Summary Information
Howard Lindsay and Russel Crouse Papers
1909-1980
- Lindsay, Howard, 1889-1968
- Crouse, Russel, 1893-1966
U.S. Mss 20AN
7.6 c.f. (19 archives boxes)
Wisconsin Historical Society Archives / Wisconsin Center for Film and Theater Research Contact Information
Wisconsin Historical Society (Map)
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.
English
http://digital.library.wisc.edu/1711.dl/wiarchives.uw-whs-us0020an
Biography/History
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.
Scope and Content Note
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.
Administrative/Restriction 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
Processed in 1962; and by Chris Rongone in May 1979.
Contents List
|
Series: Russel Crouse's Works
|
|
|
Books
|
|
|
Alexander Hamilton and Aaron Burr: Their Lives, Their Times, Their Duel
: 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
: Garden City, NY: Doubleday, Doran & Co., 1932
|
|
|
Box
1
Folder
3
|
Book, by Russel Crouse, 1932.
|
|
|
G.I. Prize-Winning Blackouts
: Special Services Division, A.S.F., 1944
|
|
|
Box
1
Folder
4
|
Paperback book, foreward by Russel Crouse, 1944.
|
|
|
It Seems Like Yesterday
: 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
: 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
: Garden City, NY: Doubleday, Doran & Co., 1932
|
|
|
Box
2
Folder
3
|
Book, by Russel Crouse, 1932.
|
|
|
Peter Stuyvesant of Old New York
: 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
: 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
: NY: Henry Miller, 27 August 1928
|
|
|
Box
4
Folder
3
|
Clippings and Miscellany, 1928.
|
|
|
Hold Your Horses
: 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
: 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
: 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
: 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
: 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
: 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
: 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
: 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
: 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
: NY: Hudson, 23 March 1949
|
|
|
Box
8
Folder
8
|
Script, by Sidney Kingsley, 1949.
|
|
|
The Great Sebastians
: 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
: 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
: NY: Hudson, 3 January 1945
|
|
|
Box
10
Folder
5
|
Contracts, 1944.
|
|
|
Box
10
Folder
6
|
Script, by John Patrick, 1945.
|
|
|
Hooray for What?
: 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
: 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
: 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
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Working notes, ca. 1948.
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Box
12
Folder
1
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Original script, annotated, n.d.
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Box
12
Folder
2
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Early script, by Lindsay and Crouse, n.d.
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Box
12
Folder
3
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Later draft pages, annotated, n.d.
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Box
12
Folder
4
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Script, by Lindsay and Crouse, n.d.
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Box
12
Folder
5
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Script, by Lindsay and Crouse, prepared for publication, annotated, n.d.
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Box
12
Folder
6
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Dorothy Stickney's rehearsal script with her own corrections, annotated, by Lindsay and Crouse, n.d.
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Box
12
Folder
7
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Script, by Lindsay and Crouse, July 1948.
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Box
12
Folder
8
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Script, prompt copy, annotated, July 1948.
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Box
13
Folder
1
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Script, by Lindsay and Crouse, n.d.
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Box
13
Folder
2
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Script, by Lindsay and Crouse, annotated, n.d.
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“London Bridge” (Unproduced)
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Box
13
Folder
3
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Script, Act I, annotated, n.d.
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One Bright Day
: NY: Royale, 19 March 1952
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Box
13
Folder
4
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Early script, by Sigmund Miller, annotated, ca. 1952.
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Box
13
Folder
5
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Rehearsal script, by Sigmund Miller, ca. 1952.
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The Prescott Proposals
: NY: Broadhurst 16 December 1953
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Box
13
Folder
6
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Correspondence, 1953-1955.
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Box
13
Folder
7
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Miscellany, ca. 1953-1954.
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Box
13
Folder
8
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Original script, by Lindsay and Crouse, 30 September 1953.
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Box
13
Folder
9
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Script, by Lindsay and Crouse, n.d.
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Box
13
Folder
10
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Script, by Lindsay and Crouse, annotated, n.d.
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Box
14
Folder
1
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Script, by Lindsay and Crouse, annotated, n.d.
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Box
14
Folder
2
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Script, acting edition prepared for publication, by Lindsay and Crouse, annotated, n.d.
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Red, Hot, and Blue
: NY: Alvin, 29 October 1936
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Box
14
Folder
3
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Congratulatory telegrams, 1936.
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Box
14
Folder
4
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Original scenario, --but Millions!, n.d.
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Box
14
Folder
5
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Script, fragment, n.d.
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Box
14
Folder
5
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Script, by Lindsay and Crouse, annotated, n.d.
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Box
14
Folder
4
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Script, by Lindsay and Crouse, ca. 1936.
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Remains to be Seen
: NY: Morosco, 31 October 1951
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Box
14
Folder
6
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Clippings and Playbill, 1951.
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Box
14
Folder
7
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Correspondence, 1951-1960.
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Box
14
Folder
8
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First draft, “Opus Number Nine,” by Lindsay and Crouse, 7 March 1951.
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Box
14
Folder
9
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Script, Act I, Scene I, “The Helpcat and the Canary,” by Lindsay and Crouse, n.d.
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Box
14
Folder
10
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Second draft, by Lindsay and Crouse, 10 May 1951.
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The Sound of Music
: NY: Lunt-Fontanne, 16 November 1956
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Box
14
Folder
11
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Correspondence, 1959-1961.
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Box
15
Folder
1
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Miscellany, 1959-1961.
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Box
15
Folder
2
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Script and rehearsal notes, ca. 1956.
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Box
15
Folder
3
|
2 Scenarios, “The Singing Heart,” 3 March 1958.
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Box
15
Folder
3
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Scenario, “Love Song,” n.d.
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Box
15
Folder
4
|
Original script, annotated, n.d.
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Box
15
Folder
5
|
Second draft script, book by Lindsay and Crouse, annotated, n.d.
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Box
15
Folder
6
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Script, book by Lindsay and Crouse, n.d.
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Box
15
Folder
7
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Script, for publication by Random House, annotated by Crouse, Lindsay, and Oscar Hammerstein, n.d.
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Box
15
Folder
8
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Corrected proof pages, n.d.
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State of the Union
: NY: Hudson, 14 November 1945
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Box
15
Folder
9
|
Clippings, 1945-1946.
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Box
15
Folder
10
|
Contracts, 1945-1946.
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Box
15
Folder
11
|
Correspondence, 1945-1949.
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Box
15
Folder
12
|
Miscellany, ca. 1945-1949.
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Box
16
Folder
1
|
Plagiarism suit, 1943, 1948-1950.
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Box
16
Folder
2
|
Synopsis and notes, n.d.
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Box
16
Folder
3
|
Original script, “I'd Rather be Left,” by Lindsay and Crouse, n.d.
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Box
16
Folder
4
|
Script, by Lindsay and Crouse, annotated, n.d.
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|
Box
16
Folder
5
|
Second draft, by Lindsay and Crouse, annotated, n.d.
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|
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Box
16
Folder
6
|
Third draft, by Lindsay and Crouse, annotated, n.d.
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Box
16
Folder
7
|
Rehearsal script, by Lindsay and Crouse, n.d.
|
|
|
State of the Union
: Buck County Playhouse, Summer 1960
|
|
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Box
16
Folder
8
|
Stage manager's script, revised version, by Lindsay and Crouse, annotated, Summer, 1960.
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|
Strip for Action
: NY: National, 30 September 1942
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Box
17
Folder
1
|
Contracts, clippings, playbill, 1942.
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|
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Tall Story
: NY: Belasco, 29 January 1959
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Box
17
Folder
2
|
Notes and letter, ca. 1958.
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Box
17
Folder
3
|
Early scenario, by Lindsay and Crouse, n.d.
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Box
17
Folder
4
|
First unrevised script, by Lindsay and Crouse, suggested by “The Homecoming Game,” 5 July 1958.
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Box
17
Folder
5
|
Script, by Lindsay and Crouse, annotated, n.d.
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|
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Box
17
Folder
6
|
Script, by Lindsay and Crouse, annotated, n.d.
|
|
|
Box
17
Folder
7
|
Script, by Lindsay and Crouse, February 1959.
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|
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Box
17
Folder
8
|
Script, by Lindsay and Crouse, annotated, n.d.
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|
|
Motion Pictures
|
|
|
Life with Father
: Warner Brothers, 1947
|
|
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Box
18
Folder
1
|
Contract, 1942.
|
|
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Box
18
Folder
1
|
Financial statements, 1948-1953.
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|
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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
: MGM-Liberty Films, 1948
|
|
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Box
18
Folder
4
|
Estimating script, 30 April 1947.
|
|
|
A Woman's World
: Twentieth Century Fox, 1954
|
|
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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
: 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
: 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.
|
|
|
