C O P Y

October 23, 1945

Mr. Elmer Rice,
The Playwrights' Company,
630 Fifth Avenue,
New York City.

Dear Elmer Rice,

According to my agreement with the Playwrights I was to submit
nine lyrics for STREET SCENE by November 1st. In order for Mr.
Weill to have as much material as possible to work with while I
am away, I am submitting instead fourteen lyrics for your con-
sideration. One, Sam's arietta on MUSIC, I know, will have to
be rewritten along the lines of our discussion. Also, I think
Kaplan's BREAD THAT MAKES YOU CHOLE will probably have to be
entirely redone to suit the script as you will condense and re-
vise it. Several of the others Mr. Weill now seems to like, and
I trust you and he will get together during my absence and let
Maxim Lieber know your decision.

I will be back in New York before or certainly on November 15th,
and will then have six weeks to work before I go to the Coast.
During that time I could surely finish the first act, and possibly
also the first scene of Act II, as well as having time to work
with Mr. Weill on changes and revisions of the present lyrics.
On my return in February, I could work with Mr. Weill the remainder
of the winter and spring, and complete the snow.

I am delighted, of course, at the prospect of working on a play
that I remember as one of my great evenings in the theatre. I
think it will make a terrific music-drama in a form quite new to
the American stage.

All my good wishes to you on your current production.

March 1, 1946

Dear Elmer,

Here is an outline of the way the songs run now, which may
be of help to you in putting together the act....Tonight I
am having a session with Kurt and correcting my lyrics as
he has set them to music. Then I will go over them and re-
vise and remove duplicate rhymes, etc. We are doing further
work on GREAT BIG SKY tonight, too.....I made another try at
Sam's arietta, but it is not right yet. Also the MELTING
POT remains to be done.....I hope all goes well with you.

January 7, 1947.

Elmer Rice,
Longridge Road,
Stamford, Conn.

Dear Elmer:

An invitation has been extended to you, Langston and Kurt to appear on the radio program over WOR which is called BROADWAY TALKS BACK. You may be familiar with this program, but if not it can be explained in a very few words.

It is a sort of round table discussion between two drama critics and two or more persons connected with a new production. The merits and demerits of a given attraction are argued back and forth between the two groups. Barrett Clark, I believe, is the moderator.

Although, in my opinion, the program has more disadvantages than it does advantages, it is nevertheless quite true that many important producers and authors have participated on it. To name several: Lindsay and Crouse and Moss Hart.

The program is a transcription that is made, as a rule, on a Monday afternoon and appears on the air that same night about 10 P.M. Last night the show that was on the program was "Temper the Wind" and next week it will be "Lovely Me".

Sponsors of the program claim that hit shows as well as those which receive bad notices have participated on this broadcast.

Will you please let me know your reaction to this.

c.c.- Langston Hughes ✓
Kurt Weill

ELMER RICE • LONG RIDGE ROAD • STAMFORD, CONN.

March 9, 1947

Dear Langston:

Kurt left the other day for Palestine, and
will be back about the middle of June, and Betty and I are
leaving on the 15th for a two months trip to England,
Switzerland and France. So this is just to say au revoir.

We have been having plenty of trouble right
along with Street Scene, and it looks as though next week
may be the last. Even with the drastic cuts and economies,
and the new price policy, it does not look as though we
can get the gross up to a figure at which we can break
even. The road tour too is very much in the air, for it
will depend largely upon the ability to refinance the show,
and upon general business conditions in the fall--to say
nothing of casting!--, and so we have decided to hold off
until midsummer anyhow.

You have been away almost continually since
the show opened, and so it is impossible for you to realize
the innumerable problems that have confronted us, almost
from the very beginning. We have had endless meetings and
conferences, and have used up dozens of pencils and reams
of paper in our efforts to work out the economics of the
situation. I know that if you had been here to sit in with
us, you would have gone right along with us, and in fact
your letters have indicated as much. But I may as well
tell you frankly that Maxim Lieber has not been much help
to us. Of course it is his business to look out for your
interests, and nobody can blame him for doing that. But I
think that he should have recognized the fact that your
interests are the same as Kurt's and mine. Instead, his
whole attitude has seemed to be characterized by suspicion
and obstructionism. He probably did not intend it that
way, but that is how it came to us, and there were times
when all of us had a little difficulty in keeping our
tempers. However, it is nothing to make an issue about
there; I just thought you might like to know how things
stood.

I hope you have had a good stay down at Atlanta,
and that you will have a pleasant summer. Charlie is back,
looking very fit, and when Kurt and I return from our wander-
ings, we must all get together for an epicurian and non-
lyrical session. Betty joins me in sending you warmest re-
gards.

March 19, 1947

Dear Langston:

I was very glad indeed to get your new book, and
I have read it with great enjoyment. As always, I find your
poems graceful and musical, and full of meaning too.

Betty and I got back a few weeks ago from a fine
cruise in the West Indies, and we are both feeling rested and
relaxed. We are planning now to leave about the middle of
May for a two months visit to England and France.

Since I understand that you will not be back for
at least another month, I think I had better bring you down
to date on the Street Scene situation, for it may be necessary
for us to make some decisions very soon which will affect the
future progress of the production.

As you know, we have been going along here with
weekly grosses of $30,000.00 or a little better. As long as
we can keep at that figure, we are all right. If we begin to
slide off, we shall soon be in difficulties because the break-
ing figure is somewhere between $28,000 and $29,000. Of course
everybody wants to keep the show running in New York as long
as possible, and we hope that we can get through until June 1st
without taking too much punishment. After that date, when
the run-of-the-play contracts terminate, we can undoubtedly
cut down the operating expenses substantially by making cast
replacements, cutting out a few musicians, trying to get better
terms from the theatre, and so on. I think this would neces-
sarily entail a cut in the royalty rate, and I hope you will
agree with Kurt and me that we should cut from 10% to 6%, if
it is necessary, to keep the show running through the summer.
(The 6% of course would be split among us in the same ratio that
the 10% is.) If we can get the operating costs down so that
the breaking figure is around $25,000, I think that Wiman will
make a fight for it through the summer and even be willing to
take some losses, unless of course the business goes completely
to pot and the punishment is too hard to take.

To a large extent, however, the summer run will de-
pend upon whether or not a road tour seems feasible. In other
words, Wiman would be much more inclined to keep it running
through the summer if it were definitely decided that we were
going to tour in the early fall or whenever the business here
made it inadvisable to continue the New York run.

This road tour is quite a problem. The way things
are now, the cost of touring a show of this size is fantastic-
ally high. Kurt and I have been going over the figures with
Del Bondio and Samrock, and the first estimate was that even
with a substantial reduction in royalties, it would take about

$26,000 gross for us to get by. This is really a prohibitive figure because the capacity in most of the road towns is only about $30,000, and that leaves a very narrow margin of safety, to say nothing of profits. In fact, it would seem to be very bad business to attempt a tour on such a basis. To be on the safe side, the breaking point really should be in the neighborhood of $20,000, but it appears to be quite impossible to get it down to that figure. However, on careful analysis of the budget we were able to work out possible economies which would reduce the nut to somewhere between $22,000 and $23,000. This, however, is without figuring any royalties. Kurt and I thereupon proposed that we waive all royalties on the tour, and take instead 50% of the net profits, which would of course again be prorated among the three of us.

This is a very unusual and radical proposal, and I have yet to find out whether or not the Dramatists' Guild will allow it. In the meanwhile, however, I would like to get your reaction to it. It is frankly a gamble and nobody can predict how it will come out. If the show does poor business on the road or just about breaks even, we would of course get nothing out of it. But if, on the other hand, the tour should turn out to be very successful, we would actually get more in the end than if we were getting our full royalties. The way we figure it is that unless the play does substantial business on the road it would not run very long anyhow. So that all that we would be risking would be a few weeks' royalties (and at a greatly reduced rate at that). Furthermore, this profit sharing arrangement would be a much greater incentive for the management to go on with the tour.

It is very difficult to go into all the angles of this situation in a letter, and I am not sure that I have made it all clear. If you like, I can go into it in greater detail with your agent, or if you'd rather talk to me about it you could phone me here (Stamford 3-8000) say on this Saturday evening, between seven and ten. If, on the other hand, you feel that you would be willing to go ahead with the proposal as I have outlined it, just send me your consent by wire or air mail.

I hate to lengthen a letter that is already too long, but there is just one more thing. I think it would be nice if we could have the book and lyrics published in book form. It would not be likely to have much sale, but I'd like to have it for the record. Samuel French has the publishing rights to the original play, but they are not regular trade publishers, and I think they would probably consent to our having it published elsewhere. I am going to write and ask them, and meanwhile you can let me know how you feel about the whole thing.

Best regards and apologies for my prolixity. Betty sends her regards and asks me to tell you that she enjoyed the poems too.

Yours,

March 26, 1947

Dear Elmer,

I found your letter on my return from the week-end in New York, and should have answered it right away, but I took to my bed with such a cold as I've not had for years. The heat on the plane coming down would NOT turn off, so everybody sweltered, sweated, and gasped for air, and when we finally landed at Greenville, S.C., folks rushed out in the chilly driving rain to cool off. I expect some of them are sicker than me by now. I only got a bad cold as a result.

I certainly enjoyed yours and Betty's cards and the letter from your cruise. I hope you found a lot of sunshine and fun. I envy you the West Indies more than I would Europe right now.

Certainly I agree with you that a summer run and a road tour would be highly desirable for STREET SCENE, and the proposition you explain in your letter sound all right to me, and I would be inclined to agree with whatever seems feasible to you and Kurt, old showmen that you are! However the details should be worked out with Maxim Lieber since he handles such things for me. I will write him that I would accept the profit sharing arrangement, etc.

I very much hope that our show will be published in book form, as OKLAHOMA and the others have been. Random House does plays often. Or even Knopf, my publishers, might be interested. At any rate, I hope it happens.

Have you heard the Freddy Martin and Benny Goodman records of MOON-FACED? I'm looking forward to the album soon.

All my best to Betty. And I hope to see you all this summer.

January 13, 1950

Dear Langston,

I know that your mail, like mine is filled with appeals
from organizations needing support. That is why I almost
invariably refuse to take part in money-raising campaigns.
But when it comes to soliciting memberships for the American
Civil Liberties Union, of whose Board of Directors I have
been a member for nearly twenty years, I feel no compunction
about approaching my friends; for I believe that by joining
they serve not only the cause of liberty but themselves.

You are already familiar, I am sure, with the job that
the A.C.L.U. is doing in combatting censorship wherever it
rears its ugly head, in fighting for the rights of racial
and religious minorities, for academic freedom, for due pro-
cess of law, for universal suffrage, for the right of political
asylum. I take for granted your sympathy with these objectives.
Probably the reason you are not a member of the A.C.L.U. is
that no one has asked you to join. I am asking you now. For
the cost of a theater ticket, a bottle of scotch, a lunch-
check, a magazine subscription, you can give not only finan-
cial support but the weight of your name to the only non-
partisan organization in America that works full-time for
the preservation of our civil rights. You could find no
better way to help fight totalitarianism and safeguard our
democracy.

Mr. Langston Hughes
20 East 127th Street
New York, N. Y.

March 1, 1952

Dear Langston:

Thanks for your reply to the questionnaire. It was
news to me - probably because I have done practically no
writing in the radio-TV field - that there is such wide-
spread discrimination against Negro writers. Although
this is outside the scope of the inquiry into blacklisting
based on Red Channels, it is a very important issue, and
I intend to put it before the Boards of both the Authors'
League and the American Civil Liberties Union. Off hand,
I do not know what can be done about it, but it is cer-
tainly worth looking into.

As to the political blacklisting situation, you may
have heard that the FCC has turned down the Authors'
League application for a hearing on the ground that it
has no jurisdiction over sponsors and producers, but only
over individual station licensees. An analysis of the
replies to the questionnaire received by us, indicates that
it is going to be pretty hard to get anything specific
enough to meet the jurisdictional requirements. However, we have
not given up the fight and are trying to think up new methods
of attack.

Thank you for your commendation of my action in the
Celanese Theatre case. As you have probably read, I have re-
joined the program upon the understanding that there is to
be no blacklisting and that the author is to have an equal
voice in casting. I think this is quite a victory for
freedom on the air.

Betty joins me in sending you best regards.

["(Draft)", "The Jelliffes in Cleveland inquired about it as a possibility for their Karamu Theatre.", "December 1, 1953", "Dear Elmer,", "I believe I sent you my two Simple books---\"Simple Speaks His Mind\" and the more recent \"Simple Takes A Wife\" (Simon and Schuster).", "Well, for the past two years there has been a lot of theatre or radio interest cropping up ever so often concerning Simple as a character, but with nothing definite ever happening. Meyerberg spoke of turning the first book into a play, if I would, but never got around to a second letter of agreement. My current agents, Harold Ober Associates, tell me that Dore Schary liked the last book so much that he wired for six copies for his Hollywood associates to study as a picture possibility. They're still studying. But last Spring when I was on the Coast, the comedian, Timme Rogers, a friend of mine, asked me if I'd do him a few sample scripts he might audition for radio-TV purposes. Since I admire his work, I promised, and have recently been extracting material from the books for that objective. But, while I was doing this, I thought I might as well make a play. I did, having just finished a third draft.", "It's a comedy, with songs, four that fall naturally into the script as part of the action, their music, at least that of two of them, serving as themes for underscoring in places, and transitions between scenes. The accompaniments are mostly guitar, as one of the characters is a guitarist. The play is in three acts, three simple sets that can remain permanently in place on the stage, with the transitions being done with lights. There are five main characters in a cast of about twenty, several of whom may double. The action is laid entirely in Harlem and the characters are all Negroes. It is not a problem play in the racial sense, but how Simple finally takes a wife, and the complications which delay this happiness. Like the books, it is a kind of urban folk,", "Do you think that such a play might appeal to the Playrights for consideration? The typing is just being finished this week, a day or two more, I think, has not been submitted anywhere else, and is, as I've read above in a form still subject to MCM cutting and revision. But that might be done now to advantage with a director— scenes, as Charlie worked with us on \"Street Scene\", since it is MCM in all there is in form, MCM, MCM, MCM, MCM, MCM, M

December 1, 1953

Mr. Elmer Rice,
Long Ridge Road,
Stamford, Conn.

Dear Elmer,

I believe I sent you, when they came out, my two Simple books—"Simple Speaks His Mind" and the more recent "Simple Takes A Wife" (Simon and Schuster).

Well for the past two years from various sources there has been theatre or radio interest cropping up concerning Simple as a character. Meyerberg spoke of turning the first book into a play, if I would, but never quite got around to a letter of agreement. The Jelliffes in Cleveland inquired about my doing a dramatization as a possibility for their Karamu Theatre. My current agents, Harold Ober Associates, tell me that Dore Schary liked the last book, "Simple Takes A Wife", so much that he wired for six extra copies for his Hollywood associates to study as a picture possibility. They're still studying! But last Spring when I was on the Coast the comedian, Timme Rogers, a friend of mine, asked me if I'd do him a few sample scripts he might audition for radio-TV purposes. Since I admire his work, I promised, and have recently been extracting material from the books for that objective. But, while I was doing this, I thought I might as well make a play. I did, having just finished a third draft.

It's a comedy, with songs—four—that fall naturally into the script as a part of the action. Their music, at least that of two of them, serves as themes in places for underscoring, and for transitions between scenes. The accompaniments are mostly guitar, as one of the characters is a guitarist. The play is in three acts, with three simple sets that can remain permanently in place on the stage, the transitions from playing area to another being done with lights. There are five main characters in a cast of about twenty, several of whom may double. The action is laid entirely in Harlem and the characters are all Negroes. It is not a problem play in the racial sense, but rather how Simple finally takes a wife, preceded by the complications which delay this happiness. Like the books, it is a kind of urban folk work, incorporating the language, humor, and flavor of everyday Harlem.

Do you think that such a play might appeal to the Playwrights for consideration? The typing is just being finished this week, a day or two more. The script has not been submitted anywhere else, and is, as I have indicated above, in a form still subject to cutting and revision. But that might be done now to advantage with a director—as Charlie worked with us on "Street Scene"—since it is all there in form, scenes, story-line, sequence, and character.

I would not like to burden your office with a script that might be entirely out of range for consideration by the Playwrights, so I drop you this note to ask your opinion about it.

My very best regards to Betty and to you. As ever,

Sincerely,

ELMER RICE

Long Ridge Road
Stamford, Conn.

- EARN LEARN SERVE -

- JOIN WOMEN IN THE -

- ARMED SERVICES NOW -

Mr. Langston Hughes,
20 E. 127th Street
New York 35

C O P Y

December 9, 1953

Dear Elmer:

Curiously enough, your letter just reached me in this
morning's mail, about an hour after I'd dispatched the
script of my play, "SIMPLE TAKES A WIFE" down to the
Playwright's office for Roger Stevens to read. I saw
him the other night at a playing of the tape-recording
of the Dutch radio opera version of my THE BARRIER at
the home of the composer, Jan Meyerowitz, and he expressed
an interest in seeing the comedy on which the typing had
just been finished. I told him I'd written you about it,
and he said he would also call it to your attention,
should you wish to read it. Thank you for your note say-
ing that you will look at it.

I think the story-line has been considerably strengthened
over the book with, I hope, resulting "cumulative
theatricality". Certainly, there's much more of a plot.
As I wrote you, however, the script is now a good deal
over-long, but it can be cut an hour or so without hurt-
ing the story-line by removing certain character materials,
local color conversations, or situations amusing in them-
selves, but not essential to the over-all plot line. I
am leaving in this surplus of material at the moment, so
that a director may have a choice of playable situations
for selection. And until I cool off from its immediate
creation I can better judge what to cut myself.

My phone number (private) is L'High 4-2952 (afternoons or evenings) in case you might wish to call me, rather than writing a note......And thanks again for looking at it.

13

<table><tr><td>THIS SIDE OF CARD IS FOR ADDRESS</td></tr></table>

Mr. Langston Hughes
20 E. 127th Street
New York

ELMER RICE • 225 W. 86th STREET • NEW YORK

October 3, 1956.

Dear Langston:

I enjoyed reading Tambourines to Glory, and I think it could
be made into a very interesting stage production. If you don't mind
a constructive suggestion, I think you make too little of the dramatic
possibilities of the murder. You go to great pains to have suspicion
pinned on your heroine, and then, immediately following her
arrest, you release her from her jeopardy. I think that some cutting
in the first act and a build-up of the suspense in the second would
be helpful.

As for getting the play produced, I don't quite know what to
suggest. I've had practically no experience with musicals and since
the formation of the Playwrights Company, I have had little business
contact with other producers. Whether or not this play - or any play
- is box-office, I haven't the foggiest notion. Are there enough
people who would be interested in a whole evening of spirituals? I
ask the question, but don't pretend to know the answer. Have you
thought of trying Hambleton and Houghton at the Phoenix Theatre? They
are on the lookout for unusual material and that might be a good
showcase. Beyond that, I'm afraid I have nothing to offer -except to
suggest that you get a good theatrical agent: one who, for example,
doesn't feel that it's necessary to remind the Playwrights Company
that you were involved in the Street Scene musical!

Thanks for the greetings from Ann Arbor. I spent two months
there and had a really wonderful time. I sometimes think I'd like to
settle down there, and lead a quiet, contemplative life, remote from
the hurly-burly of Broadway.

Best regards and good luck with your play. I'll leave the
script at my office early next week.

ELMER RICE

225 W. 86th Street
New York

October 15th, 1957

Mr. Elmer Rice
Long Ridge Road
Stamford, Connecticut

Dear Elmer,

My play, SIMPLY HEAVENLY, as you probably have heard, closed at the Playhouse on Broadway, Saturday after an eight week run. The continued hot weather, plus the flu epidemic (so the producers think) caused it to run slightly under the required $12000 weekly needed to keep it going. Now the rights have reverted to the original producers, Stella Holt and the Greenwich Mews, who have plans to again take it off-Broadway--where it had been doing very well until the Fire Department stepped in, and where seemed headed for a considerable run.

Miss Holt has secured a new off-Broadway theatre in Second Avenue that will be ready for occupancy on November 1st. The cost of moving the show intact will be about $5,000 including a reserve for publicity and the first two weeks. A third of this amount has been raised, John Hammond and friends being investors. The cast and authors have invested (or will) $1,000, *amongst* the

Miss Holt would welcome a few more investors to make up the remaining amount needed. So, if you know anyone who might like to help this show get started again in a small theatre (where it is felt it might have a run of several months) I would appreciate it immensely if you would put them in touch with its producer:

Miss Stella Holt
325 West 87th Street
New York City
(En. 2-7414)

Incidentally, Roger Stevens and Laurence Harvey have been discussing a London production, and there is Los Angeles interest in a West Coast company. Columbia Records has made an album of the show.

With cordial regards, and thanks,

LH:ra

ELMER RICE

225 W. 36TH STREET

NEW YORK

815 Long Ridge Rd.
Stamford, Conn.

Mr. Langston Hughes
20 East 127th St.
New York 35, N.Y.

April 22, 1959

Dear Elmer:

The opening night of STREET SCENE I had to
leave before the final curtain to catch a
plane from Newark for St. Louis where I had
a program of my poems the next day. But I
caught the whole performance last Sunday
(Leyna was there, too) and found it very
good indeed. And certainly the audience
was most responsive---6 curtain calls. I
hope it will be a part of the City Center
schedule every season from now on.

I would love to see you again and greatly
regret that luncheon on May the 3rd is not
possible for me. SIMPLY HEAVENLY is being
done in both Washington (Howard University)
and Cleveland (Karamu Theatre) that week-
end, Howard opening April 30th for which I
am going over (also recording my poems for
the Library of Congress) returning to New
York on Sunday for a Poetry-Jazz program I
have to rehearse that afternoon, then flying
to Cleveland on Monday to catch SIMPLY
HEAVENLY there that night. So you see what
a weekend I've got! And after all of that,
I go to Bermuda for a couple of weeks to
read my poems at Berkeley Institute there.
So won't really be in New York again until
after the middle of May. But I hope you
will ask me again, and that then I can make it.

October 31, 1959

Mr. Elmer Rice,
815 Long Ridge Road,
Stamford, Conn.

Dear Elmer:

I leave for Trinidad on Saturday coming, November 7, and will be gone about three weeks, perhaps stopping at Jamaica on the way back. In case you need to reach me, mail posted from New York by November 15 by air may be addressed:

Mr. Langston Hughes,
c/o Carlton Comma,
Trinidad Public Library,
Port-of-Spain, Trinidad, W. I.
as I expect to be there until about the 18th.

The Theatre Guild is in process of choosing a director for my TAMBOURINES TO GLORY, and think of going into production in early January. The problem now is a Negro star box office name---singing actress or actor.

Cordial regards to you, as ever,

Elmer Rige
C.V.V. et

August 20, 1960

Dear Elmer:

My Theatre Guild play with music, TAMBOURINES TO GLORY, opens at the Westport Country Playhouse on Monday, September 5, playing the week. I hope you can make it to the opening, or one of the performances. If you do, say hello to me, as I'll be around.

I'm still remembering the delightful luncheon at your house some weeks ago. Trust I'll see you again soon.

Hastily, but sincerely,

ELMER RICE

815 LONG RIDGE ROAD
STAMFORD, CONN.

HIRE

CAPPED

BUSINESS

Mr. Langston Hughes,
20 East 127th Street,
New York.

ELMER RICE

815 LONG RIDGE ROAD

STAMFORD, CONN.

September 10, 1960.

Dear Langston:

I'd intended to go to Westport this afternoon, but when I called the theatre, I learned that today's performances are at 6.00 and 9.00, and I can't make either, as I have to be here this evening. Should have called up sooner, I guess, but I just assumed there'd be a Saturday matinee. However, I hope the play will be done in New York this season, and then I'll surely see it.

This summer I went to the P.E.N. Congress in Rio and then went on to visit Uruguay, Argentina, Chile and Peru. It was a strenuous but very interesting trip. I'm still fooling around with the project of a musical version of Dream Girl; but it's been dragging on for months now and if something doesn't develop soon I'll get started on something else.

Good luck!

December 4, 1966

Dear Elmer:

Unfortunately, on Sunday, December 11, I am committed to attend a Christmas concert of my BALLAD OF THE BROWN KING (a benefit) and read a few of my poems, so regretfully I cannot accept your kind invite to luncheon on that day---which I certainly would much more enjoy doing--- see you again and getting to know your wife of whom I had only a passing glimpse. She seems charming. But it is an afternoon program, and I have to go.

Thanks for thinking of me, and best wishes---until next time,

Sincerely,

ELMER RICE

815 LONG RIDGE ROAD

STAMFORD, CONN.

February 3, 1967.

Dear Langston [wyc]

Herbert Machiz, who directed Street Scene at City Center, and Alan Newman, a TV producer, have talked to me about a project of theirs, for making the musical into a big TV spectacular. Newman claims that he has interested RCA in the plan, but I don't know him and don't know how much of what he says is just conversation or wishful thinking. Also, the question of rights would have to be cleared up, since my motion picture contract puts certain restrictions on the use of TV. However, I've talked to Lenya about it, and she agrees that it is certainly worth looking into. So I've asked John Wharton to straighten out the question of rights and to try to find out just what Newman has in mind.

I hope you will go along with this exploration. There will probably be a legal fee involved, but if the plan did work out, the return would be substantial, so I think it's worth the risk. Let me know how you feel about it.

We must get together soon. Meanwhile, my best regards.

ENDER AND ILLUMINATING
race, humor and impartial compassion. One of Circle
most moving dramas. One of José Quintero's most
genuine jobs of direction. The acting could hardly be
better."

—ATKINSON, Times

EARTHY AND ABSORBING THEATRE! 'The Girl on the Via Flaminia' is fresh, warmly rewarding stuff. ...An affecting evening. Miss Miller illuminates moment after moment with fragile flashes of dignity. Under José Quintero's revealing direction the supporting company gives vivid portraits in The Circle in the Square tradition (an excellent one)."—KERR, Herald Tribune

TENSELY DRAMATIC, MOVING and AUTHENTIC.
The Circle has eminently justified itself as a leading off-Broadway showshop and has made a gen-

ine contribution toward a better theatre. Betty Miller plays with effective simplicity. Leo Penn is excellent."

—COLEMAN, Mirror

“FIRST RATE! Circle in the Square gained new stature with the production of 'The Girl on the Via Flaminia'...performed with brilliance and compassion. Ingenious direction...well worth seeing."

—McCLAIN, Jour.-Amer.

“ANOTHER HIT! That phenomenal organization, Circle in the Square, has come up with another hit...dramatic and stimulating...acted with remarkable aplomb. It is unlikely that anyone in the business understands more about arena-style direction than José Quintero."

—HAWKINS, World-Telegram

Teahouse of the August Moon—Tea & Sympathy
Sabrina Fair—The Remarkable Mr. Pennypacker
Ballet de Paris — The Confidential Clerk

AND by joining NOW ...
you will receive choice seats to our next selection,

ONDINE starring AUDREY HEPBURN and MEL FERRER

in addition to many other outstanding plays during the year.

ALSO our low membership fee of only $10 per year which entitles you to all privileges of our PREFERRED PLAY PLAN

7

REASONS WHY OUR PLAY PLAN IS PREFERRED BY THEATRE-GOERS:

1. Outstanding plays.

4. Previews at a discount.

2. Choice locations.

5. No waiting in line.

3. Never more than box office price.

6. Theatre-guide monthly.

7. Tickets mailed directly to you.

A PHONE CALL WILL ALWAYS BRING YOU FRIENDLY COUNSEL ON YOUR THEATRE TICKET PROBLEMS.

DETACH, FILL OUT AND MAIL TODAY

MEMBERSHIP BLANK
THEATRE-GOERS, Inc.

PREFERRED PLAY PLAN

1553 Broadway • New York 36, N. Y.
JUDson 2-0440

Enclose find $10.00 for which please enroll me as a member in Theatre-Goers. I understand that as a member I will be entitled to purchase two tickets at box office price or less to each of ten plays during the year. I also understand that there will be no other charges and that I am not obligated to purchase any tickets.

Name ................................................... date

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

Telephone Res. .................................... Bus

LICENSED BY AND BOND POSTED WITH CITY OF NEW YORK

THE SQUARE presents

the Via Flaminia

HAYES Directed by JOSE QUINTERO
MILLER • LEO PENN

incl. Sundays 8:40. Saturday Mat. 2:40. No Monday Perfs.
Please enclose stamped, self-addressed envelope.

5 Sheridan Square, Oregon 5-9437

tonight
at 8:40

POPULAR
PRICES!

Eves.
3:60-1:20
Mats.
3-1-20

ENGAGEMENT EXTENDED!

THRU MAR. 13th

"not to be missed!"

—KERR, Herald Tribune

Ruth
Draper

AND HER COMPANY OF CHARACTERS

VANDERBILT THEA., 48 St. E. of B'way
Eves. incl. Sun. Mats. Wed. & Sat. No Mon. Perfs.

2 PERFS. TODAY—2:40 & 8:40

“THE WORLD OF SHOLOM ALEICHEM'

ranks with the best that has been done on Broadway, and
possibly outranks it. It is pure art with no shortcomings."
—BROOKS ATKINSON, N. Y. TIMES