. d. (this including £1 1 0 as fee for the lecture course).*

From (Mr., Mrs., Miss, etc.)

Full Postal Address

<table><thead><tr><th colspan="2">FIRST WEEK</th><th colspan="2">SECOND WEEK</th><th colspan="2">THIRD WEEK</th></tr><tr><th colspan="2">Mon., Aug. 1 - Sat., Aug. 6</th><th colspan="2">Mon., Aug. 8-Sat., Aug. 13</th><th colspan="2">Mon., Aug. 15-Sat., Aug. 20</th></tr></thead><tbody><tr><td>£3 11 0</td><td>£2 11 0</td><td>£3 11 0</td><td>£2 11 0</td><td>£3 11 0</td><td>£2 11 0</td></tr><tr><td></td><td></td><td></td><td></td><td></td><td></td></tr></tbody></table>

Please insert clearly NUMBER of (i.e. how many) Serial Tickets required in the correct column for the week chosen.

METHOD OF PAYMENT

Payment should be made in sterling by Check, as shown hereunder:

The example given above is that of a Check made out for £3 11s. 0d. (the price of a Serial Ticket in the first seven rows). Should a ticket for a seat in Rows 8-12 be required, the Check would read "Two Pounds, Eleven Shillings," (in figures, £2 11s. 0d.) But if, as will probably be the case, a Ticket for the Lectures is also desired, £1 1s. 0d. must be added to these prices, so that they read "Four Pounds, Twelve Shillings," (£4 12s. 0d.) and "Three Pounds, Twelve Shillings," (£3 12s. 0d.) respectively. In any case, please be careful to cross out the Dollar sign ($) and substitute the Pound sign (£) in the bottom left-hand corner of check. Also, please cross every check thus & Co. as shown in the diagram.

*Cross out if Lecture Course is not desired.

The short table below may assist those wishing to purchase more than one Serial Ticket, but unfamiliar with English currency.

Without Lecture Course

2 Serial Tickets @ £3 11 0 cost £7 2 0 (Seven Pounds, Two Shillings)

3 " " " " " " £10 13 0 (Ten Pounds, Thirteen Shillings)

4 " " " " " " £14 4 0 (Fourteen Pounds, Four Shillings)

2 Serial Tickets @ £2 11 0 cost £5 2 0 (Five Pounds, Two Shillings)

3 " " " " " " £7 13 0 (Seven Pounds, Thirteen Shillings)

4 " " " " " " £10 4 0 (Ten Pounds, Four Shillings)

Including Lecture Course

2 Serial Tickets @ £4 12 0 cost £9 4 0 (Nine Pounds, Four Shillings)

3 " " " " " " £13 16 0 (Thirteen Pounds, Sixteen Shillings)

4 " " " " " " £18 8 0 (Eighteen Pounds, Eight Shillings)

2 Serial Tickets @ £3 12 0 cost £7 4 0 (Seven Pounds, Four Shillings)

3 " " " " " " £10 16 0 (Ten Pounds, Sixteen Shillings)

4 " " " " " " £14 8 0 (Fourteen Pounds, Eight Shillings)

MATINEES

On Wednesday and Saturday each week, at 2.15 p.m. Seats can now be booked.

First 7 Rows £0 13 6 (Thirteen Shillings and Sixpence)

Next 5 Rows £0 10 0 (Ten Shillings)

Applications for these should be made by letter.

SINGLE TICKETS

for Evening Performances cannot be booked until after July 10th.

After June 25th only application may be made for Serial Tickets for the following seats.

STALLS

Rows N to W - £1 13 6

Rows X to BB - £0 19 6

CIRCLE

Rows B to G - £1 13 6

Rows H to N - £0 19 6

MALVERN FESTIVAL, 1932

STAGE.

STALLS.

CIRCLE.

BOOKING PLAN OF THE THEATRE

Printed in England.

The Swimming Pool

## Hotel and Railway Facilities

There are excellent Hotels and Pensions in Malvern—the cost of a week's stay ranging from about Seven Pounds to Four Pounds inclusive, according to the establishment chosen. Particulars can be had from any Travel Agency or Major C. L. CONACHER, O.B.E., Spa Director. Great Malvern, will be visited to assist if special arrangements are desired.

By rail, Malvern is easily accessible from either London (128 miles) or from Liverpool, Manchester, Chester and North Wales. From these latter points, ex- press trains run via Shrewsbury and Hereford. Oxford is some 11 hours distant—and there, one is not far from Sulgrave Manor in Northamptonshire. From London (Paddington Station) the journey to Malvern takes 2½ hours.

## THE ENGLISH SPEAKING UNION

There is a branch of the English Speaking Union in Malvern, with premises in the Council House, Coun- cillor Appleton, of Great Malvern is the Honorary Secre- tary. It is hoped that all E.S.U. Members attending the Malvern Festival will take full advantage of the club facilities offered.

G.B.S. at Malvern, 1931

## MALVERN FESTIVAL EXHIBITION

An Exhibition of Models, Photographs, MSS., Costumes, etc., illustrating Sir Barry Jackson's dramatic enterprises during the last twenty years will be held here. Public Library, Malvern, throughout the period of the Festival. Ad- mission is free.

## Other Important Festivals near Malvern

THE SHAKESPEARE FESTIVAL at Stratford-upon-Avon opens on June 7th and lasts until September 10th.

THE THREE CHORIS MUSICAL FESTIVAL to be held this year in Worcester Cathedral, from 4th to 9th September.

Many intending visitors to the Malvern Festival may be interested in the SUMMER SCHOOL OF DRAMATIC PRODUCTION, BATH. Held in the Citizen House, an 18th Century mansion embraced with a complete plant and premises of a working Little Theatre, and provided with a Hostel for students, this School gives practical teaching in every branch of stage production and technique. There are two yearly sessions—July 26th-August 1st, and August 15th-August 24th. The School is in no way connected with the Malvern Festival, but would be found so complementary to it by those interested that it is mentioned here. Further details can be had from United States Lines, 1, Broadway, New York.

The Tennis Courts

Published by MALVERN FESTIVAL OFFICES,
PANTON HOUSE, 25, HAYMARKET, LONDON, S.W.1

Printed in England by J. Miles & Co., Ltd., 6870, Wardrobe Street, W.1

# MALVERN FESTIVAL
WORCESTERSHIRE, ENGLAND

1932

AUGUST 1st to 20th

1932

Photo by Hay Wrighten, New Bond Street, W.I.

## FOUR HUNDRED YEARS OF ENGLISH DRAMA
including:

### The New Play

BY
BERNARD SHAW

Under the direction of
SIR BARRY JACKSON

In association with

CAPT. ROY W. LIMBERT

## The Malvern Festival
in 1932

By Sir Barry Jackson

Malvern

(Aerofilms Ltd.)

In the town of Great Malvern, which lies on the eastern slopes of the Malvern Hills, a Dramatic Festival will be held in August, 1929. The place is chosen for its natural beauty, its amenities as regards hospitality, and its accessibility. The programme of plays to be presented forms some slight tribute to the genius of a great living dramatist—Bernard Shaw—and will consist of examples of his work.

With these words the Malvern Festival was inaugurated three years ago, and its success has proved that the high hopes with which it began were not ill-founded. The ideal behind it is that of doing what otherwise would probably never be done at all, and of doing this, too, in the best possible way. Confined at first entirely to the works of Bernard Shaw, the Festival has necessarily expanded in its scope, seeking to cover eventually the whole field of Drama. That is why the programme is different each year, ranging from the earliest work to the very latest, and attempting to bring to life before a modern audience representative plays of every generation. It seems a special privilege that again this year—as in 1929—the very latest should appear as a new play by Bernard Shaw, to whom the Festival is perpetually dedicated.

Approach to Malvern from the Wye Valley

"Surely there is nowhere in England a more perfect setting for the true Festival spirit than Malvern. It combines all the glories of hills and plain. At its doors lie treasures of English history and architecture—and perhaps best of all for those who love the open road—many a winding lane and old-world village, as English as the dog-roses which riot over the hedges. Even the comfortable little theatre is set in a park, and in its flower-decorated foyers the same people meet night after night until the cosmopolitan assembly becomes one friendly fellowship drawn from all over the globe by a single magnet—the Art of the Theatre."

So wrote a visitor last August; and indeed the setting of the Festival needs no apology. In Malvern beauty of scene, old tradition, historic monuments, and open, healthful country are present to give the beholder a true sense of what is meant by the English countryside. Miles and miles of it, in every direction, lie visible from the crest of the lofty Hills, round whose base far below ran the seven places named collectively *The Malvern*. The head and heart of them, clustered about the ancient Norman Priory Church, is Great Malvern, with its Park, its Winter Gardens, its Pump Room, and its Theatre.

Think, too, of the cities and villages with which the whole district is made rich. Worcester, Gloucester, Evesham, Hereford, Tewkesbury, Pershore. Ross-on-Wye, Broadway, Warwick, Stratford, Shrewsbury—their very names are part of England's story, and are treasured still as part of England's heritage. All these, and very many more, are less than a half-day's run from there. And now, and again, we must be visited with ease and comfort by those who attend the Festival.

I must turn to the Festival itself, whose programme for 1932 is printed overleaf. For the second time we survey English Drama down the centuries gaining in the space of one week a slender but continuous outline of its development since Tudor days. The only one of these plays performed in our "Five Centuries of English Drama" last year is Ralph Roister Doisier, which "came out" so well, and was so tremendously appreciated, that its production cried aloud for repetition. Each

Golf Course at Malvern Wells

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Send the following message, subject to the Company's rules, regulations and rates set forth in its tariffs and on file with regulatory authorities

AUGUST 5, 1941.

MR. LAWRENCE LANGNER
120 E. 41 St., N.Y.

GBS VERY HAPPY ABOUT OUR PLANS. WE DECIDED MY NEXT PICTURE IS ARMS AND MAN. WHY NOT TRY THROUGH MARION BALDWIN GET GINGER ROGERS PLAY LOUKA AND WE COULD PRODUCE PLAY SECOND HALF SEPTEMBER. PLEASE CABLE YOUR REACTIONS MUMFORDS FARM CHALFONT STPETER BUCKS STOP ARRIVING NEWYORK FIFTEENTH AUGUST. WILL GO FIRST WEEKEND TO WESTPORT. AFFETIONATE REGARDS.

PASCAL

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COPY

WELWYNHERTS

NLT THEATRE GUILD

DISCIPLE PROJECT CANNOT BE ENTERTAINED DURING WAR
AS PRAY TOO ANTIBRITISH ALL BIG REVIVALS MUST WAIT
ALSO UNTIL TAXATION RETURNS TO NORMAL LEVEL HAS
TERRY MARRIED SOMEONE NAMED LAWRENCE

BERNARD SHAW

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Mr. Langner:

Miss Helburn's suggestions for handling
the Shaw matter:

WIRE TO SHAW -

GOT THE IMPRESSION FROM PASCAL THAT YOU HAD
NO OBJECTIONS TO THE DEVILS DISCIPLE REVIVAL. SIR CEDRIC HARDWICKE
AND JANET GAYNOR ALREADY REHEARSING FOR PERFORMANCES IN SANTA
BARBARA TO WHICH WE HAVE MADE NO OBJECTION. HOW ABOUT PERMITTING
THEM PRODUCTION AND IF OUTCOME NOT ANTIBRITISH PERMITTING US TO
MAKE NEWYORK REVIVAL. WE ARE CERTAIN THE PLAY WOULD NOT HAVE THE
EFFECT YOU THINK BUT IF ANYTHING WOULD BE TAKEN AS EVIDENCE OF
FREEDOM OF DEMOCRATIC EXPRESSION.

WIRE TO SELZNICK OFFICE -

WITH REFERENCE TO YOUR INQUIRY TO SAMUEL
FRENCH CONCERNING THE DEVILS DISCIPLE SHAW HAS ADVISED US AS
HIS AGENTS NOT TO PERMIT REVIVALS OF THIS PLAY (AS HE FEELS
SENTIMENT EXPRESSED IN IT IS ANTIBRITISH) (

(It might not be advisable to put in the
last phrase in parentheses.)

HOWEVER HAVE CABLED ASKING FOR SPECIAL RKR CONSENT FOR SANTA
BARBARA. IN THE MEANTIME YOU HAD BETTER MAKE OTHER PLANS IN CASE

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1941 OCT 15 AM 6 21

CC89 76 NL=HY HOLLYWOOD CALIF 14=
LAWRENCE LANGNER=
THEATRE BUILD 52 ST NEWYORKCITY NY=

WAS AWAY FIVE DAYS ARRIVED ONLY YESTERDAY EVENING FROM DELMONTE STOP AFTER RECEIPT YOUR TELEGRAM CONTACTED FAIRBANKS BY PHONE BUT HE WENT EAST LAST SUNDAY HIS ADDRESS IS 325 EAST 57TH STREET CARE MRS WHITING STOP WILL YOU CONTACT HIM HAVE DIFFICULTY WITH GBS ABOUT STAGEPLAY HE BELIEVES THAT WITH A NOT FIRST RATE CAST I AM DAMAGING PRESTIGE OF PICTURE STOP WILL BE NEWYORK MIDDLE NEXT WEEK THEN WE CAN TALK OVER EVERY POSSIBILITY REGARDS=
PASCAL.

ARMS AND THE MAN
BY
George Bernard Shaw
~~

RAINA (played by Lynn Fontanne in the Guild production)

Ginger Rogers
Olivia DeHaviland
Irene Dunn
Greer Garson
Margaret Sullivan
Jane Wyatt
Deanna Durbin

CAPT. BLUNTSCHLI (played by Alfred Lunt in the Guild production)

Douglas Fairbanks, Jr.
James Cagney
Brian Donlevy
Clark Gable
Alan Marshall
Robert Montgomery
Roger Prior
Ronney Bront

LOUKA (played by Stella Larrimore in the Guild production)

Claire Trevor
Geraldine Fitzgerald
Paulette Goddard
Ruth Hussey
Ida Lupino
Joan Fontaine
Gretta Niessen
Hedy Lamarr
Rita Hayworth

MAJOR SERGIUS SARANOFF (played by Pedro de Cordoba in the Guild production)

Brian Aherne
Melvyn Douglas
Kent Smith
Gilbert Roland

MAJOR PAUL PETKOFF (played by Ernest Cossart in the Guild production)

Ernest Cossart
Edward Arnold
Nigel Bruce
Eric Blore

NICOLA (played by Henry Travers in the Guild production)

Henry Travers
J. Edward Bromberg

E. F. WENDEROTH

ATTORNEY AND COUNSELLOR AT LAW
PATENTS AND TRADE MARKS

WASHINGTON LOAN AND TRUST BLDG.
WASHINGTON 4, D. C.

August 17, 1944.

Lawrence Langner, Esq.,
C/o The Theatre Guild, Inc.,
245 West 52nd Street,
New York 19, N. Y.

Dear Mr. Langner :- Re: Copyrights and Plays by
George Bernard Shaw

In accordance with your request of some months ago, in connection with the above matter, a search has been made in the book author, book claimant and drama claimant indexes of the Copyright Office of the Library of Congress under the name of George Bernard Shaw, and in the drama title indexes, for the works of that nature given in the list sent with your letter of May 19. The search covered the period of 1870 to date. The search did not include collected works in the name of George Bernard Shaw except as certain dramatic works may have been included in certain groups under the titles given by you.

The Library of Congress has records of the receipt of printed copies of the following without claim of copyright:

"AN UNSOCIAL SOCIALIST" by Brentanos of New York in 1901.

"MAN AND SUPERMAN" by University Press, New York 1903.

"CAPTAIN BRASSBOUNDS CONVERSION" by A. Constable & Co. Ltd., London 1906.

"THE ADMIRABLE BASHVILLE", Brentanos, New York 1909.

-4-

"IN GOOD KING CHARLES'S GOLDEN DAYS"

"AN UNSOCIAL SOCIALIST"

"NINE PLAYS"

"SIX PLAYS".

Of course, it is possible that some one or more
of the above may be at present enjoying copyright protection
by appearing among certain collected works, not included in
the search.

No separate individual copyright registrations
are found on any of the following :-

"AUGUSTUS DOES HIS BIT"

"BOLSHEVIK EMPRESS"

"THE INCA OF PERUSALEM"

"O'FLAHERTY, V. C."

"TOO TRUE TO BE GOOD"

"VILLAGE WOOING"

"ON THE ROCKS"

"FANNY'S FIRST PLAY"

"THE MILLIONAIRESS"

"MISALLIANCE"

"MAN OF DESTINY"

The title "PLAYLETS OF THE WAR" covers the four
plays first enumerated in the previous paragraph.

The search was then checked by making a request to
the Copyright Office and as a result of the request, they
sent the list of eight (8) pages which accompanies this re-
port.

This list includes the search in the assignment
records under each of the copyright owners and discloses the
recordation of only two documents referring to works by George

-5-

Bernard Shaw. Comparison of the list with my own records,
showed that there were several errors which, on checking
back at the Library, I corrected on the list. In addition,
the list of works should also have included the following
two entries :-

"TOO TRUE TO BE GOOD", a collection of stage sermons
by George Bernard Shaw, registered in the name of
George Bernard Shaw under No. D- unpub. No. 20565,
copy deposited January 30, 1933.

"TOO TRUE TO BE GOOD"; "VILLAGE WOOING" and "ON THE ROCKS",
Three plays by George Bernard Shaw, registered in the
name of George Bernard Shaw under No. A-69441, publication,
and copies deposited Feb. 16, 1934.

I then personally inspected the two assignments refer-
red to in the Library of Congress list and the details there-
of are as follows :-

The assignment from Dodd, Mead & Co., to Loew's Inc.,
dated Nov. 18, 1938, transferred all rights which the assignor
may have had in the copyright registration to "Pygmalion" as
published by Brentanos April 21, 1916, under No. Copyright
D 43764 and Copyright A 427852. This particular publication
included three plays :-

"ANDROCLES AND THE LION"

"OVERRULED"

"PYGMALION"

The assignment in German from Fisher A. G. to
Guttfried Bermann, refers merely to all of the rights which

-6-

the estate of S. Fisher deceased, may have had in the works
of a number of authors of whom names are given and which in-
cludes the name "G. Shaw". Individual works of none of the
authors mentioned.

It appears to me that probably in order to get a
comprehensive picture of this whole matter, it will be ne-
cessary that a separate card or sheet be made for each one
of the titles in which you are interested, and on the sheet
list all the possible expired, existing or renewed copyrights.

Debit note for services and disbursements including
the fees paid to the Library of Congress, Copyright Office, is
enclosed.

EFW:HED

ENCS.

E. F. WENDEROTH

PATENT ATTORNEY

900 F STREET, N. W.

WASHINGTON 4, D.C., U.S.A.

August 17, 1944.

Dear Mr. Langner :-

-4-

"AN UNSOCIAL SOCIALIST"

"NINE PLAYS"

"SIX PLAYS".

No *separate individual* copyright registrations
are found on any of the following :-

"AUGUSTUS DOES HIS BIT"

"BOLSHEVIK EMPRESS"

"THE INCA OF PERUSALEM"

"O'FLAHERTY, V. C."

"TOO TRUE TO BE GOOD"

"VILLAGE WOOING"

"ON THE ROCKS"

"FANNY'S FIRST PLAY"

"THE MILLIONAIRES"

"NISALLIANCE"

"MAN OF DESTINY"

-5-

The assignment from Dodd, Mead & Co., to Loew's Inc.,
dated Nov. 18, 1938, transferred all rights which the assignor
may have had in the copyright registration to "Pygmalion" as
published by Brentano's April 21, 1916, under No. Copyright
D 43764 and Copyright A 427852. This particular publication
included three plays :-

"ANDROCLES AND THE LION"

"OVERRULED"

"PYGMALION"

EPW:HED

ENCS.

jm-7-11-44

The search requested in the letter of June 15, 1944 from E. F. Wenderoth

"THE ADMIRABLE BASHVILLE; or CONSTANCY UNREWARDED"; being the novel of Cashel Byron's profession done into a stage play in 3 acts and in blank verse, with a note on modern prizefighting; by Bernard Shaw, was registered in the name of G. B. Shaw, under No. A 361164, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of George Bernard Shaw, author, under No. R93378, Jan. 18, 1941.

"ANDROCLES AND THE LION" fable play in 3 acts; by George B. Shaw, was registered in the name of Bernard Shaw, under No. D 34282, following the deposit of one copy Aug. 30, 1913. Renewed in the name of George Bernard Shaw, author, under No. R 93133, Jan. 18, 1941.

"ANDROCLES AND THE LION, OVERRULED, PYGMALION"; by Bernard Shaw, was registered in the name of George Bernard Shaw, under No. D 43764, following publication April 21, 1916, 2 copies deposited April 27, 1916. Renewed in the name of George Bernard Shaw, author, under No. R127502, Mar. 23, 1944.

"ANDROCLES AND THE LION, OVERRULED, PYGMALION"; by Bernard Shaw, was registered in the name of the author, under No. A 427852, following publication April 21, 1916, 2 copies deposited April 27, 1916. Renewed in the name of George Bernard Shaw, author, under No. R119417, June 30, 1943.

"ANDROCLES ET LE LION" fable dramatique (en un prologue et 2 actes); par Bernard Shaw, tradiut de Augustin et Henri Hamon (In Les Oeuvres libres, no. 133), was registered in the name of Augustin Hamon and Henri Hamon, under No. D 20314, following publication July 1, 1932, one copy deposited Jan. 9, 1933.

"THE APPLE CART" a political extravaganza; by Bernard Shaw, was registered in the name of George Bernard Shaw, under No. D 829, following publication April 6, 1931, 2 copies deposited Aug. 22.

"ARMS AND THE MAN" a pleasant play; by George Bernard Shaw, was registered in the name of George Bernard Shaw, under No. A 361164, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of George Bernard Shaw, author, under No. R93128, Jan. 18, 1941.

"BACK TO METHUSELAH" A metabiogical pentateuch; by Bernard Shaw, was registered in the name of George Bernard Shaw, under No. A 614689, following publication June 1, 1921, 2 copies deposited June 11, 1921.

"BACK TO METHUSELAH" A metabiological Pentateuch (New matter--illustrations); wood engraving: John Farleigh, original author, preface: Bernard Shaw, was registered in the name of Limited Editions Club, Inc., under No. A 131833, following publication July 25, 1939, 2 copies deposited Aug. 4, 1939.

"CAESAR AND CLEOPATRA" a page of history; by Bernard Shaw, was registered in the name of George Bernard Shaw, under No. A 361166, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of George Bernard Shaw, author, under No. R93130, Jan. 18, 1941.

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-2-

"CANDIDA" a pleasant play; by Bernard Shaw, was registered in the name of George Bernard Shaw, under No. A 361158, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of George Bernard Shaw, author, under No. R93129, Jan. 18, 1941.

"CAPTAIN BRASSBOUND'S CONVERSION" a play of adventure; by Bernard Shaw, was registered in the name of G. B. Shaw, under No. A 361165, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of George Bernard Shaw, author, under No. R95422, April 11, 1941.

"CASHEL BYRON'S PROFESSION"; romance by Bernard Shaw, arr. for the stage in 3 acts by S. Stange, was registered in the name of Stanislaus Stange, under No. D 39995, following the deposit of one copy Mar. 15, 1915. No record of renewal registration was found.

"CASHEL BYRON'S PROFESSION" newly revised with several prefaces and an essay on prizefighting, also The Admirable Bashville or Constancy Un-rewarded, being the novel of Cashel Byron's profession done into a stage play in 3 acts and in blank verse; by George Bernard Shaw, was regis-tered in the name of Herbert S. Stone & Co., under No. A 19241, Oct. 18, 1901, 2 copies deposited Oct. 23, 1901. No record of renewal regis-tration was found.

"CASHEL BYRON'S PROFESSION" (Seaside library, pocket edition No. 937); by George Bernard Shaw, was registered in the name of George Munro, under No. 3507, Feb. 14, 1887, 2 copies deposited Mar. 9, 1887. No record of renewal registration was found.

"THE DARK LADY OF THE SONNETS" (In Redbook Magazine, Vol. XVI, No. 3, January 1911); by George Bernard Shaw, was registered in the name of the author, under No. A 279112, following publication Dec. 23, 1910, one copy deposited Dec. 23, 1910. No record of renewal registration was found.

"THE DEVIL'S DISCIPLE" a melodrama; by Bernard Shaw, was registered in the name of G. B. Shaw, under No. A 361153, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of George Bernard Shaw, author, under No. R95413, April 11, 1941.

"DOCTOR'S DILEMMA" with preface on doctors; by Bernard Shaw, was regis-tered in the name of George Bernard Shaw, under No. A 361152, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of George Bernard Shaw, author, under No. R95412, April 11, 1941.

"DOCTOR'S DILEMMA, GETTING MARRIED, AND THE SHEWING-UP OF BLANCO POSNET"; by Bernard Shaw, was registered in the name of G. Bernard Shaw, under No. D 23524, following publication Feb. 16, 1911, 2 copies deposited Feb. 23, 1911. No record of renewal registration was found.

"THE DOCTOR'S DILEMMA, GETTING MARRIED, AND THE SHEWING-UP OF BLANCO POSNET"; by Bernard Shaw, was registered in the name of George Bernard Shaw, under No. A 283098, following publication Feb. 16, 1911, 2 copies deposited Feb. 23, 1911. No record of renewal registration was found.

12-44

-3-

Search fails to disclose a separate registration for "Fanny's First Play". Of possible interest:

"LA PRIMA COMMEDIA DI FANNY" (Fanny's first play) commedia in 3 atti; prologo ed epilogo di Georgio Bernardo Shaw, traduzione unica autorizzata de Antonio Agresti, was registered in the name of Casa ed. A. Mondadori, under No. D 84088, following publication Jan. 10, 1928, one copy deposited May 8.

"GENEVA" A fancied page of history in 3 acts (2nd rehearsal copy, rev. after Bombardone's conversion to anti-Semitism); by Bernard Shaw, was registered in the name of the author, under No. D unp. 60750, following the deposit of one copy Dec. 17, 1938.

"GENEVA" A fancied page of history in 3 acts; by George Bernard Shaw, illustrator: Feliks Topolski, was registered in the name of the author, under No. A int. 25294, following publication June 15, 1939, one copy deposited Aug. 11, 1939.

"HEIRATEN" lustpiel in drei akten, mit einer einleitung, Vom heiraten; von Bernard Shaw, was registered in the name of S. Fischer Verlag, a.g., under No. A forl 1931, following publication Oct. 4, 1928, one copy deposited Feb. 5, 1929.

"GETTING MARRIED"; with preface by Bernard Shaw, was registered in the name of G. B. Shaw, under No. A 361155, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of Geo. Bernard Shaw, author, under No. R95414, April 11, 1941.

"GREAT CATHERINE" a thumbnail sketch of court life in St. Petersburg in the eighteenth century; by Bernard Shaw, illustrated by Henry Raleigh (In Everybody's Magazine, Feb. 1915), was registered in the name of George Bernard Shaw, under No. A 383474, following publication Jan. 23, 1915, one copy deposited Jan. 25, 1915. No record of renewal registration was found.

"GREAT CATHERINE" (In 1 act and 4 scenes); by George Bernard Shaw (In Everybody's Magazine, Vol. 32, No. 2, Feb. 1915), was registered in the name of Ridgway Company, under No. B 328359, following publication Jan. 25, 1915, 2 copies deposited the same date. No record of renewal registration was found.

"DIE GROSSE KATHARINA" (Great Catherine) komische oper in 3 akten (4 szenen); text von G. B. Shaw, deutscher text mit zustimmung des übersetzers Siegfried Trebitsch, von Konrad Maril, musik von Ig. Lilien, Klaviersauszug mit text, was registered in the name of Universal Edition, a.g., under No. D 28242, following publication Mar. 9, 1932, one copy deposited April 19, 1932.

"DIE GROSSE KATHARINA" komische oper in 3 akten (4 szenen) text von G. B. Shaw. Deutscher text mit zustimmung des übersetzers Siegfried Trebitsch von Konrad Maril, musik von Ig. Lilien, was registered in the name of Universal Edition, a.g., under No. D 18199, following publication April 15, 1932, one copy deposited June 11.

3

7-12-44

-4-

"HEARTBREAK HOUSE, GREAT CATHERINE, and PLAYLETS OF THE WAR"; by Bernard Shaw, was registered in the name of G. B. Shaw, under No. A 529929, following publication Sept. 20, 1919, 2 copies deposited Sept. 24, 1919.

"HEARTBREAK HOUSE, GREAT CATHERINE AND PLAYLETS OF THE WAR"; by George Bernard Shaw, was registered in the name of the author, under No. D 52650, following publication Sept. 20, 1919, 2 copies deposited Sept. 23, 1919.

"LA MAISON DES COEURS BRISES (1913-1916) pièce inédite en 3 actes; par Bernard Shaw. Version française par Augustin et Henriette Hamon, was registered in the name of Augustin Frederic Hamon and Tyan Diaoul Penvenan, under No. D 84410, following publication May 1, 1928, one copy deposited June 22, 1928.

"HOW HE LIED TO HER HUSBAND"; by Bernard Shaw, was registered in the name of G. Bernard Shaw, under No. A 361502, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of George Bernard Shaw, author, under No. R95424, April 11, 1941.

"THE IRRATIONAL KNOT"; by Bernard Shaw, being the second novel of his nonage, was registered in the name of George Bernard Shaw, under No. A 122055, July 14, 1905, 2 copies deposited Sept. 30, 1905. Renewed in the name of George Bernard Shaw, author, under No. R22919, January 6, 1933.

"JOHN BULL'S OTHER ISLAND" with preface for politicians; by Bernard Shaw, was registered in the name of G. B. Shaw, under No. A 361167, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of George Bernard Shaw, author, under No. R95423, April 11, 1941.

"JOHN BULL'S OTHER ISLAND AND MAJOR BARBARA"; by Bernard Shaw, was registered in the name of G. B. Shaw, under No. A 178359, June 3, 1907, 2 copies deposited June 17, 1907. No record of renewal registration was found.

"LOVE AMONG THE ARTISTS"; by George Bernard Shaw, was registered in the name of Herbert S. Stone & Co., under No. A 26824, Oct. 29, 1900, 2 copies deposited the same date. Renewed in the name of George Bernard Shaw, author, under No. R43916, Mar. 31, 1928.

"MAJOR BARBARA" with an essay as first aid to critics; by Bernard Shaw, was registered in the name of George Bernard Shaw, under No. A 361159, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of George Bernard Shaw, under No. R95417, April 11, 1941, as author.

"MAJOR BARBARA"; by George Bernard Shaw, employee for hire of Gabriel Pascal Productions, Ltd., was registered in the name of Gabriel Pascal Productions, Ltd., under No. AA 378769, following publication Sept. 22, 1941, 2 copies deposited Aug. 1, 1941.

7-12-44

-5-

"THE MAN OF DESTINY" and "HOW HE LIED TO HER HUSBAND" two plays; by Bernard Shaw, was registered in the name of George Bernard Shaw, under No. A 361156, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of George Bernard Shaw, author, under No. R95415, April 11, 1941.

"MAN AND SUPERMAN"; by Bernard Shaw, was registered in the name of G. B. Shaw, under No. A 64663, following publication July 23, 1903, 2 copies (paper) deposited Aug. 12, 1903, 2 copies (cloth) deposited May 28, 1904. Renewed in the name of George Bernard Shaw, author, under No. R9944, Aug. 6, 1930.

"MAN AND SUPERMAN" a comedy and a philosophy; by Bernard Shaw, was registered in the name of G. B. Shaw, under No. A 361151, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of George Bernard Shaw, author, under No. R99201, April 11, 1941.

"MAN AND SUPERMAN" a comedy and a philosophy; by G. Bernard Shaw, was registered in the name of Brentanos, under No. A 86279, May 6, 1904. No record of renewal registration was found.

Search fails to disclose separate registration for "The Millionairess".
Of possible interest:

"DIE MILLIONÄRIN EINE TURBULENTE"; komodie in vier akten von Bernard Shaw, Deutsch von Siegfried Trebitsch, was registered in the name of S. Fischer verlag, a.g., under No. D 42261, following publication Dec. 19, 1935, one copy deposited April 20, 1936.

"MISALLIANCE, THE DARK LADY OF THE SONNETS AND FANNY'S FIRST PLAY" with a treatise on parents and children; by Bernard Shaw, was registered in the name of George Bernard Shaw, under No. A ad. int. 1954, following publication May 18, 1914, one copy deposited May 19, 1914. No record of renewal registration was found.

"""MISALLIANCE, THE DARK LADY OF THE SONNETS AND FANNY'S FIRST PLAY" with a treatise on parents and children; by Bernard Shaw, was registered in the name of the author, George Bernard Shaw, under No. A 374276, following publication May 25, 1914, 2 copies deposited May 29, 1914. No record of renewal registration was found.

"MISALLIANCE, THE DARK LADY OF THE SONNETS AND FANNY'S FIRST PLAY" with a treatise on parents and children; by Bernard Shaw, was registered in the name of George Bernard Shaw, under No. D 37155, following publication May 25, 1914, 2 copies deposited May 29, 1914. No record of renewal registration was found.

"I FIDANZATI IMPOSSIBILI" (Misalliance); commedia de Georgio Bernardo Shaw, unica traduzione autorizzata de C. Castelli e T. Diambra, was registered in the name of Casa ed. A. Mondadori, under No. D 84087, following publication Jan. 10, 1928, one copy deposited May 8, 1928.

-7-12-44

-6-

"MRS. WARREN'S PROFESSION" an unpleasant play; by Bernard Shaw, was registered in the name of George Bernard Shaw, under No. A 361162, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of George Bernard Shaw, author, under No. R95420, April 11, 1941.

"OVERRULED" dramatic study; by Bernard Shaw, was registered in the name of the author, under No. D 32129, following the deposit of one copy Jan. 29, 1913. Renewed in the name of George Bernard Shaw, author, under No. R93131, Jan. 18, 1941.

"THE PHILANDERER" an unpleasant play; by Bernard Shaw, was registered in the name of G. B. Shaw, under No. A 361160, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of George Bernard Shaw, author, under No. R95418, April 11, 1941.

"PLAYS, PLEASANT AND UNPLEASANT"; by Bernard Shaw. Contents: Vol. 1. Containing the three unpleasant plays--"Widowers' houses", "The Philanderer" and "Mrs. Warren's Profession. Vol. 2. Containing the four pleasant plays--"Arms and the Man", "Candida" and "The Man of Destiny" and "You Never Can Tell", was registered in the name of Brentano's, under No. A 134735 and 134736, Dec. 30, 1905, 2 copies deposited Dec. 30, 1905. Renewed in the name of George Bernard Shaw, author, under No. R23418 and 23419, Jan. 6, 1933.

"PLAYS, PLEASANT AND UNPLEASANT"; by Bernard Shaw; the first volume containing the three unpleasant plays--"Widowers' Houses", "The Philanderer" and "Mrs. Warren's Profession", was registered in the name of Herbert S. Stone & Co., under No. 24271, April 18, 1898, one copy deposited April 21 and one copy deposited May 3. Renewed in the name of Bernard Shaw, author, under No. R34099, Mar. 25, 1926.

"PLAYS, PLEASANT AND UNPLEASANT"; by Bernard Shaw, Vol. 2 containing the pleasant plays, was registered in the name of Herbert S. Stone & Co., under No. 30213, May 16, 1898, 2 copies deposited April 18, 1898. Renewed in the name of Bernard Shaw, as author, under No. R34100, Mar. 23, 1926.

"PYGMALION" komodie in 5 akten; von Bernhard Shaw, was registered in the name of S. Fischer verlag, under No. D 35166, following publication Oct. 16, 1913, 2 copies deposited Nov. 26, 1913. No record of renewal registration was found.

"PYGMALION" play in 5 acts; by a Fellow of the Royal Society of Literature-George Bernard Shaw, was registered in the name of Bernard Shaw, under No. D 34281, following the deposit of one copy Aug. 30, 1913. Renewed in the name of George Bernard Shaw, author, under No. R93132, Jan. 18, 1941.

"PYGMALION" romance in 5 acts; by Bernard Shaw, illustrations by May Wilson Preston (In Everybody's Magazine, Nov. 1914), was registered in the name of George Bernard Shaw, under No. D 38805, following publication Nov. 23, 1914, 2 copies deposited Nov. 3, 1914. No record of renewal registration was found.

-12-44

-7-

"PIGMALIONE" commedia in cinque atti; by George Bernard Shaw, traduzione dalinglese Pygmalion, di Antonio Agresti, was registered in the name of Casa ed. A. Mandadori, under No. D 84089, following publication Jan. 10, 1928, one copy deposited May 8.

"PIGMALIONE" commedia in 5 atti; de Georgio Bernard Shaw, unica tr. autorizzata de A. Agresti, illus. (In Comoedia, anno. 5, no. 24, 15 decembre 1923), was registered in the name of Cesare Castelli, under No. D 67012, following publication Dec. 15, 1923, one copy deposited Mar. 5, 1924.

"SAINT JOAN" a chronicle play in 6 scenes and an epilogue; by Bernard Shaw, was registered in the name of George Bernard Shaw, under No. A 800157, following publication July 15, 1924, 2 copies deposited July 17, 1924.

"THE SHEWING UP OF BLANCO POSNET" a sermon in crude melodrama; by Bernard Shaw, was registered in the name of Brentano's, was entered under No. D 16634, following publication Aug. 25, 1909, 2 copies deposited Aug. 26. No record of renewal registration was found.

"THE SHEWING UP OF BLANCO POSNET" a sermon in crude melodrama; by Bernard Shaw, was registered in the name of Brentano's, under No. A 244984, following publication Aug. 25, 1909, 2 copies deposited Aug. 26. No record of renewal registration was found.

"THE SHEWING UP OF BLANCO POSNET" with preface on the censorship; by Bernard Shaw, was registered in the name of G. B. Shaw, under No. A 361163, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of George Bernard Shaw, author, under No. R95421, April 11, 1941.

"THE SIMPLETON, THE SIX AND THE MILLIONAIRESS" being three more plays; by Bernard Shaw, was registered in the name of George Bernard Shaw, under No. A int. 21223, following publication Mar. 24, 1936, one copy deposited Mar. 26, 1936.

"THE SIMPLETON OF THE UNEXPECTED ISLES, THE SIX OF CALAIS AND THE MIL-LIONAIRESS" Three plays; by Bernard Shaw, was registered in the name of the author, under No. A 95397, following publication May 6, 1936, 2 copies deposited May 8, 1936.

"SIMPLETON OF THE UNEXPECTED ISLES"; by Bernard Shaw, was registered in the name of the author, under No. D unp. 32203, following the deposit of one copy Nov. 21, 1934.

"SIX OF CALAIS"; by Jean Froissart, Auguste Rodin and Bernard Shaw, was registered in the name of Bernard Shaw, under No. D unp. 32202, following the deposit of one copy Nov. 21, 1934.

-12-44

-8-

"THREE PLAYS FOR PURITANS"; by Bernard Shaw, being the third volume of his collected plays, was registered in the name of Herbert S. Stone & Co., under No. A 29103, Nov. 30, 1900, 2 copies deposited Feb. 23, 1901. (Contents: The Devil's Disciple, Caesar & Cleopatra, and Captain Brasshound's Conversion). Renewed in the name of Geo. Bernard Shaw, author, under No. R43917, Mar. 31, 1928.

"THREE PLAYS FOR PURITANS"; by Bernard Shaw, being the third volume of his collected plays, was registered in the name of Brentano's, under No. A 144817, May 3, 1906, 2 copies deposited June 8, 1906. (Contents: The Devil's Disciple, Caesar and Cleopatra and Captain Brasshound's Conversion). No record of renewal registration was found.

"WIDOWER'S HOUSES" an unpleasant play; by Bernard Shaw, was registered in the name of G. B. Shaw, under No. A 361157, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of George Bernard Shaw, author, under No. R95416, April 11, 1941.

"YOU NEVER CAN TELL" a pleasant play; by Bernard Shaw, was registered in the name of G. B. Shaw, under No. A 361150, following publication Sept. 10, 1913, 2 copies deposited Nov. 13, 1913. Renewed in the name of George Bernard Shaw, author, under No. R95411, April 11, 1941.

## ASSIGNMENTS

From: Dodd Mead & Co., Inc., To: Loew's Inc., referring to "Pygmalion"; the document bearing the date of execution of Nov. 18, 1938, was received in this Office on Dec. 15, 1938 and recorded in Vol. 407, pp. 187-188.

From: S. Fischer, a.g., To: Gottfried Bermann; the document bearing the date of execution of Aug. 22, 1939, was received in this Office on Sept. 5, 1939, and recorded in Vol. 423, pp. 223-225.

Ayot Saint Lawrence,
Herts.,
England

I. IX. 45

Dear Sir,

I have painted a portrait in oils of
Bernard Shaw (44" X 34") for which he gave me at
least thirty sittings in my studio, and which
Sir Kenneth Clark, the Director of the National
Gallery considered 'monumental'.

I should be glad to give you the first offer
of the purchase of this painting and let your
representative see it by arrangement.

I have also completed recently, a bust of
Bernard Shaw which would I am sure interest you.
My work has been consistently shown in the
Royal Academy.

Yours truly,

ALFRED FISCHER

40 WEST 45TH STREET
NEW YORK 19. N. Y.
—
MURRAY HILL 2-4390

December 1st 1947

My dear Mr. Shaw:

I have been wanting to write to you for some time. Knowing, however, that the Guild would keep you informed as to the various developments, I waited until matters would take more definite shape.

Although I expressed my gratitude for your granting permission to produce "You Never Can Tell" in my last letter, I should like to take this opportunity and thank you again for suggesting my association with the Theatre Guild. I am confident that our joint efforts in producing "You Never Can Tell" will yield happy results.

We have endeavoured, for several months now, to assemble a cast which, I believe, is excellent. It is indeed regrettable that Edmund Gwenn's health did not improve sufficiently to permit leaving California's sunshine for a New York winter. But we have some excellent alternatives for the waiter and we still hope that Sir Cedric for whom we have been waiting all this time will be able to tear himself away from Hollywood.

We expect to start rehearsals in about three weeks. So far, it has been very pleasant to work with Mr. Langner and Miss Helburn.

I expect to be able to give you a complete list of our cast within a week or so. In the meantime my very best wishes and warm personal regards,

Yours most sincerely:

Alfred Fischer

From
Bernard Shaw

5/5/1946

"In answer to yours dated April 26 I can neither permit nor prevent the publication of books about myself. You must act on your own responsibility without asking my leave or anyone else's. Why should I grudge you that freedom?

"But I implore you not to describe me as 'a lovable human being.' It will bring a million begging letters on me by the next post. Rather present me as detestable, aversive, merciless, contemptuous, and everything else odious enough to discourage people from writing to me. Otherwise you may hasten my already imminent death.

"Love to Armina.

G. B. S."

FROM: BERNARD SHAW

Maurice Evans has a personal non-exclusive
license to play "Man and Superman" in
repertory on his tour. It is an express
condition that the license will be
withdrawn if he claims any further
privilege or interferes with any new
production. He has been reminded of this.

Obviously, however, it would be very
good business for the Guild to cast him
for the lead in its production.

My plays are now classics open to
all managements like Shakespeare's
except for the royalties. First come
first served.

(dated July 3, 1946)

C
O
P
Y

C
O
P
Y

August 1, 1946

Mr. M. E. Barber, Secretary
The Incorporated Society of
Authors, Playwrights & Composers
84 Drayton Gardens
London, S. W. 10

Dear Mr. Barber:

This will acknowledge receipt of
your letter of July 9th with enclosure.

We were advised about five years
ago by Mr. Shaw to make deposits of any royalties
we collected for his plays in the Irving Trust
Company and send Miss Patch and Mr. Stern, 1 East
45th Street, New York City, an explanation of each
deposit. We have written to Miss Patch to get
final authorization before we make any changes in
our present procedure. We usually made payments
as we received them. If we are authorized by Miss
Patch to make payment to you, what arrangements do
you want us to make for transmitting the money to
you and at what intervals?

We will hold any money we receive
from now on until we have heard from you and Miss
Patch.

By:

SG:mac

cc: LL

1. The Company shall not be liable for mistakes or delays in the transmission or delivery, or for non-delivery, of any message received for transmission at the repeated-message rate beyond the sum of five hundred dollars; nor for mistakes or delays in the transmission or delivery, or for non-delivery, of any message received for transmission at the repeated-message rate beyond the sum of five thousand dollars, unless specially valued; nor in any case for delays arising from unavoidable interruption in the working of its lines.

2. In any event the Company shall not be liable for damages for mistakes or delays in the transmission or delivery, or for the non-delivery, of any message, whether caused by the negligence of its servants or otherwise, beyond the actual loss, not exceeding in any event the sum of five thousand dollars, at which amount the sender of each message represents that the message is valued, unless a greater value is stated in writing by the sender thereof at the time the message is tendered for transmission, and unless the repeated-message rate is paid of agreed to be paid, and an additional charge equal to one-tenth of one per cent of the amount by which such valuation shall exceed five thousand dollars.

3. The Company is hereby made the agent of the sender, without liability, to forward this message over the lines of any other company when necessary to reach its destination.

4. Except as otherwise indicated in connection with the listing of individual places in the filed tariffs of the Company, the amount paid for the transmission of a domestic telegram or an incoming cable or radio message covers its delivery within the following limits: in cities or towns of 5,000 or more inhabitants where the Company has an office which, as shown by the filed tariffs of the Company, is not operated through the agency of a railroad company, within two miles of any open main or branch office of the Company; in cities or towns of 5,000 or more inhabitants where, as shown by the filed tariffs of the Company, the telegraph service is performed through the agency of a railroad company, within one mile of the telegraph office; in cities or towns of less than 5,000 inhabitants in which an office of the Company is located, within one-half mile of the telegraph office. Beyond the limits above specified the Company does not undertake to make delivery, but will endeavor to arrange for delivery as the agent of the sender, with the understanding that the sender authorizes the collection of any additional charge from the addressee and agrees to pay such additional charge if it is not collected from the addressee. There will be no additional charge for deliveries made by telephone within the corporate limits of any city or town in which an office of the Company is located.

5. No responsibility attaches to this Company concerning messages until the same are accepted at one of its transmitting offices; and if a message is sent to such office by one of the Company's messengers, he acts for that purpose as the agent of the sender.

6. The Company will not be liable for damages or statutory penalties in the case of any message except an intrastate message in Texas where the claim is not presented in writing to the Company within sixty days after the message is filed with the Company for transmission, and in the case of an intrastate message in Texas the Company will not be liable for damages or statutory penalties where the claim is not presented in writing to the Company within ninety-five days after the cause of action, if any, shall have accrued; provided, however, that neither of these conditions shall apply to claims for damages or overcharges within the purview of Section 415 of the Communications Act of 1934.

8. Special terms governing the transmission of messages according to their classes, as enumerated below, shall apply to messages in each of such respective classes in addition to all the foregoing terms,

10-42

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Memo From:
Lawrence Langner

August 20, 1946

TO: Miss Helburn

Dear Terry:

I am enclosing copy of cor-
respondence I had with Shaw, drawing his
attention to his old agreement with us,
together with his reply; also letter re-
ceived from the Incorporated Society of
Authors, Playwrights, and Composers and
Sadie's answer to it.

I think we should have a
conference about this and decide how
we shall handle the situation. I think
it is important to get a decision from
CBS as to whether we are still to repre-
sent him in America or whether we are now
out of the picture entirely, or merely
on his Amateur Rights. This is one of
the things that should be cleared up in
London, possibly on a visit.

LL:mh

Enclosures: 4

["The Board of Editors", "THE SATURDAY REVIEW OF LITERATURE", "Enclosed please find my check in the sum of $..................................................\ncovering................................................ reservations for the George Bernard\nShaw Ninetieth Birthday Dinner to be held on Thursday,\nJuly 25th, 1946 at 7:00 P.M. at The Waldorf-Astoria,\nNew York.", "Name ........................

NAME

ADDRESS

BERNARD SHAW COPYRIGHTS

Memoranda for Agents

No rights may be assigned, sold, nor alienated from the estate under
any circumstances. Procedure must be by licence only; and no licences
should be granted for longer than five years. Renewals should be terminable
by six months notice.

Copyrights, film rights, performing rights, translation rights, and
all rights which are separable should be dealt with separately. In no case
should a publisher's licence carry any consideration except permission to
print and publish, nor that of a manager except to perform, nor of a film
company except to screen. No licence should guarantee a future or contin-
gent licence.

The control of the Author or his executor the Public Trustee remains
supreme; and all proposals for major contracts beyond the routine of pro-
vincial, suburban, and local theatre repertory licensing must be submitted
for their approval.

Routine terms should be as set forth on all licensing forms; but
when managers desire a fixed fee through reluctance to disclose their receipts
or for any other reason, they should be offered their choice between the
routine percentage terms and a fixed fee of not less than would be payable
if the theatre were filled to capacity at every performance. In cases when
the performance is *honoris causa* and profitless the agreement may be for
half profits, making the performance virtually free of fees.

highly
licences the Author's licence must not under-
sell the earnings of the most paid native authors, and should exceed them
where the latter is a sweated profession according to English standards.

Foreign agents should not be authorized to operate beyond the political frontiers of the State in which they are resident except in cases where the language is the same as in Brazil and Portugal, European Spain and the Argentine. The rule should be for one language one agent and one translation only; and in choosing between States regard should be had to the severity or liberality of their censorships.

Licences should be non-negotiable and non-transferable; and agencies
should be withdrawn if sublet. Every possible step should be taken to
prevent parasitic intervention between those who actually perform the serv-
ices delegated and the Author.

Film agreements should be between the responsible financing company
and the Author, with, if necessary, clauses making employment in the produc-
tion of named individuals of the essence of the contract, but in no case
making these individuals parties to the agreement. With such clauses to
protect them they can make their own contracts.

The Author's early practice of establishing authorized translators
for all his works and dividing the profit half-and-half is now discontinued.
Siegfried Trebitsch for Germany, Henrietta Hamon for France, and Lady Low
for Sweden are its only survivors (1946). Translations should be made ad hoc,
and paid for in lump sums by the author or his client as arranged.

All applications to the author on literary and theatre business
should be made through his principal agent The Society of Authors, 84 Drayton

40 West 45th Str
New York 19, N.Y.

July 11, 1947

Dear Mr. Langmer:

I do not think that Mr. Gwenn's present inavailability
creates a serious problem. As a matter of fact I have
been expecting difficulties in obtaining his release
from Metro now as he has missed one picture already
due to his illness.

There are -in my opinion- two solutions. One is to
count Gwenn out and try to find another good actor
for the waiter. The other is to figure on Gwenn for
a later date and have someone else during the interim.
If we decide on the latter the play could be kept on
the road until Mr. Gwenn is available. I am sure that
Gwenn can be released in a few months, at least for a
limited period, after he's done one or two pictures.
In the meantime it might be possible to make a deal
with Melville Cooper for the part of Finch Mc Comas
on condition that he could play the waiter until Gwenn
is available. He always wanted to play the waiter
which he played once in Birmingham, Dub for N.Y. he
wouldn't do. However he would be wonderful as Mc Comas
and he might be willing to sign for both parts on a
long term contract. Another possibility is Dudley
Diggs for the father and let him play the waiter un-
til we get Gwenn. In both events -Cooper or Diggs- I
would have a very good English actor, Stanley Logan,
who would do well as either the father or Mc Comas
for little money and who could be retained as under-
study for N.Y. when Gwenn enters the cast.

We could also try to get either Claude Rains or Sid-
ney Greenstret for the waiter. Either one would be
great. If they can't be gotten for the entire run they
might be available for a few months. With a name like
this we could go into N.Y right away and it would not
matter if Gwenn would take over after a while.

A further alternative for the road would be Ernest

Cossart or Roland Young. Both are good names and good enough actors for the road. If they wanted to, Cossart could play the father in N.Y. and be understudy for Gwenn while Young could play McComas. I know that both would love to play the waiter, even if it were only for the road. I exchange wires with Cossart on the subject last year.

I personally feel that Aubrey Mather or Morland Graham would be excellent casting for the waiter. Mather, as you know, is a fine actor and he always gets very good notices. Graham is a distinguished Old Vic actor. He's been in many films and played the father in "George and Margaret" in N.Y. in 1934. He got fine reviews. I think that any good English actor can become box office over night if he has the right part and gives a sensational performance.

Mather would probably cost $750 a week less than Gwenn. If we can cast every other part as well as the waiter with him we would have a production which could not fail to be the toast of the season. If we had Diggs for the father, Nigel Bruce or Melville Cooper for McComas and Mather or Graham for the waiter we would have enough of a distinguished cast to rely on the name of Shaw and the hilarity of the play to do the rest at the b.o. I don't think we would need an additional name for the dentist. However, Franchot Tone might be interested the he is a trifle too old.

There is also a possibility to cast the waiter with an elegant actor, a bon-vivant. Thus he would become, perhaps, an even more perfect waiter and the awareness of his social standing would be remarkable in spite of his elegance. It might be that the contrast between waiter-father and Q.C.-son might suffer a little but this may be of no importance. The most sensational casting along these lines would be CLIFTON WEBB. I don't see why it should not attract him to play Bernard Shaw and if Gielgud, at his age, can be convincing as King Lear and Shylock, Webb ought to be able to do a good job of the waiter. In this direction Dennis King could be considered too.

I feel that if we had Mather or Grahame and a distinguished cast we would be safe enough. But all the al-

July 30, 1947

Mr. Robert Porterfield
Barter Theatre
Abingdon, Virginia

Dear Bob:

The Guild has already pre-empted the
regular rights for ARMS AND THE MAN.

We are handling all of the stock rights
for Shaw here, as you know.

With regard to sending GBS some delicacies,
my advice is not to because he is on a pretty strict
diet and apparently is having no difficulty in
keeping it up.

Good luck to you!

LL/ht

JOSEPH HEIDT, General Press Representative
PEGGY PHILLIPS, Associate

The THEATRE GUILD, Inc.
Reg. U. S. Pat. Off.

23 West 53rd Street
New York 19, N. Y.
Tel. COlumbus 5-6170

FOR RELEASE UPON RECEIPT:

The Theatre Guild, official producer of the plays
of George Bernard Shaw in this country for the past
twenty-seven years, is planning to present three of
his plays at intervals during the next two years. The
plays are "The Devil's Disciple," "You Never Can Tell"
and "Arms and the Man."

When Lawrence Langner, and Theresa Helburn,
Guild Directors, visited the playwright while they
were in England, supervising the opening of "Oklahoma!",
they discussed the idea of the Guild producing several of
his plays.

In all probability the first production will be
"You Never Can Tell."

########

Memo From: WARREN CARO

September 13, 1947

To: Mr. Langner

Dear Mr. Langner,

Robert Breen, Executive Secretary of The American National Theatre and Academy, has been in touch with us about the San Francisco Theatre Association's plans to do ARMS AND THE MAN. The San Francisco Theatre Association has the endorsement of ANTA.

As you will note from Mr. Jennings' letter, what they want is the stock rights to the production, to be played exclusively in San Francisco.

In view of the fact that we have made a tentative announcement of doing ARMS AND THE MAN, I do not know whether you will want to release stock rights for this production. Please let me know what you wish to me to tell Mr. Jennings.

Att: Letter, Sept 10 from John Jennings to WC re: ARMS AND THE MAN.

Memo From:

**Lawrence Langner** September 16, 1947

TO: Warren Caro

Dear Warren:

We have already announced that
the Theatre Guild plans to do ARMS AND
THE MAN and have notified GBS to that
effect. He has said "First come, first
served", and we are the first to pre-
empt this.

Please write a tactful letter to the
San Francisco Association, stating that
we are producing the play within the next
year and expect to bring it to San Fran-
cisco in due course.

LL:mh

Dictated but not read

Enclosures

October 2, 1947

Miss Mary Harris
Young & Rubicam, Inc.
285 Madison Avenue
New York 17, New York

Dear Miss Harris:

I regret that no one here
has any authority to give you clearance
for the use of Mr. George Bernard Shaw's
picture. He has been in so many of these
that I don't see why you need it.

However, if you are finicky
about it, you'd better write to him at
the following address:

Ayot St. Lawrence
Nr. Welwyn, Herts
England

P. S. You might also send a copy to his
London address: 4 Whitehall Court,
London, S. W. 1.

October 4, 1947

Mr. John Jennings
San Francisco Theatre Association
70 Eddy Street
San Francisco 2, California

Dear Mr. Jennings:

Re ARMS AND THE MAN

Replying to yours of September 22nd, I have been trying to find some method by which it might be possible for the union to make an arrangement of the kind which I talked about to Mr. Breen.

However, it seems to me that as a practical matter, this would be impossible and not in your own best interests. As stated in Mr. Caro's letter to you of September nineteenth, our plans are already well under way for a production of ARMS AND THE MAN, and it seems to me that a young organization such as yours will undoubtedly want to make your own productions.

Wishing you all success, I remain,

LL:mh

From: Lawrence Langner September 16, 1947

TO: Warren Caro

Dear Warren:

LL:mh

Dictated but not read

Enclosures

N

DUGLAS 2-2152

Tivoli Theatre

September 10, 1947

SEP 1 2 1947

Jo Breen, who spoke to
the rights to "Arms And
francisco, this letter
from the San Francisco
ants.

Mr. Jose Ferrer, with
Philip Bourneuf, I have
seen gentlemen are in-
the Man". The San Fran-
cisco
the facilities of
at Tivoli Theatre in

ught by the San Francisco
Theatre Association are the stock rights for the production
to be played exclusively in San Francisco. Should Mr. Ferrer
and Mr. Bourneuf decide that they wish to continue pro-
duction of the play outside of San Francisco they would
presumably negotiate with you directly for rights to do so.

It should be understood that the Theatre Asso-
ciation proposes to allow a minimum of three weeks rehearsal
period for this production and that the physical production
itself will be technically equivalent to any production
for which a tour was planned.

I trust that under the above outlined circum-
stances the Theatre Guild will find that our production of
"Arms And The Man" will in every way satisfy them.

JJ:okw

Mr. and Mrs. Antonio Sotomayor

Noel Sullivan

Mrs. Effingham Sutton

Mrs. Lawrence Strauss

F. Cowles Strickland

Mrs. Nion Tucker

Mrs. Clinton Walker

Miss Margaret Webster

Dr. Lynn T. White, Jr.

Mr. and Mrs. Howard Willoughby

Mr. and Mrs. Russell Wolden

J. D. Zellerbach

From:

WARREN CARO

September 13, 1947

To: Mr. Langner

Dear Mr. Langner,

As you will note from Mr. Jennings' letter, what they want ix are the stock rights to the production, to be played exclusively in San Francisco.

Noel Sullivan

Mrs. Effingham Sutton

Mrs. Lawrence Strauss

F. Cowles Strickland

Mrs. Nion Tucker

Mrs. Clinton Walker

Miss Margaret Webster

Dr. Lynn T. White, Jr.

Mr. and Mrs. Russell Wolden

J. D. Zellerbach

N

DUGLAS 2-2152

Tivoli Theatre

September 10, 1947

SEP 1 2 1947

To Breen, who spoke to the rights to "Arms And San Francisco, this letter from the San Francisco Arts.

Mr. Jose Ferrer, with Philip Bourneuf, I have seen gentlemen are in-the Man". The San Francisco preferred the facilities of Great Tivoli Theatre in New York.

Theatre Association are the stock rights for the production to be played exclusively in San Francisco. Should Mr. Ferrer and Mr. Bourneuf decide that they wish to continue production of the play outside of San Francisco they would presumably negotiate with you directly for rights to do so.

It should be understood that the Theatre Association proposes to allow a minimum of three weeks rehearsal period for this production and that the physical production itself will be technically equivalent to any production for which a tour was planned.

I trust that under the above outlined circumstances the Theatre Guild will find that our production of "Arms And The Man" will in every way satisfy them.

JJ:okw

DIRECTORS
LL. President
Mr. Secretary
Mr. Herman, Treasurer
John Bolivar Buckner
Douglas Campbell
L. M. Cook
Arthur C. Farlow
Fred Levy
Mrs. George A. Pope, Jr.
Mrs. M. C. Sloss
K. Hart Smith
Mrs. Elwyn W. Stebbins

SAN FRANCISCO THEATRE ASSOCIATION

70 EDDY STREET SAN FRANCISCO 2 CALIFORNIA DOUGLAS 2-2152

JOHN JENNINGS
Managing Director

BOARD OF ADVISORS
Mrs. Herbert V. Alward
Mrs. Berrien Anderson
Mr. and Mrs. Owen Atkinson
Miss Elizabeth Banning
Dr. and Mrs. Hans Barkan,
Dr. William Barrett
Philip S. Boone
John Breeden
Franklin Brown
George T. Cameron
Mrs. Douglas Campbell
Cedric S. Caldwell
Thomas Church
Mr. and Mrs. Jesse C. Colman
Gardner Dailey
Pierre Dick
Mrs. Lloyd W. Dinkelspiel
Mrs. B. Charles Ehrman
Alfred Frankenstein
Richard Gump
Mrs. Morgan A. Gunst
Mrs. Walter A. Hoas, Jr.
Maurice Harrison
John Hobart
Fred Johnson
Mrs. William Kent
John E. Kleiser
Daniel E. Koshland
Mrs. George V. Kulchar
Mrs. Helen B. Lamont
Lewis A. Lapham
Arch Laurer
Mrs. Carl Livingston
Robert Lord
Mrs. Marshall P. Madison
Douglas McGary
Mrs. Juilliard McDonald
Mrs. Harold R. McKinnon
Mrs. Ryer Nixon
Haig Patigian
Sidney Peterson
Russell Pierce
Edwin M. Rich
Henry Schnitzler
Miss May Sinshelmer
Paul Smith
Mr. and Mrs. Antonio Sotomayor
Noel Sullivan
Mrs. Effingham Sutton
Mrs. Lawrence Strauss
F. Cowles Strickland
Mrs. Nion Tucker
Mrs. Clinton Walker
Miss Margaret Webster
Dr. Lynn T. White, Jr.
Mr. and Mrs. Howard Willoughby
Mr. and Mrs. Russell Wolden
J. D. Zellerbach

SEP 1 2 1947

Mr. Warren Caro
Theatre Guild
23 West 63 Street
New York City, New York

Dear Mr. Caro:

At the suggestion of Bob Breen, who spoke to
you on September 4 in regard to the rights to "Arms And
The Man", for production in San Francisco, this letter
is to represent formal request from the San Francisco
Theatre Association for those rights.

From conversations with Mr. Jose Ferrer, with
Mr. Arthur Friend, and with Mr. Philip Bourneuf, I have
been given to understand that these gentlemen are in-
terested in producing "Arms And The Man". The San Fran-
cisco Theatre Association has offered the facilities of
the recently reconstructed 1500 seat Tivoli Theatre in
San Francisco for that production.

The rights now being sought by the San Francisco
Theatre Association are the stock rights for the production
to be played exclusively in San Francisco. Should Mr. Ferrer
and Mr. Bourneuf decide that they wish to continue pro-
duction of the play outside of San Francisco they would
presumably negotiate with you directly for rights to do so.

JJ:okw

L.L.: Which is his present address?

Mr. George Bernard Shaw
Ayot, St. Lawrence
Herts
ENGLAND

4 Whitehall Court
London S.W.1.
ENGLAND

October 21, 1947

Dear Mr. Shaw:

I have just concluded balloting some three thousand
writers, editors, librarians, book reviewers, college
presidents and general book readers, to ascertain who,
in their opinion, are the one hundred greatest living
writers in the world. These ballots are now in from
all geographical points, and, as you might have guessed,
your name, like Mr. Hunt's Arabian, leads all the rest.

I have looked at these returns separately, and in groups,
and upside down, and there is no escaping the fact that
this poses for me an outstanding problem. I understand
you are averse to appearing in any anthology, and the
purpose of this balloting, which has been going on for
a year and a half, was to find the leading world writers
for a single book collection entitled THIS WORLD'S BEST,
in which these writers were to select some fragment of
their work, which, in their own estimation, best repre-
sented them to the world.

Self selections have come to me from sixty-five of the
most outstanding world authors so far, consisting of
short stories, essays, fragments of biographies, chap-
ters of philosophy, etc., and I think the time has come
for me to bring you with the direct request: I should like
to reprint, with your kind cooperation, some fragment
of your work, whether in a scene from a play, a criti-
cism, a preface or something out of your book on social-

1. The Company shall not be liable for mistakes or delays in the transmission or delivery, or for non-delivery, of any message received for transmission at the unrepeated-message rate beyond the sum of five hundred dollars; nor for mistakes or delays in the transmission or delivery, or for non-delivery, of any message received for transmission at the repeated-message rate beyond the sum of five thousand dollars, unless specially valued; nor in any case for delays arising from unavoidable interruption in the working of its lines.

2. In any event the Company shall not be liable for damages for mistakes or delays in the transmission or delivery, or for the non-delivery, of any message, whether caused by the negligence of its servants or otherwise, beyond the actual loss, not exceeding in any event the sum of five thousand dollars, at which amount the sender of each message represents that agreed to be paid, and an additional charge equal to one-tenth of one per cent of the amount by which such valuation shall exceed five thousand dollars.

4. Except as otherwise indicated in connection with the listing of individual places in the filed tariffs of the Company, the amount paid for the transmission of a domestic telegram or an incoming cable or radio message covers its delivery within the following limits: In cities or towns of 5,000 or more inhabitants where the Company has an office which, as shown by the filed tariffs of the Company, is not operated through the agency of a railroad company, within two miles of any open main or branch office of the Company; in cities or towns of 5,000 or more inhabitants where, as shown by the filed tariffs of the Company, the telegraph service is performed through the agency of a railroad company, within one mile of the telegraph office; does not undertake to make delivery, but will endeavor to arrange for delivery as the agent of the sender, with the understanding that the sender authorizes the collection of any additional charge from the addressee and agrees to pay such additional charge if it is not collected from the addressee. There will be no additional charge for deliveries made by telephone within the corporate limits of any city or town in which an office of the Company is located.

6. The Company will not be liable for damages or statutory penalties in the case of any message except an intrastate message in Texas where the claim is not presented in writing or statutory penalties where the claim is not presented in writing to the Company within ninety-five days after the cause of action, if any, shall have accrued; provided, however, that neither of these conditions shall apply to claims for damages or overcharges within the purview of Section 415 of the Communications Act of 1934.

10-42

CLASSES OF SERVICE

DOMESTIC SERVICES

TELEGRAMS

DAY LETTERS

SERIALS

NIGHT LETTERS

CABLE SERVICES

ORDINARIES

DEFERREDS

NIGHT LETTERS

URGENTS

TELEPHONES
NATIONAL 8031-0835-0386

CABLE ADDRESS
"JURIS"

LAW OFFICES OF
FULTON BRYLAWSKI

1331 G STREET, N. W.
WASHINGTON 5, D. C.

in the Copyright Office or place in the mail within the United
States addressed to the Copyright Office two (2) copies of
which the said title had been registered.
November 17, 1947.

It appears that the collection of plays containing
the play YOU NEVER CAN TELL was published simultaneously in the
H. William Fitelson, Esq.,
Fitelson, London and Mayers,
New York City.
not later than the date of publication and in the same issue
the law stated explicitly that "no person should be entitled to
a patent on the title of the work was deposited (or mailed)

H. William Fitelson, Esq.

Re: YOU NEVER CAN TELL

in the Copyright Office or place in the mails within the United
States addressed to the Copyright Office two copies of the work for
which the said title had been registered.

It appears that the collection of plays containing
the play YOU NEVER CAN TELL was published simultaneously in the
United States and England and probably the copies were deposited
in the Copyright Office "not later than the date of publication"
but the title was not deposited until May 16, 1898. As the
law stated explicitly that "no person should be entitled to a
copyright" unless the title of the work was deposited (or mailed)
not later than the date of publication and as the said work had
been published nearly a month earlier, it would seem to follow that
the copyright registered was void from the outset and that, of
course, this play is now in the public domain in the United States.

I am assuming that the date "May 16th, 1898" which
is given as the date of deposit of the title in the official
catalogue of the Copyright Office is correct. If you intend to
produce this play, I think it well, in an abundance of caution, to
get out the original records to make sure that the said date is
correct.

I am enclosing a copy of this for Mr. Langner.

(COPY)

Law Offices of
FULTON BRYLAWSKI
1331 G Street, N.W.
Washington, 5 D.C.

November 21, 1947.

H. William Fitelson, Esq.
Fitelson, Mayers and London
New York City.

Dear Bill:-

I have examined the original records of the
copyrighting of the volume of the collection of "pleasant
plays" containing the play YOU NEVER CAN TELL and the
facts shown in the copyright catalogue are correct, namely,
that while two copies of this work were deposited in the
copyright office on April 18, 1898, the title was not deposited
until May 16, 1898, which was nearly a month after the said
work had been published.

In view of the provisions of the law in force at
the time that-

No person shall be entitled to a copyright, unless
he shall, not later than the date of publication,
in this or any foreign country, deliver at the office
of the Librarian of Congress or deposit in the mail
within the United States, addressed to the Librarian
of Congress, at Washington, District of Columbia, a
printed copy of the title of the book, map, chart, drama-
tic or musical composition * * * for which he desires
a copyright * *

there would seem to be no question but that no copyright was
ever secured on this play and that the same is in the public
domain in the United States.

TELEPHONES
NATIONAL 8031-0885-0886

Shaw
CABLE ADDRESS
"JURIS"

November 28, 1947.

Lawrence Langner, Esq.,
Langner, Parry, Card and Langner,
121 East 41st Street, New York City.

Dear Mr. Langner:-

When you spoke to me on the telephone, relative
to the copyright status of the George Bernard Shaw plays, I told
you that I thought it likely that the renewals were being taken
care of by Mr. Ben Stern.

A check of the records of the Copyright Office discloses
that copyrights in practically all of the said plays and other
writings have been renewed, with the exception of the following:-

THE GREAT CATHERINE: Copyrighted January 23, 1915.

MISALLIANCE (including DARK LADY OF THE SONNETS and FANNY'S FIRST PLAY): Copyrighted May 19, 1914.

HEARTBREAK HOUSE (stories, copyrighted September 20, 1919)

THE WISDOM OF BERNARD SHAW: Copyrighted June 18, 1913.

Under the Presidential Proclamation, pursuant to the
Act of September 25, 1941, an extension of time has been granted to
British authors of works first published abroad, to comply with the
formalities of our law relative to renewals, etc.

Probably the copyright in the sketch entitled THE GREAT CATHERINE can not be renewed as it appears that this was originally published in Everybody's Magazine, but the other copyrights can be renewed even though the renewal period (under the Act of 1909) has passed.

Kind regards,

I am enclosing a copy of this in the thought that you might want
to send it to Mr. Stern.

December 3, 1947

Mr. Ellis Eringer
2727 University Avenue
Bronx 63, New York

Dear Ellis Eringer:

I want to thank you for the print of
Mr. Shaw which you sent to me. It is most inter-
esting, and I appreciate your thought.

LL:mh

Memo From:

Armina Marshall

Memo to: Lawrence Langner
Theresa Helburn

Re: Gregory Peck

His agent, Mr. Goldsmith, told me last
night, that Gregory Peck was in touch
with him and will be available for
the season, in a Theatre Guild play.
He would like to do *The Devil's Disciple*
or any other Shaw play.

I believe we should think upon this at
once.

AML

March 12, 1948

TO; Sara Greenspan

Dear Sadie:

I thought we charged for Mr. Shaw in summer stock at a fixed fee and not on a royalty percentage basis. I don't think we should change this because the summer theatres cannot operate on that basis.

I think you have been doing this for years, so don't change the practice to make it more expensive. GBS said he didn't want us to increase the charges.

LL:mh

PARKE-BERNET GALLERIES • INC

30 EAST 57 STREET • NEW YORK 22

PUBLIC SALES AND APPRAISALS
ART AND LITERARY PROPERTY

MAR 18 1948

March 17, 1948

TELEPHONE: PLAZA 3-7573

CABLE ADDRESS: PARKGAL

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

Dear Sir:

Thinking that the forthcoming
sale of a portion of the library and
collection of autograph letters formed
by the late A. J. Kobler might be of
interest to you, containing as it does
a splendid collection of first editions
and autogrph letters of George Bernard
Shaw, we are giving ourselves the pleasure
of sending a copy of the catalogue to you.

You will note the date of the
sale is scheduled for April 5th and 6th,

Faithfully yours,

AS:h

PARKE-BERNET GALLERIES, INC.

Memo From:
Lawrence Langner

June 9, 1948

Show

TO: Sara Greenspan

Dear Sadie:

I think we should write GBS
and ask him what arrangement he made
with Jean Dalrymple, unless you know
about it.

LL:mh

March 22, 1949

Memorandum regarding CAESAR AND CLEOPATRA

The following doubles took place in the Guild
production:

George Baxter doubled as Bel Affris and Lucius Septimus.

Edwin A. Brown doubled for the Wounded Roman soldier and the first Auxiliary soldier.

Hildegarde Halliday doubled as one of the three Women Slaves and Iris.

James W. Wallace doubled as one of the four Market Porters and a Priest.

LL:mh

Memorandum from

LAWRENCE LANGNER

May 18, 1949

TO: Theresa Helburn

Dear Terry:

Will you try to bring about a
sponsoring of CAESAR AND CLEOPATRA?
I didn't have time to fix it up before
entering the hospital.

I think this could be arranged,
as I don't think Aldrich has the money.

LL

LL:mh

(Dictated 5/16)

Original Cast of CAESAR AND CLEOPATRA

Guild Theatre, April 13, 1925

Staged by Philip Moeller

Settings by Frederick Jones III

Costumes by Aline Bernstein

Belzanor..................Lawrence Cecil
The Persian................Francis Verdi
Sentinel..................Maurice McRae
Nubian Sentinel...........Harold Harding
Bel Affris................George Baxter
A Woman..................Mary Tupper
Ftatateeta................Helen Westley
Caesar...................Lionel Atwill
Cleopatra..................Helen Hayes
Slave.....................Rupert Bannister
Three Women Slaves.......Sylvia Shear
Hildegarde Halliday
Marion Hann
Rufio.....................Edmund Elton
Chamberlain................Leete Stone
Achillas..................Maurice McRae
Ptolemy..................Teddy Jones
Pothinus..................Albert Bruning
Theodotus................Maurice Cass
Brittanus..................Henry Travers
Lucius Septimus...........George Baxter
Wounded Roman Soldier....Edwin A. Brown
Roman Sentinel............Jack Trevor
Apollodorus...............Schuyler Ladd
Four Market Porters......James Norris
Harold Clurman
James W. Wallace
Felix Jacoves
Centurion................Maurice McRae
First Auxiliary Soldier...Edwin A. Brown
Second Auxiliary Soldier..Lewis McMichael
Boatman..................Starr Jones
Musician..................Leonard Loan
Iris......................Hildegarde Halliday
Charmian..................Joan Marion
Palace Official...........Charles Cheltenham
Major Domo................Lawrence Cecil
A Priest..................James W. Wallace

MAN AND SUPERMAN

<table>
  <tbody>
    <tr>
      <td>April 18-20</td>
      <td>Mayfair Theatre, Portland, Ore.</td>
    </tr>
    <tr>
      <td>April 21-26</td>
      <td>Metropolitan Theatre, Seattle</td>
    </tr>
    <tr>
      <td>April 27</td>
      <td>Temple Theatre, Tacoma</td>
    </tr>
    <tr>
      <td>April 28</td>
      <td>Capitol Theatre, Yakima</td>
    </tr>
  </tbody>
</table>

CARL BINGER, M. D.

125 EAST 73rd STREET
NEW YORK 21, N.Y.

July 6, 1949

Mr. Lawrence Langner
The Theatre Guild, Inc.
23 West 53rd Street
New York 19, N.Y.

Dear Lawrence:

A note from your secretary, Miss Hubbell, said that you would be willing to write to G.B.S. for me. This would be most welcome, as I fear that if I wrote him cold, he might turn me down.

You will find enclosed a galley of the first chapter of a book which the Chicago University Press is getting out in the autumn. The quotes from Shaw are indicated with a red pencil mark.

This chapter was originally given as an address to the graduating class of the Rochester University Medical School. It discusses the conflict between medicine as an art and medicine as a science. This conflict I have called *The Doctor's Dilemma*.

I should be so grateful to you if you could get the great man's consent. Perhaps it will help if you assure him that my intellectual life, such as it is, began with him and certain other Fabians in the dim distant days of my youth, when I was an under-graduate at Harvard College, from 1906 to 1910. I have been his devoted admirer ever since.

P.S. Do not bother to return the galley.

CB:csl

Encl.

Dear LL--I thought this would be more relevant in your hands.

Did you ever receive a letter from me--I wrote you early in May
about Jenny's kind. Not a word from you!

CENTENNIAL LIFE OF BERNARD SHAW

To the Editor:

All readers, admirers, correspondents, acquaintances, friends; translators, interpreters; enemies, cartoonists, satirists, caricaturists; sculptors, painters, photographers, of the wayward Irishman are invited to co-operate with me in the vast project of the Centennial Biography of Bernard Shaw. This work, designed for publication in 1956, Mr. Shaw's centennial year, will probably run to several volumes; and like my earlier works on Shaw is authorized by the subject. Correspondence with owners of manuscripts, letters, postcards, likenesses, caricatures, cartoons, programs, playbills, portraits of players in Shaw roles, photographs of scenes from his plays, and all other types of Shaviana, is earnestly invited. Newspapers in all countries please copy.

Archibald Henderson.

721 East Franklin Street,
Chapel Hill, North Carolina, U. S. A.

January 1, 1950.

Please print this in your paper.

TO: TH, AML, HWF, PSA
FROM: LL

September 5, 1950

Re: GBS

Please note that GBS has offered "ARMS AND THE MAN" to D. Heilweil & D. Lynn-Thomas to be produced in the Theatre-in-the-Round in New York, and Norman Rose and Ben Grauer to produce "MRS. WARREN'S PROFESSION" at the Playhouse, Bleecker Street, Manhattan.

The interesting thing here is that it shows GBS is definitely loosening up on his plays being done, and if we want to do a Shaw play, now is the time to consider it.

Is there anything in Shaw that would suit Helen Hayes, for example? I think we should start to read some of the old plays to see how they feel today. One forgets them so easily.

I am writing to Miss Gilardino regarding GBS' terms that the Guild may produce THE MILLIONAIRESS and am attaching copy of this letter. Let us also consider trying out one or other of his plays at Westport next Summer and then bringing it into New York on an inexpensive basis.

LL

Memo from
LAWRENCE LANGNER

Nov. 14, 1950

TO: Warren Caro RE: SHAW MEMORIAL

A Mr. Peter Greig who played in the
original production of "Pygmalion" at
His Majesty's Theatre in London in
1914, but who is no longer connected
with the stage, wants to go to the
Shaw Memorial.

His address is:

1 University Place
New York City

ARTCRAFT LITHO. & PRINTING CO. . N . Y

THE SOCIETY OF AUTHORS

84 DRAYTON GARDENS
LONDON, S.W.10

Telephone: Fremantle 6642 (2 lines)

23rd November, 1950.

Lawrence Langner Esq.,
The Theatre Guild Inc.,
23 West 53rd Street,
New York 19 N.Y.

Dear Mr. Langner,

Miss Barber has asked me to thank you for your
letter of November 20th with its enclosed newspaper
cuttings. She was very much interested to hear of the
Bernard Shaw Memorial held at the Anta Playhouse last
Sunday and was glad to see that it was so well supported.

2.dk.

# “THE GRAND PANJANDRUM”
— Bernard Shaw

HUMANIST
ESSAYIST
EDUCATOR
SCIENTIST
HISTORIAN
BIOGRAPHER
PHILOSOPHER

"The most versatile living scholar and scientist."— Alfred T. Brauer.

"Archibald Henderson is a sort of university in himself."—U. S. Senator Frank P. Graham, ex-President, University of North Carolina.

## Archibald Henderson

Author of "George Bernard Shaw: His Life and Works," "Table Talk of G. B. S.," "Is Bernard Shaw a Dramatist?," "Bernard Shaw: Playboy and Prophet," "The Changing Drama," "European Dramatists," "Contemporary Immortals," "Mark Twain," "Washington's Southern Tour," "The Old North State and the New," "The Star of Empire," "The Conquest of the Old Southwest," "Relativity: A Romance of Science," etc., etc.

"I consider Dr. Henderson the perfect exemplar and model of what the American professor should be, but very rarely is, viz., an all-round cultured man, with a keen sense of the oneness of knowledge. In truth, Dr. Henderson is an almost unique phenomenon in this country. He is the literary man, the scientific man, the mathematician, the linguist, the master historian. No ignorant specialist he! Would to God we might have for the education of American youth more men like Dr. Henderson, men of that delightful Oxonian culture, humanists, all-round men, men of the Renaissance."—Sedley L. Ware, University of the South.

["time the meetings will be separate\nfrom those of any other groups.", "Compositions of Rudolph Ganz,\nHoward Hanson and Quincy Porter\nwill be featured at two concerts of\nthe Cincinnati Symphony under\nThor Johnson during the conven-\ntion. Other meetings will include\ndiscussions of problems in music\neducation by heads of some of the\n200 participating music schools.", "## Events Today", "Teacher Education. Conference of the four city colleges, under sponsorship of Committee on Coordination of Teacher Education, Hunter College, 695 Park Avenue, 1:30 P. M.", "Frick Collection, 1 East Seventieth Street. \"Donatello,\" Richard F. Brown, 3 P. M.", "Metropolitan Museum of Art.\nEighty-second Street and Fifth Avenue. \"American Rooms and Furni-\nture: The Early Republic,\" Stuart\nM. Shaw, 3 P. M.", "Museum of Modern Art, 11 West\nFifty-third Street. \"Viewpoints in\nAmerican Paintings,\" A. L. Chanin,\n4:30 P. M.", "Dinner, Railway Business Associa-\ntion, Waldorf-Astoria Hotel, 7:30\nP. M. \"Crusade for Peace,\" Col.\nKarl R. Bendetsen.", "Meeting, Federation of Science\nTeacher Associations, American Mu-\nseum of Natural History. Seventy-\nninth Street and Central Park West,\n7:45 P. M.", "Meeting, New York Society for the\nExperimental Study of Education,\nWashington Irving High School, Six-\nteenth Street and Irving Place,\n8 P. M.", "Front Page dinner-dance, New York\nNewspaper Women's Club, Waldorf-\nAstoria Hotel, 8 P. M. Presentation\nof citation to Marguerite Higgins.", "Political Institute, sponsored by De-\npartment of Government and Asso-\nciate Alumnae, Barnard College,\nBroadway and 119th Street. 8:15\nP. M. \"What Women Have Done,\"\nProf. Raymond Moley, Dorothy Ken-\nyon, Agnes Meyer. Continues to-\nnorrow.", "Reunion meeting, Seventy-ninth In-\ntry Division Association, Belve-\nHotel, 8:30 P. M.", "ference on \"Economic Develop-\nAbroad: The Democratic Weap-\nsponsored by New School for\nResearch, 66 West Twelfth\n3:30 P. M. Speakers: Paul\nHarlan Cleveland, William H.\n, Dr. Gunther Harkort.", "number of sequences involving a\ncurly-headed little girl—a blurred", "pathy for Mr. Morris, a", "## SHAW PROGRAM SET", "### Memorial to Author Will Include\nScenes From His Plays", "The program of the George Bernard Shaw memorial to be held at the A. N. T. A. Playhouse on Sunday afternoon under the joint sponsorship of the Theatre Guild and A. N. T. A. was announced yesterday. Scenes from a number of Shaw plays will be presented. Katharine Cornell will appear in \"Saint Joan,\" John Gielgud in \"The Doctor's Dilemma,\" Burgess Meredith and Peggy Wood in \"Candida.\" and Sir Cedric Hardwicke in \"The Apple Cart.\"", "Among the speakers will be Law-\nrence Langner and Theresa Hel-\nburn, Guild administrators, who\nsponsored sixteen Shaw plays, five\nof which were world premières;\nClarence Derwent, president of\nClarence

ARE YOU
NEW VOTE

CHECK NOW

May 22, 1951

Memo to: Theresa Helburn

From: L.L.

I am returning you BLEAK HOUSE and confirm that I enjoyed reading it and think it has possibilities.

FITELSON AND MAYERS

INTER-OFFICE MEMO

TO LL, TH

FROM Benjamin Aslan

DATE 5/24/51

SUBJECT ST. JOAN and THE MILLIONAIRESS

Attached hereto please find proposed form of agreements with The Society of Authors in connection with ST. JOAN and THE MILLIONAIRESS.

I believe the contract now embraces the various points we have previously discussed. You will note that I have provided that the specification as to stars, etc. in Paragraph 14 should not interfere with the Manager's right to make replacements, etc. I think this is a fair and reasonable provision in view of the emergency nature of such replacements.

I would be pleased to discuss any questions you may have with regard to the agreements.

B.A.

Attached one copy of each agreement

Memo from
LAWRENCE LANGNER

May 29, 1951

To: Ben Aslan

Dear Ben:

The attached special option should go as a final clause in the SAINT JOAN contract and in THE MILLIONAIRESS contract before these are sent for signature.

It will not be necessary for Tennent and Company to sign the contract.

L.L.

ARTCRAFT LITHO. & PRINTING CO., N. Y.

Memo from
LAWRENCE LANGNER

May 30, 1951

To: Ben Aslan

Dear Ben:

If we don't hurry up with the Shaw
contracts, the plays will be sold to some-
one else. I would like to get these out
to England by Friday at the latest.

They are also howling for the Ross
contracts on SAINT JOAN. Can this be
cleaned up promptly?

L.L.

MEMORANDUM

FITELSON AND MAYERS

673 FIFTH AVENUE NEW YORK 22, N. Y.

TO LL, TH, AM

DATE 10/31/51

RE: George Bernard Shaw
Recordings

Eddie Choate and I met with Wilbur Cross of Columbia Records, Inc. in connection with arrangements to record DON JUAN IN HELL and SAINT JOAN. Mr. Cross indicated that 12% would be the maximum royalties that Columbia would pay for each recording.

1. With respect to DON JUAN IN HELL, Mr. Cross stated that Paul Gregory, Charles Laughton, Charles Boyer, Sir Cedric Hardwicke, and Agnes Moorehead were insisting on 8%, leaving only 4% for the Shaw Estate.

I said that in your position as representative of the Shaw Estate you could not recommend to the Estate that they accept 4% but that you would consider recommending 5% royalty to be paid from the first albums sold without any recoupment of costs.

Mr. Cross has now advised me that he has been able to get the royalty payable to the Shaw Estate increased to 5%.

In view of the unusual circumstances with respect to this recording and the outstanding personalities involved, etc., it is my opinion that the royalty is fair. I do believe that it is the maximum that any recording company has paid, especially in view of the fact that no recoupment of costs will be made from the royalties due the author's estate.

If you approve of the basic terms and they are accepted by the Estate, we will provide for adequate protection as to copyrights, credits, etc.

2. With regard to SAINT JOAN, Mr. Cross intends to meet with Eddie Choate and get a breakdown of production costs involved in recording.

There apparently is not as much enthusiasm for SAINT JOAN as there is for DON JUAN and the deal is not settled with respect to this property.

You may find some merit, as a representative of the Shaw Estate, in taking a position that Columbia should agree to make both recordings.

Mr. Cross and Columbia are waiting to hear your decision on this.

Benjamin Aslan

THE SOCIETY OF AUTHORS

84 DRAYTON GARDENS
LONDON, S.W.10
Fremantle 6642

7th December, 1951

I am directed to acknowledge your communication of
the December 3, 1951 which is
receiving attention. With may thanks.

dp

For the Society of Authors

Memo from
LAWRENCE LANGNER

November 21, 1951

TO: Eddie Choate

There is no chance of making long-playing records of SAINT JOAN, according to Miss Barber, but she says that the Public Trustee might be persuaded to agree to the DON JUAN IN HELL scene being recorded.

In accordance with Miss Barber's request, we have forwarded her letter directly to Columbia Records Inc.

From this stage on, the Guild will do nothing further on the DON JUAN IN HELL matter.

L. L.

# BERNARD SHAW'S PLAYS

## TERMS AND CONDITIONS FOR PUBLIC PERFORMANCE

Procedure is by licence only and in no case involves any transfer of rights to the performer.

When the receipts exceed £300 (or $1500) the author's fee is 15 per cent. on the gross; when they exceed £100 (or $500) and do not exceed £300 (or $1500) 10 per cent on the gross; when they exceed £50 (or $250) and do not exceed £100 (or $500) 7½ per cent on the gross; and when they do not exceed £50 (or $250) 5 per cent on the gross. American managers will please note that this does not mean 5 per cent on the first $250, 7½ per cent on the next $250, &c., &c. The sliding scale is exactly as stated. It applies equally to repertory productions, to productions for runs and tours, and to all performances whether amateur or professional, commercial or charitable, educational or artistic alike. The term "gross" means "gross receipts less Entertainments Tax."

The above figures are per performance instead of per week; but the manager may, if he pleases, calculate the percentage on the average of the receipts for the week, provided all the performances are of works by the author.

Prompt copies cannot be supplied. Performances must be rehearsed from the published books, which contain the main stage directions.

Should any members of the audience be admitted in consideration of their attachment to any theatrical club or society, or of periodical subscriptions to the theatre, or of any method of payment other than the ordinary one, their seats must be accounted for as if purchased at the doors at the ordinary prices. Free admission to all comers is barred unless receipts are obtained by collection.

The licence to perform does not empower the licensee to record any performance or rehearsal for reproduction, nor to broadcast it.

Licences are not exclusive nor negotiable nor transferable by any method and may be withdrawn should any public statement to the contrary be made or inspired by the licensee or should any transaction in the nature of subletting be effected or proposed on the strength of it.

This memorandum is for information only. It is not a contract nor an acceptance of a proposal; and its receipt must not be taken as an authorization to proceed with any project touching the author's rights. It merely states the minimum conditions of his general practice without binding him in respect of any particular contract or inquiry. A specific contract is necessary except when the occasion is one which can be dealt with by using the endorsed form. In other cases the author will submit a form of contract when he decides to proceed with a proposal.

If a client desires to employ an agent, it must be made clear that the agent is acting for the client and at his expense, and not for the author.

Business connected with the plays is in the hands of The Incorporated Society of Authors, Playwrights & Composers, to which all inquiries and applications for licences to perform must be addressed and performing fees paid, at 84 Drayton Gardens, London, S.W.10. Telephone Fremantle 6642/3. Dates and places of contemplated performances must be precisely specified in all applications. Accounts shewing the receipts at each performance should accompany payments.

[P.T.O.]

Proposed Television Clause:-

The Licensor agrees that while the play is running in the U.S.A. and during any normal lay-off period of the play in the U.S.A., it will not license the aforesaid play to be televised in the U.S.A. The Licensor agrees that the Licensee may televise portions of the play not to exceed seven minutes as part of a promotional programme to advertise the stage play in accordance with the custom now prevailing in the U.S.A.

FITELSON AND MAYERS

INTER-OFFICE MEMO

TO Lawrence Langner

DATE April 23, 1952

FROM H. William Fitelson

SUBJECT Copyright Report on George Bernard Shaw's plays

Dear Lawrence:

Will you kindly note Mr. Wenderoth's letter to you of July 19, 1944, as well as the copy of your reply to this letter dated July 24, 1944.

We have been trying to locate this report in the files and cannot find it. Would you, therefore, kindly write to Mr. Wenderoth to see if this report or a copy thereof can be sent to you promptly?

An examination of this report is very important.

HWF

November 24, 1952

Miss Barber
Public Trustee Office
Kingsway
London, W.C. 2, England

Dear Miss Barber:

Please find enclosed a copy of a letter written
by Mr. Romney Brent regarding a possible combined lecture
and play reading of BACK TO METHUSELAH.

The actors mentioned, Miss Blanche Yurka, Miss Valerie Bettis, Mr. Arnold Moss and Mr. Brent, do not compare in drawing power with the actors who are appearing in the Drama Quartette. However, since DON JUAN IN HELL is apt to be coming to a close, it might be well to give this proposal serious consideration. My own feeling in the matter is that they should include at least two top flight names which will insure a large audience. On the other hand, we must recognize the fact that BACK TO METHUSELAH has never been exactly a commercial proposition and the fact that National Concert & Artists Corporation are willing to book them for forty weeks is of importance. This is a concert organization like Hurok and Paul Gregory, who booked the Drama Quartette.

I would say that final judgment might be tempered
by the question of whether there are any other Shaw plays
going to tour in the same way.

With all good wishes,

P.S. THE MILLIONAIRESS should be grossing approximately $40,000 per week for the next four weeks. Too bad Kate won't stay after Christmas Week. No use trying to get anyone else.

LL:bn
Enc.

LL

c/o La Prade.
31 West 12th St.
New York 11.
N. Y.

November 22nd.

1952.

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

Dear Lawrence:

Mr. Ellis St Joseph writer, lecturer and authority on G. B. Shaw --at present engaged in giving a series of lectures on this subject at New York University -- has approached Blanche Yurka, Valerie Bettis Arnold Moss and Myself with the following proposition:

To present a two and a half hour concert version of "Back to Methuselah" to be played in University Auditoriums throughout the U. S. The various plays or portions of them will be introduced by Mr. St Joseph and will connect the various episodes with a thread of commentary. There will be an informality about the entire evening. Costumes, for example, will be "indicated" rather than literal; what scenery there might be, will be little more than skeletal structures on and around which action will be built.

Deeming it unwise to copy the method of presentation used by the First Drama Quartet in their production of "Don Juan in Hell", we would like to offer the public not a read but an acted version of "Back to Methuselah" in concentrated form, for it is obvious that a work of such great length could not be given in its entirely in one night.

Taking into consideration the fact that during his lifetime Mr. Shaw showed a preference for having his text abridged, we would like to point out that our presentation of this play would not be a cut version but actually a lecture by Mr. St Joseph with scenes from the play acted by the above mentioned players.

Any "Artiness" should be avoided lest the production fall into the quaint, the pedantic and the boring but it stands to reason that four players of many years experience in the theatre and all of which have at one time or another played and directed shavian comedy would automatically avoid these pitfalls.

Our enthusiasm for this project has been considerably enhanced by the fact that N. C. A. C. (who are Miss Bettis's booking agents for her transcontinental tours) has offered to book this entertainment sight unseen for forty weeks starting next Autumn.

........2

As all of us would like to make our plans well in advance, I beg
you to be good enough to give us your decision concerning the Rights
at your earliest possible conventione.

Sincerely,

Very sincerely,

Romney Brent.

P. S: Mr. St Joseph is delivering a lecture on "Back to Methuselah" at New York University in December and has asked us to read part of the text. We would be very grateful if you would give us permission to do this. It is a free lecture for students only.

FITELSON AND MAYERS

INTER-OFFICE MEMO

TO TH, LL, AM

DATE 12/30/52

FROM H. William Fitelson

SUBJECT ANDROCLES AND THE LION

Dick Condon, the publicity director of RKO, who is also a friend of mine, called to again explain why RKO did not make a deal with the Guild in connection with the sponsorship of ANDROCLES AND THE LION.

He says that he was able to make a deal with someone else who was able to give him publicity, advertising, etc. for nothing and was, therefore, not in a position to do anything with the Guild which entailed any disbursement. He was most apologetic about this, so I gather he has been needled by Pascal.

HWF

NATIONAL BROADCASTING COMPANY, INC.

A SERVICE OF RADIO CORPORATION OF AMERICA

RCA Building, Radio City, New York 20, N. Y.

CIRCLE 7-8300

February 22, 1955.

Mr. Lawrence Langner,
The Theatre Guild,
New York City.

Dear Mr. Langner:

I write this note to ask if you might care to
take part in an NBC program about George Bernard Shaw.

We are doing an hour-long documentary on
GBS March 27th, with the participation of people who have
known him and worked with him -- and also with recordings
of his own voice. As a person who has produced his plays
and who has had dealings with him of a business, and perhaps
a personal nature, we hope you may be able to do a "spot".
What we have in mind is about four minutes of conversational
material, which we would want to record well in advance of
the broadcast date.

If you will let me know, in general, whether
this seems feasible, I'd like to phone you and discuss it
further -- or come to see you, if that seems better.

I hope very much you will find it possible
to join us in this program.

50 West 12th St.

N.Y.C.

Aug 18th

Memo to Lawrence Langner, Theresa Helburn, Armina Marshall, Edward Choate.

TO WHOM IT MAY CONCERN!

(because it is impossible to find out whom it DOES concern!)

Dear Producers of "ST. JOAN",

On the eve of going into rehearsal your director salutes you and wishes well to your enterprise! Though reluctant to open the active stage of our joint proceedings on a sour note, I feel strongly that you must be made aware of a situation which must be rectified if there is to be a successful outcome to our labours and which I am no longer able or willing to handle alone. The past two months of supposed preparation have been by far the most exasperating and baffling within my experience and have revealed a display of confusion and incompetence which is no longer tolerable or possible.

This has been due to two factors, first the absence of our "business manager" in Pittsburgh and the consequent lack of centralisation and second the injection into the proceedings of some supposed help and money-saving facilities from Westport. The Westport end of the deal, to date has contributed nothing but endless waste of time and total confusion. If, as I suspect, the somewhat dream-like budget initially drawn up (for which I specifically disclaimed responsibility at the time) has been greatly exceeded, it must be remembered that this budget was predicated on the supposed savings to be accomplished by having the whole show handled via Westport and probably opened there. One by one the Westport promises have dissolved into thin air and so far as I can make out nothing is left of them but the proposed assembling of the "electrics" at Westport; and if this proves as impractical as the rest it may well have a disastrous outcome.

Since none of the four producers to whom I address this "cri de coeur" has anything resembling a complete knowledge of the state of affairs I would like you to know of some typical instances where preparations long planned by me are still incomplete and others where your money will be unnecessarily spent; as well as existing gaps and uncertainties, I have my time and energy has already been frittered to equally little purpose; if they bore you to read, they have bored me much more to endure! THE CASE OF THE SHRINE:

After the usual vast amount of cross-talk, delay and uncertainty, it was ascertained that the shrine for the Cathedral scene was not among the Guild props but would have to be made. Where? Supposedly all props were to be assembled at Westport. Query: could they handle this rather tricky job? Usual conflicting answers. Finally Senie instructed to send a drawing to Leo Herbert, the prop man, at Woodstock not later than this past week.

This instruction then countermanded. Senie informed yesterday that Westport says: "A shrine is to be made by Kai Velden at Fort Lee. I enquire why as it will almost certainly cost more. Finally traced back that Pete Davies supposed to have given this instruction. Pete - of course accurately - denied all knowledge of it. I suggest, and it is decided, that Velden should bid on the design and if his bid very high we make renewed efforts to have it done at Westport. Good. Twenty-four hours later I am called to say is it all right with me if it is made at Westport as Miss Pemberton and Mr. Martin think it can be, and Pete doesn't mind." I throw up my hands and say I no longer know.

2

give a damn provided shrine turns up in New Haven. But I also know that this has not been and will not be made clear to either the designer, the prop man or whoever has to authorise payment for shrine unless I myself make extensive check that these operative parties are informed. Same situation as above applies to Throne Chairs. Upshot of this example (which could be multiplied): I have no longer any faith at all in proposed "assembling of props" in Westport and have abandoned my personal efforts to save money by this means because I can't risk the uncertainty.

## CASE OF THE MACHINERY FOR THE BANNER SUPPORTS.

This metal work supposed to be contracted for via Philip Langner in locality of Westport. Specifications supposedly received by him weeks ago and supposedly arranged for. Philip completely unavailable to anybody since last Saturday. No record whatever to be found in his office of any contract being given out. Nobody knows whether it ever was or whether this very vital item has even been started.

## CASE OF THE TAPESTRY TRAVELLERS

This is not a Westport crime but may prove a costly one! When the Marweb contributions of drapes and props were brought to the 53rd St cellars some months ago, Thelma Chandler warned Pete that they were in a very damp place and asked that steps be taken to safeguard them. When she and I and Hallie went down to look for costumes shortly afterwards, we found various things, including the Marweb box of wigs, being peacefully rained on. The Guild janitor refused point blank to make any effort to do anything about this. We did some shifting around ourselves and made renewed pleas that the stuff be safeguarded. Yesterday, manpower was sent up from Westport to get out such stuff as had not already been taken by them for use in their summer season, and it was found that the bags with the tapestry traveller were sitting in those three inches of water and were soaked through. I do not know how much damage will have been done. I have asked that they be hung out immediately at Westport and examined. I have no faith that this will be followed up either. If they are seriously damaged we are faced with a very considerable problem.

## CASE OF THE CREW

Exactly two months ago, after already considerable discussion, it was apparently settled that Abe Kermit should be our carpenter and a man recommended by me, George Chapman, our electrician. I had emphasised repeatedly that I was open to any adequate choice as to crew, with the important proviso that the carpenter be made familiar with the show BEFORE building was completed so that he could make sure it was practical from the handling point of view, and that the electrician be selected in ample time to go over with me the lights lay-out which I had even then prepared and check it against existing equipment in plenty of time to allow me to make any desirable adjustments. Two months of indecision ensued. Precisely two days ago contracts were finally signed with George Rubencamp, not Abe, and the aforesaid Chapman. Rubencamp knows nothing of the show, which is now completed, and neither does Chapman of the equipment. I have, of course, been over it with both of them immediately the decision was made. But the back-and-forth arguments have left us in the usual state of NOT having made preparations which could have been made and for which I have to provide time and effort when, on the verge of rehearsals, I can no longer afford them. Attempts to arrange with Phil Langner to meet Chapman and give him a chance to go over the equipment so far unsuccessful.

I won't go on. You can see, I hope, why I am discouraged and feel totally unsupported. Pete has been wonderful and nothing would have happened at all without him though he was under no obligation to do any-

BERNARD SHAW COPYRIGHTS

Memoranda for Agents

No rights may be assigned, sold, nor alienated from the
estate under any circumstances. Procedure must be by licence
only; and no licences should be granted for longer than five
years; Renewals should be terminable by six months notice.

Copyrights, film rights, performing rights, translation
rights, and all rights which are separable should be dealt
with separately. In no case should a publisher's licence
carry any consideration except permission to print and pub-
lish, nor that of a manager except to perform, nor of a
film company except to screen. No licence should guarantee
a future or contingent licence.

The control of the Author or his executor the Public Trustee
remains supreme; and all proposals for major contracts beyond
the routine of provincial, suburban, and local theatre reper-
tory licensing must be submitted for their approval.

In the case of foreign licences the Author's licence must
not undersell the earnings of the most highly paid native
authors, and should exceed them where the latter is a sweated
profession according to English standards.

Licences should be non-negotiable and non-transferable; and
agencies should be withdrawn if sublet. Every possible step
should be taken to prevent parasitic intervention between
those who actually perform the services delegated and the
Author.

Film agreements should be between the responsible financing
company and the Author, with, if necessary, clauses making
employment in the production of named individuals of the essence
of the contract, but in no case making these individuals parties

BERNARD SHAW COPYRIGHTS (continued)

The Author's early practice of establishing authorized
translators for all his works and dividing the profit half-
and-half is now discontinued. Siegfried Trebitsch for Germany,
Henrietta Hamon for France, and Lady Low for Sweden are its
only survivors (1946). Translations should be made ad hoc,
and paid for in lump sums by the author or his client as ar-
ranged.

All applications to the author on literary and theatre
business should be made through his principal agent The
Society of Authors, 84 Drayton Gardens, London, S. W. 10.

Charges for GBS Plays

Before the depression, the charge to amateurs
was $50. We then reduced it to $25, and this is now
the charge. This is the scale for all the plays.

For stock companies -- that is, commercial
companies which play during the summertime -- the
charge varies according to the size of the theatre,
the admission price, and whether a star is playing
in same. Where it is a small theatre with low
admission, the price is $150 for one week's playing.
Where it is a large summer theatre with a higher
price, it varies from $200 to $350. This is about
the same price that is charged by other well-known
playwrights, such as Robert Sherwood, Eugene O'Neill,
Maxwell Anderson, and is, in general, within the
price range.

We have a number of requests for summer plays
at the present time and are charging according to
this scale. If Mr. Shaw wants to reduce his scale,
he should do so very promptly because summer business
is starting in full swing.

Back to
Methuselah

BERNARD SHAW'S

Fantastic Comedy
in Five Parts

A THEATRE GUILD
PRODUCTION

A SHAW FESTIVAL

THE THEATRE GUILD announces that it will produce, commencing Monday, February 27th, Bernard Shaw's fantastic comedy entitled BACK TO METHUSELAH. This play, the action of which ranges through all history and into the far distant future, can be compared in its breadth of conception and treatment only with works of the same scope as Faust and the Divine Comedy. The Guild plans to make this presentation of BACK TO METHUSELAH an event similar to the Wagner Festival Performances at Beyreuth. The five parts of the play, beginning in the Garden of Eden and ending in a period so remote that Shaw terms it "as far as thought can reach" will be given in three performances. During the first week of the Shaw Festival the first two parts "In the Beginning" and "The Gospel of the Brothers Barnabas" will be presented; during the second week, "The Thing Happens" and "The Tragedy of an Elderly Gentleman"; and during the third week, "As Far as Thought Can Reach". Commencing the fourth week and during the fifth and sixth weeks this cycle will be repeated.

Mail orders accompanied by remittances are now being accepted at the Garrick Theatre, 65 West 35th Street, at the scale of prices shown opposite. Seats cannot be sold for individual evenings.

Please fill in the following blank and mail with check to THE THEATRE GUILD, 65 West 35th Street, New York City.

Kindly reserve.................... {Box Orchestra} seats
(Number)                      {Balcony}

for the three performances of BACK TO METHUSELAH. I prefer seats for....................

(Day of Week)

(evening) (matinee) performances.

Enclosed please find my check for $....................

Name ....................................................

Address ....................................................

SCALE OF PRICES

ALL EVENINGS, Including Saturdays:

<table><tr><td>Orchestra (3 performances)</td><td>$9.90</td><td>including tax</td></tr><tr><td>Balcony, 1st 2 rows (3 performances)</td><td>8.25</td><td>"</td></tr><tr><td>Balcony, next 5 rows (3 performances)</td><td>6.60</td><td>"</td></tr><tr><td>Balcony, balance (3 performances)</td><td>4.95</td><td>"</td></tr><tr><td>Boxes, seat five (3 performances)</td><td>11.55</td><td>"</td></tr></table>

THURSDAY MATINEES:

<table><tr><td>Orchestra (3 performances)</td><td>$6.60</td><td>including tax</td></tr><tr><td>Balcony, 1st 2 rows (3 performances)</td><td>4.95</td><td>"</td></tr><tr><td>Balcony, balance (3 performances)</td><td>3.30</td><td>"</td></tr><tr><td>Boxes, seat five (3 performances)</td><td>8.25</td><td>"</td></tr></table>

SATURDAY MATINEES:

<table><tr><td>Orchestra (3 performances)</td><td>$8.25</td><td>including tax</td></tr><tr><td>Balcony, 1st 2 rows (3 performances)</td><td>6.60</td><td>"</td></tr><tr><td>Balcony, next 5 rows (3 performances)</td><td>4.95</td><td>"</td></tr><tr><td>Balcony, balance (3 performances)</td><td>3.30</td><td>"</td></tr><tr><td>Boxes, seat five (3 performances)</td><td>9.90</td><td>"</td></tr></table>

Seats will be assigned and mailed out in order of receipt of remittances.

Kindly reserve.................. {Box Orchestra} seats
(Number)                      {Balcony}

for the three performances of BACK TO METHUSELAH. I prefer seats for.................. (Day of Week)

{evening} performances.
{matinee}

SCALE OF PRICES

<table><tr><td>Orchestra (3 performances)</td><td>$9.90</td><td>including tax</td></tr><tr><td>Balcony, 1st 2 rows (3 performances)</td><td>8.25</td><td>"</td><td>"</td></tr><tr><td>Balcony, next 5 rows (3 performances)</td><td>6.60</td><td>"</td><td>"</td></tr><tr><td>Balcony, balance (3 performances)</td><td>4.95</td><td>"</td><td>"</td></tr><tr><td>Boxes, seat five (3 performances)</td><td>11.55</td><td>"</td><td>"</td></tr></table>

THURSDAY MATINEES:

<table><tr><td>Orchestra (3 performances)</td><td>$6.60</td><td>including tax</td></tr><tr><td>Balcony, 1st 2 rows (3 performances)</td><td>4.95</td><td>"</td><td>"</td></tr><tr><td>Balcony, balance (3 performances)</td><td>3.30</td><td>"</td><td>"</td></tr><tr><td>Boxes, seat five (3 performances)</td><td>8.25</td><td>"</td><td>"</td></tr></table>

SATURDAY MATINEES:

<table><tr><td>Orchestra (3 performances)</td><td>$8.25</td><td>including tax</td></tr><tr><td>Balcony, 1st 2 rows (3 performances)</td><td>6.60</td><td>"</td><td>"</td></tr><tr><td>Balcony, next 5 rows (3 performances)</td><td>4.95</td><td>"</td><td>"</td></tr><tr><td>Balcony, balance (3 performances)</td><td>3.30</td><td>"</td><td>"</td></tr><tr><td>Boxes, seat five (3 performances)</td><td>9.90</td><td>"</td><td>"</td></tr></table>

(OVER)