Title: Howard Lindsay and Russel Crouse Papers
Inclusive Dates: 1909-1980

Creators:

• Lindsay, Howard, 1889-1968
• Crouse, Russel, 1893-1966

Call Number: U.S. Mss 20AN

Quantity: 7.6 c.f. (19 archives boxes)

Repository:

Wisconsin Historical Society Archives / Wisconsin Center for Film and Theater Research
Contact Information

Archival Locations:

COLLECTION MAY BE STORED OFF-SITE: see catalog entry to request materials and for additional information.

Wisconsin Historical Society (Map)

Abstract:

Papers of two award-winning playwright-producers who formed one of the most successful collaborations in Broadway history. Some of the collection relates to their joint efforts, some to their work alone. Of their collaborative efforts theatrical materials predominate. Among the plays on which there are files are Anything Goes (1934), Arsenic and Old Lace (1941), Call Me Madam (1950), Detective Story (1949), The Great Sebastians (1956), The Hasty Heart (1945), Life With Father (1939), Life With Mother (1948), The Sound of Music (1956), and State of the Union (1945). The types of documentation present are scripts and drafts, stage directions, clippings, reviews, and contracts. Also included are scripts for adaptations of several of the above titles for television and motion pictures. Among the notable correspondents are S. N. Behrman, Irving Berlin, Theodore Bikel, William O. Douglas, Edna Ferber, Helen Hayes, Irving Paul Lazar, and Alfred Lunt. Lindsay's papers include correspondence, speeches, theatrical scripts, poetry, essays, short stories, and notes on acting, directing, and writing for a text about the theater. Crouse's papers include seven books, newspaper articles, and theater and motion picture scripts.

Language: English

URL to cite for this finding aid: http://digital.library.wisc.edu/1711.dl/wiarchives.uw-whs-us0020an

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HOWARD LINDSAY was literally a man of the theatre, for he was well known as an actor, director, author, and producer. Born 29 March 1889 in Waterford, New York, he was taken to Atlantic City by his mother when he was three years old. (His parents had separated and later divorced.) When he was thirteen his family moved to Dorchester, Massachusetts, a suburb of Boston. From 1903 to 1907 he attended Boston Latin School and then entered Harvard on a scholarship.

At one time he seriously considered becoming a Unitarian minister, but upon seeing a catalog of the American Academy of Dramatic Arts, he decided he was more interested in the theatre. He studied for six months at the Academy and in 1909 made his acting debut in a road show, Polly of the Circus. Then he went to the West Coast where he worked in silent films, vaudeville, and burlesque. The year 1913 marked the beginning of a five-year association with Margaret Anglin's repertory company where Lindsay worked as a stage manager, director, and actor. During World War I he served as a corporal in France with the 76th Division. For the last five months of his tour he directed for the Brest Stock Company, which provided entertainment for soldiers on their way home from the front. Upon his return to the United States he again worked with Anglin for a brief period; however, their professional association ended in 1919 when she was anti-Equity and he was pro-Equity.

In 1921 he directed and acted in George S. Kaufman's Dulcy, the play in which Lynn Fontanne first made a hit as a star. Other plays in which Lindsay acted were By Your Leave, The '49ers, Life with Father, Life with Mother, One Bright Day, Remains to be Seen, Sweet Nell of Old Drury, Two by Two, and A Young Man's Fancy. Among the plays Lindsay directed during his career are Anything Goes; The Beaux Strategem; By Your Leave; Child of Manhattan; Gay Divorcee; The Good Old Days; Hooray for What?; Oh, Promise Me; The Party's Over; The Poor Nut; The Prescott Proposals; Red, Hot and Blue; She Loves Me Not; A Slight Case of Murder; This Thing Called Love; To the Ladies; Tommy; The Up and Up; and Your Uncle Dudley.

Lindsay had begun writing while he was still in high school. The first produced play in which he shared royalties was Kempney (1922) on which he collaborated with M. C. and Elliott Nugent. Later he wrote Tommy (1927), Your Uncle Dudley (1929), and Oh, Promise Me (1930) in collaboration with Bertrand Robinson. In 1933 he dramatized Edward Hope's novel She Loves Me Not, and in 1934 he first collaborated with Russel Crouse in writing the musical comedy Anything Goes. The following year he wrote A Slight Case of Murder with Damon Runyon. In 1936 he again collaborated with Russel Crouse, and the two men continued their close association throughout their lives.

Lindsay was active in various theatrical organizations. He was vice-president of the Dramatists Guild, president of the Dramatists Play Service, fifth president of The Players, and a founder of the New Dramatists Committee.

Lindsay was married (13 August 1927) to actress Dorothy Stickney with whom he co-starred in Life with Father. He died 11 February 1968.

RUSSEL CROUSE, author and producer, was born 20 February 1893 in Findlay, Ohio. After being educated in the Toledo public schools, at the age of seventeen he became a reporter for the Cincinnati Commercial Tribune. From 1911 to 1917 he held other newspaper jobs. During World War I he was a yeoman second class in the Navy. After the war he was associated with the New York Globe and Evening Mail; from 1924 to 1929 he wrote a daily humor column, “Left at the Post,” in the New York Evening Post. In 1928 he made an eight line debut as an actor in Ward Morehouse's Gentlemen of the Press when he played the role of a newspaperman.

In 1929 he began writing scenarios for short films on newspaper life. In 1933 he collaborated with Corey Ford in Hold Your Horses and two years later he co-authored the musical comedy The Gang's All Here with Morrie Ryskind and Oscar Hammerstein II.

From 1932 to 1937 he was press agent for the New York Theatre Guild. Upon resigning from this position he went to Hollywood where he worked for Paramount and co-authored the screenplay, Mountain Music. Other screenplays were The Big Broadcast of 1938, Artists and Models Abroad (1938), and The Great Victor Herbert (1939).

Books which he wrote include Mr. Currier and Mr. Ives (1930), It Seems Like Yesterday (1931), Murder Won't Out (1932), The American Keepsake (1932), Peter Stuyvesant of Old New York (1954), and Alexander Hamilton and Aaron Burr (1958).

Crouse's first wife, Alison Smith, died. His second wife was the former Anna Erskine with whom he co-authored the books on Alexander Hamilton and Peter Stuyvesant. Crouse died 3 April 1966.

Lindsay and Crouse first collaborated in 1934 in the adaptation of a text by Guy Bolton and P. G. Wodehouse into the Cole Porter musical, Anything Goes, which was a smash box office hit. In 1936 he collaborated with Lindsay on two musicals, but it was Life with Father (1939) that brought Crouse permanently back to Lindsay and Broadway.

The Lindsay and Crouse association was the longest collaboration on Broadway. Their relationship was very close. They either saw or telephoned each other daily; they shared the same hotel suite on the road. The legend is that when writing, Crouse typed while Lindsay paced the floor. Along with Leland Hayward, Elliott Nugent, and Howard Cullman they owned the Hudson Theatre until they sold it to the National Broadcasting Company.

Their collaborative writing since 1936 includes the musicals Red, Hot, and Blue (1936) and Hooray for What? (1937); a dramatization of Clarence Day, Jr.'s Life with Father, which ran for seven years without a break (1939); Strip for Action (1942); the Pulitzer Prize winner, State of the Union (1945); Life with Mother (1948); Call Me Madam (1950); Remains to be Seen (1951); The Prescott Proposals (1953); Happy Hunting and The Great Sebastians (1956); and The Sound of Music and Tall Story (1959). Many of these plays were made into motion pictures. In addition they wrote the script for the play Mr. President with music and lyrics by Irving Berlin.

Lindsay and Crouse became producers in 1940 with the presentation of the highly successful Arsenic and Old Lace by Joseph O. Kesselring. This was followed by The Hasty Heart by John Patrick (1944), Detective Story by Sidney Kingsley (1949), One Bright Day by Sigmund Miller (1952), and The Great Sebastians by themselves (1955).

Lindsay and Crouse received many awards, among them the Pulitzer Prize (1946) for State of the Union; the Antoinette Perry Award (1958/59) for distinguished achievement in the theatre over a period of 25 years; the Antoinette Perry Award (1959/60) for the libretto of The Sound of Music; the Roi Cooper Mergrue Award from the Dramatists Guild (1940); and the Theatre Club Award (1940) for the best American play of the season, Life with Father. In addition Lindsay received an honorary M.A. from Bowdoin College, and Crouse, an honorary D.F.S. from Ohio Wesleyan.

The collection emphasizes the collaborative efforts of Lindsay and Crouse, particularly their work in theatre. Smaller portions of the papers document their work in other media and their works as individuals or with other collaborators. Included are writings such as books, articles, essays, verses, synopses, and scripts; playbills; clippings; reviews; correspondence; legal records such as contracts and statements; notes; and miscellaneous financial records. Particularly useful are a series of explanatory notes which Lindsay and Crouse authored prior to the donation of their papers (ca. November 1961-1962). These notes are attached to the accompanying manuscripts and often provide background information not otherwise available in the collection. The papers have been arranged in three series: RUSSEL CROUSE'S WORKS, HOWARD LINDSAY'S WORKS, and LINDSAY-CROUSE COLLABORATIVE WORKS.

RUSSEL CROUSE'S WORKS consist of his writings and include published books, magazine and newspaper articles, and theatre and motion picture scripts. Among these works are two children's books (Alexander Hamilton and Aaron Burr and Peter Stuyvesant of Old New York) which he co-authored with his wife Anna. Accompanying notes describe their method of writing. Notes also provide fragmentary information on The New Yorker and its editor, Herbert Ross, as several of Crouse's writings were either originally submitted to or published in this magazine. A scrapbook of his early newspaper columns contains a letter from aviatrix Ruth Law (27 June 1919) on whom Crouse had written a piece.

In addition to his writings HOWARD LINDSAY'S WORKS include correspondence, notes, and speeches. Script materials document his theatrical efforts. There is also an autobiographical sketch recounting his childhood, critiques of several plays, and some early poetry. Several notebooks contain his thoughts and jottings on theatre in general and on the basic principles of acting, directing, and playwriting. (The notes were to be used in the preparation of a textbook on theatre.) A small file of correspondence describes Lindsay's activities in France and his involvement with several Brest productions during World War I.

The series of LINDSAY-CROUSE COLLABORATIVE WORKS contains scripts, correspondence, and related materials on productions such as Arsenic and Old Lace, Call Me Madam, Life with Father, The Sound of Music, and State of the Union. Among the notable writers in the correspondence files are:

Name	Date	Production
S. N. Behrman	5 January 1940	Life with Father
Irving Berlin	15 March 1950	Call Me Madam
Theodore Bikel	14 September 1961	Sound of Music
William O. Douglas	5 December 1953	The Prescott Proposal
Edna Ferber	15 November 1945	State of the Union
Edna Ferber	9 May 1946	State of the Union
Helen Hayes	4 May 1945	State of the Union
Helen Hayes	7 June 1945	State of the Union
Irving Paul Lazar	29 April 1955	The Prescott Proposal
Alfred Lunt	12 April 1955	The Great Sebastian
Alfred Lunt	20 July 1955	The Great Sebastian
Alfred Lunt	29 July 1955	The Great Sebastian
Alfred Lunt	11 September 1955	The Great Sebastian
Alfred Lunt	1 November 1956	The Great Sebastian
Alfred Lunt	6 November 1956	The Great Sebastian
Alfred Lunt	14 January 1957	The Great Sebastian

The Arsenic and Old Lace file contains a series of humorous letter by Lindsay and Crouse which were sent to investors with each dividend payment. The Life with Father correspondence discusses not only the play but also the motion picture rights for the property, while The Sound of Music correspondence details the story's development. A small segment of the papers focuses on their motion pictures (Life with Father, State of the Union, and A Woman's World) and television works (Arsenic and Old Lace and The Great Sebastians.) A folder of correspondence, clippings, and miscellany which pertains to both men completes the collection.

Acquisition Information

Presented by Howard Lindsay, New York, N.Y., 1962; by Russel Crouse, New York, N.Y., 1962; by Mrs. Howard Lindsay (Dorothy Stickney), New York, N.Y., 1968; and by Anna Crouse Murch, New York, N.Y., 1980. Accession Number: MCHC62-003A, MCHC62-087, MCHC68-100, MCHC80-118

Processing Information

Processed in 1962; and by Chris Rongone in May 1979.

	Series: Russel Crouse's Works
	Books
	Alexander Hamilton and Aaron Burr: Their Lives, Their Times, Their Duel Note: NY: Random House, 1958
Box   1 Folder   1	Manuscript draft, ca. 1958.
Box   1 Folder   2	Book, by Anna Erskine Crouse and Russel Crouse, 1958.
	The American Keepsake Note: Garden City, NY: Doubleday, Doran & Co., 1932
Box   1 Folder   3	Book, by Russel Crouse, 1932.
	G.I. Prize-Winning Blackouts Note: Special Services Division, A.S.F., 1944
Box   1 Folder   4	Paperback book, foreward by Russel Crouse, 1944.
	It Seems Like Yesterday Note: Garden City, NY: Doubleday, Doran & Co., 1931
Box   1 Folder   5	Book, by Russel Crouse, 1931.
	Mr. Currier and Mr. Ives: A Note on Their Lives and Times Note: Garden City, NY: Garden City Publishing, 1930
Box   2 Folder   1	Book, by Russel Crouse, 1930.
Box   2 Folder   2	Reviews, 1930.
	Murder Won't Out Note: Garden City, NY: Doubleday, Doran & Co., 1932
Box   2 Folder   3	Book, by Russel Crouse, 1932.
	Peter Stuyvesant of Old New York Note: NY: Random House, 1954
Box   2 Folder   4	Book, by Anna and Russel Crouse, 1954.
Box   2 Folder   5	Magazine articles and accompanying notes, ca. 1920-1961.
	Newspaper Columns
Box   3 Folder   1	Scrapbook of miscellaneous clippings, including a Ruth Law letter, ca. 1918-1920.
Box   3 Folder   2	Scrapbook of “Left at the Post” columns (New York Evening Post), 1926-1927.
	Theatrical Works
	The Gang's All Here Note: NY: Imperial, 23 February 1931
Box   4 Folder   1	Synopsis, Act I, ca. 1931.
Box   4 Folder   1	Script, Act I, ca. 1931.
Box   4 Folder   2	Music and Playbill, 1931.
	Gentlemen of the Press Note: NY: Henry Miller, 27 August 1928
Box   4 Folder   3	Clippings and Miscellany, 1928.
	Hold Your Horses Note: NY: Winter Garden, 25 September 1933
Box   4 Folder   4	Program and playbill, ca. 1933.
Box   4 Folder   5	Script, “It Seems Like Yesterday,” n.d.
Box   4 Folder   5	Script, “Hunky Dory,” by Russel Crouse and Cory Ford, annotated, n.d.
	“Much Ado About Nothing” (unproduced)
Box   4 Folder   6	Synopsis, n.d.
	Motion Pictures
	Mountain Music Note: Paramount, 1937
Box   4 Folder   7	Script, by Russel Crouse, 15 Febraury 1937.
Box   4 Folder   8	Awards and Honors, 1955, 1960.
	Series: Howard Lindsay's Works	⇧
	Theatrical Works
	“Friends of My Youth” (unproduced)
Box   4 Folder   9	Unfinished scenario, by Howard Lindsay, ca. 1934.
	Oh, Promise Me Note: NY: Morosco, 24 November 1930
Box   4 Folder   10	Script, Act I, and revisions, by Howard Lindsay and Bertram Robinson, 1930.
	A Slight Case of Murder Note: NY: 48th St. Theatre, 11 September 1935
Box   4 Folder   11	Rehearsal script, by Damon Runyon and Howard Lindsay, annotated, 1935.
Box   4 Folder   12	Clippings, 1935.
	Tommy Note: NY: Gaity, 10 January 1927
Box   4 Folder   13	Script, Act I, “A Boy and a Girl,” by Howard Lindsay and Bert Robinson, ca. 1926.
	What We Want Most Note: Orpheum Circuit, 1920-21 season
Box   4 Folder   14	Script, by Howard Lindsay, 1919.
	“Who Sups with the Devil” (Unproduced)
Box   4 Folder   15	Script, by Howard Lindsay and Hulburt Footner, 1938.
	“A Woman Like That” (Unproduced)
Box   5 Folder   1	Script, Acts II and III, by Howard Lindsay, 1925.
Box   5 Folder   2	Unfinished script, Act I, by S. K. Lauren and Howard Lindsay, n.d.
	Other writings
Box   5 Folder   3	Autobiographical sketch, “An Examination of My Childhood,” by Howard Lindsay, n.d.
Box   5 Folder   4	Essays, by Howard Lindsay, n.d.
Box   5 Folder   5	Miscellaneous writings, 1949, 1955, 1957, 1967.
Box   5 Folder   6	Opinions of various plays, including correspondence, by Howard Lindsay, 1917, 1947-1961.
Box   5 Folder   7	Short Story, “A Stage Director Is Engaged,” by Howard Lindsay, ca. 1925.
Box   5 Folder   8	Verses, by Howard Lindsay, 1909-1910.
Box   5 Folder   9	Correspondence and Miscellany, 1919-1954, n.d.
	Notes
Box   5 Folder   10	Made during association with Margaret Anglin, 1913-1918.
	For textbook on theatre
Box   5 Folder   11	General, ca. 1930's.
Box   5 Folder   12	On acting, ca. 1930's.
Box   6 Folder   1	On directing, ca. 1930's.
Box   6 Folder   2	On playwrighting, ca. 1930's.
Box   6 Folder   3	Speeches, including notes and addresses, 1911, 1942-1955, n.d.
Box   6 Folder   4	Tributes and Memorials, 1960-1968.
	Series: Lindsay-Crouse Collaborative Works	⇧
	Theatre
	Anything Goes Scope and Content Note: NY: Alvin, 21 November 1934
Box   6 Folder   5	Miscellany, 1934-1935, 1954.
Box   6 Folder   6	Scenario, by Guy Bolton, 1934.
Box   6 Folder   7	Script, by Guy Bolton and P. G. Wodehouse, revised by Lindsay and Crouse, 1934.
	“Anything Goes” (Unproduced revival)
Box   6 Folder   8	Script, by Lindsay and Crouse, based on a play by Guy Bolton and P. G. Wodehouse, 26 March 1953.
	Arsenic and Old Lace Note: NY: Fulton, 10 January 1941
Box   7 Folder   1	Contracts, 1939-1943.
Box   7 Folder   2	Correspondence with investors, 1941-1945, 1954.
Box   7 Folder   3	Miscellany, ca. 1941-1946.
Box   7 Folder   4	Script history note, 1961.
Box   7 Folder   4	Script, “Bodies in Our Cellar,” by Joseph Kesselring, 1940.
Box   7 Folder   5	Second Draft, by Joseph Kesselring, n.d.
Box   7 Folder   6	Script, by Joseph Kesselring, annotated, and accompanied by costume, light, and property plots, 1941.
	Call Me Madam Note: NY: Imperial, 12 October 1950
Box   8 Folder   1	Clippings and reviews, 1950.
Box   8 Folder   2	Correspondence, [1949?]-1956.
Box   8 Folder   3	Playbills and miscellany, ca. 1950-1956.
Box   8 Folder   4	Very early script, by Irving Berlin, Howard Lindsay, and Russel Crouse, n.d.
Box   8 Folder   5	Revisions, ca. 1950-1952.
Box   8 Folder   6	Rehearsal script, by Irving Berlin, Howard Lindsay, and Russel Crouse, annotated, 14 August 1950.
Box   8 Folder   7	Final script, book by Lindsay and Crouse, music and lyrics by Irving Berlin, 1950.
	Detective Story Note: NY: Hudson, 23 March 1949
Box   8 Folder   8	Script, by Sidney Kingsley, 1949.
	The Great Sebastians Note: NY: ANTA, 4 January 1956
Box   8 Folder   9	Casting: interview schedules and correspondence, 1955-1956.
Box   8 Folder   10	Clippings and Miscellany, 1955-1956.
Box   8 Folder   11	Correspondence, 1953-1957.
Box   8 Folder   12	Suggestions by the Lunts, ca. 1956.
Box   8 Folder   13	First draft, Act I, “The Great Zandeks,” annotated, n.d.
Box   8 Folder   14	Second draft, Acts I and II, annotated, n.d.
Box   9 Folder   1-2	Script notes and discarded pages, ca. 1955.
Box   9 Folder   3	Third draft, by Lindsay and Crouse, annotated, n.d.
Box   9 Folder   4	Script, by Lindsay and Crouse, annotated, n.d.
Box   9 Folder   5	Script, by Lindsay and Crouse, annotated, n.d.
Box   9 Folder   6	Script, by Lindsay and Crouse, n.d.
	“Greek to You“ (Unproduced)
Box   9 Folder   7	4 script outlines commissioned by Vinton Freedley, book by Lindsay and Crouse, 1932.
	Happy Hunting Note: NY: Majestic, 6 December 1956
Box   9 Folder   8	Miscellany, 1956.
Box   9 Folder   9	Script, revised version, n.d.
Box   9 Folder   10	Script, 7 August 1956.
Box   10 Folder   1	Script, annotated, n.d.
Box   10 Folder   2	Script, book by Lindsay and Crouse, annotated, n.d.
Box   10 Folder   3	Script, book by Lindsay and Crouse, annotated, n.d.
Box   10 Folder   4	Director's script, book by Lindsay and Crouse, annotated by Abe Burrows [?], n.d.
	The Hasty Heart Note: NY: Hudson, 3 January 1945
Box   10 Folder   5	Contracts, 1944.
Box   10 Folder   6	Script, by John Patrick, 1945.
	Hooray for What? Note: NY: Winter Garden, 1 December 1937
Box   10 Folder   7	Clippings and telegrams, 1937.
Box   10 Folder   8	Script, annotated, n.d.
Box   10 Folder   8	Script, book by Lindsay and Crouse, April 1938.
	Life with Father Note: NY: Empire, 8 November 1939
Box   11 Folder   1	Clippings, 1927-1956.
Box   11 Folder   2	Contracts, 1939, 1947.
Box   11 Folder   3	Correspondence, 1939-1954.
Box   11 Folder   4	Miscellany, 1943-1947, n.d.
Box   11 Folder   5	Playbills, 1939-1941, 1980
Box   11 Folder   6	Souvenir book for New York and Chicago productions, ca. 1940.
Box   11 Folder   7	4 Synopses, n.d.
Box   11 Folder   7	Script fragment, n.d.
Box   11 Folder   7	Notes, n.d.
Box   11 Folder   8	Script, by Lindsay and Crouse, 1939.
	Life with Mother Note: NY: Empire, 20 October 1948
Box   11 Folder   9	Contracts, correspondence, and miscellany, 1948-1952.
Box   11 Folder   10	Notes as suggestion for play, made by Howard Lindsay during Life with Father, ca. 1945.
Box   11 Folder   11	Scenario, ca. 1948.
Box   11 Folder   12	Working notes, ca. 1948.
Box   12 Folder   1	Original script, annotated, n.d.
Box   12 Folder   2	Early script, by Lindsay and Crouse, n.d.
Box   12 Folder   3	Later draft pages, annotated, n.d.
Box   12 Folder   4	Script, by Lindsay and Crouse, n.d.
Box   12 Folder   5	Script, by Lindsay and Crouse, prepared for publication, annotated, n.d.
Box   12 Folder   6	Dorothy Stickney's rehearsal script with her own corrections, annotated, by Lindsay and Crouse, n.d.
Box   12 Folder   7	Script, by Lindsay and Crouse, July 1948.
Box   12 Folder   8	Script, prompt copy, annotated, July 1948.
Box   13 Folder   1	Script, by Lindsay and Crouse, n.d.
Box   13 Folder   2	Script, by Lindsay and Crouse, annotated, n.d.
	“London Bridge” (Unproduced)
Box   13 Folder   3	Script, Act I, annotated, n.d.
	One Bright Day Note: NY: Royale, 19 March 1952
Box   13 Folder   4	Early script, by Sigmund Miller, annotated, ca. 1952.
Box   13 Folder   5	Rehearsal script, by Sigmund Miller, ca. 1952.
	The Prescott Proposals Note: NY: Broadhurst 16 December 1953
Box   13 Folder   6	Correspondence, 1953-1955.
Box   13 Folder   7	Miscellany, ca. 1953-1954.
Box   13 Folder   8	Original script, by Lindsay and Crouse, 30 September 1953.
Box   13 Folder   9	Script, by Lindsay and Crouse, n.d.
Box   13 Folder   10	Script, by Lindsay and Crouse, annotated, n.d.
Box   14 Folder   1	Script, by Lindsay and Crouse, annotated, n.d.
Box   14 Folder   2	Script, acting edition prepared for publication, by Lindsay and Crouse, annotated, n.d.
	Red, Hot, and Blue Note: NY: Alvin, 29 October 1936
Box   14 Folder   3	Congratulatory telegrams, 1936.
Box   14 Folder   4	Original scenario, --but Millions!, n.d.
Box   14 Folder   5	Script, fragment, n.d.
Box   14 Folder   5	Script, by Lindsay and Crouse, annotated, n.d.
Box   14 Folder   4	Script, by Lindsay and Crouse, ca. 1936.
	Remains to be Seen Note: NY: Morosco, 31 October 1951
Box   14 Folder   6	Clippings and Playbill, 1951.
Box   14 Folder   7	Correspondence, 1951-1960.
Box   14 Folder   8	First draft, “Opus Number Nine,” by Lindsay and Crouse, 7 March 1951.
Box   14 Folder   9	Script, Act I, Scene I, “The Helpcat and the Canary,” by Lindsay and Crouse, n.d.
Box   14 Folder   10	Second draft, by Lindsay and Crouse, 10 May 1951.
	The Sound of Music Note: NY: Lunt-Fontanne, 16 November 1956
Box   14 Folder   11	Correspondence, 1959-1961.
Box   15 Folder   1	Miscellany, 1959-1961.
Box   15 Folder   2	Script and rehearsal notes, ca. 1956.
Box   15 Folder   3	2 Scenarios, “The Singing Heart,” 3 March 1958.
Box   15 Folder   3	Scenario, “Love Song,” n.d.
Box   15 Folder   4	Original script, annotated, n.d.
Box   15 Folder   5	Second draft script, book by Lindsay and Crouse, annotated, n.d.
Box   15 Folder   6	Script, book by Lindsay and Crouse, n.d.
Box   15 Folder   7	Script, for publication by Random House, annotated by Crouse, Lindsay, and Oscar Hammerstein, n.d.
Box   15 Folder   8	Corrected proof pages, n.d.
	State of the Union Note: NY: Hudson, 14 November 1945
Box   15 Folder   9	Clippings, 1945-1946.
Box   15 Folder   10	Contracts, 1945-1946.
Box   15 Folder   11	Correspondence, 1945-1949.
Box   15 Folder   12	Miscellany, ca. 1945-1949.
Box   16 Folder   1	Plagiarism suit, 1943, 1948-1950.
Box   16 Folder   2	Synopsis and notes, n.d.
Box   16 Folder   3	Original script, “I'd Rather be Left,” by Lindsay and Crouse, n.d.
Box   16 Folder   4	Script, by Lindsay and Crouse, annotated, n.d.
Box   16 Folder   5	Second draft, by Lindsay and Crouse, annotated, n.d.
Box   16 Folder   6	Third draft, by Lindsay and Crouse, annotated, n.d.
Box   16 Folder   7	Rehearsal script, by Lindsay and Crouse, n.d.
	State of the Union Note: Buck County Playhouse, Summer 1960
Box   16 Folder   8	Stage manager's script, revised version, by Lindsay and Crouse, annotated, Summer, 1960.
	Strip for Action Note: NY: National, 30 September 1942
Box   17 Folder   1	Contracts, clippings, playbill, 1942.
	Tall Story Note: NY: Belasco, 29 January 1959
Box   17 Folder   2	Notes and letter, ca. 1958.
Box   17 Folder   3	Early scenario, by Lindsay and Crouse, n.d.
Box   17 Folder   4	First unrevised script, by Lindsay and Crouse, suggested by “The Homecoming Game,” 5 July 1958.
Box   17 Folder   5	Script, by Lindsay and Crouse, annotated, n.d.
Box   17 Folder   6	Script, by Lindsay and Crouse, annotated, n.d.
Box   17 Folder   7	Script, by Lindsay and Crouse, February 1959.
Box   17 Folder   8	Script, by Lindsay and Crouse, annotated, n.d.
	Motion Pictures
	Life with Father Note: Warner Brothers, 1947
Box   18 Folder   1	Contract, 1942.
Box   18 Folder   1	Financial statements, 1948-1953.
Box   18 Folder   2	Souvenir booklet, n.d.
Box   18 Folder   3	Final script, from play by Lindsay and Crouse, by Donald Ogden Stewart and Robert Buckner, 6 February 1946.
	State of the Union Note: MGM-Liberty Films, 1948
Box   18 Folder   4	Estimating script, 30 April 1947.
	A Woman's World Note: Twentieth Century Fox, 1954
Box   18 Folder   5	Conference notes with Darryl Zanuck re dialogue and continuity changes, 20 March 1954.
Box   18 Folder   6	Revised writer's working script, by Claude Binyon, 18 November 1953.
Box   18 Folder   7	Final script, by Lindsay and Crouse, based on a script by Claude Binyon, 20 April 1954.
	Television
	The Best of Broadway Note: Production information unknown. Air date: 5 January 1955
	“Arsenic and Old Lace”
Box   19 Folder   1	Script, by Joseph O. Kesselring, adapted for TV by Lindsay and Crouse, annotated, 2 December 1954.
Box   19 Folder   2	Script, by Joseph O. Kesselring, adapted for TV by Lindsay and Crouse, annotated, 2 December 1954.
Box   19 Folder   3	Final air script, by Joseph O. Kesselring, adapted for TV by Lindsay and Crouse, 30 December 1954.
	Producer's Showcase Note: NBC, 1954-1957. Air date: 1 April 1957
	“The Great Sebastians”
Box   19 Folder   4	Revised script, by Lindsay and Crouse, annotated. 25 February 1957.
Box   19 Folder   5	Correspondence, Clippings, and Miscellany, ca. 1934-61.