Stratford
Shakespearean Festival

THIRD ANNUAL SEASON OF DRAMA

JUNE 27 - AUGUST 27

The Shakespearean Festival Company in

Shakespeare's

JULIUS CAESAR

THE MERCHANT OF VENICE

Sophocles'

OEDIPUS REX, W. B. Yeats' version

with

<table><tr><td>FREDERICK VALK</td><td>ELEANOR STUART</td></tr><tr><td>FRANCES HYLAND</td><td>DOUGLAS CAMPBELL</td></tr><tr><td>LORNE GREENE</td><td>ROBERT CHRISTIE</td></tr><tr><td>LLOYD BOCHNER</td><td>TED FOLLOWS</td></tr><tr><td>DONALD DAVIS</td><td>ROBERT GOODIER</td></tr><tr><td>BRUNO GERUSSI</td><td>EDWARD HOLMES</td></tr><tr><td>DONALD HARRON</td><td>WILLIAM HUTT</td></tr><tr><td>ERIC HOUSE</td><td>WILLIAM NEEDLES</td></tr><tr><td>PETER HAWORTH</td><td>WILLIAM SHATNER</td></tr><tr><td>DOUGLAS RAIN</td><td>ANTONY VAN BRIDGE</td></tr></table>

Plays directed by TYRONE GUTHRIE
MICHAEL LANGHAM

Decors by TANYA MOISEIWITSCH

IN THE FESTIVAL THEATRE-TENT

INAUGURAL SEASON OF MUSIC

JULY 9 - AUGUST 6

BOYD NEEL—Conducting
THE HART HOUSE ORCHESTRA

Soloists

<table><tr><td>ELISABETH SCHWARZKOPF</td><td>ISAAC STERN</td></tr><tr><td>AKSEL SCHIOTZ</td><td>ZARA NELSOVA</td></tr><tr><td>LOIS MARSHALL</td><td>GLENN GOULD</td></tr><tr><td>ALEXANDER SCHNEIDER</td><td>SUZANNE BLOCH</td></tr><tr><td>PERRY BAUMAN</td><td>NOEL BRUNET</td></tr><tr><td>GORDON DAY</td><td>MAUREEN FORRESTER</td></tr><tr><td>EVELYN GOULD</td><td>MARIE IOSCH</td></tr><tr><td>EUGENE KASH</td><td>ALBERT PRATZ</td></tr><tr><td>ROBERT REID</td><td>JAN RUBES</td></tr><tr><td>JAN SIMONS</td><td>ALEXANDER ZAKIN</td></tr></table>

THE FESTIVAL CHORUS

Director—ELMER ISELER

Stravinsky's

A SOLDIER'S TALE

to be narrated, danced, and played

Narrated by FRANCHOT TONE

Produced by DOUGLAS CAMPBELL

Orchestra conducted by PAUL SCHERMAN

With MARCEL MARCEAU, Mime

Festival Director of Music LOUIS APPLEBAUM

IN THE FESTIVAL CONCERT HALL

ACCOMMODATION ORDER FORM

Type A

PRIVATE HOUSEHOLDS
Arrangements have been made for
overnight accommodation of visitors in
selected private homes in Stratford.

<table><tr><td>Single room</td><td>$3.50</td></tr><tr><td>Room with 2 beds</td><td>6.00</td></tr><tr><td>Room with double bed</td><td>5.00</td></tr><tr><td>single occupancy</td><td>4.00</td></tr><tr><td>Cot—(extra)</td><td>2.00</td></tr></table>

There are a few luxury rooms and rooms with private bath on which a bonus of $2.00 is charged.

When ordering Type A accommodation, a deposit of one night's room rent must be sent with this Order Form.

Type B

HOTELS

<table><tr><td>Single room<br>(running water)</td><td>$3.25 up</td></tr><tr><td>Room with<br>double bed<br>(bath)</td><td>5.00 up</td></tr></table>

<table><tr><td>Room with<br>twin beds<br>(running water)</td><td>5.00 up</td></tr><tr><td>(bath)</td><td>7.00 up</td></tr><tr><td>(running water)</td><td>6.00 up</td></tr><tr><td>(bath)</td><td>9.00 up</td></tr></table>

Type C

MOTELS

<table><tr><td>Unit: double bed and shower</td><td>$8.00 up</td></tr><tr><td>Rooms with 2 beds</td><td>Per person</td></tr><tr><td>Single rooms</td><td>3.00</td></tr><tr><td>Dormitories of 5 beds</td><td>Per person</td></tr><tr><td>Rooms with 2 beds</td><td>Per person</td></tr><tr><td></td><td>1.50</td></tr></table>

When ordering Type B, Type C, YWCA, YMCA accommodation, a deposit must not be sent with this Order Form.

FOR OFFICE USE ONLY

CBF / FoR MC G

Reserved:

at $ per night, for night(s) arriving

transportation and location

Stratford is situated in south-western Ontario about an equal distance from Buffalo, Detroit and Toronto. It is within easy driving distance of Lake Huron, Lake Erie, Lake Ontario and the Georgian Bay, and is accessible by train, bus, 'plane and car. Enquire of your travel agent.

Special trains sponsored by the Toronto Telegram and operated by the Canadian National Railways leave Toronto every Tuesday afternoon during the Festival season, and return after the evening performance. Similar trains sponsored by the Detroit News leave Detroit each Friday afternoon and return after the evening performance. Enquire of your Canadian National Railways agent.

Agents of the Festival listed opposite the Ticket Order Form provide special travel and ticket arrangements. The Canadian National Railways offers special package trips from Montreal, Ottawa, eastern Ontario and Quebec, and special connections from Hamilton, Ontario to Stratford for passengers travelling from New York.

rush seats

Rush seats for the Theatre-Tent are sold at the Festival Box Office on the day of the performance only. There are no rush seats for the Concert Hall.

THEATRE TENT

catering

In addition to the hotel dining rooms and restaurants, the Women's Auxiliaries of the Parkview United and Knox Presbyterian churches serve home-cooked luncheons and dinners during the Festival season which have received the highest praise of visitors. These churches, the Stratford YMCA and certain of the hotels and restaurants cater to parties of any number who wish to make bookings in advance. Address enquiries to the Festival or see your travel agent.

other attractions

ART EXHIBITION: During the Festival season an Exhibition of contemporary Canadian paintings representative of various sections of the country will be displayed under the auspices of The National Art Gallery of Canada. Details of the Exhibition will be announced.

FILM SCREENING: The Stratford Film Council, in cooperation with The Canadian Film Institute and The National Film Board, will present a series of special screenings. A select preview library of 16 mm. films will be collected, containing outstanding documentary and non-theatrical films including those Canadian films which have won international awards. These films will be available for showings by request during the season. Catalogue and programme will be announced.

CONCERT HALL

# Stratford on the Housatonic

## CONNECTICUT SHAKESPEAREANS SHINE

"The name of Stratford has long been linked with the performance of Shakespeare's plays through festivals at his English birthplace, Stratford-on-Avon, and its Canadian counterpart at Stratford, Ont. Now at American Stratford on the Housatonic River in Connecticut a handsome new theatre is given over to a summer repertory of Shakespeare's works . . . This week, as it wound up its season, it had established itself as a perfect place to enjoy Shakespeare. Inside the theater it offered good acting and excellent productions. Outside it gave patrons a riverside promenade."

—LIFE, Sept. 10, 1956

STRATFORD'S THEATER has a heraldic sundial over terrace. Audiences gather between acts on terrace and lawn to enjoy the Housatonic's river breezes.

Announcing
The 1957 Season
American Shakespeare Festival

STRATFORD, CONNECTICUT

PRICES

SEASON MEMBERSHIPS
one seat for all 3 shows • BIG SAVING • BETTER SEATS

<table><thead><tr><th></th><th></th><th colspan="3">1st 13 rows</th><th colspan="3">1st 13 rows</th></tr><tr><th></th><th></th><th></th><th>Next 6</th><th>Balance</th><th></th><th></th><th>Balance</th></tr></thead><tbody><tr><td rowspan="2">EVES.</td><td>TUES.</td><td>ORCH.</td><td>12.00</td><td>9.00</td><td>ORCH.</td><td>4.40</td><td>3.30</td><td>2.50</td></tr><tr><td>WED.<br>THUR.</td><td>MEZZ.</td><td>9.00</td><td></td><td>MEZZ.</td><td>3.30</td><td></td><td></td></tr><tr><td rowspan="2">MATS.</td><td>WED.</td><td>BALC.</td><td>6.00</td><td></td><td>BALC.</td><td>2.20</td><td>1.50</td><td></td></tr><tr><td>SAT.<br>SUN.</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td></tr><tr><td rowspan="3">FRI.<br>&<br>SAT.</td><td>ORCH.</td><td>14.40</td><td>11.40</td><td>9.00</td><td>ORCH.</td><td>4.80</td><td>3.80</td><td>3.00</td></tr><tr><td>MEZZ.</td><td>11.40</td><td></td><td></td><td>MEZZ.</td><td>3.80</td><td></td><td></td></tr><tr><td>BALC.</td><td>7.50</td><td></td><td></td><td>BALC.</td><td>2.50</td><td>1.80</td><td></td></tr></tbody><tfoot><tr><td colspan="9">BUY NOW-CHOOSE YOUR DATES LATER</td></tr></tfoot></table>

FOR TELEPHONE RESERVATIONS: The Box Office in Stratford is Edison 7-4457. From New York City call Walker 5-8070 (a local NYC call). For Group ticket purchases, travel information and special railroad rates also call in New York Endicott 2-2200.

LOCATION

The American Shakespeare Festival Theatre is on the Housatonic River, in Stratford, Conn., just north of Bridgeport and south of New Haven. From New York City it is 57 miles, (Merritt Parkway Exit No. 51) and from New Haven 14 miles (Merritt Parkway Exit No. 53).

Stratford is on the Main Line of the New York, New Haven and Hartford Railroad.

HOUSING and EATING

There are advisers at The American Shakespeare Festival Theatre who will gladly help find and recommend nearby places to sleep and eat.

There are fine hotels in New Haven and Bridgeport, modern Motels on the Boston Post Road nearby, and a plentitude of rooms in private homes within a short ride or walking distance of the theatre.

There is also a sufficiency of restaurants, road houses, coffee shops and diners in the immediate theatre neighborhood. A complete list of them is available upon request.

PERFORMANCE SCHEDULE | O-OTHELLO MND-MIDSUMMER NIGHT'S DREAM MA-MUCH ADO ABOUT NOTHING #—Preview

<table><thead><tr><th>Week of:</th><th>Tues. Eve.</th><th>Wed. Mat.</th><th>Wed. Eve.</th><th>Thurs. Eve.</th><th>Fri. Eve.</th><th>Sat. Mat.</th><th>Sat. Eve.</th><th>Sun. Mat.</th></tr></thead><tbody><tr><td>June 25-June 30</td><td>25-MND</td><td>26-MND</td><td>26-O</td><td>27-MND</td><td>28-O</td><td>29-O</td><td>29-MND</td><td>30-MND</td></tr><tr><td>July 2-July 7</td><td>2-O</td><td>3-O</td><td>3-MND</td><td>4-O</td><td>5-MND</td><td>6-MND</td><td>6-O</td><td>7-MND</td></tr><tr><td>July 9-July 14</td><td>9-MND</td><td>10-MND</td><td>10-O</td><td>11-MND</td><td>12-O</td><td>13-O</td><td>13-MND</td><td>14-O</td></tr><tr><td>July 16-July 21</td><td>16-O</td><td>17-O</td><td>17-MND</td><td>18-O</td><td>19-MND</td><td>20-MND</td><td>20-O</td><td>21-MND</td></tr><tr><td>July 23-July 28</td><td>23-MA#</td><td>24-MND</td><td>24-O</td><td>25-MA#</td><td>26-MA#</td><td>27-MA#</td><td>27-MND</td><td>28-MA</td></tr><tr><td>July 30-Aug. 4</td><td>30-MND</td><td>31-MND</td><td>31-O</td><td>1-MA</td><td>2-O</td><td>3-MA</td><td>3-MND</td><td>4-O</td></tr></tbody></table>

Treasurer, AMERICAN SHAKESPEARE FESTIVAL THEATRE, Stratford, Connecticut

Enclosed please find check or money order for $_________, to cover in total:

No. Season Memberships

@ $_________ for ALL THREE PLAYS

Upon receipt of your check you will be sent a special MEMBER'S ORDER BLANK where you may specify the dates on which you desire your seats-to be returned to us not later than MAY 1st, 1957.

Single Tickets

<table><tr><td>No.</td><td>seats @ $_________ for OTHELLO_________</td><td>Date</td><td>Mat. or Eve.?</td></tr><tr><td>No.</td><td>seats @ $_________ for MIDSUMMER NIGHT'S DREAM_________</td><td>Date</td><td>Mat. or Eve.?</td></tr><tr><td>No.</td><td>seats @ $_________ for MUCH ADO ABOUT NOTHING_________</td><td>Date</td><td>Mat. or Eve.?</td></tr></table>

Mail tickets in enclosed self-addressed and stamped envelope to

MAIL ORDER FORM

Name

Address

THE AMERICAN SHAKESPEARE FESTIVAL THEATRE

By JOSEPH VERNER REED

We are in the midst of a Shakespeare boom. Tele-
vision, the movies, off-Broadway, schools, colleges and
festivals are going all-out for the Bard. This is not
surprising when one considers that for the past 350
years Shakespeare has been steadily gaining ground
both in the libraries and in the theatres of the world.

Each succeeding generation, always in greater num-
bers, has wanted to see Shakespeare acted. Rather
than reading his plays, or having them explained,
people want Shakespeare to be made lucid and dra-
matic on the stage. How right — because that was
Shakespeare's intent. Being first and last a dramatist,
he conceived his great works and wrote innumerable
passages of inspired poetry for the express purpose
of having them brought to life by actors.

But Shakespeare is more than just "theatre" — even
though the term is applied in the highest sense of the
word. Shakespeare is a staff of life; the more one
rereads his plays the more one finds in them that is
profound and meaningful.

Yet the legitimate theatre of America hardly knows
Shakespeare. With the exception of The Old Vic's
"A Midsummer Night's Dream" and its forthcoming
repertory in October (both English importations) plus
two recent, fleeting Broadway productions, America
has not had any major Shakespeare since Katharine
Hepburn's "As You Like It" in 1950.

Astronomical production costs are principally account-
able for this. The "star system" adds to the difficulty.
The result is that in America the classics, including
Shakespeare, are frozen out. But in summer things are
different. The festive mood prevails. Crippling costs
thaw out and trickle away. Everything is easier (or
so one is led to believe). Festivals come into being.

And Shakespeare, along with June, comes "bustin' out
all over."

The American Shakespeare Festival is now in its
second season in its own theatre in Stratford, Con-
necticut; and for everyone concerned the responsibility
is great.

First of all, the actors — for years they have been clamoring for a chance to play the classics, to be given roles that have fire and are worth dying for — or, more important, are worth living for. With "King John" and "Measure for Measure" and "Taming of the Shrew" the actors are granted their wish.

Secondly, there's the management, the production
staff, and the crew — for them to serve the public and
do justice to Shakespeare requires a new stature. There
is nothing easy about putting on a festival — particu-
larly a Shakespeare festival. To be involved in one
requires, above all, rising above oneself.

Thirdly, we have the town. Stratford, too, must recog-
nize that there is a great deal more to a Shakespeare
Festival than merely having the plays mounted on
the board of a local theatre. Of equal importance is
town cooperation in all matters than concern the in-
coming public. If Stratford is to remain host to
Shakespeare — that is, to be a good host to Shake-
spear — there will be required a certain magic on the
part of the citizens.

Lastly, there is the audience. Does its responsibility
rest with buying tickets? Far from it. The American
Shakespeare Festival Theatre can never succeed unless
its audience also serves. Together with the actors, the
techicians, the management, and the town, our audi-
ence must back this venture with belief, indulgence,
hope and persistence. The last quality is perhaps the
most important, for it will really be through the in-
sistence of the audience, insistence that Shakespeare's
plays be presented here year after year, always with
a finer standard of attainment, that this project will
finally succeed.

As John Drinkwater wrote concerning the producing
of Shakespeare:

May you that watch and we that serve so grow
In wisdom as adventuring we go

That some unwavering light from us may shine.

We have the challenge of the mighty line —
God grant us grace to give the countersign.

SHAKESPEARE AND THE AMERICAN ACTOR

By JOHN HOUSEMAN

"How do you feel about an all-American Shake-
spearean acting Company?" is the question I have been
most persistently asked since it was announced that I
would direct the Shakespeare Festival this summer.
My answer is a well considered and most emphatic
"fine!"

The time is particularly propitious. For years Amer-
ican acting was a very honorable branch of the English
theatrical tradition. Then, with the rise of a native
American drama, there developed an unfortunate but
ever-widening chasm between the classic and realistic
schools of performance. For half a century they have
seemed irreconcilable, and mutually exclusive. Today
the tendency seems to be reversing itself. It is to the
great advantage of our theatre that this gap is closing.

The American actor today is probably more conscious
of the problems of his craft and works harder at
mastering them than his fellow artist in any other
country. In the past two generations most of our best
young actors have been preoccupied mainly with the
inner mechanics of expressing emotions — the much
discussed "method" and its derivatives. The results
have been stimulating and far reaching. Of late, how-
ever, even among those actors who are most deeply
committed to the subjective systems, there has been
a growing preoccupation with a more styled and
eloquent theatre.

Returning to New York after an absence of several
years one is startled to see how far American acting
has veered in this direction. The murmuring, intro-
spective playing in vogue a generation ago is giving
place to performance in which the communication be-
tween actor and audience has become more direct and
more frankly theatrical.

Therefore it is not surprising that American actors
today are casting eager eyes toward Shakespeare. The
subjective actor, concerned with personal patterns of
mood and feeling, has tended to regard the text as
a vessel into which he can pour the emotions generated
in him by the realistic situation in which the play-
wright has placed him. Much of the time we find him
playing around and above and beneath the lines. In
the sustained verbal stretches of poetic drama this
cannot be done. The author's words *are* the emotion;
and the actor's ability to illuminate and enrich them
is the measure of his technical and emotional capacity
to work in this no less emotional but more formal
theatrical medium.

How well are American actors prepared to meet this
challenge? Very well indeed. For they can bring to
it a keenness and a depth of interpretation sometimes
missing in actors whose whole lives have been devoted
exclusively to elocutionary theatre.

On the simple level of speech — whenever the ques-
tion of an American Company comes up, I find an
automatic and nervous raising of eyebrows. This is
absurd. Purged of blatant provincialisms and phonetic
vices, American speech is certainly closer to Shake-
spear's tongue than the class conscious and emascu-
lated idiom known as "Oxford English." The truth is
that we are far more conscious, in theatrical perform-
ance, of our "American" pronunciation than are the
British. When the film "Julius Caesar" was reviewed
in England, John Gielgud, as Cassius and Marlon
Brando, as Anthony, were not placed in separate de-
partments, but were hailed in joint headlines for their
very different but very vital performances.

What we aim for at Stratford — what any American
company must aim for — is not a mimicking of the
British pronunciation, but a constantly high standard
of rich, vigorous speech. What is far more serious for
the American actor is his lack of preparation — by
training and practice — in facing the problems that
go with the delivery of dramatic verse — an under-
standing and a capacity to handle, to its maximum
vocal and dramatic advantage, the best, the stresses
and the rhythms which make iambic pentameter, as
used by Shakespeare, the greatest medium of dramatic
communication known to the Western world. In this
respect the new school of English classic actors is
ahead of us; in clarity, in intelligibility and in pace,
they have achieved a perfection which we can only
hope to emulate with time and work.

Generally speaking, however, in regard to training
for acting Shakespeare, young people now in schools
and colleges are better off than their predecessors. Not
only are there today a number of excellent academic
training grounds, but there have grown up several
established Festivals to which the young classic actor
can attach himself and develop his craft. Best known

*Continued on Page 9*

THE ACADEMY

As John Houseman writes previously in this program, "American actors today are casting eager eyes toward Shakespeare." But classical acting calls for classical training, and the finest classical training is through the opportunity to act in the classics. Because such opportunities have become increasingly rare in America today, The American Shakespeare Festival Academy is an integral part of the basic pattern and purpose of The American Shakespeare Festival Theatre, and is so set up in the constitution of the organization

For the Festival Theatre is dedicated to the goal that the plays of Shakespeare, and the art of acting, them, by American actors, be revitalized as part of the living theatre in the United States. The purpose of

The American Shakespeare Festival Academy is to provide a center, a professional workshop, where established actors, as well as the most gifted of our younger players, may have the opportunity of refreshing and expanding their talents in the classics.

To fulfill this purpose, the Trustees have established permanent homes for the Academy both in New York City and in Stratford. Under the guidance of Helen Menken, the Executive Director of the Academy, the work and facilities are offered, without charge to the actor, as a service to the American theatre.

At the Academy scenes and entire plays are analyzed and rehearsed. Familiarity with Shakespeare's language, imagery and characters is achieved. Facilities are provided for rehearsing in costume, for speech and voice training, for fencing, sword fighting and dancing. There is also, of course, discussion and criticism.

The Academy aim is to develop an approach to Shakespeare that is fresh, dynamic and flexible. It is the hope that our actors will arrive at an integration of playing in which the inventiveness and the creative power of the American actor can match the daring of Shakespeare's imagination and genius, from his lyrics and tragic grandeur, to his humor, wit and foolery.

We hope that The American Shakespeare Festival Academy will be the cradle from which will emerge the American actors and actress who will be the Shakespearean stars of tomorrow. To this end the Academy represents the educational efforts of our organization. Its teaching will help preserve the beauty of the English language which is the foundation of our enterprise.

The Academy has been in operation for two seasons, and during the first season, the classes were under the direction of John Burrell, formerly of the Old Vic Company of London, England. This year the Academy held its classes under the direction of Mr. Burrell and Mr. Arnold Moss, who has been teaching, acting and directing Shakespeare on this side of the water for a number of years. A large number of professional actors took part in the classes of the Academy, and both during the first season at Stratford, Conn. as well as during the present season, a number of the actors from these classes have been recruited into the Acting Company.

During the season at Stratford last year, a group of apprentices were associated with the productions and received tuition under the auspices of the Academy. This will apply to this season as well.

Spacious, well-equipped studio and rehearsal rooms have been provided in New York City at 210 West 65th Street, and the attractive Academy Building has been provided on the grounds of the theatre in Stratford, Conn. These premises take care of the needs of the Academy during the winter in New York and the summer in Stratford. Visitors at the Festival who wish for information regarding the Academy should apply at the box office at the theatre or write directly to the American Shakespeare Festival Academy at 1850 Elm Street, Stratford, Conn.

ACKNOWLEDGEMENT OF A DREAM
By THERESA HELBURN

In 1950, Lawrence Langner and his wife, Armina Marshall, visited the new Shakespeare Memorial Theatre at Stratford-on-Avon and he was keenly impressed by the enthusiasm of the large audiences drawn from all over England. He came away inspired with the idea that America should also have a theatre dedicated to the works of Shakespeare. He knew that America has contributed more than half of the necessary funds to build the new theatre at Stratford-on-Avon, so why couldn't they be relied upon to contribute even more for a similar theatre in America? Surely Shakespeare is as much our heritage as England's. (Incidentally, it is worth noting that Mr. Langner is British born and one of his earliest jobs had been in the theatrical offices that sponsored the Ben Greet Shakespearean Company and Ellen Terry).

On his return, he immediately announced his plan for the building of a Shakespearean Company and training school. Premature, perhaps, since it was scarcely more than a dream. But in the very expression of it, it took form and substance. He worked almost single-handed for a while, but gradually recruited warm and able support. He and his colleagues were in for a long series of delays and disappointments. Money was much harder to raise than they had expected. Problems of finding the right site, of planning and constructing a building fluid enough in form to meet all requirements, of getting the structure built in time in the face of rising costs, of organizing the right company—all seemed at times insuperable. They were faced with inevitable compromises and postponements. Langner worked fanatically and yet with infinite patience, and his determination never faltered, until finally, his dream became a reality. We who worked with him are all grateful for his vision and perseverance that gave Shakespeare a lasting and beautiful home in our country.

LAWRENCE LANGNER

SHAKESPEARE AND THE AMERICAN ACTOR *Continued*

of these are Antioch College at Yellow Springs, Ohio, and the Oregon Shakespearean Festival at Ashland, where B. Iden Payne, who has done so much work along these lines, is teaching and directing. Already a national system is developing in which it is possible for a young actor to join a Shakespeare theatre, start by playing a modest role, then in subsequent seasons, as his experience and capacity grow, move on to bigger parts. In this development we hope to do our share. So much for the future.

The problem at Stratford, Connecticut, has been one of assembling the best available acting company — here and now. Ideally, the best American Shakespeare company consists of the best American actors playing Shakespeare. Many of them are with us this summer. At the Festival the actor can play his part for the entire summer, in repertory, and he can breathe and think while he is doing so without the attendant pressures of a transitory Broadway production. At the end

of the summer his performance will be surer and richer than when he began.

In this very growth there is an element of excitement — also a reason for caution. A great Shakespeare acting company cannot be developed in a single summer. Two, five, ten years from now the final fruits of our efforts will be harvested.

We have deliberately chosen, as our first productions, two of the lesser known plays for presentation this summer, KING JOHN and MEASURE FOR MEASURE. We want audiences to regard Stratford not as a museum for distinguished and familiar relics, but as a home for living and exciting theatre. For this reason we believe that the choice of these unfamiliar plays is a good one. We hope that each of them will have some of that quality of revelation that is shared by actors and an audience during the performance of a new work — in this case two new works by the world's leading playwright, one a comedy and one a tragedy.

Reprinted by permission: Theatre Arts Magazine

THE ACTING COMPANY

MITCHELL AGRUSS studied acting at The Carnegie Institute, in Pittsburgh. In New York he appeared off-Broadway in "The Clandestine Marriage," "White Devil" and "The Carefree Tree." On Broadway he had roles in "At War With the Army," and in support of the late Louis Calhern in "King Lear." In between these stage engagements he has appeared frequently on television.

STANLEY BELL is a descendant of five generations of actors and he has appeared often both on Broadway and in London. His decision to become an actor was made when he was a student at nearby St. Lukes School, in New Canaan, Conn.

This is JACQUELINE BROOKES third Shakespeare Festival, for she has been in Shakespeare Festivals in London, England, and Antioch, Ohio. She received two scholarships to The Royal Academy of Dramatic Arts in London, and she has appeared in Paris with Judith Anderson in "Medea" and in New York with Michael Redgrave in "Tiger at the Gates".

ROD COLBIN has been seen with Sir Laurence Olivier at The Old Vic in London and with Jose Ferrer in "Cyrano de Bergerac" on Broadway. His prodigious number of TV appearances include "Hamlet", with Maurice Evans, and "Macbeth." He is an expert fencer and in Stratford he is not only an actor but also choreographer of all duels and Fencing Master for the Academy.

WILLIAM COTTRELL graduated from the University of Oregon and stayed on in those environs for six years to act in, and direct, The Oregon Shakespeare Festival. He was in Charles Laughton's Shakespeare Company and Mr. Houseman's film production of "Julius Caesar." Recently he has been touring with the National Company of "The Caine Mutiny" and appearing at New York's Phoenix Theatre in "Six Characters in Search of an Author."

RICHARD DURHAM is an Iowan by birth and an Actors' Studio scholar by choice. He has been seen off-Broadway

in "What Every Woman Knows," and he made his Broadway debut in "Cat on a Hot Tin Roof."

JOHN FRID is a Canadian whose preparation for the theatre included study at the Yale Drama School in nearby New Haven and also at The Royal Academy of Dramatic Arts in London. So far his acting has been mostly in England and Canada.

Texas has a representative at Stratford in the person of PATRICK HINES. He was not only born in Corpus Christi, but received his Bachelor of Arts from the University of Texas.

PERNELL ROBERTS, seen on Broadway in "The Lovers," is a Waycross, Georgia, boy who lost his Southern accent and has just recently received the Vernon Rice Award from the New York Drama Desk for his off-Broadway performances with The Shakespearewrights in "Macbeth" and "Romeo and Juliet."

TOMI ROMER has come a long way since she appeared in burlesque in Chicago, Stella Adler, Eva Le Gallienne, and Joel Friedman of The Touring Players have been instrumental in her steady progress. With The Touring Players she was seen in "Richard III" on a tour of 21 cities covering 7000 miles.

After graduating from Smith College, SYLVIA SHORT spent two years studying acting at The Old Vic Theatre School in London. She has since essayed Shakespearean roles at The Barter Theatre, in Virginia; and at Wellesley and Gloucester, Mass. Off-stage she is Mrs. Fritz Weaver.

Although RHODEN STREETER has had but twelve birthdays in his entire life, he nevertheless donned greasepaint "at an early age" and has already been seen in many major television shows, among them "Macbeth," in which he lent his support to Maurice Evans and Judith Anderson.

MONDAY NIGHT CONCERTS
BY THE NEW YORK PRO MUSICA ANTIQUA

On the Monday nights of August 13th, 20th and 27th and September 3rd, the New York Pro Musica Antiqua will be heard in concert on the stage of the American Shakespeare Festival Theatre.

The Pro Musica Antiqua consists of six vocal soloists and four musicians playing viols, cellos, violins, recorder, harpsichord and organ, under the direction of the renowned Noah Greenberg.

These occasions will provide concert audiences and Shakespeare devotees with a unique opportunity to hear the musical masterpieces of the age that produced Leonardo da Vinci and Dante as well as Shakespeare. The singers and instrumentalists have been widely acclaimed for their authenticity and artistry.

The scale of prices for these Monday night events will be the same as for week nights on the regular theatre scale.

The programs will comprise: Tudor and Elizabethan Music on the 13th, Claudio Monteverdi Sacred and Secular Works on the 20th, Music of the German Reformation and Baroque on the 27th, and The Old Testament in Early Music on the 3rd.

Dudley Ernest Woodman, Mayor of Stratford-on-Avon, England, receives the Key to the City from D. James Morey, former Chairman of the Stratford, Conn., Town Council, at the opening of "Julius Caesar" last year.

In the lobby at the "Julius Caesar" premiere last year, left to right, Lawrence Longner, American Shakespeare Festival Theatre Chairman of the Board; Dudley Ernest Woodman, Mayor of Stratford-on-Avon, England; Sir Roger Makins, The British Ambassador; Governor Abraham Ribicoff, Governor of Connecticut; and Senator Prescott Bush, U. S. Senator from Connecticut.

A scene from the 1955 American Shakespeare Festival Theatre presentation of "The Tempest."

A scene from the 1955 American Shakespeare Festival
Theatre presentation of "Julius Caesar."

JOHN HOUSEMAN

JOHN HOUSEMAN has enjoyed singularly varied and successful careers as writer, director and producer in the theatre, motion pictures, radio and television. He was born in Rumania, educated in France and England, and, before turning to the theatre, he was a farmhand and bank clerk in the Argentine, a grain broker in London, and a wheat exporter in New York, Chicago, and points South and West. He arrived on Broadway by directing the Gertrude Stein-Virgil Thomson opera "Four Saints in Three Acts," followed by Maxwell Anderson's "Valley Forge" for the Theatre Guild. His first association with Orson Welles occurred with his 1935 production of "Panic." The same year he directed Leslie Howard in "Hamlet" and organized those two units of the Federal Theatre Project which were responsible for the Negro Theatre's "Macbeth" and, later, "Dr. Faustus" and "The Cradle Will Rock." In 1937 the Messrs. Welles and Houseman formed the memorable Mercury Theatre, presenting "Heartbreak House," "Julius Caesar" in

modern dress, "Shoemaker's Holiday" and "Native Son." After directing "Liberty Jones" and "The Devil and Daniel Webster" on Broadway, and writing the Helen Hayes radio show for a year, he arrived in Hollywood as Vice-President of David O. Selznick Productions. Ten days after Pearl Harbor he joined the OWI, and became Chief of the Overseas Radio Bureau. Since 1943 he has been a motion picture producer, with "The Blue Dahlia," "They Live By Night," "The Bad and the Beautiful," "Julius Caesar," "Executive Suite," "The Cobweb," and the soon to be released "Lust for Life," among his major productions. In between activities in the mass-media he has returned to New York to direct Mary Martin in "Lute Song," Louis Calhern in "King Lear," and the Phoenix Theatre presentation of "Coriolanus." He has also found time to serve as an English professor at Vassar and Barnard, lecture on the drama at UCLA, and contribute articles to Harper's and many other magazines.

December 12, 1956

MEMORANDUM

TO: JOHN HOUSEMAN

FROM: T. EDWARD HAMBLETON

## 1. Promotion

The promotion of MEASURE FOR MEASURE and THE TAMING OF THE SHREW has been proceeding according to the attached memorandum from Roberta Unger. We have sent out the letter signed by the three of us to the high schools, a second one to the schools generally, a third letter soliciting theatre parties, a fourth letter signed by Marvin Seiger which was sent out from your office, a letter signed by you to college groups.

Also, the brochure has gone into the programs of SAINT JOAN and will be put in the programs for THE GOOD WOMAN.

Tickets have been received and will be placed on sale. Orders have just begun to trickle in from the brochures. We have received an advance of about $1,500 from our subscribers for SHREW.

## 2. Production

We understand that Nolan will probably construct the setting for MALFI and I have instructed our carpenter, Warren Brady, to talk over the problems with him. As soon as complete specifications are ready, we should all go over them. As you know, we have a rental basis with Century. If there is any increase of equipment we should know this at the time we discuss our technical requirements. We understand that Dorothy Jeakins will do the costumes for THE DUCHESS OF MALFI and it would be well to discuss this in as much detail as possible so that we can arrive at the overall physical cost. You will remember that our budget for the physical production of MALFI is as follows:

Design $450
Build & Paint 2,500
Props 500
Design Costumes 450
Execute Costumes 4,000
Carting 500

MEMO TO JOHN HOUSEMAN
FROM TEN

(12/12/56)

2.

We would, of course, like to shave this if we can.

3. Cast

Morty and I feel that it would be possible for the
Phoenix to pay a flat figure for the cast during MALFI to the
Shakespeare Festival, so that new contracts will not have to
be issued. Our liability for the bond can be taken
care of with a letter.

I think it would be best to have a production meeting next week to go over all phases of the physical production so that we each understand our individual responsibilities.

Norris Houghton

cc: Morton Gottlieb
Bob Woods

MEMORANDUM

J. EDWARD HAMBLETON

MORTON GOTTLIEB

ROBERTA UNGER

DATE: DECEMBER 21, 1956

T: SHAKESPEARE MAILINGS TO DATE AND COSTS. OF POSTAGE ONLY

## GENERAL STUDENTS' & TEACHERS' MATINEES

1,000 Letters and flyers to all high school, junior high school and elementary school principals- 5 boroughs of N. Y. All Phoenix Educational ers in public high schools.

1500 @ 2¢ .................... $50.00

250 letters & flyers to Ida Martus, School & Theatre Committee, stamped f Phoenix, mailed by her to "special group" in city schools.

250 @ 2¢ .................... 7.50
TOTAL $ 37.00

## GENERAL SCHOOLS MAILING

1- 377 received from M. Seiger to heads of English & Speech Depts., out of town colleges

377 @ 2¢ .................... $7.54

2-250 received from M. Seiger to English Professors, colleges-eastern oseaboard. (This mailing actually paid for by Shakespeare office)

250 @ 3¢ .................... 7.50

3- 100 received from M. Seiger to editors high school & college newspapers in METROPOLITAN metropolitan area- announcement of college press conference. (This mailing actually paid for by Shakespeare office)

100 @ 3¢ .................... 3.00

4- 625 to Phoenix Educational Members.

625 @ 2¢ .................... .13.50

5- 82 to college editors - NYSTATE, NJ, RI, CONN, RAL

NY STATE, NJ, RI, CONN, PA. 82 @ 2¢ .................... 1.64

6- 250 to Mrs. Mary Shapiro for distribution to all schools in Five Towns Group. Bulk .................... 5.07

7-100 to principals and teachers of English- Private Schools Association of New York

100 @ 2¢ .................... 2.00

8-159 to special group of teachers-metropolitan area that Sally Coffey has special contact with.

159 @ 2¢ .................... 3.18

["-2-", "9- 700 to all business & professional schools - MAXIMUM\nMetropolitan area.\n700 @ 2¢ . . . . . . . . . . . . . 14.00", "10-89 received from M. Seiger to Conn. schools.\n89 @ 2¢ . . . . . . . . . . . . . 1.78", "11- Bulk Mailings\n200 to Drama Bookstore. . . . . . . . . . . . . . . .

(1/16/57)

COST TO PHOENIX THEATRE
DARK WEEKS AND SETTING UP "DUCHESS"

W/E Jan. 13

Stage Crew Setting up $ 2,185.60
Box Office 284.59
Porters, etc. 207.68
Staff 625.00
Rent 900.00
4,202.87

W/E Jan. 20

Stage Crew (Mon) 340.00
Box Office (3/4) 214.00
Porters, etc. (3/4) 150.00
Staff (3/4) 460.00
Rent (3/4) 675.00
1,839.00

W/E Mar. 17

Stage Crew (est.) 2,000.00
Box Office (3/4) 214.00
Porters, etc. (3/4) 150.00
Staff (3/4) 460.00
Rent (3/4) 675.00
3,499.00

CIRCLE 5-5870

THEATRE PRODUCTION SERVICE

45 WEST 46th STREET

NEW YORK 36, N. Y.

SOLD TO
Mr. Morton Cottlieb
American Shakespeare Festival Theatre & Academy
210 West 65 Street
New York 23, N Y

NO 4201

TERMS: Net 30

Delivered to Phoenix Theatre

PO 2594,2561,2576,2560

2559, 2591, G 4976,4963

<table><thead><tr><th>DATE</th><th>YOUR ORDER NO.</th><th>OUR ORDER NO.</th><th></th></tr></thead><tbody><tr><td>1/19/57</td><td></td><td></td><td></td></tr><tr><td>110</td><td>sheets of Gelatine as ordered</td><td>@ .20 each</td><td>$ 22.00</td></tr><tr><td>90</td><td>" " Cinemoid " "</td><td>@ 1.05 "</td><td>94.50</td></tr><tr><td>5</td><td>doz Solid Color Lanterns</td><td>@ 6.00 doz</td><td>30.00</td></tr><tr><td>2</td><td>Reels 3/32 Aircraft Cable pre-formed 7x7 galvanized</td><td>@ 52.92 ea</td><td>105.84</td></tr><tr><td>2</td><td>Drapery Panels 4'6" x 10', complete with hem at top, in Black Velour as ordered</td><td></td><td>17.50</td></tr><tr><td>9</td><td>20' lengths 1½" Threaded & Coupled Black Pipe</td><td></td><td>65.25</td></tr><tr><td colspan="3">Exempt from NY City Sales Tax.</td><td>$ 335.09</td></tr></tbody></table>

September 14, 1956

Dear John:

Further talk with Morty Gottlieb brought up two matters which we may not have gone into:

(1) How we should pro rate the cost of the setting of *THE WHITE DEVIL* for the other two shows. This really boils down to the question of the cost of the setting which is further dependent on what building is required.

(2) We must charge to the MEASURE and SHREW productions their share of the preliminary and subscription expense, which amounts to between $3,000 and $4,000.

It seems most important that we sit down together and make up a budget for *THE DUCHESS OF MALFI*, particularly in terms of costumes and scenery. It will be possible to lay out the schedule for rehearsal and previews at this time.

The more I think of the question of profit which we can only determine when we settle on a tentative budget both for MALFI and the two Stratford productions, I feel that it will about equal out. However, so that neither organization can profit greatly while the other loses, it may be possible to equalize the two.

I have asked Morty to try and figure out tentatively how your budget will shape up. As to ours, we would like to think of $25,000 as the production cost, but we would have to prepare for $30,000. This would require the entire four weeks to pay off the production cost with the possibility of one week for profit after three weeks of the SHREW.

I am sending a copy of this to Morty and I hope we can get a better idea of costumes and scenery next week.

Love to all.

Mr. John Houseman
South Mountain Road
New City, N.Y.
TEH:db
(dictated but not read)

COPY

Actors' Equity Association, 226 W. 47th St., New York 36, N.Y.

November 15, 1956

Mr. Morton Gottlieb
ASFTA
210 W. 65th St.
New York 23, N.Y.

Dear Mr. Gottlieb:

The Council at its meeting of November 13th., considered your
request to use the standard production contract for repertory
in the case of the American Shakespeare Festival Theatre and
Academy.

I am pleased to inform you that the Council has granted the
request with the concession that when an actor is on full
salary for one production and rehearsing for the following
production, rehearsal expense money will be waived. A form
of rider outlining this concession must be attached to all
contracts affected, and I am enclosing a sample rider for this
purpose.

PGJ/IS
Encl.

The Actor and the Manager agree that through concession of Actors'
Equity Association that the Manager will not be required to pay
rehearsal expense money to the Actor who is on full salary for one
production and rehearsing for the following production. It is
understood, however, that rehearsal hours, should the actor be
performing and rehearsing, will not exceed the following: after
opening, six hours including one hour for lunch and on matinee
days, rehearsals not to exceed two hours.

November 16, 1956

American Shakespeare Festival Theatre & Academy
210 West 65th Street
New York 23, New York

Gentlemen:

Your signature under the words "AGREED TO:" at the end of this letter will confirm the following as our agreement:

1. You have discussed with us your intentions to present the two Shakespearean plays, "MEASURE FOR MEASURE" and "THE TAMING OF THE SHREW" for an aggregate period not to exceed seven (7) consecutive weeks opening January 22, 1957. You have explained to us the facts relating to your non-profit status and have exhibited to us your charter referring to your aims and purposes.

2. (a) We have agreed to rent to you for a period commencing January 15, 1957 and terminating March 10, 1957, the Phoenix Theatre, cleaned and licensed with all of its appointments and facilities, its staff and personnel as customarily furnished or made available to productions presented at the Phoenix Theatre, including but not limited to box office staff and personnel (not exceeding two (2) persons) house manager and staff, doormen, ticket takers, ushers, matrons, maintenance personnel, six (6) stagehands (heads of the three departments

and an assistant for each), subscription staff, utilities as
well as all physical props and effects to be utilized by us
in our next production, which will immediately follow your
presentations, and we agree to bear all costs and expenses
incident to the foregoing. We also agree to furnish at our
expense four (4) musicians for each performance, and to pay
the salaries of the stage managers and rehearsal salaries of
the actors during the period prior to the first preview per-
formance of your productions.

(b) We agree, at our expense, to transfer from
point of origin (no further distant than Stratford, Conn.),
take into the theatre, set up and return to the point of origin,
any sets, props, and scenery which you may require to have de-
livered to the theatre for use in your production. We further
agree to build the set of our next production in sufficient time
so that it, or any parts of it, may be used by you for your pro-
ductions and to set up any parts of such set for your use in
such manner as you may direct; provided that when we have set
up the set in the initial position designated by you, any
changes or rearrangements thereof shall be by you at your expense.
We shall also set up in advance of your productions, the basic
light plan for our production so that it may be used by you.
All of the work which we agree to do pursuant to this subparagraph
(b) shall be done at our expense and we agree to reimburse you
for any wages paid by you to your employees who, at our request,

-2-

perform services for us in this connection. You agree, at the
end of your productions, to return our set for our next produc-
tion and all our lighting equipment to us in the same form in
which they were delivered to you, reasonable wear and tear
excepted, and you shall bear any costs incident to restoring
the basic light plan and the sets to the form in which they
were delivered to you.

3. You shall not present more than eight (8) performances during any consecutive seven (7) day period without our prior written consent, nor shall you present evening performances on Monday night, nor matinees on days other than Saturday and Sunday, without our consent. You further agree that the theatre shall be available to us for the presentation of such presentations as we may, in our discretion, select on Monday evenings and for matinees on days other than Saturday and Sunday. We shall also have the right to use the theatre for rehearsals of our next production at times not interfering with your performances.

4. The theatre and such of the staff and equipment referred to in Paragraph 2, as shall be reasonably necessary, shall be made available to you for rehearsals and for preview performances commencing January 19, 1957, provided that your use of such facilities and staff, shall not in any way interfere with any production of ours then running at the theatre.

-3-

5. The sale and disposition of all tickets, including the price scale thereof, shall be under the exclusive control and discretion of your organization provided that you shall fully honor the rights of our regular subscribers and holders of our student member cards and provided, further, that the allocation of opening night seats shall be under our joint control. We agree to pay over to you the amounts previously received by us for subscription sales allocable to the tickets actually delivered by you pursuant to such subscriptions.

6. In full payment for the services, facilities and personnel to be furnished by us, we have agreed to accept and you agree to pay the following sums:

(a) Weekly payments of $5,700 each payable on Sunday of each week, commencing January 27, 1957, and continuing through March 10th, 1957. In addition, you shall pay to us on January 20th one-eighth of the above amount for each performance played to a paid audience on or before that date.

(b) The sum of $4,000 to cover our office expense, proportionate share of preliminary and subscription expenses, insurance and auditing fees during our pre-production period, plus the amount expended by us on advertising and promotion for your productions, pursuant to advertising and promotion arrangements to be mutually agreed upon between us. All such sums to be paid on January 27, 1957.

-4-

7. In connection with the leasing of this theatre and the production of the plays therein, you agree that you will employ approximately twelve or more students of the Shakespeare Academy, operated by you, in order that said students may have the benefit of the experience of appearing in the Shakespearean plays.

9. This is a rental agreement and nothing herein contained shall be deemed to constitute a joint venture or partnership relationship between the parties.

9. This agreement contains the entire understanding of the parties. There are no representations, warranties, promises, covenants or undertakings other than those herein expressly set forth. No waiver, change or modification hereof shall be binding unless in writing, signed by the parties hereto.

Very truly yours,

PHOENIX THEATRE COMPANY

By

AGREED TO:

AMERICAN SHAKESPEARE FESTIVAL THEATRE
AND ACADEMY

By Norton J. Tisch General Manager

FINAL

November 16, 1957

Gentlemen:

(4) musicians for each performance, and to pay the salaries of the stage managers and rehearsal salaries of the actors during the period prior to the first preview performance of your productions.

(b) We agree, at our expense, to transfer from point of origin (no further distant than Stratford, Conn.), take into the theatre, set up and return to the point of origin, any sets, props, and scenery which you may require to have delivered to the theatre for use in your production. We further agree to build the set of our next production in sufficient time so that it, or any parts of it, may be used by you for your productions and to set up any parts of such set for your use in such manner as you may direct; provided that when we have set up the set in the initial position designated by you, any changes or rearrangements thereof shall be by you at your expense. We shall also set up in advance of your production, the basic light plan for our production so that it may be used by you. All of the work which we agree to do pursuant to this subparagraph (b) shall be done at our expense and we agree to reimburse you for any wages paid by you to your employees who, at our request, perform services for us in this connection. You agree, at the end of your productions, to return our set for our next production and all our lighting equipment to us in the same form in which they were delivered to you, reasonable wear and tear excepted, and you shall bear any costs incident to restoring the basic light plan and the sets to the form in which they were delivered to you.

-2-

any consecutive seven (7) day period without our prior written consent, nor
shall you present evening performances on Monday night, nor matinees on days
other than Saturday and Sunday, without our consent. You further agree that
the theatre shall be available to us for the presentation of such presenta-
tions as we may, in our discretion, select on Monday evenings and for
matinees on days other than Saturday and Sunday. We shall also have the
right to use the theatre for rehearsals of our next production at times
not interfering with your performances.

4. The theatre and such of the staff and equipment referred to in paragraph 2, as shall be reasonably necessary, shall be made available to you for rehearsals and for preview performances commencing January 19, 1957, provided that your use of such facilities and staff, shall not in any way interfere with any production of ours then running at the theatre.

-3-

(b) The sum of $4,000 to cover our office expense, proportionate
share of preliminary and subscription expenses, insurance and auditing fees
during our pre-production period, plus the amount expended by us on advertis-
ing and promotion arrangements to be mutually agreed upon between us. All
such sums to be paid on January 27, 1957.

7. In connection with the leasing of this theatre and the produc-
tion of the plays therein, you agree that you will employ approximately twelve
or more students of the Shakespeare Academy, operated by you, in order that said
students may have the benefit of the experience of appearing in the Shakespearean
plays.

8. This is a rental agreement and nothing herein contained shall
be deemed to constitute a joint venture or partnership relationship between the
parties.

9. This agreement contains the entire understanding of the
parties. There are no representations, warranties, promises, covenants or under-
takings other than those herein expressly set forth. No waiver, change or mod-
ification hereof shall be binding unless in writing, signed by the parties hereto.

Very truly yours,

PHOENIX THEATRE NEW COMPANY

By

AGREED TO:

By Austin Kleich, Jr.

December 12, 1956

MEMORANDUM

TO: JOHN HOUSEMAN

FROM: T. EDWARD HAMBLETON

## 1. Promotion

## 2. Production

Design $ 450
Build & Paint 2,500
Props 500
Design Costumes 450
Execute Costumes 4,000
Carting 500

MEMO TO JOHN HOUSEMAN
FROM TEH

(12/12/56)

2.

3. Cast

C O P Y

January 8, 1957

Dear Sirs:

We have heretofore entered into a rental agreement with you
relating to your presentation of "MEASURE FOR MEASURE" and "THE TAMING
OF THE SHREW" at the Phoenix Theatre.

This letter will confirm the following additional agreement
between us relating to said productions and our production of
"THE DUCHESS OF MALFI" at the Phoenix Theatre immediately subsequent
thereto:

1. In order to help you to keep your Company together we
will endeavor, where artistically feasible, to engage members of the
cast of our production from the actors and actresses who have agreed
to appear in your productions of "MEASURE FOR MEASURE" and "THE TAMING
OF THE SHREW" on the same financial terms. The persons to be selected
for your productions and ours will be engaged after mutual consultation,
each of us, however, retaining the sole right to finally determine who
will be in our respective productions. We will not be required to
engage any cast members at your request if, as a result thereof, our
cast expense per week shall exceed Two Thousand and Three Hundred
($2,300) Dollars, and in the event that our cast costs exceed such
figure, the additional costs shall be paid by you. We agree that we
will not engage any person for our production who has not appeared
in your production pursuant to an agreement providing for a weekly
salary in excess of the salary paid to the highest paid person in
your productions and we further agree that, the intention of the

parties being to engage a cast for our production at a weekly cost
of between $2,200 and $2,300, we will not object to engaging any actor
for our production on financial grounds unless such engagement would
make our cast costs exceed $2,300. You will not participate in any
profits or remuneration be reunder.

2. We will acquire the costumes for our production pursuant
to a rental-purchase agreement and at the conclusion of our production,
will at your request assign to you any and all rights we may have
acquired in such costumes.

3. You also agree that we may use in our production any
of the sets and physical production belonging to you, which were used
in your productions at the Phoenix Theatre, provided that we return
the same to you at the conclusion of our production in the same
condition in which it was delivered to us, reasonable wear and tear
excepted, and we shall bear any costs incident to restoring such
physical properties and sets, to the form in which they were made
available for our use.

4. We have already budgeted for scenery, props and costumes
on our production of "THE DUCHESS OF MALFI" amounting to $7,000. If
the total cost for such articles is less than $7,000, the difference
shall be paid to you in consideration of our use of your scenery and
elements in our production.

If the above correctly sets forth your understanding of our agree-
ment, will you please sign and return the enclosed copy of this letter.

Very truly yours,

PHOENIX THEATRE-NEW COMPANY

By

By

C O P Y

January 8, 1957

Dear Sirs:

parties being to engage a cast for our production at a weekly cost
of between $2,200 and $2,300, we will not object to engaging any actor
for our production on financial grounds unless such engagement would
make our cast costs exceed $2,300. You will not participate in any
profits or remuneration hereunder.

If the above correctly sets forth your understanding of our agreement, will you please sign and return the enclosed copy of this letter.

By

By

January 8, 1957

Dear Sirs:

1. In order to help you to keep your Company together we will endeavor, where artistically feasible, to engage members of the cast of our production from the actors and actresses who have agreed to appear in your productions of "MEASURE FOR MEASURE" and "THE TAMING OF THE SHREW" on the same financial terms. The persons to be selected for your productions and ours will be discussed between us and will be engaged after mutual consultation, each of us, however, retaining the sole right to finally determine who will be in our respective productions. We will not be required to engage any cast members at your request if, as a result thereof, our cast expense per week shall exceed Two Thousand and Three Hundred ($2,300) Dollars, and in the event that our cast costs exceed such figure, the additional costs shall be paid by you. We agree that we will not engage any person for our production who has not appeared

in your production pursuant to an agreement providing for a weekly
salary in excess of the salary paid to the highest paid person in
your productions and we further agree that, the intention of the
parties being to engage a cast for our production at a weekly cost
of between $2,200 and $2,300, we will not object to engaging any
actor for our production on financial grounds unless such engagement
would make our cast costs exceed $2,300. You will not participate in
any profits or remuneration hereunder.

4. We have already budgeted for scenery, props, costumes,
hauling, and setting up our production of "THE DUCHESS OF MALFI" amounting
to $10,000. If the total cost for such articles is less than $10,000, the
difference shall be paid to you in consideration of our use of your scenery
and elements in our production.

4. We have already budgeted for scenery, props and costumes, lighting, and setting.

On our production of "THE DUCHESS OF MALFI" amounting to $10,000. If the total cost for such articles is less than $10,000, the difference shall be paid to you in consideration of our use of your scenery and elements in our production.

4. We have already budgeted for scenery, props, and costumes, **Hanging** of our production of "THE DUCHESS OF MALFI" amounting to $10,000. If the total cost for such articles is less than $7,000, the difference shall be paid to you in consideration of our use of your scenery and elements in our production.

January 3, 1957

Dear Morty:

You have our breakdown for expenditures of December 21, totaling
$648.82. There is in addition the following:

| Date | Description | Amount |
|:---|:---|---:|
| 12/11 | regarding benefits | $4.44 |
| | travel agents | 1.70 |
| 12/26 | additional industrial<br>benefit letters | 17.00 |
| | TOTAL | 23.14 |

Will you send us a check for this amount which we have advanced, by Monday.

Sincerely,

T. Edward Hambleton

Mr. Morton Gottlieb
Am. Shakespeare Festival
210 W. 65 St.
New York, N.Y.

TEH:db

January 16, 1957

Dear Morty:

After going over the schedule of setting up and focusing, it is our conclusion that the Phoenix Theatre's contribution to the set-up was completed as of the closing of Monday after which it may be said that the specific focusing and setting up for MEASURE was begun. Our agreement of November 16th envisaged our building the set which you would use. Actually we will use your set or portions of it, making special additions. It is admittedly hard to find a clear point of demarcation. However, if you go over this with John Houseman and Jean Rosenthal, I think this will seem fair.

It may be useful in this connection to look over the attached cost of dark week and setting up which must be charged to DUCHESS and will take us well above the $25,000 (2,500) plus theatre expense and rent of $1,000 which is allowed in the budget.

If this seems generally workable to you, we will make up the payrolls in our usual fashion and expect an advance from you to cover that portion which is yours. We can make the general settlement at the end of the week.

Sincerely,

Mr. Morton Gottlieb
American Shakespeare Festival
Theatre
210 West 65 St.
New York, N.Y.

TEH:db

encl.

STRATFORD • CONNECTICUT • Telephone EDISON 7-4457

210 WEST 65 STREET • NEW YORK 23, NEW YORK • ENDICOTT 2-2200

LEWIS W. DOUGLAS

National Chairman

EUGENE R. BLACK

International Chairman

JOSEPH VERNER REED

President

LAWRENCE LANGNER

Chairman of the Board

GEORGE N. RICHARD

Treasurer

TRUSTEES

EUGENE R. BLACK

J. KENNETH BRADLEY

MRS. ALEXANDER CHATIN

D. CRENDA DE IONGH

MAURICE EVANS

STANTON GRIFFIS

THERESA HELBURN

LINCOLN KIRSTEIN

LAWRENCE LANGNER

ARMINA MARSHALL

HELEN MENKEN

IRVING S. OLDS

CHARLES T. PROUTY

JOSEPH VERNER REED

GEORGE N. RICHARD

DONALD S. SAMMIS

CHARLES SPALDING

ROGER L. STEVENS

GEORGE D. WOODS

January 28, 1957

Mr. T. Edward Hambleton
Phoenix Theatre
189 Second Ave.
New York, N. Y.

Dear T:

I have your revised copy of the subsequent agreement in which you have changed the fourth paragraph to read as follows:

"4. We have already budgeted for scenery, props, costumes, hauling and setting up our production of "THE DUHESS OF MALFI" amounting to $10,000. If the total cost for such articles is less than $10,000, the difference shall be paid to you in consideration of our use of your scenery and elements in our production."

You have changed this from scenery, props and costumes amounting to $7,000.00. This cannot be! You will remember that the whole engagement was predicated, from the beginning, on the fact that, the Phoenix would supply the tray and other scenery requirements for all three shows. As it works out now, we have had to secure and pay for the tray. Consequently, it should remain in our agreement that any difference between the total of costumes, props and scenery required for MALFI and the allotted $7,000.00, should be turned over to us to make some payment toward this additional expenditure ( and costly expenditure) on our part.

The American Shakespeare Festival Theatre and Academy of Connecticut was chartered as a non-profit educational institution by Special Act No. 227 of the 1951 General Assembly.

ALL CONTRIBUTIONS ARE TAX DEDUCTIBLE

Mr. T. Edward Hambleton

-2-

March 4, 1957

Enclosed Mutual Bill No. 07722 10.00

" " " " 3319 97.00

$384.00

337.50

(Being 4½ weeks rental of additional electrical equipment @ $75.00 per week. We are paying Century Lighting $254.24 per week during MALFI on a rental-purchase arrangement, but we are charging you only the $75.00 which Century says would have been the minimum weekly cost if the equipment were on straight rental. This should be charged to weekly rentals in your accounting.)

112.50

(Being 4½ weeks rental of the additional Dyna Beam spotlight from Duwico @ $25.00 per week. This is in addition to the one you rent from Century which charges a weekly rental of $35.00.)

$770.94

Please be advised that Century will also bill you for a weekly rental on additional electrical equipment. This amounts to $45.00 per week. However, we shall not charge you for your share of the back-stage monitor system.

Please mail me a check yesterday - as these are amounts already spent by us and listed as Accounts Receivable on our books, the amounts for which are most sorely needed. Thanks.

May 23, 1957

MEMORANDUM

TO: Morton Gottlieb

FROM: T. Edward Hambleton

RE: Your Memo March 26. Your Memo May 10. Copy Agreement
dated January 8, 1957 (enclosed).

1. Since our meeting in the Phoenix office on March 10th, the Phoenix received copies of letters addressed to you from Actors' Equity, dated March 25th and April 8th, requiring further payments. These amounts totaled $1,495.45 and were paid by the Phoenix Theatre.

2. In your memo of March 26th you list the full salary balance which the Phoenix subsequently paid to Equity, in the amount of $275.59. Considering the amount of excess rehearsal salary which the Phoenix found itself obligated to pay, Mr. Houseman agreed that it would be fair that the American Shakespeare Festival assume the full $275.59. I have, therefore, corrected your March 26th memo to reflect this thus reducing the amount due ASFTA from the Phoenix to $59.19 as of March 26th.

3. We have checked all items on your memo of May 10th and find them correct in the amount of $445.12. The total due ASFTA as shown by the March 26th and the May 9th memo is $503.31.

4. As you will see from the agreement enclosed, which was never signed, we never made a rental purchase agreement with Eaves which was to provide the basis for ASFTA to take over the costumes. Since this part of the agreement never worked out, I see no basis for your claim that you are entitled to the costumes. However, we would be prepared to turn them over to you, deducting the cost to us a matter of $227.40 (Earle Hyman's wig $145, Earle Hyman's boots $46.35 and Joe Wiseman's boots $36.05).

I look for your early reply as we are quite as anxious to complete this business as you are.

Best.