LEE M. COONS, PRESIDENT
WARNER SEEELY, VICE-PRESIDENT
WILLIAM S. COCHRAN, TREASURER
RUSSELL W. JELLIFFE, SECRETARY
DR. W. S. BIGGS
REV. PHILIP SMEAD BIRD
REV. F. Q. BLANCHARD
HENRY M. BUSCH

THE KARAMU THEATRE
3807 CENTRAL AVENUE

HENDERSON 7798

THE NEIGHBORHOOD ASSOCIATION

2239 EAST 38TH STREET
CLEVELAND, OHIO

OPERATING
THE PLAYHOUSE SETTLEMENT
2239 EAST 38TH STREET

RUSSELL W. JELLIFFE
ROWENA WOODHAM JELLIFFE
DIRECTORS

WILLARD M. CLAPP
HAROLD T. CLARK
HARRY E. DAVIS
LOUISE M. DUNN
F. S. McCONNELL
A. O'NEILL MITCHELL
CHARLES W. WHITE

CHIPPEWA VALLEY CAMP
BRECKSVILLE, OHIO

February 27th, 1933.

Mr. John Charles Brownell,
145 Garden Road,
Larchmont, New York.

Dear Mr. Brownell:

I'll tell you all I know about Faltkenheuser. A rather florid, posturing gentleman of the old road-show type came backstage one night during production and appeared to be very enthusiastic about the play BRAIN SWEAT. He asked for a script of the play which, of course, I did not give him but gave him instead your address and told him he'd better write to you. We were very busy (it was curtain time for the third act) and he was very anxious to talk. He asked me what I thought of the play and I told him I thought it was a corking commercial show. The curtain was going up and more to get him away than anything else, I said that he had better judge the third act carefully, for it had in it one turn which might keep it from being the sort of thing the general public would grab on to. (Meaning the triumph of the Negro over the white man.) That got rid of him and that's all I personally know of him.

I have just called McLaughlin to ask him what he knows of him but he is out. I did reach S. W. Manheim, a producer of sorts here and in nearby cities. He says that the man's name is Feutkenheuer, not Falkenheuer, that he is respected by theatre people and was very active here some years ago, having done some grand opera and a deal of light opera. He built up the old Hippodrome here, was manager some twenty years ago of the old Empire (Burlesque) theatre. He has been a producer and manager of consequence and knows the business well. Mr. Manheim said that he was not certain that his financial rating was all that was to be desired. If I learn anything more, I'll let you know.

And now about BRAIN SWEAT. It was very popular with our audience. It certainly took. Our audiences do not represent a cross section of the theatre public. They are a regular following built up over ten years and come for the most part from the university, the artist crowd, the journalist, the library, etc., those a little weary of the commercial theatre and definitely the intellectuals of the town. And the play was, strictly speaking, not our kind. On two nights, Henry's triumph over Covington in the last act stopped the show for a lengthy applause. Which is answer enough to the question I raised as to this spot, as far as our audience is concerned.

But ours is an audience very sympathetic with the Negro and very unprejudiced generally.

Member of The Welfare Federation of Cleveland

Mr. Brownell - 2/27/33 - 2.

The end of the first scene, Henry's soliloquy, seemed abrupt and I gave him a fairly long pantomime before he receives Covington, which he handled in a fairly interesting way and got by very nicely. Probably you can think of a better way to write this spot.

Flatfoot is, I think, delicious. He does fine things to balance the play. And at the same time, he stays in his place in relation to the other characters.

In Act One, Scene 2, I did a bit of cutting, after Angie and Jake enter, cutting out about a side and a half, not in a lump but just bits here and there. One of the spots I like best in the whole show is that in this scene between Carrie and Henry after Flatfoot's exit and before Angie and Jake enter. Henry did this part very well indeed - so did Carrie. And they way Angie and Jake come in and swiftly change the picture is delightful. They're both so nicely drawn and in such nice contrast to Carrie and Henry. But Angie gets out of hand and I couldn't do anything about it. It wasn't that Miss Coleman over-played the part - she didn't, I'm sure. She really played with all the restraint you could allow. Her "bun" was awfully funny but largely because she never over-did it. She really did an adorable Angie, she swore most convincingly and was equally convincing in her spots of penitence. Some of our "nice Negroes" were a bit upset about Angie's swearing which troubled some of our actors. They felt her swearing was overdone and didn't like it because I didn't cut it. I couldn't. I was sure that it was never really offensive, because she swore in such a beautifully natural, unapologetic manner. No one other than Negroes criticized the swearing. Jake's hunch about Henry's "delushion" was always very funny.

Now - Charlie and Lucy. I know they have to be there but I don't like the way they cut across the building quality of the action and the interest.

I love the way the second act gets off. And this was certainly Angie's territory. What is there to do but let her have it? The house loved it. I think there is too much talk about Charlie taking or not taking the money. I cut it down by half, from Charlie's: "I'm sorry, I can't take Lucy's money" to Carrie's: "Is it case ob me, Charlie", etc. Then from Jake's: "Sure - dat's all right" to Charlie's "Maybe there's lots of colored singers", etc. And then I curtained the scene at. Henry's exit into the storm and Carrie's calling into the night after him and rushing out of the door.

Tatum and Carrie in Act Two, Scene 2 do nice things to the play. One of its essential charms to me is the quick turning from the sublime to the ridiculous. And here you have it nicely in Carrie's very genuine grief and her sense of guilt and her reaction to Tatum. One of the funniest lines in the whole show was Carrie's: "No, don't pray no more" when Tatum offers to pray the second time. Angie's grabbing her drink before Tatum prays always got the house. I like Laura. She was a nice relief from the prevailing comedy. And she had the house on the edge of their seats.

Mr. Brownell - 2/27/33 - 3.

For the wake, I packed the house and the yard (seen thru windows and doors)
with singers (not proper singers, but the kind that know how to break down).
And I used three old time wake songs:

Eve'ybody's got to go - o - o - o,
" " " " " " " ",
Lay in de graveyard
Stand in judgment,
Eve'ybody's got to go.

And the curtain opened on the singing of this and Carrie's wail. Then I gave
Tatum a lengthy prayer with much responding thruout. The pray went something
like this:

Oh, Lawd, three nights ago, 'long 'bout nine o'clock, our buddah, Henry
Washington, laid down his sword and shield. He laid it down by de ribbah
side, and he aint goin' to study war no mo'. He put on dat long white
robe and stepped in dat chariot dat had fo' pale white hosses. I say -
fo' pale white hosses, Lawd. And dere was fo' angels dat met dat cha'iot
in de middle of de air and I know dey carried our buddah, Henry Washington,
home to dat heabenly land. An' I know he's shoutin' hallelulah tonight fo'
us po' critters in dis sinful worl', Lawd! I feels so happy down in mah
hea't tonight cause I know our buddah done gone home to heaven. I can see
him settin' up dere by de side of King Jesus,

ANGIE: Lawd, I know he's sittin'.

wearin' dat starry crown and gibbin' his praises to de Lawd of Lawds. Bye'm
bye, Lawd, Oh, Bye'm bye, I know we'll see our buddah dere. An' now, Lawd,
I ask you to be wid our sistah Carrie Washington, strengthen her whah she's
weak, Lawd, he'p her to bear up undah dis load of trouble. Stan' by her,
Lawd. You stood by Paul and Silas and I know you goin' to stan' by her. And
now, Lawd, when Life's uneven journey is ended, bring us home to dat Kingdom
not made wid hands. Amen.

Then we used another song - "I want to die easy" - which we built up to quite a
pitch. Then Tatum's lines as they are written. Then the "Stand Back Jordan"
song as a recessional, which dies away in the distance.

Henry's entrance with his derby and his cigar (I introduced the cigar here) brot
a roar inevitably. One thing which I never understood was that they closing line
of this scene (about the horse that fell and broke his leg) never got over proper-
ly. Altho I think Jake handled it well. It was really as tho they didn't have
a laugh left in them by the time they came to that spot.

I like the way the third act builds - and so did the audience. Henry's project
certainly had everybody hanging on its outsome. But the end - which is so nice -
where Henry goes to get Tatum's janitor job - comes as such a surprise to the
audience that they gasp for a long minute. Is it perhaps a bit too abrupt? Could
it be foreshadowed in some way? I don't know. I can't see anything else to do

Mr. Brownell - 2/27/33 - 4.

with it really. For a curtain, after Henry exits, I gave all the others on
the stage a slow turn front (from the door where Henry has delivered his line),
Angie a stagger and a plop into her chair, similar for Jake - and for the others
a look of blank amazement - and a rather slow curtain. This seemed to cover the
time of the audience's gasp, to give them time to take it in, decide that they
liked it and be in a frame of mind to thunder at the curtain. There were always
at least four curtain calls, sometimes as many as seven. We usually do not answer
curtain calls. It has become a tradition not to. But we had to in this case.
Answering calls was in this case a matter of falling in with the very generous
and hilarious mood of the audience.

Some of the funniest lines of the show were (as our audiences took them):

ANGIE: You got to have a brain 'fo you can sweat it.

HENRY: De grave ain't goin' be no mo quieter dan me.

ANGIE: ....but dey's been handicapped by circumstances.

ANGIE: Jake and me ain't never had no chillun...... Whether it's his fault or
Mine, ah don't know, etc.

(This brought such an intense roar that I had to give Jake a gesture to terminate
it rather than letting his following line cut her speech. It could never be heard).

CARRIE: To Hell wid yo' projec'! etc.

ANGIE: Hear dat prayer, Jesus - you goin' make an awful mistake if you don't -
Want lil sip of gin, Carrie?

ANGIE: No, dat was jus' 'nuff.

CARRIE: Yeah, talkin' bout dead men in coffins at a time like dis, etc.

TATUM: He won't if God don't want him to.

CARRIE: No - no, don't pray no mo'.

HENRY: 'Fo Gawd, who daid? ......... Was you intindin' to bury de coffin wid no
remains in it?

ANGIE: Give him some angel food.

ANGIE: Oh, mah Gawd, (coming after Henry's explanation of his absence and at
mention of his project.)

ANGIE: No, Mr. Rockefeller, you oil wells li'ble stop runnin' any minute.

CARRIE: I'm goin' to give Henry de doggonedest talkin' to he evah got in his
life. (And later:)

Oh, what I'm goin' to say to dat Henry!

Mr. Brownell - 2/27/33 - 5.

CARRIE: Sometimes lately I wish I'd never been born. It's jus' one damn thing after another.

CARRIE: Now I'm gettin' invited to go into de bootleggin' business.

JAKE: Boss goin' in de fifth race.

ANGIE: Shut yo' mouth.

Henry's entrance, cigar in mouth. (This is the peak of hilarity.)

Then Flatfoot held things for quite a while on down to :

What'n hell you mean?

CARRIE: I gets a notion I wants to ride 'roun' in dat Buick.

ANGIE: Sweet Jesus!

JAKE: Ain't dey a hole 'roun' here......

I'm sure that the show is highly amusing, and that it is built to get and to hold
an audience. In general, our show was fairly well cast. Henry and Angi were
first rate. Carrie could have been better. There were spots where she didn't
hold up. Jake was good, but tended to slow the show up occasionally. Habitually
slow on cues. Charlie was passable, Lucy almost passable. Tatum was not good,
a new man with too little experience. He'll be excellent for the part with a
few months work in other parts. Flatfoot got by beautifully with the audience
because he was, in some curious way, close to type. But I could have slaughtered
him every night. He might have been excellent and wasn't. Covington was bad.
We played him white, I think he ought to be. An understudy, the person originally
cast could not work with us. The sort of thing that happens occasionally in groups
like ours where we build entirely on people's leisure time. Laura was excellent.

I know Frank Wilson well and know in a general way what he can do. I'd risk a
guess that John Mariott would make a much more engaging Henry.

I'm interested to know what becomes of the play. We became immensely attached to it and it goes in our mental list of plays we would like to do again sometime. I deeply regret that you did not see it. This rambling letter is a most inadequate way of making you see how it played.

Thanks a lot for the play.

P.S. The manuscript has been returned to French.

John C. Brownell
145 Garden Road
Larchmont Gardens
New York.
March 15-1934.

Mr. James Montgomery,
105 West 55th Street,
New York City.

Dear Jim:

I saw two acts of the play day before yesterday. If
Mr. Hopkins had seen the troup in Bryant Hall instead of the
depressing dungeon selected for him to come to I believe he
might have taken an active interest. They knew lines and
snapped up cues.

During your illness they have forgotten direction and often
seemed at a loss as to where to go. They covered each other up
constantly.

But on the whole, with the exception of Jake(who doesn't seem
to know what it's all about) and Lucy, who exhibited no feeling
whatsoever, the troup gave an interesting performance.

I have said all along and I say now that Jake looks and acts like
a white man. The man has no verility-no function. Instead of
lifting a scene he lets it down and he never knows what to do
with his hands or his body. He has a saturnine face and at no
time does he impress you as being a happy go lucky gambler.He
is just about as cheering as a crutch.PLEASE TAKE HIM OUT.

Mr. Hopkins said at once-"that man doesn't belong."

The only time when he seemed cheerful was when he comes back
after losing all his money. He was very casual about it.

I noticed(much to my astishment) that Angie was playing her
scene in the opening of the second act perfectly sober. I had
a reason for making her drunk and here's the reason. If she
were sober she would keep her mouth shut about Lucy's condition
until the girl and Charlie were on their way north. Her comedy
suffered, too. In Cleveland Angie got laugh after laugh in this
scene.

Coming to Flatfoot. He is singing his lines now. He strikes a
certain high pitch and rides it to death. No change of pace or
tone. He is striving so hard to be funny that he is no longer
funny. When I first saw him I laughed until the tears came. He
had that precious gift of surprise. Now he doesn't _listen_. He
is glib. He just knows what is coming next. He is always in
fear of Carrie but he gives no indication of it. When Carrie
entered he greeted her like a life long friend.

These things will be ironed out of course but--no amount of
coaching will make the man playing Jake anything remotely
resembling the character.

I noticed that Tatum had started his mugging against twisting his
face into knots. I have been told that that is what he is apt to
do. He is also singing his prayer. There was no sincerity in it.
I like him in the part but he has fallen away from the character.
Higgins of course is delightful

Higgins of course is delightful
I thought the Voodoo woman was splendid. Charlie I didn't see. He
had another engagement. The audience must like Charlie and Lucy
but frankly from what I've seen of Lucy I can't rave over her.
To me she is negative. I hope I'm wrong.

To me she is negative. I hope I'm wrong.
But I'm not wrong about Jake and once again for the good of the
play I ask you to take him out. He'll let the play down in the
cellar just as sure as hell.

Sincerely,

The New York Times
Times Square

April 16

Dear Mr. Brownell:

I was very pleased to get your long
letter, and I am very sorry to learn of all your misfortunes.
The Lord can be most unmerciful at times.

You shouldn't worry about giving the
critics bad times. They are paid for that. Most of the
complaints come from the other side. I should hate to
think that an author did not give himself the legitimate
pleasure of regarding the critics as spoiled brats.
I am innocent enough to look with stern disfavor upon any-
one who abuses me in print.

Incidentally, I don't remember talking
with anyone about Brain Sweat. Certainly I held no
conference on the subject, although I have a dim recollection
of some one's coming into the office and looking up my
review and chatting about it. Perhaps that was the incident.

Too bad you had such a lamentable opening.
I thought there were real possibilities in that play, and
I was surprised that it was pulled off the boards so
quickly.

In the meantime, I hope your health and
fortunes improve.

With best wishes,

LONDON

LOS ANGELES

TORONTO

FOUNDED 1845

SAMUEL FRENCH

PLAY PUBLISHERS AND AUTHORS' REPRESENTATIVES

25 WEST 45TH STREET
NEW YORK

INCORPORATED 1899

CABLE ADDRESS: THEATRICAL, NEW YORK

Aug. 22, 1934

Mr. John C. Brownell
145 Garden Road
Larchmont Gardens, N.Y.

Dear Mr. Brownell:

Mr. Sheil is not here at present, and 2Mrs. Cosgrove is out of town. However, we should like to have your O.K. to reprint the passage which Mrs. Cosgrove has selected for her book of scenes for student actors. If you will kindly sign the enclosed permission, we should appreciate it. The passage is from Act I of MISSISSIPPI RAINBOW.

g

John C. Brownell
145 Garden Road
Larchmont Gardens
New York.
May 6-1935.

Mr. Frank Sheil,
Samuel French,
25 West 45th Street,
New York City.

Dear Mr. Sheil;

Thank you very much for your offer but I
cannot accept your terms.

Quite recently I refused $250.00 for a short term option
on the play because I was not impressed by the people who
wanted to buy it.

They came out here three times while I was ill and tried to
talk me into letting them have it but-once bitten, twice shy.

I do believe that, eventually, some reputable producer will
want it and give it a first class production. Which, as you
know it did not have when it was first produced.

There is still interest in it here and in London. About once
in so often I get a letter about the play which proves that
it is still alive.

If I were to dispose of the amateur rights it would kill the
play's professional value and on the terms you offer I think
it unwise. Thanking you I am,

Sincerely yours,

August 5-1935.

Mr. T.J. McElhany,
Relief Plays,
County Office Building,
White Plains,
New York.

Dear Mr. McElhany;

Being an actor, a playwright and a long time resident of Westchester County I feel I may take the liberty of writing you concerning employment. My last engagement was with J.C. Nugent in DREAM CHILD, PRODUCED last spring at the Comt Theatre and lasting but three weeks.

I am a character man, fifty eight years old. I have played important roles with John Barrymore, Bill Deming, Mary Ryan, William Courtney and others. Also in stock.

My plays are, THE NUT FARM, starring Wallace Ford, HER MAJESTY THE WIDOW, starring Pauline Frederick, and the ill fated but highly praised BRAIN SWEAT, produced last year at the Long Acre Theatre.

THE NUT FARM, published by Samuel French has been a great favorite in stock and with amateurs. I gave it to the C.W.A. and it was played around New York for some time. I will gladly donate this comedy to the Relief if French will consent to it. I believe they will.

I directed this play when it was produced at the Vine Street Theatre in Hollywood.

I trust you may find it possible to grant me an interview. I would appreciate the favor greatly. I fervently hope you meet with tremendous success in this new endeavor.

Sincerely yours,

LONDON

LOS ANGELES

TORONTO

SAMUEL FRENCH

FOUNDED 1845

INCORPORATED 1899

25 WEST 45TH STREET
NEW YORK

August 19th, 1935

Mr. John Charles Brownell,
145 Garden Road,
Larchmont Gardens, N. Y.

Dear Mr. Brownell:-

This is to advise you
that we are sending, under separate cover,
manuscript and proofs of your play entitled
MISSISSIPPI RAINBOW. Kindly correct the
proofs and return same to this office, with
the 'script, as soon as possible.

You will note that we
have made some slight changes in the play.
These are necessary to help the sale of the
play to the amateur market, and therefore,
we hope they will meet with your approval.

co'bk:a

TELEPHONE HARRISON 6609

BLACKSTONE THEATRE

60 EAST SEVENTH STREET
CHICAGO

AUGUST 22ND. 1935

PLEASE RETURN

JOHN BROWNELL Esq.
LAMBS CLUB
NEW YORK CITY,

DEAR MR. BROWNELL:

SEVERAL MONTHS AGO I SPOKE TO YOU RELATIVE TO YOUR PLAY "BRAIN SWEAT" AND I FORWARDED A MANUSCRIPT TO MY LONDON ASSOCIATE. HE CABLES ME THAT THERE IS DEFINATE INTEREST THERE AND I HAD A TALK WITH MR. IMMERMAN RELATIVE TO THE ORIGINAL CAST. I AM AWAITING FURTHER WORD FROM LONDON.

IN THE MEANTIME, WE ARE CONSIDERING THE POSSIBILITY OF DOING IT HERE IN CHICAGO. IF YOU WOULD BE INTERESTED I WOULD GREATLY APPRECIATE IF YOU WOULD FORWARD ME A COPY OF THE MANUSCRIPT AT YOUR EARLIEST CONVENIENCE AND I WILL ADVISE YOU OF OUR DECISION IMMEDIATELY.

I PRESUME THE PLAY HAS REVERTED TO YOU AND THAT THE ORIGINAL PRODUCERS HAVE NO FURTHER EQUITY IN IT AND THAT ALL RIGHTS ARE FREE AND CLEAR.

TRUSTING TO HEAR FROM YOU AT YOUR EARLY CONVENIENCE

YOURS SINCERELY

LESLIE J. CASEY

P. S. AS THE THEATRE IS DARK AT THE MOMENT, IT WOULD EXPEDITE THE MATTER IF YOU WOULD ADDRESS ANY COMMUNICATION TO MY HOME - 1475 WEST 77TH. ST. CHICAGO

John C. Brownell
145 Garden Road
Larchmont Gardens
New York.
August 25-1935.

Mr. Charles O'Brian Kennedy,
Samuel French,
25-West 45th Street,
New York City.

Dear Charles:

Under separate cover I am returning the proof sheets of MISSISSIPPI RAINBOW. I like the changes you made very much. I have made a few minor changes myself, mostly in added directions. In marginal notes I have suggested keeping in a couple of cuss words. They were real belly laughs. Especially the one in the third act where Carrie cries out in desperation: "it's jes one damn thing after another." This is the only time in the play that Carrie uses a cuss word. McClendon got a roar with it.

The other occasion is where Angie says: "<u>dat</u> project's gone to hell."

Now the spiritual sung at the wake: "My brother's gone up on high" I wrote myself, words and music. Russell Wooding harmonised it and, I believe, has copies of it. He can be found at 156 West 44th Street in the George Immelman office. I do not think Tatum should begin his prayer until this spiritual is concluded. We tried it both ways. Although the man playing Tatum had a big voice he couldn't top the music and the prayer was lost. He sat during the spiritual, then at the finish bounded to his feet as though inspired and said his prayer. This was very effective.

Some very good photographs of the players were taken. Those of Billy Higgins are splendid. If you care to see them I'll bring them in.

Just one more thing, Mr. Sheil thought it might be a good idea to have the PUBLICITY NOTES and the reviews come first. Before the plays starts I mean.

You certainly did me proud in your write up-sticking me alongside of O'Neill and Green. I thank you.

August 29-1935.

Mr. Russell Wooding,
Care of George Immerman,
156 West 44th Street,
New York City.

Dear Mr. Wooding:

Samuel French is bringing out BRAIN SWEAT, now called, MISSISSIPPI RAINBOW. I went over the proof sheets just the other day. You are given credit.

I told them they could just as well leave out my so called spiritual, MY BROTHER'S GONE UP ON HIGH but they have printed it just the same. Charles Kennedy of the French company called up about it after I had written them that I wrote the words and the tune and that you had harmonized it. Mr. Kennedy said they would be glad to print the music if I would send them a copy. Of course I have no copy. Stern may have but I wouldn't ask him for it. If you have a copy would you loan it to me.

I will see that your name is mentioned if that means anything to you. Or, if you haven't a copy would you be willing to make one for me. Perhaps I am asking a great deal of you.

I could have sold the play for the stage a while back but I did not care for the people. It keeps bobbing up every now and then and I refuse to believe it is dead for the stage. French in the book are doing me proud and I think the book will help the play's chances for the stage. Please let me hear from you as soon as possible. My kindest regards to you and please remember me to Mr. Immerman.

Sincerely yours,

John C. Brownell
145 Garden Road
Larchmont Gardens
New York,

September 4-1935

Mr. Leslie J. Casey,
1475 West 77th Street,
Chicago, Ill.

Dear Mr. Casey:

Your letter of August 22nd just reached
me today. I seldom go into town and whoever has charge
of the mail at the club neglected to forward your letter.
I am delighted to know that London is interested in in
BRAIN SWAP. I have been told by several Englishmen that
the play would have a real run over there. I am glad, too luck
that you think of doing it in Chicago. I have had very good
in Chicago.

The play has reverted to me. I have arranged with Samuel
French to bring it out in book form. I have changed the
title to MISSISSIPPI RAINBOW.

I am sending you a copy of the play today. I am very sorry
the club did not forward your letter sooner.

Sincerely yours,

John C. Brownell
145 Gardeh Road
Larchmont Gardens
New York,

September 10-1935.

U.S. Works Progress Administration.
III Eighth Avenue,
New York City.

Dear Sirs;

I have received your application for my play, BRAIN SWEAT and I wish to tell you how exceedingly pleased I am. The fact that you want this negro play gives me great satisfaction. It is indeed a compliment.

Were I in a position to give it to you I would do so gladly. I am not in a position to give it to you.

I have recently sold the play to SAMUEL FRUNCH for the amateurs and I do not believe they would consent to your wishes. There are other reasons why I cannot comply with your request. The play is under consideration by a manager for a revival in this country and also in London for a first production.

You played my play, THE HUT FARM for some time. You have my permission to continue playing it but, since it was taken off I suppose it had run its course.

I have another play, HER MAJESTY THE WIDOW in which Pauline Frederick starred in for forty eight weeks that you might like to do. It is a comedy.

I do wish I might give you BRAIN SWEAT but under the restrictions on it at the present time I simply cannot do so. I hope you will see my position in the matter.

Cordially yours,

John C. Brownell

September 10-1935.

Mr. Roy Walling,
1482 Broadway,
New York City.

Dear Roy:

Your letter with check enclosed for twelve dollars and fifty cents, my share of the royalty of HER MAJESTY THE WIDOW at Whalom Park, Mass. duly received.

I thank you for it and also your kind invitation. I may drop in on you this week.

By the way did you ever get in touch with that Chicago firm who seemed interested in the WIDOW for publication? You may remember I brought it to your attention.

SAMUEL FRENCH is publishing my negro play, BRAIN SWEAT. I changed the title to MISSISSIPPI RAINBOW.

I had a play tried out recently in Hollywood called, EVEN AS ADAM. From all the reports it went over very well and I am told the picture people are interested. I will believe it after I cash the check.

Estelle joins me in best regards,

Sincerely,

TELEPHONE HARRISON 6609

BLACKSTONE THEATRE

60 EAST SEVENTH STREET

CHICAGO

SEPTEMBER 11TH. 1935

PLEASE RETURN

MR. JOHN C. BROWNELL,
LARCHMONT GARDENS
NEW YORK.

DEAR MR. BROWNELL:-

PLEASE EXCUSE MY NEGLECT IN NOT ANSWERING YOUR LETTER AND ACKNOWLEDGING THE RECEIPT OF THE MANUSCRIPT OF "MISSISSIPPI RAINBOW" BEFORE THIS.

I HAVE GIVEN IT TO MY ASSOCIATES TO READ AND WILL ADVISE YOU IMMEDIATELY A DECISION IS MADE.

NEEDLESS TO SAY, MONEY IS AN IMPORTANT FACTOR IN ALL PRODUCTIONS TO-DAT AND ,THEREFORE, I WOULD VERY MUCH APPRECIATE IF YOU WOULD FORWARD ME ANY PARTICULARS YOU MAY HAVE OF THE PREVIOUS PRODUCTION THAT WOULD HELP IN PREPARING A BUDGET. THE SETTING, WE WOULD ATTEND TO HERE; BUT WE WOULD BE INTERESTED IN A TENTATIVE SALARY LIST- AND HOW MANY OF THE ORIGINAL PEOPLE ARE AVAILABLE.

I UNDERSTOOD FROM MR. O'NEAL, AT EQUITY, THAT YOU WERE DESIROUS OF DIRECTING THE PLAY YOURSELF. I WISH YOU WOULD GIVE ME SOME IDEA TO WHAT EXTENT YOU WOULD BE WILLING TO CO-OPERATE RE ROYALTY, RIGHTS, DIRECTION ETC.

THERE ARE SOME EXCELLENT COLOURED ACTORS HERE BUT WOULD MUCH PREFER HIGGINS- ROSE MCCLELLAND AND ANY OTHER MEMBERS OF THE ORIGINAL CAST THAT WERE SATISFACTORY.
I UNDERSTOOD FROM MR. IMMERMAN THAT HIGGINS WAS NOW A SCIENTIST AND IS BEHAVING HIMSELF.
THE EXTA PEOPLE FOR THE WAKE SCENE COULD BE PROCURED HERE PROVIDING THERE WAS SOMEONE TO TRAIN THEM IN THE SPIRITUALS. OUR DESIRE ,AND THE ONLY WAY THAT IT CAN BE PUT OVER IS TO GIVE IT AN EXCELLENT PRODUCTION WITH THE POSSIBILITY OF MOVING IT, NEXT, TO LONDON.
I WOULD APPRECIATE ANY AND ALL INFORMATION RELATIVE TO THE PLAY THAT YOU COULD FORWARD TO ME AND I WILL KEEP YOU ADVISED OF THE SITUATION HERE

IN THE MEANTIME, LET US HOPE FOR THE BEST.

YOURS TRULY

September 12-1935

Dear Mr. Casey:

I mailed you or sent you by Railroad Express
rather a copy of BRAIN SWEAT several days ago. I trust you
recieved it. If not I will have it traced.

Sincerely yours,

John C. Brownell
145 Garden Road
Larchmont Gardens
New York,
October 22-1935.

Mr. T.F. Kane,
Century Play Company,
1440 Broadway,
New York City.

Dear Mr. Kane:

I have heard nothing further from the Pages about the play, EVEN AS ADAM. I imagine Mann is trying to sell it to the picture people.

The other deal that you wrote about in your letter of September 30th never came off.

I have not tried to do anything with the play here.

I will drop in on you some day soon and get my version of it.

Sincerely yours,

John C. Brownell
145 Garden Road
Larchmont Gardens
New York.
November 5-1935.

Mr. Frank Sheil,
Samuel French,
25-West 44th Street,
New York City.

Dear Mr. Sheil:

I wish to acknowledge receiving the ten copies
of Mississippi Rainbow. Thank you very much. Do you think we
could get the Little Theatres throughout the country interested
in this play? I would be willing to spend some time writing a
phamphlet about it, recommending it as a novelty. May I come in
and talk to you about it?

By the way I discovered to my horror this morning that I had
missed one grand curtain in the play. It is the curtain of
scene three in act two.

On page 71 I have Angie say to Tatum, "Well, wherever he is
Ah knows he's sittin'".

What I should have done is this: ended Tatum's speech just
before this line with, --"our brothah has gone to his heavenly
hom" and cut Angies line out. Then at the end of Tatum's last
speech on page 75 add this, "where our brothah is mebbe sittin'
alongside of King Jesus." Then Angie's line, "wherever he is
Ah knows he's sittin." CURTAIN.

In the next edition (H'M?) couldn't this be done?

It would bring down the curtain with a rear I am certain.

To any organization buying the play for production this curtain
might be suggested in a letter. I could kick myself for overlook-
ing this sure fire laugh.

You still have a one act play of mine called, PSYCHORD. I have
always thought the intelligence of the Little Theatre would
like this. If you don't care for it would you mind sending it
back to me.

With kindest regards I am,

Sincerely yours,

Clancy was tailored for him. Then he was told it was a conversion
of my negro play and decided not to do it because of what the
critics might have to say. All this very recently. Now Mr. Brooks
Atkinson says this; "if your play is announced as an Irish version
of a colored play I see no possible objections from a critical
point of view."

I wonder Mr. Mantle if you could spare a moment to tell me what
you think. The Irish version is a far better play. Sam Harris
was interested until told it was a conversion. Then he, too
thought of the critics.

Please forgive me for writing you such a long letter but I did
want you to know what a couple of Broadway flops can sometimes
do for a manager, a troup and an author. And I wanted to tell
you about the Irish play and ask your opinion.

My old friend, Reginald(Mickey) Fife has often threatened to
introduce me to you but he never got around to it.

Sincerely yours,

2.

rental offer I have had has been $50.00 a month. And not "as is" either. I would have been compelled to make certain changes that would have run into money.

I am hopeful of being able to crawl out of the precarious position I find myself in at the present for, a man engaged in creative work in the theatre never knows what is just around the corner for him. That is why I have held off writing you. And I am still being told by the W.P.A. in White Plains that I will hear from them soon about another position.

Very truly yours,

January 30-1936.

Mr. Thomas J. McElhany,
Works Progress Administration,
148 Martine Avenue,
White Plains,
New York,

Dear Mr. McElhany:

I am beginning to wonder what its all about.
You have been so kind all along that I feel at liberty to
further encroach on your good nature to the extent of asking
your advice as to what to do about this W.P.A. situation.
Having been a resident and a tax payer in Westchester County
for about fifteen years and connected with the theatre for
at least twenty five years I feel that I am entitled to some
consideration. I am getting none at all and in justice to
myself I feel that I should be given a reason why I am not
being considered.

I was told by the committee that I would "hear from them in
a few days." This was several weeks ago but I have had no
word from them. My reception was so cordial that I came away
rather elated, anticipating that I would be at work in a
short time. If there is any definite reason why I have not
heard from the committee I would greatly appreciate knowing
just what that reason is. I gave my play, THE NUT FARM to
the W.P.A. in New York free of charge. It was played for many
weeks. For that reason alone I felt that I was entitled to
a little more than ordinary consideration. I need work. I
need it badly and I would keenly appreciate any advise you
can give me as to how about getting it.

Very sincerely yours,

I seem to be in a position similar to that of an aphelion-
out in the cold as it were. Well, once again I have unloaded
my jeremiad upon you. It is probably just one of the many
tales of woe you are compelled to listen to. Please forgive
me. My pleading epistles up to the present have been
nugatory but I am still hoping. Were I a proselyte in the
theatre I would say that was the reason I was being shoved
aside. But I'm an old timer, Tom who has served with the best
in the theatre and I have sedulously striven to give to it the
best I had to give.

I have finished in the rough a short story dealing with the
depression but it is not an unpleasant tale. I was first inclined
to write it as a one act play as it would suit admirably the
purposes of the W.P.A. It deals with the hazardous predicament
in which a family man of sixty finds himself when he loses his
job; and the courage he displays in carrying on through months
of fruitless endeavor. It has, I think, real heart interest
without being at all maudlin.

Well, Tom, are my hopes to suffer contretenirs? This will be my
last batrachian wail to you and if some of the things I have
said in this letter seem acidulous don't take them to yourself.

You have been most kind to me all along and I have felt all
along that if you could do anything for me you would do it.

It has gotten to the point where I am obliged to pay a visit
to our avuncular "relative", a person I have not been compelled
to call upon in many years. My very best to you,

Sincerely,

John Charles Brownell
145 Garden Road
Larchmont Gardens
New York.

May 23-1936.

Mr. Bennett R. Finn,
Federal Theatre Project,
Room 407,
County Office Building,
White Plains,
New York.

Dear Mr. Finn:

I wish you thank you again for making the little
play live. As I told Mr Lubben I seemed to be seeing it for
the first time and actually enjoying it. You certainly made a
first rate job of it.

I liked Miss Collins' work so much that I really resented her
have that lousy line on her last exit, "Goodbye, you double
crossing fiddler!" Why not a sudden and unexpected line such as.-

Peter
Goodbye, Veronica.

Veronica
(She turns and stares at him a moment-
then suddenly smiling she says in genuine
tenderness)

Goodbye little boy who never grew up. I oughtn't to say this-
but somehow-I rather like to think I'm leaving you in good
hands. Funny isn't it? (She laughs softly) Goodbye. (Exits)

I am enclosing a review by dear old Percy Hammond of my play
BRAIN SWEAT that I am rewriting. Mind sending it back to me.
With kindest regards I am,

Sincerely,

John Charles Brownell
145 Garden Road
Larchmont Gardens
New York.
May 27-1936.

Dear Mr. Finn:

I was much pleased with your letter and I wish
wish I had the Irish version ready to place in your hands. The
first act is done (in pencil) and it is much better than the
original. As a matter of fact there is no comparison between
BRAIN SWEAT and HER MAJESTY, BRAIN SWEAT being far the better
play. I will get the first act to you as soon as I can or, if
you could arrange to come here to the house I would be glad to
read it to you.

Enclosed please find a copy of a letter I have written Mr. Gatts
about the Long Island situation. If you could run down here (any
time in the day or night will suit me) we could kill two birds
with one stone. I am also enclosing the letter from Mr. Gatts and
another review of the negro play.

Sincerely yours,

WORKS PROGRESS ADMINISTRATION
OF
NEW YORK STATE
DISTRICT NUMBER THREE
FEDERAL THEATRE PROJECT

COUNTY OFFICE BUILDING
MARTINE AVENUE & COURT STREET
WHITE PLAINS, N. Y.

May 29th.,
1936.

Mr. John Charles Brownell,
145 Garden Road,
Larchmont Gardens,
New York.

My dear Mr. Brownell:

Your suggestion of my running down to have you read the first act of the new script was very kind as I would enjoy visiting you; however I am so busy with rehearsals daily and playing nightly, that I find it impossible to leave town.

Since coming here in January, I have not had a single Sunday to myself. That day I spend getting a radio script ready for the regular Monday afternoon broadcast.

I am surprised that the Project Supervisor on Long Island should consider HER MAJESTY THE WIDOW a little risque. That can easily be taken care of, as the elimination of a few lines wherein sex is mentioned, would make the script acceptable anywhere. As you say in your letter to Mr. Gatts, the children of to-day are reading SHOCK literature and would consider HER MAJESTY THE WIDOW very clean I am sure.

Let me know if there is anything I can do to recommend the play to the office; I am going in there Tuesday morning and shall take the matter up with them.

P.S. I am inclosing the clipping, which I enjoyed, also Mr. Gatt's letter, which no doubt you wish to file.

Should you want a scene plot of the production as we have mounted it, I shall send same, and will also submit one to the Long Island director, whom I expect to meet Tuesday morning at the round table conference to which we have all been called.

2.

You will like I think the way I've arranged for Tom's entrance
in the first part of act three. I have managed it so that not
one of the cast sees him when he walks in dressed in a new suit,
a brown derby and smoking a long black cigar. They are all down
left comforting Mary(for whom everything has gone wrong) when
Tom makes his entrance, pompous, assured, the big I am. It is
not until he says loudly, I UNDERSTAND I'M DEAD do they turn and
see him. Then of course we get the various reactions from them ask
all. Then Tom sees his picture draped in mourning and you can see
what that will bring.From that time on he dominates everything and
everybody though they are all bitterly against him but Mary
right up to the curtain.

I have two new curtains for the second act and they simply can't
help being screams. That gives us four laugh curtains.

I hope you will forgive me for going on this way but really the
play is far superior to the original and I am tremendously
enthusiastic about it.

I'm sorry I couldn't get down to New Rochelle last Saturday night
How did HER MAJESTY get over down there? I haven't been able to
get a paper.With kind regards I am,

Sincerely yours,

John Charles Brownell.

June 4-1936

Mr. Bennet R. Finn,
Federal Theatre Project,
Room 407,
County Office Building,
White Plains,
New York.

Dear Mr. Finn:

I have made a change in SKY HIGH and I am enclosing three pages to be substituted for those you now have. The cast and pages 55 and 56.

I have decided to keep the cast all white, changing LAURA, colored, to MONA, white.

She comes in but once in the play during the last act but she is tremendously impressive in the scene. The colored woman who played the part got a big round of applause at every performance and Arthur Hopkins said to me, "that scene makes the shivers run up and down my back." Coming from this usually silent man I was mightily pleased at this. Now, with a white actress in the part, (and she must be able to troup) I can even make the part stronger. I have scene one of the second act done and typed. Scene two is also finished but I haven't it typed yet. Both, I know will play like a house afire. The third act, by far the best act in the play will take care of itself in the writing. I do hope you liked the first act.

I want to thank you again for taking me back stage and having me meet your people. I thought them charming. With kindest regards to you I am,

John Charles Brownell
145 Garden Road
Larchmont Gardens
New York.
June 14-1936.

Dear Mr. Finn;

Well, sor, after readin' yer letter of May 25th
an' seein' ye at Rye I wuz so encouraged I wint roight to
work on me play. You know, the one me an' you wuz talkin'
about changin' from nigger into Hindooo. I'm usin' the langwidge
now. Well, I've finished it an' what I didn't do to thim poor
Hindoos, the "Clancy's"is nobodys business. And do they coom out
at the top? Why, man they're in the stratmosphere.
It wasn't work at all, at all. The poor Hindoos kept handin'
me lines an' all I had to do wuz to write thim down. I deserve
no credit at all.

Me only worry wuz the mail man. He kep forgettin' to bring me
yer letter tellin' me the first act wuz turrible but if I could
better in the other two the Knights Of Columbus might consider
doin' it under cover in some small place.

Even under this turrible handicap the play kep growin' an'
growin' because thim damm Hindoos kep talkin' an' talkin'.
Well, sor, after readin' over the last act tody I near busted
me sides laughin'. That don't mane much tho because I ain't got
much meat on me sides on account of the W.P.A. not puttin' me
to work as an actor. I never wuz wid Booth er Barrett but I wuz
wid Johnnie Barrymore fer two years an' rale happy ones. My, my
but they were that an' George Gohan used to say ta me, he did,
"Yer quite a good actor" which coomin' from him wuz quite a lot
of talk.

Well-I suppose I'll be hearin' from ye one of these days, eh?
I do loike that Collins' lady. Would she, de'ye think consider
bein' me grand daughter? Maybe she don't know it, (an' fer God's
sake don't tell her) but there is an Ethel Barrymore husky
sweetness in her voice.
Well, God bless the Chinese.

Hopin'.

White Plains, N.Y.,

June 15th., 1936.

Mr. Chas. John Brownell,
145 Garden Rd.,
Larchmont Gardens,
New York.

My dear Mr. Brownell:

Finished reading the first act of SKY HIGH and thought I would have the pleasure of seeing you before this to talk about same.

Being of Irish parentage I may lean toward a script like
that as it appeals to me. I am very partial to Irish plays, and
you have captured the spirit surely.

Tom reminds me so much of the Paycock in Juno And The
Paycock. Note what you say about changing the part of the colored
woman to Mona. I thought the colored woman much better, but it
would be difficult for us to cast that way I suppose.

Certainly would like to read the other acts when you
have finished same, and shall now give the act to Mr. Steele to
read as he has asked to do so hearing me praise it so.

Her Majesty The Widow is breezing along her merry way
and pleasing every one.

Let me hear from you at your convenience or better still
drop in on us some night while we are playing. We are in Yonkers
at the Saunders Trade School, Wednesday night and at the Senior High
School, New Rochelle, Saturday night.

Kindest regards to Mrs. Brownell.

145 Garden Road
Larchmont Gardens
New York
June 17, 1936

Miss Jane Broder
601 Times Building
New York, N. Y.

Re MISSIPPI RAINBOW otherwise called
NOTHIN' BUT TROUBLE

Dear Miss Broder:

This letter goes to you by registered mail.

Your production contract with me dated December 11, 1935 specifically provides that you shall produce the above play on or before June 11, 1936. It also provides that if you wish to extend the date of production, an additional advance royalty in the amount of Two hundred and fifty ($250.00) dollars should have been paid to me on or before June 11, 1936. The play has not been produced by you, nor has the additional advance been paid to me.

You are hereby notified that by reason of the aforesaid defaults all rights granted by me to you, as manager, by the production contract have ceased and terminated and all of such rights have reverted to me.

COPY

August 3-1936

Mr. George Kendolf
433 East Erie Street,
Chicago,
Ill.

Dear Sir:

Reading in this morning's New York Times that you were in need of scripts for the Federal Theatre I am taking the liberty of writing you to suggest you might possibly be interested in two of mine, THE NUT FARM and HER MAJESTY THE WIDOW. The Federal Theatre here in the east has been playing HER MAJESTY THE WIDOW for somemonths and it is still playing, two companies are on tour now. This comedy has repeated in several places and tonight is playing Yonker's for the third time. It rewuires nine people and one set, a colonial living room. My comedy, THE NUT FARM they will do later. This play was a great favorite in stock.

I also have a negro play, MISSISSIPPI RAINBOW that you might be interested in. It played Broadway and got rave reviews from the critics. It was then called Brain Sweat, an unfortunate title. I will gladly mail you a copy if you care to have me. My other two plays mentioned are handled by The Century Play Company., 1440 Broadway.

Sincerely yours,

LONDON

LOS ANGELES

TORONTO

SAMUEL FRENCH

FOUNDED 1830

25 WEST 45TH STREET
NEW YORK

INCORPORATED 1899

August 3, 1937.

Mr. John Charles Brownell,
Larchmont,
New York.

Dear Mr. Brownell:

The Federal Theatre Project in New York has just returned to me the manuscript of MISSISSIPPI RAINBOW which you delivered me some weeks ago for their State of Massachusetts Project. They had the script copied here in New York, and have returned to me one of their copies for your library. I take pleasure in sending this to you under separate cover, with your own script. I tried to get hold of another copy that we might keep at the office, but they didn't have another one to spare.

I asked the Federal Theatre people here to give me the latest word on the position of the play with regard to the State of Massachusetts, and they told me that they had only sent copies of the script up to Boston on July 30th. They didn't wish to run the risk of letting your script out of the New York office. I have asked them to let me know immediately they are in position to advise me concerning an opening date in Mass. When I have this word I shall immediately pass it on to you.

O/n

WORKS PROGRESS ADMINISTRATION
(ILLINOIS)

1319 SOUTH MICHIGAN AVENUE
CHICAGO, ILLINOIS
433 E. Erie Street

ROBERT J. DUNHAM
STATE ADMINISTRATOR

August 10, 1936

Mr. John Charles Brownell
145 Garden Road
Larchmont Gardens, New York.

Dear Mr. Brownell:

As you know, Mr. Minturn produced "THE NUT FARM" here, and it was quite successful. We feel that a revival of it in the Federal Theatre would not be to our advantage at the present time. I will write to Mr. Kane, of The Century Play Company, for a copy of "HER MAJESTY, THE WIDOW", as we have heard good reports on this production from other Federal Theatre units.

If there is any chance that the Broadway presentation of "MISSISSIPPI RAINBOW" will not materialize, or should it be available for a Chicago production, will you kindly send us a copy.

Thank you for your interest, and best wishes for the coming season.

FS/HF

Cable Madplay

L'Ackawanna 4-7480

RICHARD J. MADDEN PLAY COMPANY

in association with

A. and S. LYONS, Inc.

PARAMOUNT BUILDING

NEW YORK, N. Y.

AUGUST 25TH, 1936.

MR. JOHN C. BROWNELL,
145 GARDEN ROAD,
LARCHMONT GARDENS, NEW YORK.

DEAR JOHN;

I CANNOT TELL YOU HOW DEFINITELY
AND POSITIVELY DISAPPOINTED I WAS WHEN I GOT YOURS OF
THE 22D. I HONESTLY THOUGHT AFTER YOUR EXPERIENCE
WITH THAT LAST AGENT YOU HAD, WHICH APPARENTLY COST YOU
A TIDY SUM IN DOLLARS AND OTHER THINGS, MORE OR LESS
VALUABLE, YOUR RETURNING TO ME WAS AN INDICATION THAT I
COULD DO FOR YOU WHAT OTHERS COULD NOT AND FURTHERMORE
THAT YOU WOULD BE GUIDED BY ME IN YOUR BUSINESS AFFAIRS,
AS THEY AFFECTED YOUR WRITING. I FIND I WAS MISTAKEN.

I THOUGHT I SHOWED NO LITTLE FAITH
IN YOU WHEN I ACCEPTED FOR HANDLING, WHICH I DID PROMPTLY,
YOUR DONE-OVER COLORED PLAY, REALIZING THAT, AS I DID
BUSINESS, THE REAL FACTS AND HISTORY OF THE PLAY MUST BE
DISCLOSED AND POSSIBLY SERIOUSLY AFFECT ITS SALE. I
IMMEDIATELY INTERESTED TWO FOREMOST MANAGERS IN THE PLAY,
WHICH IS WHAT I CALL ACTION AND NOT ONLY THAT, I HELD
IN RESERVE AN OUTSTANDING IRISH PLAYER FOR THE CLANCY
ROLE. WHETHER MR. COHAN AND YOU AGREED OR NOT IS BESIDE
THE POINT BUT WHAT I WISH TO MAKE CLEAR IS THIS - THAT IF
YOU AND MR. COHAN HAD AGREED, IT WOULD COST ME A PRETTY SUM
IN ROYALTY BECAUSE IN NO SENSE COULD I COLLECT ON MR. COHAN'S
SHARE OF FEES BUT ONLY ON YOURS. THIS I WAS QUITE WILLING
TO DO BECAUSE I JUST THOUGHT IT WAS DAMN GOOD BUSINESS. I DID
THIS PRECISE THING ONCE BEFORE IN ALMOST AN IDENTICAL SITUATION
AND IT WAS A VERY HAPPY CIRCUMSTANCE, FINANCIALLY AND OTHERWISE.
PERSONALLY, I WOULD MAKE A HABIT OF IT, IF IT WERE POSSIBLE, SO
YOU SEE I WAS PINCHING MY OWN PURSE WHEN I WAS RECOMMENDING
THE DIVISION BETWEEN YOURSELF AND COHAN AS TO FIGURES.

AS FOR ESTELLE'S OPINION OF MR. COHAN
IN HIS LAST PLAY, I CERTAINLY AGREE WITH HER. I HAVE SEEN
MR. COHAN IN EVEN A WORSE PLAY AND I HAVE ALSO SEEN HIM IN
"AH, WILDERNESS". DID ESTELLE SEE HIM IN THAT?

London Office
CONNIES, Ltd.

Member of Incorporated Society of Author's Representatives

Coast Office
LYONS, McCORMICK & LYONS
CALIFORNIA BANK BUILDING
Beverly Hills, California

Cable Modplay

L'Ackawanna 4-7460

in association with

A. and S. LYONS, Inc.

PARAMOUNT BUILDING

NEW YORK, N. Y.

-2-

I MUST IN ALL FAIRNESS WAIT A DAY OR SO LONGER FOR MR. COHAN TO MAKE UP HIS MIND ALTHOUGH I TOLD HIM TODAY OVER THE PHONE THAT YOU WERE DEFINITELY OPPOSED TO ANY DIVISION OF ROYALTY.

WE STILL HAVE SAM HARRIS AND I SHALL NOT
JEOPARDIZE THAT OPPORTUNITY.

I HOPE TO READ THE NEW VERSION OF
"IT REALLY HAPPENED" TONIGHT AND I WILL LET YOU KNOW
WHAT I THINK OF IT.

YOURS SINCERELY,

RJM/R

London Office
CONNIES, Ltd.

2.

That fact, it seemed, could not be considered and we were
left suddenly without gas or electricity. Both were shut off
from the outside without warning. Considering the many years
I had dealt with the company I felt it was a tyrannical act.
It was indeed fortunate however that, with an aged invalid in
the house it did not occur in severe weather. I had that to be
thankful for at least.

To be in debt to the Westchester Lighting Company is distaste-
ful and distressing to me but I am not in a position to settle
it at the present moment. I hope and pray I may be able to do
so before very long.

May I ask, please, for a detailed accounting of my bill, gas
and electricity separate, crediting me with the fifty four
dollars I payed the latter part of May.

Sincerely yours,

October 19-1936.

Mr. Richard J. Madden,
Paramount Building,
Broadway,
New York.

Dear Dick:

In answer to an inquiry I received from Burns Mantle I ventured to ask him what his attitude would be toward a conversion of the negro play to an Irish play. Here is what he says: "I see no reason why conversion should seriously effect the entertainment quality of your comedy. You know that what audiences and critics are interested in is good, sane, reasonably intelligent stage entertainment. Give them that and I think they care very little about plot sources. Why not boldly make a publicity feature of it? Admit that everybody liked your comedy but few were interested in Negro comedy. Therefore you had turned it over to the Irish."

Long after BRAIN SWEAT closed Mr. Mantle wrote an editorial about it. I am enclosing it.

What do you think of Mr. Mantle's advice about, "boldly make a publicity feature of it."? I could, I think, write an interesting article about the idea of an author doing what I have done. I have been delving into the history of the theatre lately and I've discovered that Moliere, Scribe, Maeterlink, Victor Hugo and others sometimes re-wrote their own stuff three and four times. Dumas wrote a play called, "Idee de Madame Aubry" and it was mildly recieved. Later he wrote it again and called it "Denise" and it was a success.
Well, we have two of the leading critics who do not share the opinion of Mr. Gohan at any rate.

Sincerely,

John Charles Brownell

145 Garden Road
Larchmont Gardens
New York,

October 19-1936.

Mr. Sam Zalotow,
The New York Times Annex,
New York City.

Dear Sam,

Thank you very much for giving THE IMPOSSIBLE MR. CLANCY so much attention. You told me I would receive a letter from Mr. Atkinson and I did. A very nice letter, too.

In it he said: "if your play is announced as an Irish version of a colored play, I see no possible objections from the critical point of view."

And, further: "I should think that everybody would be interested in seeing what a negro play would look like when it is offered as an Irish comedy."

Recently, I received a letter from Burns Mantle requesting me to send him some data. I replying to him I ventured to ask him his opinion about the conversion. In a letter I received this morning he says: I don't see any reason why conversion would seriously effect the entertainment quality of your comedy. You know that what audiences and critics are interested in is good, sane, reasonably intelligent stage entertainment. Give them that and I think they care very little about plot sources. Why not boldly make a publicity feature of it? Admit that everybody liked your comedy but few were interested in Negro comedy. Therefore you had turned it over to the Irish."

I could, I think, write an interesting, perhaps an amusing article about the play. There seems to be quite some interest in it right now.

My best to you and thank you again for what you have done for me.

Sincerely yours,

Cable Madplay

L'Ackawanna 4-7460

in association with

A. and S. LYONS, Inc.

PARAMOUNT BUILDING

NEW YORK, N. Y.

OCTOBER 22d, 1936.

DEAR JOHN;

YOURS OF THE 19TH AT HAND WITH THE
CLIPPING. IT ONLY BEARS OUT WHAT I TOLD YOU AT THE
OUTSET THAT ANY SANE CRITIC WOULD NOT GIVE A DAMN
FROM WHAT SOURCE THE PLAY WAS AS LONG AS IT WAS
ENTERTAINING AND ALL THE OTHER VALUES THAT AN UP-TO-
DATE PLAY SHOULD HAVE. AS FOR THE BOLD PUBLICITY
THAT MANTLE TALKS ABOUT I THINK ONLY THAT WILL HAVE
VALUE WHEN YOU PLAY IS PRODUCED OR AT LEAST SOLD.

RJM/R

London Office
CONNIES, Ltd.

LONDON

LOS ANGELES

TORONTO

SAMUEL FRENCH

FOUNDED 1830

25 WEST 45TH STREET
NEW YORK

INCORPORATED 1899

December 8, 1936

Mr. John C. Brownell
145 Garden Road
Larchmont Gardens, N. Y.

Dear Mr. Brown:

We are in receipt of the following telegram
from the Federal Theatre Project in Chicago:

"AM INTERESTED IN JOHN CHARLES BROWNELLS MISSISSIPPI RAINBOW STOP WOULD LIKE TO HAVE PERMISSION TO PRESENT THIS AT PRINCESS THEATRE HERE UNDER FEDERAL THEATRE AUSPICES (signed) FRANCIS SHAW ASST TO GEO KONDOLF

I tried to get you on the telephone today at the above address but was informed your telephone had been discontinued. If you will, therefore, kindly telephone me immediately upon receipt of this letter, and let me know what you wish me to do about the above inquiry, I shall be pleased to follow your wishes. I might mention that the Federal Theatre Project has recently passed a ruling whereby the maximum royalty on future productions of plays is $50 per week.

fjs;of

LONDON

LOS ANGELES

TORONTO

SAMUEL FRENCH

FOUNDED 1830

INCORPORATED 1899

25 WEST 45TH STREET
NEW YORK

December 15th, 1936.

Mr. John C. Brownell,
145 Garden Road,
Larchmont Gardens, N. Y.

Dear Mr. Brown:

On December 8th I wrote as follows:

"AM INTERESTED IN JOHN CHARLES BROWELL'S MISSISSIPPI RAINBOW STOP WOULD LIKE TO HAVE PERMISSION TO PRESENT THIS AT PRINCESS THEATRE HERE UNDER FEDERAL THEATRE AUSPICES (signed) FRANCIS SHAW ASST TO GEO KONDOLF.

Won't you be good enough to let me have some word in the matter at your early convenience.

FJS:o:jn

John Charles Brownell

December 17-1936.

Mr. Richard Madden,
Paramount Building,
Broadway, New York.

Dear Dick:

Sunday morning, about ten o'clock, I gave vent
to a wild burst of demoniacal laughter. The startled
birds flew from the tree tops, the squirrels scampered
for their holes and my poor terror striken dog dived
hesitantly under the bed. Windows popped open all about
and anxious, frightened faces peered up and down the
street. Estelle fainted dead away and her mother fell
off her couch. The constabulary arrived in the neighbor-
hood finally but long before they appeared I had passed
into a coma.

into a coma.
Since I think you must be slightly curious concerning my
unseemly conduct I will inform you as to what occasioned
it. I had just read in the New York Sunday Times that
one, EDWARD DOWLING had teamed up with a slant eyed, red
headed hack writer who used to turn out (with the aid of
a regiment of clever people) successful musical comedies
from his lousy plays that had failed. You'd never guess
who I mean, of course.

who I mean, of course.
After creeping out of my coma I read further that Miss
Miele had just purchased another play, not mine, but by
this time I was too weak to do anything but giggle a
trifle insanely. The doctor said, "he must have suffered
a sudden terrible shock." "No", I managed to murmur in
a weak and trembling voice, "it was the sudden revelation
that lightning can and does strike twice in the same
place." Meaning of course that Eddie Dowling had gone in
cahoots with the only man in the world who had ever
caused me grief in the theatre. He of all men. Get my
point?

point?
Well anyhow and be that as it may, I have fully recovered
and am plugging away at the mother-in-law opus. Which has
developed a crazy streak. "Mother" has gotten completel
out of hand and is raising hell around the place.
I turned down the W.P.A. offer to produce BRAIN SWEAT

I turned down the W.P.A. offer to produce BRAIN SWEAT
which brings the number up to three now, one in Harlem,\-once in London and now Chicago.
"Is there no balm in Gilead, is there no physician there?"

"Is there no balm in Gilead, is there no physician there?"
Best regards and take care of yourself,

Sincerely,

LONDON

LOS ANGELES

TORONTO

FOUNDED 1830

25 WEST 45TH STREET
NEW YORK

INCORPORATED 1899

December 18, 1936

Mr. John Charles Brownell
145 Garden Road
Larchmont Gardens
New York.

Dear Mr. Brownell:

Thank you for your letter of December 17th. I am sorry indeed to learn that you have been ill, and hope that you will soon be up and around. Of course I shall be pleased to have you drop in to the office and have a chat when you are again feeling fit.

I do appreciate the position you take with regard to the inquiry we received from the Federal Theatre Project for the production of MISSISSIPPI RAINBOW at the Princess Theatre in Chicago, and I shall advise our applicant that it is not available.

With kindest regards I remain

Yours sincerely,

fjs;of

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JOHN CHARLES BROWNELL, SVCD NH=
28 424P
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AS PER MY WIRE DECEMBER TWENTY THIRD AGAIN SUGGEST TELEPHONE CONVERSATION WITH YOU TO EXPLAIN IN DETAIL OUR PLANS MISSISSIPPI RAINBOW HERE AND POSSIBLE USES ELSEWHERE THIS REGION AND POSSIBLE EVEN IN FAR WEST STOP BECAUSE OF INTRICATE WPA SETUP FEEL SURE I CAN COVER THIS

SATISFACTORILY ONLY VIA TELEPHONE HENCE URGE YOU TO WIRE ME WHERE YOU WILL BE AT EIGHT TO NINE TOMORROW TUESDAY EVENING FOR DIRECT STATION PHONE CALL TO YOU. ADDRESS. ME FEDERAL THEATRE PROJECT FOUR THIRTY THREE EAST ERIE STREET=

GAORGE KONDOLF DIRECTOR FEDERAL THEATRE PROJECT.

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WORKS PROGRESS ADMINISTRATION
SPONSORED
FEDERAL PROJECTS

433 EAST ERIE STREET
CHICAGO, ILLINOIS

PHONE: DELAWARE 1123

January 11,

1937.

Dear Mr. Brownell:

I have avoided writing you as I have explained in my various wires, because I felt it was impossible to do justice to the situation in a letter. However, if telephoning is unsatisfactory to you, I will try very briefly to answer your questions regarding the possible production of MISSISSIPPI RAINBOW by us.

First of all, it is impossible for us under Government sponsorship to actually guarantee a certain number of playing weeks to any author. An exception was made in the case of Sinclair Lewis for IT CAN'T HAPPEN HERE, but it was extremely difficult and complicated to negotiate that arrangement, and Mrs. Flanagan, the National Director, is not inclined to attempt that again, except possibly for another exceptional situation of that kind.

I was most interested in MISSISSIPPI RAINBOW (and still am for that matter) for production in Chicago. I was so interested in it that I recommended it very highly to the other four Regional Directors in a recent Washington Conference. I believe that, following its Chicago production, I could sell it to the other Regional Directors for the various other Negro units in the country. I have discussed this possibility in some detail with these Directors, and their reaction has been most favorable. However, they naturally do not want to consider its production seriously until they know whether or not it may be available under our royalty terms.

We have been particularly fortunate in Chicago in getting very long runs for our productions. We recently completed twenty weeks run of the Martin Flavin comedy, BROKEN DISHES, at the Blackstone Theatre. IT CAN'T HAPPEN HERE followed that production in the Blackstone. It is now in its twelfth week, and we plan on running it for several more weeks. O SAY CAN YOU SING, an original musical Revue, recently opened at the Great Northern Theatre here. That Revue is now in its fifth week, and we are planning to run it for a total of possibly twenty weeks. Following that run here, it is our intention to tour it nationally, and eventually come into New York for a run.

Mr. Brownell

- 2 -

January 16, 1937

We have only recently leased the Princess Theatre.
The Princess Theatre, as you may know, was, until recent years, the home
of the Theatre Guild and their subscription audiences. The theatre was
finally given up by the Theatre Guild because in the general shedding of
leases by both the Erlanger and Shubert interests here, the independent
and privately owned houses, such as the Princess, were naturally dropped
first. I believe the Guild and American Theatre Society, which furnishes
part of the attractions to the Guild subscription audiences here, were
perfectly satisfied with the results they obtained at the Princess.
Following the relinquishing of this house by the booking interests, the
Princess has been kept more or less constantly booked with special foreign
pictures. It is my opinion, and the opinion of most of the Chicago show-
men, that the Princess is one of the best houses in Chicago. I personally
feel it is quite as good as our other two houses, the Great Northern or
the Blackstone, both of which are being very successfully operated at the
moment.

Our Negro unit has developed remarkably in the past
several months. I think it very closely approaches in personnel ability
the Negro unit in New York which produced MACBETH so successfully. I had
originally planned on using MISSISSIPPI RAINBOW as the opening attraction
for the Negro unit in the Princess. However, since we have not yet been
able to come to terms on that play, we are now planning to open a new play
produced by one of our best white units there within the next several
weeks. Hence, MISSISSIPPI RAINBOW would follow that attraction - assuming
for the moment that we can get together on terms, etc.

I would expect, based on our past long run records, to
run MISSISSIPPI RAINBOW for a minimum of eight weeks - and possibly for
fifteen or twenty weeks. I feel, incidentally, that we have a particularly
good cast for this play.

I find it difficult to answer your question as to whether
or not all the actors would be 100% professional. Our requirements here
compel us to use at least 70 to 80 percent of "professional actors" but
that definition of "professional" is a fairly involved one, and is based
on a compilation of our professional standards together with Equity's,
A.F.A.'s, etc. Obviously, the young people of the theatre by their very
youth, can not have had enough experience to be as "professional" as older
but quite possibly considerably inferior actors. However, this situation
is quite as true on Broadway as it is in the Federal Theatre in Chicago.

Mr. Brownell

- 3 -

January 16, 1937

The play will be advertised as fully as any other production we make here. We do not spend quite as much money in the newspapers as the regular touring attractions, but I believe we come very close to their budgets in all outdoor advertising, and in the use of heralds, etc.

If you would care to assist at rehearsals it would be quite possible to assign you on a salary for that period.

As you probably know, our royalties have been pretty definitely set as $50.00 per week. However, a new royalty schedule has recently been worked out, which would apply to the Chicago production and all other productions of the play. This is as follows:

$50.00 per week for the first 3 weeks; $75.00 per week for the next 3 weeks; and $100.00 per week for every week thereafter. Those increases, according to our tentative production plans, would work out most advantageously to the author for the Chicago production at least. In the smaller Negro units throughout the country, however, a run of 2 to 4 or 5 weeks would usually be the limit.

As you know, Sinclair Lewis was only paid $50.00 per week, regardless of the length of runs anywhere. Incidentally, I believe we eventually will run the play for a total of at least 100 weeks - possibly much longer.

As I may have told you, I am tentatively planning to have Harry Minturn direct this production. Minturn has been operating the Blackstone Theatre here with great success, and I believe could do the best possible job on MISSISSIPPI RAINBOW. I know you must know him through his production of your play THE NUT FARM here in Chicago.

It may interest you to know that we worked out for Chicago, and the mid-west and south at least, a very satisfactory and similar arrangement with Martin Flavin for the production of his new play AROUND THE CORNER. We were unable to positively guarantee him any definite number of weeks for this production. However, we plan in the mid-west and south alone to produce the play for a minimum of approximately 25 weeks. We actually expect, however, to play it for a considerably longer week total than that.

Mr. Brownell

- 4 -

January 16, 1937

PHONE: DELAWARE 1123

I hope I have satisfactorily covered in the above all the points you have asked about. If not, I will be glad to write you further.

I do wish in making your decision that you would bear in mind the fact that I am personally most interested in the play, and feel we could "sell it" for a considerable Chicago run. Mr. Minturn has the same feeling of enthusiasm for the play and its production here, as do the entire unit personnel who would play it and work on it. Because of these favorable auspices, and for your own sake, I would personally advise that the production be made here first. On the strength of its success here, I feel fairly certain that it could be sold very easily, if you wanted to sell it, to the other projects throughout the country in the way I have briefly outlined above.

I hope I may hear favorably from you at your earliest convenience.

rjl

John Charles Brownell, Esq.,
145 Garden Road
Larchmont, N. Y,

January 11th-1937.

Mr. Fran J. Sheil,
Samuel French,
25 West 45th Street,
New York City.

Dear Mr. Sheil:

Please find your letter of Acceptance
signed by me. I have written Chicago accepting their
terms, given Mr. Kondolf what I think is valuable.
information concerning the play and I am sending him
photographs of Billy Higgins, Andrew Tribble and Rose
McClendon, thinking they might be helpful. I shall
try in every way to be helpful without of course
encroaching on the director. I have a feeling that
Mr. Kondolf, who tells me he likes the play very much,
will give it a much better production than did the
producers in New York. I wish to thank you for your
co-operation with me.

The little story you told me about your grand child
impressed me greatly and I have written some verses
about him. Unfortunataely I am no Eugene Field. What
he could have done with the little story. With kindest
regards I am,

Sincerely yours,

January 22-1937.

Mr. George Kondolf,
Works Progress Administration,
433 East Erie Street,
Chicago, Ill.

Dear Mr. Kondolf;

I read your very enlightening letter with great interest. I am pleased to know about the Princess Theatre. I shall, in a day or two be able to give you a definite answer. Meanwhile, for your information I think it might be well to tell you a few things about the New York production of the play. With the exception of two characters, "Flatfoot" and "Henry" you will have little difficulty in casting it better than it was cast here.

Billy Higgins was, on the Monday night preceding the official opening, superb. He and Andrew Tribble as "Flatfoot" were delightful. They simply captured the sophisticated audience the producers had invigorated and kept it in gales of laughter.

Mr. Higgins should have been kept in captivity after that performance. Unfortunately he was permitted to go home to Harlem and his "friends" took him over. What happened was lamentable. After a night spent in celebrating the poor man was ruined for doing anywhere near his best on opening night. His big, rolling voice was gone. It was weak and husky and his playing so full of light and shade on his first performance was, so bubbling over with joyousness was wabbly and uncertain. His fellow players were in a panic as to what he might do and the show suffered.

On the day of the opening Higgins was under the care of doctors. During rehearsal, the entire company headed by Rose McClendon begged the producers to postpone the opening. They were wise but the producers would not listen. As a result the opening was scarcely fifty per cent of the first performance. The first act dragged pitifully. So much so that Gabriel the critic got up and left in the middle of it, went to his typewriter and panned the show; the only critic who did. However, despite the poor showing at the opening the show got over and I was happy.

Then the bank controlling the theatre refused to co-operate with the producers. They demanded fifteen hundred dollars a week and no less. The producers offered the bank's representatives, two inexperienced bank clerks, four thousand dollars in advance for four weeks. This offer was refused. The producers then offered them forty eight hundred dollars for four weeks, cash in advance. This offer was refused. There upon, one of the two producers incensed at their stupidity walked out of the room, went back stage and closed the show that night. It was done in a fit of

John Charles Brownell

145 Garden Road
Larchmont Gardens
New York.
January 26-1937.

Mr. George Kondolf,
Federal Theatre Project,
433 East Erie Street,
Chicago, Ill.

Dear Mr. Kondolf:

I accept the terms stated in your letter of January the eleventh for the production of my play, MISSISSIPPI RAINBOW in the Princess Theatre and I have informed my agents, Samuel French Company to that effect.

In regard to my salary for assisting at rehearsals and my expenses to and from Chicago and during rehearsal period I will wait to hear from you. I am now able to listen over the telephone should you desire to call me. My telephone number is, Larchmont 2218.

Sincerely yours,

WORKS PROGRESS ADMINISTRATION

FEDERAL THEATRE
433 E. Erie St.
Delaware 1123

PRINCESS THEATRE
319 South Clark
Chicago, Ill.

February 23, 1937

Dear Friend:

Your name has been given me by a mutual friend who assures me that not only are you alive to all things cultural and entertaining, but that you are also keenly interested in everything which will lift the general level of our people. I am writing you of a new and very important way which has been opened - a way towards understanding and appreciation.

The Negro is a potential Artist. Ours is a heritage of age-old wisdom, blazing suns and tropic colors which has been distilled and purified by the years of suffering and pain and privation. There others have despaired we have hoped; out of broken hearts have come songs; tears have been dried for laughter.

"MISSISSIPPI RAINBOW": It's the name of the play with which we are opening the Princess Theatre. Say it over to yourself. Can't you picture that deep, wide, muddy river turning all crimson gold beneath the bow of promise? Doesn't it mean something to you? We searched the country for a play which would bring just the quality of this comedy-drama-a play of hope and happiness woven in the colors of rich emotions and human understanding.

This is your play, presented at your theatre. The Federal Theatre is offering to our people unlimited opportunities for artistic expression. The theatre is the component of all the arts. Here we may bring gifts of Music and Drama, but more. In the building of our scenery and staging, we also use Architecture, Painting, and even the plastic art of Sculpturing.

We want you to present this opportunity to your clubs. Tell them what we are doing. Tell them that our young people here have the opportunity of development. Let them know that the first week in March we are opening with "MISSISSIPPI RAINBOW". Come and see your friends in a play which will send you away with a smile on your lips and an IDEA in your HEAD.

MISSISSIPPI RAINBOW!

SG/lm

New York.

March 28-1937.

Miss Shirley Graham,
The Princess Theatre,
319 South Clark Street,
Chicago, Ill.

My dear Miss Graham:

Our letters crossed it seems.

I am afraid I cannot answer your letter satisfactorily until I know more about the producer who approached you and who wishes his name witheld.

If, after the play closes at the Princess I should decide to accept an offer for it from a producer I, as a member of the Author's Guild would have to have an Author's Guild contract. As a guarantee of good faith I would be obliged to demand five hundred dollars advance royalty. The terms would be: five per cent on the first five thousand, seven and a half on the next twenty five hundred and ten per cent over seventy five hundred.

The producer would be obliged to give the play seventy five performances before he would be entitled to forty per cent of any sum obtained for it in pictures.

Any producer unwilling to accede to these terms I would be unwilling to do business with.

I have even rejected these terms once because I did not have proper faith in the producer who offered them.

My decision was completely justified later on. I would have let myself in for a great deal of grief as an author always does who sells to the wrong kind of producer.

This is all I can say for the present. With kindest regards to you, Miss Martin and all the boys and girls in the theatre I am,

Sincerely yours,

April 4-1937.

Miss Shirley Graham,
The Princess Theatre,
319 South Clark Street,
Chicago-Ill.

Dear Miss Graham:

Bleak and cold here today; depressing.

How is the weather in Chicago and how are things going?
Please don't forget my photographs, will you. And those
I gave Lou of the New York cast.

Would it be possible do you think to get a script of
the play as it is now being played with all the new
lines I put in and the new curtains? It would mean
short hand work of course. But, later on such a script
would be valuable as there are many laugh lines that
the book does not contain.

As I wrote Mr. Art Smith should the show go on the road
I heartily approve of you being company manager.

Do drop me a line. With kindest regards to you and Miss
Martin I am,

Cordially yours,

PRINCESS THEATRE

319 South Clark

April 8 1937

My dearest Mr. Brownell:

I have delayed answering your letters until I could give you more definite news. First, Mr. Rule, the producer of whom I wrote you, has probably gotten in touch with you. I relayed to him the business contents of your letter. He obtained your address and said that either he would write you or have a New York representative contact you.

Mr. Smith did receive your manuscript, but as yet no changes have been made in the production of "MISSISSIPPI RAINBOW" as you last saw it. As you know, Mr. Smith is cast at the Blackstone Theatre. For the past two weeks the responsibility of carrying on "our" play has been mine alone. However, you need not fear. The performance is consistently good. I am conducting a second cast rehearsal three times a week, so that the problem of understudy is solved. I talked yesterday with Mr. Smith regarding the changes, which I understand still are to be made. He said he would write you himself and explain just how tied up things have been, and how impossible it was to push these things through any faster.

Under the circumstances I am supposing that you would not want a script of the First Act as it is now being done, so I shall wait until, and if, your new lines are inserted. I have not myself had any opportunity to see this new manuscript. Mr. Smith turned it over to somebody; and he turned it over to somebody else. I did not even know he had received it.

Repeated telephone calls bring me the information that the new pictures of the cast will be ready today. I have the photographs which you left with Lou, and will mail them to you under separate cover just as soon as I can get a hold of a few of the new ones. I need not tell you that these delays are almost as maddening to me as to you, but there is nothing we can do about it. The play goes on, right on the minute each night. Rest assured that I am keeping my promises.

New York.

April 25-1937.

Miss Shirley Graham,
Princess Theatre,
319 South Clark Street,
Chicago-Ill.

My dear Miss Graham:

Please forgive me for not answering your good letter sooner. I have neglected everything and everybody for my new play, HIS WIFE'S MOTHER. I put the tag on it yesterday and, if nobody likes it-I like it. So there!

Your Mr. Rule has not yet written me. Guess my terms he thought too stiff.

Now I wonder if the changes have been made in the script and a new script made? I have received one short letter from Mr. Melvin Taylor. He threatened to make the changes and, "looked forward" to receiving a copy of HIS WIFE'S MOTHER. Not a word from anyone else-not even Mr. Smith. Last week's VARIETY said this:

MISSISSIPPI RAINBOW doing well by fine word of mouth.

Is this true? The notice pleased me of course but, is it on the up and up?

VARIETY also said that THE LONELY MAN had run into difficulties.

I am glad you are in charge at the Princess and to have you say the performances are consistently good. They would be with you at the helm if you don't mind my saying so.

Many thanks for the photographs but can't I have more???
How much longer do you think the play will run? Forever
I want you to say. How I would like to stroll into your
office and sit down for a talk with you and Miss Martin.
She promised to write me but I am still waiting for the
letter. A dear soul.

Have you been obliged to use any of your under studies?

What a lot of questions I am asking.

Please remember me to Miss Martin and the folks back
stage. A fine group of troopers. And please write me soon.

With all kind wishes,

Sincerely,

April 25-1937.

Mr. Frank J. Sheil.
Samuel French,
25-West 45th Street,
New York City.

Dear Mr. Sheil:

The following appeared in last week's

VARIETY.

MISSISSIPPI RAINBOW doing well at the
Princess by fine word of mouth.

I recieved a letter from Miss Shirley Graham in charge
at the Princess and she told me a complete cast of under
studies were being rehearsed.

The play is now in its 8th week and we should have recieved
a month's royalty three weeks ago according to Kondolf.

It was to have been payed every month. Wouldn't it be a
good idea to jack them up a bit?

Sincerely,

John Charles Browell
145 Garden Road
Larchmont Gardens
New York.

April 25-1937.

Mr. Peter Stroth,
Room 6123,
Merchandise Mart,
222 West North Bank Drive,
Chicago-Ill.

Dear Mr. Stroth:

There was some money coming to me when I left Chicago which was to be sent to me by money order. I have not received it. Nor have I received any royalty as yet for the seven weeks MISSISSIPPI RAINBOW has been playing at the PRINCESS though I imagine you have nothing to do with this. Thanking you for a reply I am,

Sincerely yours,

PHONE: DELAWARE 1123

May 5, 1937.

Dear John:

I am looking forward with great interest to reading your new comedy, HIS WIFE'S MOTHER. Do send it on immediately. We are in dire need of just such a comedy for the Unit at the Blackstone. THE LONELY MAN opens there next week, under Bob Milton's direction, etc. However, the engagement of that play is limited somewhat by contract, inasmuch as Milton wants to get it to New York early next season.

MISSISSIPPI RAINBOW still continues, but grosses have never built beyond the few-hundred-dollar-a-week level of the early days. However, everyone seems to like the play enormously, and Harry, Art and myself all still remain true to it. Regardless of the critics, we still feel it is a grand show, and are all proud to have done it.

We are thinking it may be an excellent "road" vehicle for the small towns in the neighborhood of Chicago, assuming we can get bookings, etc., and we may route it there following its Princess Theatre engagement; however, the Princess engagement is still indefinite.

Royalties are paid directly from the New York Office, each thirty days. I suggest that you or Samuel French contact the New York Office. I can give you that office phone number, etc., but I think you will do better by having French follow it up with the actual person in the New York Office who made the contract. Will you proceed along this line, and if you run into any further delay, do let me know, and I will try to blast things loose for you.

Everyone here sends kindest regards. We all hope HIS WIFE'S MOTHER will be on our production schedule shortly, and hence, will soon see you here, as part of it.

John Charles Brownell
145 Garden Road
Larchmont Gardens
New York.
May 7-1937

Mr. Frank J. Sheil,
Samuel French,
25-West 45th Street,
New York City.

Dear Mr. Sheil;

Thank you for your letter of April 29th.
I receivrd a letter from George Kondolf this morning.
He says:

"Royalties are paid directly from the New York Office, each thirty days. I suggest that you or Samuel French contact the New York Office. I can give you the office phone number, etc., but I think you will do better by having French follow it up with the actual person in the New York Office who made the contract. Will you proceed along this line, and if you run into any further delay, let me know, and I will try to blast things loose for you."

He also says:

"MISSISSIPPI RAINBOW still continues......
Everybody seems to like the show enormously...
We are proud to have done it and we are thinking
it may be an excellent vehicle for the small
towns in the neighborhood of Chicago assuming
we can get bookings etc., and we may route it
there following its engagement at the Princess.
However the Princess engagement is still
indefinite."

Well, this is the 9th week and they are five weeks behind.
I'm glad to know you're going to hop on 'em. With kindest
regards I am,

Sincerely,

New York.

May 7-1937

Mr. George Kondolf,
Federal Theatre Project,
433 East Erie Street,
Chicago-Ill

Dear George:

Your cordial letter arrived and I was very glad to hear from you. Also to know you are interested in reading HIS WIFE'S MOTHER. I am sending you a copy today via Railway Express.

It looks bulky but I typed it on thick paper. It should, I think, play very fast.

Funny thing about the steam coffee pot of which I have made a drawing. Charles & Company are experimenting with the idea at the present time.

I am sorry the colored play has not built up the way I thought it would. Perhaps the public just don't want colored plays but those who came always left the theatre praising it and apparently happy.

I have yet to receive a royalty check although this is the ninth week. The New York office advised French to get in touch with Chicago. I will relay to French what you have told me.

I wrote Mr. Stroth April 25th about some money that was due me but I have not heard from him.

Kindest wishes to you all,

Sincerely,

PRINCESS THEATRE
319 S. CLARK ST.
Chicago, Illinois.

May 10, 1937.

Mr. John Charles Brownell,
144 Garden Road,
Larchmont Gardens, New York.

My dearest Mr. Brownell:-

"Mississippi Rainbow" is still going, but it would seem that our
time here at the Princess is drawing to a close. I am writing
you in haste to find out the possibility of the show going in
tact into a South Side Theatre for a week's run. The Theatre
now considering it is one in the Balaban & Katz chain. The
manager has approached me on the subject. We would have to give
at least two performances a day. A picture would be run in be-
tween. I would like to give the people a chance to make a little
money, and I am sure that I could arrange for their release from
the project for that week. What would your royalties be? They
are putting the entire responsibility on me to arrange it, if
this week's showing is possible. The chances are, that this week
would be in the first part of June. I think myself, it is a good
plan.

My chorus is broadcasting over "W.L.S." Saturday at 11:00. I
think we will do a National broadcast on May 24th, I will let you
know about that later.

With every good wish, I am

SG/W

PRINCESS THEATRE

319 South Clark

May 12 1937

My dear Mr. Brownell:

It just happens that this is a particularly trying morning and I should
perhaps delay writing you. Still I think there are some things that
you do not realize. First, I must say frankly that I do not feel
responsible for what all the members of my race do, and certainly I feel
no responsibility for what the Negroes in Chicago do since I do not
personally know one half dozen of them.

As supervisor of this theatre I have left nothing undone to push your
play and as you read in "Variety" and from Theodore Ward's letter, the
attendance has consistently increased. Since you left here, I do not
think that either Mr. Art Smith or Mr. Taylor has seen a single
performance. Both of them have been entirely occupied with other
matters. I am the one who has held all the rehearsals, worked with the
understudies, attended to all the supervising of the Project, and had
the full responsibility for keeping things going.

I wrote you that there had been no changes made. I have seen no new
script nor has any new lines been added to the play. I am working here
twelve and fourteen hours every day. This is, however, my job and I am
not making any particular complaints about it. However, I make no
apologies. I am only one person.

Perhaps both of us take some of these things to personally. Both of us
are trying to break new soil and I think you will agree with me that
such a task is difficult. You and I agree perfectly that "Mississippi
Rainbow" is a great play, and I know it is going places, but all really
good things have to bide their time. We are not going to fall out over
that. Hope you will get this way soon.

SG/lm

PHONE: DELAWARE 1123

May 13, 1937

Dear Mr. Brownell:

Your letter to Mr. Kondolf has been turned over to me, since
Mr. Kondolf is heavily involved with the production of
THE LONELY MAN, scheduled to open this coming Sunday night.

I cannot understand why you have not received your royalty.
The contracts were made by the New York Play Policy Board
and they are the only ones who can put through the necessary
requisition to secure payment. The Chicago Office did not
enter into the negotiations in any way, except to make the
original request for a contract. French certainly has a
copy of the contract so it should be an easy matter for them
to get in touch with the proper person - the person who
signed the contract.

The business on MISSISSIPPI RAINBOW picked up last week,
largely due to the special rate tickets which we are using
at the present time. Last week was the second best week
of the run and this week starts out as if it would beat that.
I have seen the show several times lately and can assure you
that the performance has not dropped one iota - even with the
small houses, the actors have kept their performance up to
opening night perfection. The audience continues to enjoy
the show, but it seems that the public just will not buy a
play with a negro cast.

I hope you get the royalty matter straightened out soon.
If you do not, let me know, and I shall try to follow
through with the Play Policy Board from this end.

May 13-1937.

Mr. Burt Jacobi,
The Princess Theatre,
519 South Clark Street,
Chicago-111.

Dear Burt:

Severl weeks ago I sent a copy of my play,
A SMART WOMAN to your friend Mr. Hanney of the Great
Northern. I sent it Railway Express. I also wrote him
that I had sent it. No word came back and I wrote him
again. More silence. "Tain't right, Burt. "Tain't on the
up an' up so it ain't.

So I am writing to you who are a business man to ask you
if you will do something about it. Interest in the play
has awakened here in the play in a certain quarter and I
need another copy badly. Please contrive to see Hanney
for me.

I missed you around the theatre after you left. Our little
bouts of repartee. I shall be ever so grateful to you if
you will speak to Mr. Hanney. I'll even bribe you. When I
get up to Vermont I'll send you some Vermont Maple Sugar.
How's that? With kindest wishes I am, .

Sincerely yours,

New York.

May 13-1937.

Mr. George Kondolf,
433 East Erie Street,
Chicago-Ill.

Dear George:

Dear George:

I meant to have wired you yesterday wishing
you success with THE LONELY MAN but I was called to New
York and I forgot it completely. Please accept my belated
good wishes for a successful run.

Dick Madden phoned me to come in and talk about
HIS WIFE'S MOTHER. He likes it and thinks it has
commercial possibilities if the right woman can be
found to play KATE. He wants me to trim down the second

 Dick Madden phoned me to come in and talk about
 HIS WIFE'S MOTHER. He likes it and thinks it has
 commercial possibilities if the right woman can be
 found to play KATE. He wants me to trim down the second
 act before having it professionally typed. I agree with
 him that it does run long and I shall get to work on it
 at once. He thought Alice Brady would be interested but
 at present she is tied up in pictures.
 I did not tell him you had first call on it, preferring

I did not tell him you had first call on it, preferring
to await your reaction.
I called on French. No royalty in as yet but the office

I called on French. No royalty in as yet but the office
wrote French a very nice letter promising to speed up
the matter. Mr. Sheil is pleased to know that you think
of taking the play on the road.
Miss Graham wrote me on May 10th that she wanted to

Miss Graham wrote me on May 10th that she wanted to
place the play in a South Side theatre for a weeks run.
I wrote her that she would have to consult you about it.

Sincerely,

May 16, 1937.

Dear John;

My daily calendar pad has almost weekly notations, or memos, with the legend, "write Jno. B.", but that's as far as it ever got. I've been both too lazy and too busy to write. I've rehearsed four short plays with amateurs and am now in the midst of helping out with a production of "H. M. S. Pinafore". And like boloney, no matter how you slice them amateurs are still amateurs and to work with them is work.

But the end of this week will finish this job and I may have a breathing spell, again, and if I do we'll have to have a get-together again.

I believe Casey & Liddell are out in California. At least I was told so about a month ago. I've had my nose so close to the grindstone I've been out of touch with almost everyone.

How is it by you? Any new masterpieces? Any new strokes of fortune without the prefix "mis" in front of them? I certainly hope so. How is Estelle, and that dear gentle old lady, her mother? And how are you yourself?

Overlook my long silence, old scout, and let me hear from you.
Then, if there are no handicaps in the way, maybe we can have a June
reunion.

Give my love to Estelle.

As always,

329 East 50th. St.
N. Y. City.

ELdorado 5 - 6694

when you don't have a "particular trying morning." My best to you as always and please remember me to the cast.

Sincerely,

P.S. May I ask you to send me the reviews on THE LONELY MAN. I would greatly appreciate this.

They should have. Those boys and girls in Chicago with
very little experience put it all over the New York cast.
Of course this was greatly due to the very expert direction
of Art Smith and the very helpful suggestions of George
Kondolf and Henry Minturn. And perhaps the author did help
a little. But-there wasn't one member of the cast who did
not take direction knowingly and-cheerfully. Not one who
wasn't eager to do his or her best.

I believe the Negro deserves a theatre but when a highly
educated member of the race makes the statement I have
quoted verbatim -well-what would you think?

Thank you for sending on the papers which I am returning
signed.

French has written the New York office. They promise to
pay some of the royalty soon. Thanking you for all past
favors I am,

Sincerely yours,

BLACKSTONE THEATRE UNIT
WORKS PROGRESS ADMINISTRATION,
FEDERAL THEATRE PROJECT (27-1)

Blackstone Theatre
60 E. Balbo Avenue
Chicago - Illinois.

May 17, 1937.

My dear John:

A thousand apologies for not answering
your very nice note, but I have really been out about three
weeks ill with the "flu", so I have kind of neglected some
things.

George tells me you have sent him a new play,
but I have not had the pleasure of reading it, as yet.

I want to tell you how much I enjoy knowing
you, and working with you while you were here, and, as always,
I think you are an excellent playwright. As soon as I am able
to obtain your new script and read it, will have a chat with
George and see what can be done about it.

The fact that "Mississippi Rainbow" has not
shown better box-office than it has is not due at all to the
play, but rather to the peculiar conditions and the wrong form
of publicizing.

I hope you will forgive the tardiness in this
reply, and be nice and write me again, and I promise to be more
prompt in answering the next time.

With very best regards to yourself and wife, I am,
as always,

Cordially yours,

BLACKSTONE THEATRE UNIT
(27-1) - WPA.

HM-BH

New York.

May 21-1937.

Dear George:

French called up this morning about the
royalty due on MISSISSIPPI RAINBOW. They got in touch
with the New York office and were told that the payments
would have to come from Washington and it might take
some time. This is pretty disheartening.

In a very nice letter from Mr. Spindler he said: "I hope
you get the royalty matter straightened out soon. If you
do not, let me know, and I shall try to follow through
with the Play Policy Board from this end."

According to contract I was to have been payed every
month but eleven weeks have gone by without a penny being
payed.

In view of the fact that W.P.A. used my play THE NUT
FARM without paying me anything for it I think I deserve
better treatment. They played it three months.

I know how busy you are and I hate to bother you but
the thing isn't fair. It's sloppy business.

Harry wrote me that you had received HIS WIFE'S MOTHER.

With all best wishes I am,

Sincerely yours,

New York.

May 21-1937.

Mr. Frank J. Sheil,
Samuel French,
25 West 45th Street,
New York City.

Dear Mr. Sheil;

The amount due in royalty on MISSISSIPPI
RAINBOW from Chicago up to and including May 22nd is
$875.00

1st 3 weeks at $50.00 --- $150.00

Next 3 weeks at $75.00 --- $225.00

Next 5 weeks at $100.00 --- $500.00

$875.00

They start the 12th week next Sunday, May 23rd.

Since both Mr. Kondolf and Mr. Spindler requested me to
write them if the royalty had not been payed I have done
so.

I shall be compelled to make the new script myself but I
can do it by tearing one of the old ones apart and injecting
the new stuff. If we wait for Chicago to do it there will
be snow on the ground.

Sincerely,

The Associated Negro Press, Inc.
National News Service
3507 SOUTH PARKWAY
CHICAGO

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RADIO

ARTHUR M. CARTER
WASHINGTON, D. C.

PHONE OAKLAND 6400

May 26, 1937

Dear Mr. Brownell:

"Mississippi Rainbow" is truly remarkable in its life-like portrayal of Negro idiom and dialect. It seems almost impossible that a Vermonter could have grasped the racial expression of so many of us so completely, without considerable exposure to Negro life.

I am interested because it occurs to me that you may have done something which might serve as a vehicle for Miss Etta Moten, whose press book comes forward to you under separate cover. A graduate of Kansas University School of Fine Arts, she has been in three Broadway shows...well, the book will describe her experience.

I spent some time in Hollywood a year ago, and through my contact with the Will Hays office, I was able to meet some interesting people in the industry. I have a feeling that the time is nearer ripe for an all-Negro production than ever before, or at least for a production in which Negroes may be able to do more than the conventional comedy parts.

I am wondering if you have done anything in Negro life, which might offer an opportunity to exploit Miss Moten's talent? Either through my own efforts or those of her manager in Hollywood, I would like to present such an idea if you have anything of the sort at hand. Incidentally, one of the studios has been thinking of presenting an all-Negro musical, on which she has been approached.

I'll be glad to have your reaction to the idea.

CAB:fb

Encl: press book follows.

LONDON

LOS ANGELES

TORONTO

SAMUEL FRENCH

FOUNDED 1830

INCORPORATED 1899

25 WEST 45TH STREET
NEW YORK

May 27, 1937

Dear Mr. Brownell:

Your letters of May 19th and 21st duly re-
ceived. As I advised over telephone yesterday,
the Federal Theatre submitted to us corrected
invoices covering the production of MISSISSIPPI
RAINBOW in Chicago, and we executed and returned
these to them yesterday. We are keeping after
them on these royalties and hope that we shall
be able to tell you very shortly that the money
has been received.

I can appreciate how annoying it is putting
up with this delay on the part of the WPA, but
it seems to be a regular thing whenever you have
business dealings with the government.

I am pleased indeed to learn that you have
written a new play, and I should like very much
to have a script for reading whenever you are
able to send it on.

Thanks for sending me the poem by Ogden
Nash which gave me quite a giggle. I have had a
typewritten copy made and return the original
herewith.

With kindest regards, I remain

FJS/OGS

PRINCESS THEATRE

319 South Clark

June 5 1937

My dear Mr. Brownell:

The past two weeks have been frightfully busy for us all here at the
Princess. After our long run suddenly illness struck our cast. One
matinee Henry was suddenly taken ill and I had to go out to his home
to give him all sorts of first aid treatment in order that he could
return that night. A few nights later, Angie collapsed after the
curtain fell. I knew she was ill when she went on, but she managed
to finish. However, I had to call an emergency rehearsal for an
understudy to go in. Angie is now on the road to recovery and we
hope will be back next week. The past week Jake went under and we had
to put an understudy in for two nights. So you can imagine that I
have been busy.

I did get Mr. Kondolf's secretary for a special line rehearsal when
she took down all the scenes which had been changed. I am sending
you a copy of his manuscript. This, of course, does not include
the scenes which are played as in the original.

Right now we are in the midst of getting ready for our summer run.
Everybody agrees that "Mississippi Rainbow" is too good to close,
and plans are being made whereby a greater number of people will be
reached during the summer.

I am broadcasting a program again on June 12th at 11 o'clock (Chicago
Daylight Saving Time). We have had several very good breaks on the
air lately.

Don't think we have forgotten you. It's been necessary for me to
concentrate every bit of energy in making things go right, and we
have done that. Our curtain continues to go up every night "on the
mark". Everyone sends kindest regards and very best wishes.

after reading the reviews in Negro newspapers thought
they could stir up an interest in the play for Negro
schools and colleges. I gave them some sales talks.
They were willing to send out a circular that I had
written. Mr. Sheil asked me to get a playing script
containing the new lines and the new curtains. I told
him it would be made. I thought it would be.

I told him of the plans you talked with me about. I mean
putting the play on yourself after the W.P.A. were through
with it. Producing it in colleges and schools. Naturally
they would be willing to co-operate with you and so would

I. That would be worth your while but I don't believe a
week in a Balaban & Katz house would mean anything. To
anybody. However I couldn't do anything about it without
consulting French, my agents and Mr. Kondolf.

It is just possible that I may be in Chicago before long
and I shall be ever so glad to see you all again.

If, at any time there is anything I can do for you in
New York please feel free to ask me to do it.

In this morning's mail I received a letter, a fine letter
from Mr. Ward. It was written April 26 and, for some reason
not mailed until May 9th. In it, he says:

"As you are probably aware, the public have begun
to show its appreciation. All last week we played
to full houses, and from all indications shall
continue to do so for many a day to come. The cast
is tickled pink."

Two weeks ago VARIETY said:

"Colored show, MISSISSIPPI RAINBOW doing well
at Princess by fine word of mouth."

I wrote you this on April 25th when I asked you so many
questions. Remember??

What filled the houses up, "paper"?

On May the 7th I received a letter from Mr. Kondolf. In it
he said that following the Princess engagement the play
might be taken on the road. That they were thinking of
taking it on the road.

Please do not be annoyed at my frankness in this letter.

I have had two plays in Chicago which ran over twenty weeks
with weekly grosses from four to ten thousand dollars
weekly and I am disappointed that MISSISSIPPI RAINBOW
hasn't caught on. Especially with the race.

Cordially yours,

LONDON

LOS ANGELES

TORONTO

FOUNDED 1830

INCORPORATED 1899

25 WEST 45TH STREET
NEW YORK

June 8, 1937

Mr. John Charles Brownell
145 Garden Road
Larchmount Gardens, N.Y.

Dear Mr. Brownell:

We just had the National Business Manager of the Play Policy Board, Federal Theatre, on the phone to ask why the royalty payment on MISSISSIPPI RAINBOW had not come through as per the various promises they had made us. Miss Hild, the Business Manager, said that she would phone immediately to the Treasury Department, Washington, to find out what was holding up the payment and would call us back immediately. She did this about half an hour later and said that the delay was due to the vouchers not having left the New York office on schedule. Why this had happened, she could not tell, but she said the Treasury Department had positively assured her that this payment would be in our office by Monday of next week.

Miss Hild, who appears to be, - suprisingly, - a very business-like and efficient person, tells us that if the money did not come through as promised, she would immediately get after the Treasury Department again without waiting for us to contact her. I shall hold my breath until next Monday.

With kindest regards,

FJS:OM

LONDON

LOS ANGELES

TORONTO

FOUNDED 1830

25 WEST 45TH STREET
NEW YORK

INCORPORATED 1899

June 8th 1937.

Mr. John Charless Brownell,
145 Garden Road,
Larchmont Gardens,
New York.

Dear Mr. Brownell:

Thank you for yours of the 4th with enclosures. I am glad you sent me the copy of Theodore Ward's very interesting letter. I think it would be a good idea to send a copy of this along to Paul Green.

I am returning Claude A. Barnett's letter herewith. I regret we have nothing that we might submit as a possible vehicle for Miss Moten. However, we will bear the lady in mind and if we do come across a good negro play we will send it to Mr. Barnett.

With all good wishes.

FJS/w

LONDON

LOS ANGELES

TORONTO

FOUNDED 1830

25 WEST 45TH STREET
NEW YORK

INCORPORATED 1899

June 12, 1937

Dear Mr. Brownell:

I am pleased to tell you that we received this morning from the Federal Theatre a check for $150.00, covering royalty for the first three weeks production of MISSISSIPPI RAIN-BOW in Chicago. We immediately telephoned Miss Hild, National Business Manager of the Federal Theatre, at the Play Policy Board office here in New York City to ask where the balance of the money was. She said that invoices covering fees due up to May 1st had already been sent by them to the Treasury Department and that check to cover should be forthcoming within a few days. She also told me that they are now making up at their New York office vouchers to cover additional royalties due up to June 1st and that these would be sent us for signature either today or next Monday and that when this has been done these will also be forwarded immediately to the Treasury Department. If the money due up to May 1st and promised within the next few days does not show up on time, I shall immediately get in touch with Miss Hild. In the meantime, we have credited your account with the $150.00 that came to hand this morning.

O'HM

June 14-1936.

Miss Jane Broder,
Times Building,
Times Square,
New York City.

Dear Miss Broder:

It is over six months now since the contract
for MISSISSIPPI RAINBOW was signed and, not hearing from you
or Mr. Jordan I am naturally anxious to know what you contem-
plate doing with the play.

If you have actually abandoned the idea of producing it I wish
you would let me know so I can make other arrangements. Six
months is quite a long time to wait without some definite word
and frankly I'm a little disheartened by it. So if you will,
please give me some idea what your intentions are I will greatly
appreciate it.

PHONE: DELAWARE 1123

June 16, 1937

Mr. John Charles Brownell,
145 Garden Road
Larchmont Gardens, New York.

Dear John:

It was nice to get your letter.

Business slipped finally so badly that we had to close MISSISSIPPI RAINBOW. I hated to do it, but we were not getting enough out of it the last few weeks to even pay for our small newspaper advertising. So, while I don't doubt but what Ward meant well when he wrote you about his people starting to come, etc., his statement is really not based on any real facts.

I am most interested in reading his play, and am having Susan Glaspell contact him immediately about it. I assure you that we will give him the encouragement you suggest.

We do have further plans for MISSISSIPPI RAINBOW. I am trying now to arrange the tour I wrote you about some time ago. We will probably surely play it in some few towns in any event.

We are still considering HIS WIFE'S MOTHER as a real possibility for here. I will write you about that very shortly.

With kind personal regards, as always. I am sure Harry Minturn, Art Smith, and your other friends here join me in this.

GK:c

PRINCESS THEATRE

319 South Clark

June 19 1937

My dearest Mr. Brownell:

Forgive me for my delay in answering your letter. My reason was
uncertainty about what to say. Although we did close Sunday night,
it is true that there are summer plans for "Mississippi Rainbow."
The closing was brought about by the shortage of necessary help
in the Federal Theatre right now. The Great Northern had been
rehearsing for three months, and since the Blackstone was already
running with "The Lonely Man," it was impossible to operate three
theatres at the same time. The Princess had to be closed.
However, our tentative plans include a reopening of "Mississippi
Rainbow" the first week in July. Mr. Minturn is taking over the
rehearsals and preparation of the cast for the summer work.

A particularly good fortune has come to me. The National Federal
Theatre is sending me to Vassar College to study for the summer.
I am leaving tonight. You can imagine how much this means to me.
I shall be in their school of directing and the experimental
theatre.

Of course, I will have an opportunity to get down to New York sometime during the next six weeks, and I am going to look forward to seeing you. Drop me a line at this address: Vassar College, Josselyn House, Poughkeepsie, New York.

Lovingly,

WORKS PROGRESS ADMINISTRATION

1734 NEW YORK AVENUE NW.
WASHINGTON D. C.

FEDERAL THEATRE PROJECT FOR NEW YORK

122 EAST 42ND STREET, NEW YORK CITY
TELEPHONE MURRAY HILL 4-5903

HALLIE FLANAGAN, DIRECTOR OF FEDERAL THEATRE PROJECTS
WILLIAM P. FARNSWORTH, ADMINISTRATIVE OFFICER

PHILIP W. BARBER, DIRECTOR OF PRODUCTION FOR NEW YORK
WALTER HART, DIRECTOR OF PRODUCTION SERVICE DEPT.

June 24, 1937

Dear Mr. Brownell:

I have your letter of June 17th. I am most sorry that it
was impossible to go ahead with the Boston performance of
MISSISSIPPI RAINBOW as we had wished. The new government
regulations now in force concerning travel are especially
stringent just now and it was found to be utterly impossible
to pay your expenses to Boston so that you might be present
during rehearsals, to revise the script.

I am happy that you found your experience in Chicago so
pleasant.

W

LONDON

LOS ANGELES

TORONTO

SAMUEL FRENCH

FOUNDED 1830

INCORPORATED 1899

25 WEST 45TH STREET
NEW YORK

June 25, 1937.

Dear Mr. Brownell:

We are planning to bring out a small book of
short selections from scenes of various plays for the
use of students. The editor of this book is choosing
from MISSISSIPPI RAINBOW a scene of not more than five
pages which she would like to include. If you will be
good enough to allow us to reprint this scene, we would
be happy to run the proper copyright and credit notice
for the passage.

We would appreciate greatly having your per-
mission at the earliest possible moment.

PHONE: DELAWARE 1123

July 8, 1937

Dear Mr. Brownell;

I wrote Mr. Ward and he has sent us his play. I told him that as soon as I had a chance to consider it I would like to talk with him about it and about his work in general. There is a jam here now and I am going to be away a little while, so there may be a slight delay in this, but I will certainly do anything I can to encourage his work. I think your interest in him most kindly and the sort of thing that we should do.

I had a nice letter from Miss Graham. She is very happy at Vassar, says it is the best thing that ever happened to her in her whole life.

We were all sorry to have MISSISSIPPI RAINBOW go off. I think it a delightful play. I feel sure they are going to enjoy it in Peoria too.

PHONE: DELAWARE 1123

FEDERAL THEATRE PROJECT

July 15, 1937

Dear John:

I think the information about HIS WIFE'S MOTHER for Peoria was given you in error. We had contemplated doing the play only in Chicago, and for a run. However, we did think that it might be a good idea to "break" the play in there on its way in, etc. Possibly that thought was accidentally translated into action by someone on the staff here.

I would certainly like to get a copy of the
manuscript you are making for MISSISSIPPI RAINBOW.
We do hope to do it again wherever we find the right
spot in this region.

Art and Harry join me as usual in sending
regards and very good wishes.

Yours,

George Kondolf
Assistant to National Director
Federal Theatre Project
for Chicago and Illinois.

Larchmont Gardens
New York.

July 13-1937.

Dear Theodore:

I received your play, GREAT WHITE FOG (BIG) rather
though I like GREAT WHITE FOG best.
I thought some parts of it very gripping and I want to read it

again. Well, young fellah you've got off your chest now go ahead
and write for the white folks and make yourself a little money.
Producers do not want colored plays. And, from what they tell me
in Chicago white people won't go to see colored plays.

And, right now people do not want depressing plays.
I wrote Miss Susan Glaspell about you. I received a very nice

letter in reply. She said she would get in touch with you. Did
she?
After I read your play again I shall send it to you. Where shall

she?
After I read your play again I shall send it to you. Where shall
I send it? I shall also write you more about it.
I understand the Federal Theatre are to do another play of mine

I understand the Federal Theatre are to do another play of mine
in Peoria. How did MISSISSIPPI RAINBOW go there?
I hear that Miss Graham is having a great experience in Vassar.

I hear that Miss Graham is having a great experience in Vassar.
I am glad for her but I wish you might have gone.
The experience you will get in HARLEM ON PARADE won't do you a

I am glad for her but I wish you might have gone.
The experience you will get in HARLEM ON PARADE won't do you a
bit of harm so do not permit yourself to feel bitter. Get all
bitterness out of your system or you won't write.
When you are settled I shall send you some plays. And do write

bit of harm so do not permit yourself to feel bitter. Get all
bitterness out of your system or you won't write.
When you are settled I shall send you some plays. And do write
me again and let me know how you get on. With kindest regards
I am,

me again and let me know how you get on. With kindest regards
I am,
Sincerely yours,
P.S. Please remember me to Angie, Henry and Lou Vernon.

Sincerely yours,

August 9-1937.

Mr. Bert Maxfield,
Starksboro,
Vermont.

You have no doubt wondered why you haven't heard from me. The reason you haven't is because I have been so uncertain as to my movements on account of my plays. First I was to go again to Chicago. That fell through. Then I was to go to Boston to put on a play of mine. That went haywire although the producers are going to put on the play. So, I haven't known at any time what I could do.

Now, regardless, we are going to start for Vermont in the next few days. I have finished a new play and I'm about worn out. I need a change and so does Estelle. Not but what I won't have to hammer the old typewriter up there for I will.

Now I am going to send you a bunch of keys. You'll have to try them for in my mad rush to get to New York I did not mark them. You will simply have to try them but I'll try and tag them so as to help you.

I told you in my other letter what I wanted done. The stove cleaned out, the stove pipes cleaned, storm doors taken off and screen doors put on, the house aired out etc. And, anything else that you and Mrs. Maxfield can think of to make the house livable. We are going to try and leave here Thursday, the 12th but I have my doubts. We may not be able to close up here and start away quite so soon. We will be mighty glad to see you again you may be sure. With kindest regards to you all I am,

Sincerely,

John Charles Brownell

Bristol, Vermont

September 20-1937.

Mr. Frank J. Sheil,
Samuel French,
25, West 45th Street,
New York City.

Dear Mr. Sheil;

Please accept my thanks for the advance of
fifty dollars. We are leaving here tomorrow and I will see
you the latter part of the week.

About Mr. Adler and the hill billy idea. There is no reason
why the play could not be told in the hill billy vernacular
and it might work out very well. I shall be happy to meet
Mr. Adler and talk it over with him as soon as I return.

With kindest regards I am,

Sincerely yours,

September 29-30, 1937.

Mr. Jack Walsh,
Samuel French,
25 West 45th Street,
New York City.

Dear Mr. Walsh:

I talked for some time with Mr. Adler yesterday afternoon about the hill billy idea. I am to meet the composer, in which Mr. Adler has great confidence, Friday at two o'clock. Mr. Adler said that if the play could be changed to his satisfaction and could agree with me on terms he felt sure he could obtain the money to produce.

I will be called upon to work with Mr. Adler and the composer, which, if terms satisfactory to all concerned can be arranged I will be glad to do.

I was impressed with Mr. Adler's sincerity and straight forwardness and I sincerely hope we can all get together.

With kind regards I am,

Sincerely yours,

John Charles Brownell
145 Garden Road
Larchmont Gardens
New York.
September 29-1936.

Dear Dick;

Thank you for your note. Of course I know that if
you had anything to say to me I'd hear from you. Evidently the
two producers you mentioned in your letter turned down the
play. You have other things to do besides writing me but please
remember I'm out of touch with things out here and most unpopu-
lar with my fair consort for turning down ready money and a job
on the London proposition. There are time when I wish Mr. G.M.C.
were at the devil.

Sincerely,

John Charles Brownell
145 Garden Road
Larchmont Gardens
October 25-1937.

Dear Mr. Sheil;

Will you kindly let me know if the royalties
on MISSISSIPPI RAINBOW have been paid in full and if so what
is due me.

If you can advance me even a small amount it will be much
appreciated just at this time.

Very sincerely yours,

LONDON

LOS ANGELES

TORONTO

SAMUEL FRENCH

FOUNDED 1830

INCORPORATED 1899

25 WEST 45TH STREET
NEW YORK

October 27, 1937

Dear Mr. Brownell:

Your letter of October 25th received. According to our records, all royalties received and due to date on MISSISSIPPI RAINBOW have been paid and at present there are no further productions in sight.

Just now, we are pretty well tied up with payments to our printers on new plays we are getting out for the season of 1937-1938, but a little later on we may be able to let you have the advance you ask for. I trust this will be satisfactory.

As I have written you in a separate letter today, the Massachusetts Project of the Federal Theatre have given up the idea of doing the play.

FJS:OM

John Charles Brownell
145 Garden Road
Larchmont Gardens
New York.
October 28-1937.

Dear Mr. Sheil;

Your two letters recieved and two disappoint-
ments in one morning is one too many.

It was my guess that you wouldn't bear down so heavy on the
first advance royalty for the play. As a matter of fact I
was greatly surprised that it was advance royalty. That's how
much of a business man I am.

Be assured that if my back wasn't up against the wall I wouldn't
ask you for an advance or if I didn't feel pretty certain that
the W.P.A. would use it again sooner or later.

Let's see, if my figures are right you have so far recieved
$86.00 from the play. $86.00 in excess of the first $500.00
advance.

So, please try and see your way clear to stretch a point just
at this time. I don't think you'll have cause to regret it.
And pray with me that George Abbot's BROWN SUGAR goes over
for a touch down. If it does it is my guess that MISSISSIPPI
RAINBOW will come to life again outside the W.P.A.

My Irish version of MISSISSIPPI RAINBOW is now in Dublin
being considered by the Gate Players. They plan to invade
New York sometime in December and may do it here. This very
encouraging news comes from a most reliable source.

With kind regards to you, Mr. O'Leary and Mr. Walsh I am,

Very sincerely yours,

LONDON

LOS ANGELES

TORONTO

SAMUEL FRENCH

FOUNDED 1830

INCORPORATED 1899

25 WEST 45TH STREET
NEW YORK

October 29, 1937.

Dear Mr. Brownell:

In reporting to Mr. Sheil the other day
the amount owed by you to Samuel French of $158.00, we
neglected to include the $100.00 advanced you on August
6, 1937 which makes a total now due us of $258.00 and is
made up as follows showing all the amounts received on
the play and all advances made to you.

"MISSISSIPPI RAINBOW" (Amat)
April 9, 1936, Glenwood, Iowa...$25.00
July 20, 1936, Cleveland, 0...... 50.00
                                     $75.00
Your 1/2.........$37.50

W. P. A. Productions
June 11, 1937, Chicago, Ill.....$150.00
         24, Chicago, Ill......... 425.00
July  7, Chicago, Ill......... 400.00
Aug. 26, Peoria, Ill.........  70.00
Sept. 8, Chicago, Ill......... $1265.00
Comm. 20%..... 253.00
                                     $1012.00
                                   $1049.50

Paid you as follows:

Advance...................$500.00
April 23, 1936............ 12.50
July 30, 1936............ 25.00
Feb. 27, 1937............ 25.00
March 30, 1937........... 50.00
April 8, 1937............ 200.00
April 24, 1937........... 185.00
April 15, 1937........... 160.00
Aug. 6, 1937............. 100.00
Sept. 16, 1937............ 50.00

Due you as per above...... $1307.50
Balance still due us.....$ 1049.50

HH:FQ

LONDON

LOS ANGELES

TORONTO

SAMUEL FRENCH

25 WEST 45TH STREET
NEW YORK

FOUNDED 1830

INCORPORATED 1899

November 6th 1937.

Dear Mr. Brownell:

Thank you for yours of October 29th
telling me about the plans Mr. Kondolf has in
mind for MISSISSIPPI RAINBOW.

Mr. Walsh has secured the script of
the revised MISSISSIPPI RAINBOW from Mr. Adler
and is holding it at the office. Do you want
him to return it to you or shall we continue
to hold it?

Incidentally I was speaking to Mr.
Adler today and he inquired if you would be
interested in selling outright the musical
rights to MISSISSIPPI RAINBOW, you reserving
the right to use the present negro version,
and to retain a certain percentage of the
motion picture rights. I did my best to get
him to make an offer which he declined to do.
Frankly, I don't think he would pay very much,
but if you are interested in such a deal and
would be willing to set a figure, I will be
glad to put it up to Mr. Adler.

With best wishes.

FJS/w

John Charles Brownell
91 Second Street
Harrison
New York,

November 18, 1937.

Dear Mr. Sheil:

awaiting further information from Mr. George
Kondolf regarding MISSISSIPPI RAINBOW I have postponed
writing you.

It is now definitely set that he will do the play in and
around New York City and also in the W.P.A. theatres
outside of New York.

Last week, in a personal interview with James Ullman who
is to be the producer of the play he assured me that it
would be given a first class production and that the best
colored talent available would be procured for it.

I also talked with a Mr. Gibbs who is an associate of
Mr. Kondolf. He said that the W.P.A. would guarantee a
minimum of eight weeks in New York City. He was of the
opinion that the play would run longer than that.

The terms, he said, would be the same as we obtained in
Chicago. That is, on a sliding scale.

The enclosed letter from another official, Charles K.
Freeman I received too late for me to be present at
the "production meeting." It was sent to Larchmont Gardens
where I no longer live.

I was informed by Mr. Ullman and Mr. Gibbs that I would be
welcome at all rehearsals. Mr. Gibbs said he would get in
touch with you regarding contracts.

I plan to go to New York the first part of next week and
I will stop in for my script and to see you. Meanwhile if
you can advance me a check for one hundred and fifty dollars
I would greatly appreciate it. With kindest regards I am,

Sincerely yours,

John Charles Brownell
91 Second Street
Harrison
New York.

December 6-1937.

Dear Mr. Sheil:

I meant to call on you and thank you personally for the advance royalty check you so kindly sent me. During our moving out here I managed to get myself a nice little case of lumbago and I didn't get into New York until last Friday. I first called on Mr. Gibbs of the Federal Theatre who informed me that MISSISSIPPI RAINBOW was in rehearsal and had been in rehearsal for several days in Harlem. He could tell me nothing about the cast so I decided to go to Harlem and find out what was going on. I found the hall in which the company is rehearsing but there wasn't a soul in sight. I went over to the Lafayette Theatre where I was told that the company was rehearsing in the hall on 131st Street. They had evidently all gone to lunch. I had an engagement and couldn't wait. I finally went back to the W.P.A. to see Mr. Kondolf. He was in "conference" so his secretary told me and I was advised to see Mr. Friedman who is now supervising the production. After waiting for more than an hour—he was in conference too— I saw the gentleman. He seemed quite enthusiastic about the play, showed me a list of the actors and then took me to see a painting of the set and a miniature set. Not bad. It seems a Negro, a Mr. Mosely is rehearsing the company which is bad. I told Friedman so and he agreed with me, promising to keep watch over rehearsals. He is to send me a copy of the list of players and let me know when we can see a rehearsal together. By that time it was almost six o'clock and I knew you would be on your way home.

Now Mr. Mosely may be very competent but I soon learned in Chicago that it takes a white man to control Negroes. In my one and only talk with Mr. James R. Ullman he assured me that our play was to be given a first class production and that he was in charge of it. The best Negro talent available was to be obtained. In the list of players rehearsing I saw but one well known name, Marie Young who played in BRAIN SWEAT. I said nothing, preferring to wait until I had witnessed a rehearsal. If I do not hear from Friedman within the next two or three days I shall go in and watch a rehearsal without him and then see you.

Very sincerely,

spirit shown by the players. Not one member of the cast was sure
of his or her lines. Gues were not snapped up and as I've already
said they were all uncertain in their "business."

I left the theatre feeling pretty wretched and I know you will
agree with me that it would be better not to do the play if it
is not to be done well. I simply cannot afford to have the play
done badly in New York.

I suggested to Mr. Freeman, who I think you will find agrees with
me in my criticisms, that Art Smith be given the job of directing,
with me assisting him for my bare expenses. Mr. Freeman quickly
recognized that the man now directing does not possess the
authority the position demands nor the ability to bring the play
to life, even with better actors.

I mentioned Alec Lovejoy as a possibility for Henry. Lovejoy made
a hit with the critics in a comedy part in THE CASE OF DOCTOR BICK
AND I have been told he would look the part.

Please pardon the lengthy epistle. If the play was your baby and
saw what I saw yesterday at the Lafayette I think you would.

I know darn well you would. My best to you,

Sincerely,

John Charles Brownell
9I Second Street
Harrison
New York.

December 17, 1937.

Mr. Frank J. Sheil,
Samuel French,
21 West 45th Street,
New York City.

Dear Mr. Sheil:

Enclosed is a letter from George Kondolf and
my reply to it after witnessing the lamentable goings on at
Lafayette yesterday. Believe me our pickaninny was cruelly
manhandled.

I think I have put Kondolf, Ullman and Freeman on the spot.
If they don't come through it will be because of the well
known fact that officials of the Federal Theatre Project are
so deeply concerned with holding down their political
sinecures that they haven't time to look after the W.P.A.
theatre.

Unless he was putting on an act Freeman seemed to agree with
me heartily that things were in a bad way with our child.
He advised me to write Kondolf at once, saying he would back
me up in anything I said. So, that's that. I am sorry I didn't
have a chance to chat with you. I saw Mr. Walsh. He told me
what had happened to one of your plays in Philadelphia in
the hands of the W.P.A.

They don't seem to realize that they are killing the goose
and kicking the golden egg into the ash can.

Freeman gave orders to Mosely the director? to round up the
best talent he could find. I am invited to be at the gathering
and I'll let you know what happens. With kindest regards I am,

Sincerely yours,

WORKS PROGRESS ADMINISTRATION

1734 NEW YORK AVENUE, N.W.
WASHINGTON, D. C.

HALLIE FLANAGAN, NATIONAL DIRECTOR

GEORGE KONDOLF, DIRECTOR FOR NEW YORK CITY

December 21, 1937

Mr. John Charles Brownell
91 Second Street
Harrison, N. Y.

Dear Mr. Brownell:

Mr. Kondolf, Mr. Ullman and myself have been in consultation about your show, and we all are of a mind that a good job should be done.

I attended a reading at the Lafayette and we made some cast changes -- a new Angie has gone in whom I think you will like, and another Henry. I shall still search for a better Henry. In the meantime, will see how this fellow comes along. Also, have a new Charlie.

I assigned another director, a young white chap who did a good job with us on several things last season. So, all in all, I think we will be coming along with the show. I would suggest that we let this director spend a few days on the show, and then I will have you down.

With kind regards, I am

Sincerely yours,

Charles K. Freeman
Producer, Circuit Theatres

Please return

John Charles Browbell
9I Second Street
Harrison
New York

December 23, 1937.

Mr. George Kondolf,
Director For New York City,
Federal Theatre Project.

Dear George:

Many thanks for your kind letter of December 21.
Mr. Freeman writes: I attended a reading at the Lafayette and
we made some cast changes---a new Angie has gone in whom I think
you will like, and another Henry. I shall still search for a
better Henry. In the meantime, will see how this fellow comes
along."

Also, "I assigned another director, a young white chap who did
a good job for us on several things last season." I do hope,
George that he isn't too young and I hope and pray that he knoes
what it is all about.

That "better Henry" scares me. He has got to be Henry or there
won't be a show. Why did I ever write the play with Bert Williams
in mind when he was already dead?

Merry Christmas and a Happy New Year to you,

Cordially,

December 24, 1937

Dear Mr. Sheil:

Strange things do happen. I have received two
letters, one from George Kondolf and one from Charles K. Freeman
agreeing with me in everything I said in my letter to them
about the play.

Kondolf writes, "you will see a production that will completely
satisfy you."

Best wishes to you, Mr. O'Leary and Mr. Walsh and just at this
time permit me to thank you for your kindness to me.

Sincerely yours,

LONDON

LOS ANGELES

TORONTO

SAMUEL FRENCH

FOUNDED 1830

INCORPORATED 1899

25 WEST 45TH STREET
NEW YORK

January 8, 1938

Mr. John Charles Brownell
91 Second Street
Harrison, New York

Dear Mr. Brownell:

Thanks for yours of January 5th and for
enclosing correspondence with the Federal
Theatre in connection with MISSISSIPPI RAINBOW.
I am returning these letters to you herewith.

I would appreciate your letting me know
the result of your meeting Mr. Freeman and Mr.
Warren on January 10th.

FJS/OGS

Encl.

January 27, 1938.

Mr. George Kondolf,
Federal Theatre Project,
71 West 23rd Street,
New York City.

Dear George:

Quite some time ago Mr. Freeman wrote me
and asked me to come in and meet the new director, who,
he informed me, wanted to make some changes in
MISSISSIPPI RAINBOW. I went in and met Mr. Warren and
I liked him and the changes he suggested. I went home
and made them pronto. I mailed them to Mr. Freeman
and wrote him I had done so but I have had no word from
him.

I would like to attend a rehearsal or two but I don't know
where the play is being rehearsed. Won't you please let
me know something about it.

With kind regards I am,

Sincerely yours,

P.S. Hearty congratulations on the hits you're having.

WORKS PROGRESS ADMINISTRATION

February 3rd, 1938

Dear Brownell:

We have just notified Samuel French about the rehearsal schedule on "Mississippi Rainbow" which, through Friday morning and the early part of next week, will be held at the 49th St. Theatre from 9 A.M. to 1 P.M., except Monday.

I was under the assumption that your recent letter had been answered, but evidently in the stress of work resulting from our change of offices, it was neglected.

Let me know when you are coming in and I shall be there also.

With kind regards,

LONDON

LOS ANGELES

TORONTO

SAMUEL FRENCH

FOUNDED 1830

INCORPORATED 1899

25 WEST 45TH STREET
NEW YORK

May 3, 1938.

Dear Mr. Brownell:

Following is a resume of royalties re-
ceived by us for the use of play as listed below:

MISSISSIPPI RAINBOW (PROF)
1938
Apr. 26, New York, N. Y......$130.00
Comm. 20%... 26.00
$104.00

Balance due us on our statement
of October 29, 1937...................$258.00
Advance November 20, 1937........... 75.00
Advance February 4, 1938............ 50.00
....................................$383.00
Due you as per above.................. 104.00
Balance still due us..................$279.00

HH:FQ

May 16, 1938.

Dear Mr. Sheil;

Thank you very much for your kind letter and the enclosure. Also for the information about the play. It was good news indeed but I hope it may go up to Harlem later on.

I have lost or mislaid the clipping that Sam Zolotow sent me about the production in Cleveland. Since you know nothing about it they must have been doing some bootlegging out there.

I am up and around again but still pretty weak. I want to get in to see you again soon. With kindest regards I am,

LONDON

LOS ANGELES

TORONTO

FOUNDED 1830

INCORPORATED 1899

25. WEST 45TH STREET
NEW YORK

June 1, 1938

Mr. John Charles Brownell
145 Garden Road
Larchmount Gardens, N. Y.

Dear Mr. Brownell:

I am pleased to tell you we have finally ascertained that the production of MISSISSIPPI RAINBOW in Cleveland referred to in your recent letter was given by the Gilpin Players, a colored amateur group in Cleveland. We have just received from them $20.00 on account of the royalty and have asked them to send us remittance for a further $5.00 by early mail, making a total of $25.00 for the two showings. This is the rate we usually make to this group for the production of our plays, as they produce in a very small hall and are unable to afford the regular scale of royalty fees.

I thought you would like to know that we had run down the production.

With kindest regards,

O'HM

LONDON

LOS ANGELES

TORONTO

SAMUEL FRENCH

FOUNDED 1830

INCORPORATED 1899

25 WEST 45TH STREET
NEW YORK

August 2, 1938

Mr. John Charles Brownell,
91 Second St.
Harrison, N.Y.

Dear Mr. Brownell:

I have delayed answering your letter of July 26th as Mr. Sheil has been away on a holiday and I could not, of course, give you an answer concerning the possibility of a further advance until his return. I am pleased to tell you that he is willing to make the advance of $50.00 requested, and you will find check for this amount enclosed.

I was talking a few days ago to a Mr. Thomas Mosely, who told me he was co-director with Brett Warren of the New York production of MISSISSIPPI RAINBOW. He told me that the play has closed for the summer and that he believed it ran about four weeks. Furthermore he said he had been unable to find out what plans, if any, the Federal Theatre people had for the play. Since then I have been in touch with headquarters here trying to ascertain the exact number of weeks it played in the Caravan Theatre and what they intended doing with it in the Fall. I have been promised definite information at least on the length of the summer run late this afternoon or some time tomorrow morning. When the word comes to hand I shall let you know what it is, but in the meantime I am sending this letter off to you so that the check will not be held up any longer.

Incidentally Thomas Mosely told me he is planning to break away from the Federal Theatre and wanted to know what the possibility would be of his being able to tour the play, with a company he would organize himself, among the colored churches and lodges etc. in and around New York. If he found that it would not be practically possible to organize his own acting group for this purpose he would consider the possibility of going into these colored churches and lodges and direct the play for them, they to furnish the talent. Of course, in the latter event the productions would be strictly amateur. Until we find out what plans the Federal Theatre has for further production of the play we think it would be

LONDON

LOS ANGELES

TORONTO

FOUNDED 1830

INCORPORATED 1899

25 WEST 45TH STREET
NEW YORK

2

August 2, 1938

Mr. John Charles Brownell, Harrison N.Y.

unwise to make any arrangement of this sort with Mr. Mosely,
but it is something we can bear in kind if there is to be
nothing further doing with the Federal Theatre. In the mean-
time If you know anything of Mr. Mosely it might be a good
idea if you would drop us a line and tell us what you think of
his capability as a director, and whether or not he would be a
responsible person to deal with for the use of the play in the
manner outlined.

Mr. Sheil joins me in sending you kindest regards.

Per
C. T. Olmsted

O:TW

encl. $50.00

John Charles Brownell
91 Second Street
Harrison, New York.

September 18, 1939.

Dear Mr. Sheil:

I don't like writing this letter. If I were not at my wits ends just at this time I wouldn't write it.

I am in a present financial situation that is disturbing the work I am doing on a new play and a little assistance would go far to relieve me of anxiety. An immediate advance of a hundred dollars will help greatly to tide me over the next few weeks and I very earnestly hope you can see your way to make it.

My balance with you on MISSISSIPPI RAINBOW is not large. The last payment to you in royalties received was $75.50, bringing the total amount due you to $215.00.

Even if you have to stretch a point to make this advance I shall see to it that you will not have occasion to regret it later on.

Sincerely yours,

CABLE MADPLAY

MEMBER OF
THE SOCIETY OF AUTHORS' REPRESENTATIVES

MURRAY HILL 2-9145

RICHARD J. MADDEN PLAY COMPANY, INC.

522 FIFTH AVENUE
NEW YORK 18, N. Y.

RICHARD J. MADDEN
PRESIDENT

ASSOCIATES
JANE RUBIN
JOHN W. RUMSEY

MAY 15TH 1951

DEAR MR. BROWELL —

DICK WAS VERY ILL FOR THE PAST SIX WEEKS, HAVING UNDERGOING TWO MAJOR OPERATIONS - WHICH MAKES THE THIRD IN TWO YEARS. IT WAS A HORRIBLE ORDEAL FOR MRS. MADDEN TO WATCH HIS SUFFERING AND A GREAT RELIEF TO BOTH OF US WHEN HE DIED - WE WERE TOLD FOUR WEEKS AGO THERE WAS NO HOPE.

ONLY LAST WEEK I GAVE A COPY OF CLANCY TO MR. EMIL LITTLER OF LONDON, A VERY IMPORTANT MANAGER, WHO RUNS PLAYS IN REPERTORY FASHION THROUGHOUT THE PROVINCES. HE HAS HAD AN OLD PLAY OF OURS FOR YEARS AND WE ARE STILL GETTING RETURNS. I DO HOPE HE LIKES IT. HE TOOK IT TO LONDON AND I EXPECT TO HEAR FROM HIM SHORTLY.

I ALSO SUBMITTED A COPY TO A TELEVISION OUTFIT.

MY BEST TO YOU BOTH.

SINCERELY,

MOTION PICTURE
PIONEERS
INC.

1585 BROADWAY
1501 Broadway

FOUNDATION OF THE MOTION
PICTURE PIONEERS
INC.

Judson 6-3400
WI 7-6336

NEW YORK 36, N.Y.

OFFICERS

SIMON H. FABIAN
President

MARVIN KIRSCH
Vice-President

WM. J. GERMAN
Treasurer

GEO. F. DEMBOW
Secretary

DIRECTORS

CHARLES ALICOATE
BARNEY BALABAN
HARRY BRANDT
STEVE BROIDY
GEO. F. DEMBOW
SAM DEMBOW, JR.
NED E. DEPINET
GUS EYSSELL
SIMON H. FABIAN
WM. J. GERMAN
LEONARD A. GOLDENSON
ABEL GREEN
WM. J. HEINEMAN
MARVIN KIRSCH
JOHN J. O'CONNOR
EUGENE PICKER
MARTIN QUIGLEY
SAM RINZLER
HERMAN ROBBINS
ABE SCHNEIDER
SOL A. SCHWARTZ
BEN SHLYEN
SPYROS SKOURAS
HARRY J. TAKIFF
JOSEPH VOGEL
MAJ. ALBERT WARNER

December 30, 1960

Mrs. John C. Brownell
Starksboro, Vermont

Dear Mrs. Brownell:

Nice talking to you today on the telephone and as I told you, do not hesitate to sign John's name to the check and cash it immediately.

Also let me know what your hospital bills were and I will submit same to the Board of Finance of the Motion Picture Pioneers. Sorry to hear of your terrible trials and tribulations, but I guess you'll have to be the strong person in this situation.

MK:bl

ORGANIZATIONS OF THE FOUNDERS AND BUILDERS OF THE INDUSTRY

HARRY J. TAKIFF

Sept. 15, 1961.

Dear Estelle:

Vivienne and I welcomed your letter of the 12th and are pleased to know that you are holding up as well as you are considering all you have gone through this past year. Keep up the good work and make the best of things.

My sister did not make it. She passed away Sept. 1st after six weeks in the hospital. The merciful part of her illness was that she did not suffer very much considering her type of illness - Cancer of the liver - which is usually accompanied by severe pains. Considering that the series of tests proved that she could not survive this illness we felt that the Lord was merciful in taking her as quickly as he did.

We really went through a very trying and emotional period these past ten weeks but, as usual, time will take care of everything and life will go on.

I had a meeting with Marvin Kirsch the other day and he brought me up to date on your financial situation and the manner in which all the expenses have been handled by the Foundation.

I don't know if you are familiar with Mr. Kirsch's negotiations with the Funeral Director up in Vermonth, but they had agreed on a $400 limit for all expenses involved, but after the funeral he tried to jack the price up $100 without success. I trust that he hasn't approached you for any monies in this respect; if he has, tell him to go to the Devil as he has been paid every cent agreed upon.

Drop us a line from time to time and let us know how you are getting along. Take good care of yourself and don't worry about tomorrow too much because there is no tomorrow.

Love from Vivienne and myself.

HARRY J. TAKIFF

25 Sutton Place So.,
New York City, N.Y.,

January 14, 1962.

Dear Estelle:

We had a Board meeting of the Motion Picture Foundation the other day and it was agreed to extend your benefits an additional six months beyond the original six months.

This is the first time this extended privilege was granted by the Foundation and only as a special case and does not apply to other situations.

I wanted you to know about this so that you may ease your mind about the immediate future, and I would suggest you say nothing about this to Mr. Kirsch as I would like him to think that he will be the first one to notify you.

Vivienne and I hope that the winter up in Vermont hasn't been too difficult for you this year. Have you given any thought to living in a warmer climate, in possibly one of the new type of retirement communities which have been springing up in California and Florida? I don't know too much about this, myself, but some publicity has been given to this type of living in the periodicals.

Keep well and hope everything will eventually work out satisfactorily for you.

P.S. Thanks for the photo-card of the Atala. If I am correct, it is a photo of yourself and "Boots". It certainly brings back fond memories.