Summary Information
Herman Levin Papers
1943-1981
U.S. Mss 79AN; Micro 135; Tape 1076A; Tape 1254A; Disc 200A; GA 102-103
30.0 c.f. (68 archives boxes, 8 flat boxes, 2 card boxes), 1 reel of microfilm (35mm), 4 tape recordings, 1 disc recording, and 2 reels of film
Wisconsin Historical Society Archives / Wisconsin Center for Film and Theater Research Contact Information
Wisconsin Historical Society (Map)
Papers of Herman Levin, a leading Broadway producer. Especially rich in its coverage of the financial aspects of theatrical production, the collection also includes correspondence, contracts and Actors' Equity agreements, lyrics and orchestrations, microfilmed scrapbooks, a few scripts, and miscellaneous other production records. Much of the collection relates to Levin's much-acclaimed success My Fair Lady (1956), with the remainder consisting of material on other major productions including Call Me Mister (1946), produced with Melvyn Douglas; No Exit (1946); Gentlemen Prefer Blonds (1946), which he produced in collaboration with Oliver Smith; The Girl Who Came to Supper (1963); the award-winning The Great White Hope (1968); and a controversial Lovely Ladies, Kind Gentlemen (1970).
English
http://digital.library.wisc.edu/1711.dl/wiarchives.uw-whs-us0079an ↑ Bookmark this ↑
Biography/History
Herman Levin was born and educated in Philadelphia, Pennsylvania. He attended the Wharton School of Finance and Commerce at the University of Pennsylvania, the University of Missouri, and the Dickinson Law School in Carlisle, Pennsylvania. In 1931, he moved to New York where he attended law school at St. John's University by night, working by day for Fiorello La Guardia's campaign manager. In 1935, he was admitted to the New York bar and began to handle theater-oriented cases.
He abandoned law in 1942 and, with Richard Dorso, formed Century Artists, a theatrical agency. In 1944, he sold his interest in Century and managed his own business with an eye on producing plays.
Call Me Mister (1946) was Levin's first production. The firm name of the partnership was the D&L Company, the initials of Melvyn Douglas and Herman Levin, its general partners. Call Me Mister ran on Broadway from April 17, 1946 to January 10, 1948 (734 performances); the second company opened in November, 1946 and ran on the road for more than a year. The show was the first of three Levin productions to tour America.
Levin produced his next two shows in partnership with Oliver Smith. No Exit (1946) was an artistic success, but a financial failure. It won the Donaldson Award for Best Foreign Play of the 1946-1947 season and the New York Critics Circle Award as the best foreign play of the year. However, 40,000 dollars was lost on the venture, for this first professional American production of Sartre opened November 26, 1946 and closed in January 1947, running only 31 performances in all. Bonanza Bound (1947) opened and closed in Philadelphia, playing only one week (December 26, 1947 - January 3, 1948), and losing over 200,000 dollars. It is distinguished most by the fact that its chorus featured a young showbiz hopeful named Gwen Verdon.
Richard III (1949) was Levin's fourth show, organized under the firm name of the Bard of Avon Company. It is the only production in Levin's career on which he voluntarily worked without Smith. Richard Whorf's adaptation, acting (as Richard) and set design won unanimous critical acclaim for the production. Mr. Whorf had first presented this concept of the play with a G.I. cast at Biarritz during World War II. Richard III ran 23 performances, February 8 - 26, 1949.
Gentlemen Prefer Blondes (1949) ran almost three years including its tour, playing 750 performances on Broadway alone. It opened in previews in Philadelphia on November 17, 1949 and closed its tour there November 1, 1952, playing 26 cities in between, including extended runs in New York and Chicago.
During the years 1950 - 1956, Levin had no successes. Bless You All (1950) previewed in New Haven, then Philadelphia, then closed in New York, playing a total of 84 performances there (opened New Haven, November 13,1950, closed New York, February 24, 1951). The Temptation of Maggie Haggerty opened and closed in Boston, November, 1952. The play lost almost 15,000 dollars. Levin then agreed to co-produce a new Ziegfeld Follies with Lee Shubert, but the project was halted by Shubert's death. The second project was a musical, Three Tigers for Tessie, which he and Alan Jay Lerner as co-producers dropped in 1955. The third project was Eudora Welty's The Ponder Heart, for which Levin did little more than option the rights.
In 1956, Herman Levin made history with the opening of My Fair Lady. The show closed six years later, running for 2,717 performances in New York and thus becoming the longest running American musical. In 1963, Levin produced The Girl Who Came to Supper based on Terence Rattigan's play The Sleeping Prince. It starred Florence Henderson and Jose Ferrer. In 1968, Levin produced The Great White Hope, which received the Pulitzer Prize, the Tony Award, and the New York Critics Circle Award as the best play of the year, and which toured until 1971.
On the heels of Levin's triumph came two disappointments: Lovely Ladies, Kind Gentlemen and Tricks. The former, a musical version of Teahouse of the August Moon, sparked protests because of the small number of Asian-American actors cast. Tricks was based on a play by Moliere. Although it received critical acclaim during its pre-Broadway run it closed after only thirteen performances. In 1976 Levin revived My Fair Lady with Ian Richardson and Christine Andreas, but after it closed in 1977, Levin withdrew from active theatrical production.
In addition to his production work, Levin served as president and a member of the board of organizations such as the League of New York Theatres, the National Association of the Legitimate Theatre, the Council of the Living Theatre, and the Independent Booking Office.
Herman Levin was married and divorced three times. He died on December 27, 1990 following a stroke. He was survived by his daughter, Gabrielle Kraft, a mystery writer.
Scope and Content Note
The papers are arranged in two series: the Original Collection received in 1967 and 1968, and Additions processed in 1984. The original portion of the collection is subdivided into GENERAL PAPERS and PRODUCTION FILES; the 1984 additions are arranged as GENERAL PAPERS, THEATER-PRODUCED, and THEATER-UNPRODUCED. The boxes are numbered 1-62 and 184-203; there are no boxes numbered 63-183.
The majority of the material consists of records of My Fair Lady, Levin's most phenomenal success. The remainder consists of production records from eleven other major productions, including Gentlemen Prefer Blondes, Call Me Mister, The Great White Hope, and Lovely Ladies, Kind Gentlemen.
The GENERAL PAPERS subseries of the Original Collection consists of agent files, general correspondence, some miscellaneous financial records, and other theatrical material that came to Levin's attention. The agent files consist of materials on persons for whom Levin served as theatrical agent and shows which he considered for production. Information is varied and scant; included is material on ten plays, ten radio shows, and fifteen clients. Levin's early correspondence with Oliver Smith begins here in 1946. This section also includes some general correspondence dating from the period 1944 to 1963, financial records (some of which may relate to the production of No Exit), and miscellaneous material relating to the League of New York Theatres, a typed script by Noel Coward, and a copy of a handwritten score by Aaron Copland.
The PRODUCTION FILES subseries of the Original Collection makes up the bulk of the collection. These records are arranged chronologically by opening date and thereunder alphabetically by type of record. The main exception to this order occurs within the files on My Fair Lady, which are subdivided into the New York City-based Liza Company, the National touring company, and various foreign productions. The same types of material are present for all productions, although they vary in quantity and completeness.
In general, financial and legal documentation predominates, although there is documentation relating to the artistic aspects of the production including script and musical score revisions, set designs, and correspondence with actors and playwrights. Documentation on advertising and publicity includes correspondence, clippings and scrapbooks (available only on microfilm), programs and playbills, and reviews.
The financial records were reappraised in 1992 and routine documentation for all plays including bills, invoices, and daily box office statements discarded when the information was sufficiently summarized in the financial statements, the theaters' weekly settlements, and elsewhere. In addition, routine contracts were sampled when employee salary information was available in more concise form. Documentation of this type was also removed from the 1984 Additions to the Levin Papers, although that section of the collection was not otherwise altered. At the same time, all photographs received with the collection were separated to the WCFTR theatrical stills file, where they are available by production title or lot number.
Particularly notable in the My Fair Lady files is the documentation on the extensive litigations involving CBS and the Mark Hellinger Theatre and the material (including photographs and a 35mm film) concerning the goodwill tour made to the Soviet Union.
Scattered prominent correspondents include Marc Blitzstein, Richard Rodgers, Wolfgang Roth, Alex Cohen and Jack Vaughn (in The Temptation of Maggie Haggerty); Burt Bacharach, Irving Berlin, Leonard Bernstein, Hume Cronyn, Alfred Knopf, Jr., Jo Mielziner, Eleanor Roosevelt, and James Thurber (in My Fair Lady Liza Company records); Richard Nixon (in My Fair Lady Russian company files); Eleanor Roosevelt (in My Fair Lady London company files); and Katherine Cornell and Noel Coward (in The Girl Who Came to Supper).
The Additions portion of the Herman Levin collection documents the final years of Levin's involvement with the theater. Nearly three-fourths of the material concerns his last four productions, and includes extensive business and financial records, correspondence, production information, reviews, and publicity.
The GENERAL subseries primarily contains correspondence -- both incoming and outgoing-- that does not relate to any single production. Also included is material on a proposed record album entitled “The Official Sex Manual.”
The THEATER-PRODUCED subseries consists of material concerning four plays: My Fair Lady (1958; 1976)); The Great White Hope (1968); Lovely Ladies, Kind Gentlemen (1970); and Tricks (1973). The plays are arranged chronologically by production except for the revival of My Fair Lady, which immediately follows the original My Fair Lady material. Under each production, papers from the New York opening appear first, followed by those from any touring productions (either before and/or after the New York opening).
To facilitate research into the individual plays, the major productions' records are subdivided into three categories: Financial, General, and Production. The Financial category includes bank statements, operating statements, insurance, investors, limited partnership agreements, and earnings statements. The General category contains files on litigation and other legal matters, ticket requests, general correspondence, programs, and subject files. The Production category includes all material relating directly to the production of the play, such as information on casting, contracts, equipment, publicity, scripts, and theaters.
Although the large-format reel-to-reel tape recordings were not listened to because of the lack of special equipment, they are believed to be a duplication of the phonographic recording of The Great White Hope.
The THEATER-UNPRODUCED subseries consists of scripts and correspondence relating to nine unproduced plays.
Administrative/Restriction Information
Presented by Herman Levin, New York, New York, 1967-1969; portions placed on deposit, 1973-1986. Accession Number: MCHC67-107, MCHC68-044, MCHC73-050, MCHC76-038, MCHC86-319, M90-367
Processed by L. Baugniet, 1969; Grace Hayak and Sara Leuchter, 1985; revised and reappraised by Carolyn Mattern, 1992.
Contents List
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U.S. Mss 79AN
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Series: Part 1: Original Collection
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Subseries: General Papers
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Agent Files
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Box
1
Folder
1
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Beloved Lady, Correspondence and Contract, 1944
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Box
1
Folder
2
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“Blind Date,” 1944
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Box
1
Folder
3-5
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Bonney, Betty Jane, 1945-1946
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Box
1
Folder
6-7
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Cock-A-Doodle-Dandy, 1949-1950
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Box
1
Folder
8
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Cat and Mouse, undated
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Box
2
Folder
1
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“Comedy Carnival,” 1948
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Box
2
Folder
2
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Courtney, Diane, 1945
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Box
2
Folder
3
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Elizabeth, 1944
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Box
2
Folder
4-5
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Golden Gate Quartet, 1946
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Box
2
Folder
6
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Goodrich, Ace, 1943-1945
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Box
2
Folder
7
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Lee, Catherine, 1943-1945
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Box
2
Folder
8-9
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LeWinter, David, 1945-1946
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Box
3
Folder
1
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Lie Down in Darkness, 1944-1947
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Box
3
Folder
2
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Light Up the Sky, 1946-1950
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Box
3
Folder
3
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Manning, Irene, 1944
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Box
3
Folder
4
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Massine, Leonide, 1943-1945
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Box
3
Folder
5
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Newman, Robert (“Johnny Comes Home”), 1944-1945
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Box
3
Folder
6
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Of Thee I Sing, 1951
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Box
3
Folder
12
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Ondine, 1948-1950
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Box
3
Folder
7
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Piazza, Marguerite, 1944-1945
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Box
3
Folder
8
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Porgy and Bess, 1950
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Box
3
Folder
9
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Robinson, Earl, 1944
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Box
3
Folder
10
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Russell, Gilbert, 1945
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Box
3
Folder
11
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Smith, Oliver, 1947
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Box
3
Folder
13
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Weisburg, Charles, 1945-1947
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Box
3
Folder
14
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Miscellaneous Correspondence, 1950-1962
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General Correspondence
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Box
4
Folder
1-7
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1944-1947
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Box
4
Folder
8
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1947, Correspondence re death of Abraham Levin
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Box
5
Folder
1-4
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1948-1963
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Miscellany
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Box
6
Folder
3
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After the Ball, “Acting” typed script by Noel Coward, undated
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Box
6
Folder
4
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The King (Le Roi), typed script by G.A. DeCaillavet, Robert deFlers, and Emanuel Arene, undated
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Box
6
Folder
1
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League of New York Theatres, 1952-1966
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Box
6
Folder
6
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Limited Partnership Agreements, 1961-1962
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Box
61
Folder
1
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“Lincoln Portrait,” Photostatic copy of handwritten score by Aaron Copland, 1942
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Box
6
Folder
5
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“Name of Our Own” (song about Levin, Harold Clurman, and Herman Shumlin), undated
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Box
6
Folder
7
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Oklahoma Production Costs, undated
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Box
6
Folder
2
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Standard Union and Equity Contracts, undated
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Box
6
Folder
10
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Telephone List, undated
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Box
6
Folder
10a
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Tonight, 1969
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Bank Statements
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Box
6
Folder
8
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“Special Account,” 1944-1950
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Box
6
Folder
9
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“Account #2,” 1944-1945
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Box
6
Folder
11
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circa 1964
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Box
6
Folder
12
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Miscellaneous Expense Accounts, circa 1944
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Cash Disbursements and Receipts
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Box
7
Folder
1
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Private, 1944-1947
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Box
7
Folder
2
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Business, 1943-1946
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Box
7
Folder
3
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Levin and Smith, 1950-1951
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Subseries: Production Files
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Call Me Mister (1946)
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Box
8
Folder
1
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Audits, 1946-1948
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Box
8
Folder
2
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Box Office Statements, 1946
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Box
8
Folder
3
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Contracts
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Box
8
Folder
4
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Correspondence (including legal), 1945-1953
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Box
8
Folder
5
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Financial Statements, 1948-1951
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Ledgers
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Box
55
Folder
1
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Cash Receipts and Disbursements
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Box
55
Folder
2
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General Ledger
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Box
55
Folder
3
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New York Ledger
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Box
55
Folder
4
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Tour Ledger
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Box
8
Folder
6
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Limited Partnership Agreement
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Box
8
Folder
7
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Programs, Publicity, and Printed Music
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Box
8
Folder
8-9
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Salary Sheets
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Micro 135
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Scrapbooks
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Reel
1
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1946
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Reel
1
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1946-1947
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Reel
1
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Tour, 1946-1947
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U.S. Mss 79AN
Box
9
Folder
1
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Settlement Sheets
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Box
9
Folder
2
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Taxes and Royalty Statements
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No Exit (1946)
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Box
9
Folder
3
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Correspondence and Clippings
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Box
9
Folder
4
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Financial Records (General Ledger and Journal Production Costs, and Taxes)
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Micro 135
Reel
1
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Scrapbook, 1946
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U.S. Mss 79AN
Box
9
Folder
5
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Script by Jean Paul Sartre, Typed Adaptation by Paul Bowles, June 24, 1946
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Box
9
Folder
6
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Set Design Photograph
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Bonanza Bound (1947)
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Box
9
Folder
7
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Correspondence, 1947-1958
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Box
9
Folder
8-9
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Financial Statements, Taxes, and Production Costs
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Box
62
Folder
6
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Set Design, Blueprints #6-18 by Oliver Smith
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Richard III
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Box
9
Folder
10
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Box Office Statements
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Box
9
Folder
11
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Clippings
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Box
9
Folder
12
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Contracts
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Box
9
Folder
13
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Correspondence, 1948-1951
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Box
9
Folder
14
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Financial Statements and Taxes
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Box
9
Folder
15
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Limited Partnership Agreement
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Box
9
Folder
16
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Notes
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Box
9
Folder
17
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Payrolls (weeded)
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Gentlemen Prefer Blondes (1949)
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Box
9
Folder
18-21
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Advertising Statements, 1949-1951
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Box
10
Folder
1-7
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Box Office Statements, 1950-1954
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Contracts
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Box
10
Folder
8
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General
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Box
11
Folder
1
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Crew
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Box
11
Folder
2
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Production Staff
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Box
11
Folder
3
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Performers (sampled)
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Box
11
Folder
4
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Tour
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Correspondence
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Box
11
Folder
5
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Authors, 1948-1959
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Box
11
Folder
6
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Choreographer and Director, 1948-1953
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Box
11
Folder
7
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Equity
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Box
11
Folder
8
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Insurance
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Box
11
Folder
9-10
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Investors
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Box
11
Folder
11
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Legal and Financial, 1948-1962
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Box
12
Folder
1
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Miscellaneous, 1948-1956
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Box
12
Folder
2
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Production Rights (including Dramatists Guild)
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Box
12
Folder
3
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Production Staff, 1949-1954
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Box
12
Folder
4
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Technical Production, 1949-1953
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Box
12
Folder
5
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Twentieth Century Fox, 1950-1953
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Box
12
Folder
6
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Costume Plot
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Box
12
Folder
7
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Electric Inventory
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Box
12
Folder
8
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Financial Statements, 1949-195
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Leasing Arrangements
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Box
12
Folder
9
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Chicago
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Box
12
Folder
10
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Miscellaneous American Productions
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Box
13
Folder
1
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Miscellaneous Foreign Productions
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Box
13
Folder
2
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New York
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Box
13
Folder
3-6
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Tour
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Ledgers
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Box
13
Folder
7-8
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Cash Disbursements, 1949-1952
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Box
14
Folder
1-2
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General Ledgers, 1949-1952
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Box
14
Folder
3
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Journal
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Box
14
Folder
4
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Limited Partnership Agreement
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Box
14
Folder
5
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Lyrics
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Music
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Miscellaneous Orchestrations
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Box
55
Folder
5
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Old Overture Orchestration
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Box
55
Folder
6
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Miscellaneous Original Drafts (?)
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Box
55
Folder
7
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Original Conductor's Score
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Box
55
Folder
8
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Unpublished Music
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Box
55
Folder
9
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Published Sheet Music
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Orchestrations for Stage Production
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Box
55
Folder
10
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Vocal and Piano
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“Bye, Bye, Birdie”
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Box
56
Folder
1
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Published Parts
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Box
56
Folder
2
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“Out of Show” Parts
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Box
56
Folder
3
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“Sunshine”
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Box
56
Folder
4
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“Just a Kiss Apart,” Published Parts
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“Old parts”
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Box
56
Folder
5
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“Little Rock” and “Buttons”
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Box
57
Folder
1-2
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Miscellaneous Unused Parts
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Box
57
Folder
3
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“I'll Say Hooray”
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Box
57
Folder
4
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“Chili”
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Box
58
Folder
1-2
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“Diamonds”
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Record Album Scores
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Box
58
Folder
3
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Conductor and Percussion Parts
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Box
59
Folder
1-3
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Winds, Strings, Reeds
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Box
14
Folder
6
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Musicians
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Box
14
Folder
7
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Payroll Summaries, 1951-1952
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Box
14
Folder
8
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Payrolls, Principals Only
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Box
14
Folder
9
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Playbills
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Box
14
Folder
10
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Programs
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Promotion
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Box
14
Folder
11
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General
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Box
14
Folder
12
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Record
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Box
14
Folder
13
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Props
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Box
15
Folder
1-2
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Public Relations Correspondence (Ned Alvord)
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Box
15
Folder
3
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Rosters
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Royalties
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Box
15
Folder
4
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General
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Box
15
Folder
5
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Music
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Box
15
Folder
6
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Salaries Lists, Samples and Principals Only
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Box
15
Folder
7
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Scenic Designs by Oliver Smith
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Micro 135
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Scrapbooks
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Reel
1
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1949
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Reel
1
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1949-1950
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U.S. Mss 79AN
Box
15
Folder
8-11
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Settlement Sheets, 1949, 1951-1955
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Box
15
Folder
12
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Taxes
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Box
15
Folder
13
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Tickets
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Box
16
Folder
1-5
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Weekly Settlements, 1950-1951
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Bless You All (1950)
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Box
16
Folder
6
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Advertising, 1950-1951
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Box
16
Folder
7
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Box Office Statements, 1950-1951
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Box
16
Folder
8
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Casting, 1950-1951
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Contracts
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Box
16
Folder
9
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Crew
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Box
17
Folder
1
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Dancers
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Box
17
Folder
2
|
Principals
|
|
|
Box
17
Folder
3
|
Sales and Rental Contracts
|
|
|
Box
17
Folder
4
|
Singers
|
|
|
Box
17
Folder
5
|
Staff
|
|
|
Box
17
Folder
6
|
Theaters
|
|
|
Correspondence
|
|
|
Box
17
Folder
7
|
Actors Equity, 1950-1951
|
|
|
Box
17
Folder
8
|
Agents
|
|
|
Box
17
Folder
9
|
General
|
|
|
Financial Records
|
|
|
Box
17
Folder
10
|
Financial Statements
|
|
|
Box
17
Folder
11
|
Financing
|
|
|
Box
17
Folder
12
|
Bonds and Bids
|
|
|
Box
17
Folder
13
|
Overcall Correspondence
|
|
|
Box
17
Folder
14
|
Tie-ups
|
|
|
Box
17
Folder
15
|
Miscellaneous Cast and Crew Notes
|
|
|
Ledgers
|
|
|
Box
17
Folder
16
|
Cash Book and Journals
|
|
|
Box
17
Folder
17
|
General Ledger
|
|
|
Box
17
Folder
18
|
Lighting
|
|
|
Box
18
Folder
1
|
Limited Partnership Agreement
|
|
|
Box
18
Folder
2
|
Music (published)
|
|
|
Box
18
Folder
3
|
Payroll Summaries
|
|
|
Box
18
Folder
4
|
Playbills
|
|
|
Box
18
Folder
5
|
Programs
|
|
|
Box
18
Folder
6
|
Publicity
|
|
|
Box
18
Folder
7
|
Removed Sketches and Lyrics
|
|
|
Box
18
Folder
8
|
Reviews
|
|
|
Box
18
Folder
9
|
Royalties
|
|
|
Box
18
Folder
10
|
Script, Typed and Annotated, undated
|
|
|
Box
62
Folder
7
|
Set Design, Blueprints for Sets and Lights, #1-33 (incomplete) by Oliver Smith
|
|
|
Box
18
Folder
11
|
Suggestions of Moss Hart and Jerry Chodorov, 1950
|
|
|
Box
18
Folder
12
|
Taxes
|
|
|
Box
18
Folder
13
|
Tickets
|
|
|
Box
18
Folder
14
|
Weekly Settlements
|
|
|
The Temptation of Maggie Haggerty (1952)
|
|
|
Box
19
Folder
1
|
Casting
|
|
|
Box
19
Folder
2
|
Clippings
|
|
|
Box
19
Folder
3-4
|
Contracts and Agreements
|
|
|
Box
19
Folder
5
|
Correspondence
|
|
|
Box
19
Folder
6
|
Martin Ritt
|
|
|
Box
19
Folder
7
|
Financial Records
|
|
|
Box
19
Folder
8
|
Limited Partnership Agreement
|
|
|
Box
19
Folder
9
|
Script, mimeographed, by James McGee, circa 1951
|
|
|
My Fair Lady (1956)
|
|
|
Liza Company
|
|
|
Advertising Reports
|
|
|
Box
19
Folder
10-12
|
1956-1959, March
|
|
|
Box
20
Folder
1-4
|
1959, April-1962, September
|
|
|
Box Office Statements
|
|
|
Box
20
Folder
5
|
1956, February-March 3
|
|
|
Box
21
|
1956, March-1958, June
|
|
|
Box
22
|
1958, July-1960
|
|
|
Box
23
Folder
1-4
|
1961-1962
|
|
|
Box
23
Folder
5
|
Casting Miscellany
|
|
|
Box
23
Folder
6
|
Clippings, 1956-1965
|
|
|
Contracts
|
|
|
Box
23
Folder
7
|
Crew
|
|
|
Box
23
Folder
8
|
Dancers
|
|
|
Box
23
Folder
9-10
|
Principals
|
|
|
Box
24
Folder
1
|
Singers
|
|
|
Box
24
Folder
2
|
Staff
|
|
|
Box
24
Folder
3
|
Theaters
|
|
|
Correspondence
|
|
|
Box
24
Folder
4
|
Actors Equity, 1955-1959
|
|
|
Box
24
Folder
5
|
Julie Andrews, 1955-1957
|
|
|
Box
24
Folder
6
|
Bankers Trust Co., 1956-1960
|
|
|
Box
24
Folder
7
|
Cecil Beaton, 1955-1958
|
|
|
Box
24
Folder
8
|
CBS, 1955-1965
|
|
|
Box
24
Folder
9
|
Pamela Charles, 1957-1960
|
|
|
Box
24
Folder
10
|
Chorus and Crew
|
|
|
Box
24
Folder
11
|
Columbia Records, 1955-1967
|
|
|
Box
24
Folder
12
|
Commercial Rights, 1956-1964
|
|
|
Box
24
Folder
13
|
Costumes, 1956-1962
|
|
|
Box
24
Folder
14
|
Dramatists Guild, 1955-1963
|
|
|
Box
25
Folder
1
|
Equipment, 1955-1964
|
|
|
Box
25
Folder
2
|
Abe Feder and Joe Davis, 1957-1960
|
|
|
Box
25
Folder
3
|
Foreign, 1956-1964, 1968
|
|
|
Box
25
Folder
4
|
Form Letters and Memoranda
|
|
|
Box
25
Folder
5-6
|
General, 1957-1979
|
|
|
Box
25
Folder
7
|
Rex Harrison, 1954-1963
|
|
|
Box
25
Folder
8
|
Moss Hart, 1954-1962
|
|
|
Box
25
Folder
9
|
Stanley Holloway, 1955-1961
|
|
|
Box
25
Folder
10
|
Hanya Holm, 1955-1961
|
|
|
Box
25
Folder
11
|
Sally Ann Howes, 1956-1959
|
|
|
Box
25
Folder
12
|
Richard Lamarr, 1956-1961
|
|
|
Box
25
Folder
13
|
Legal, 1955-1960
|
|
|
Box
25
Folder
14
|
License Renewal, 1961-1962
|
|
|
Box
26
Folder
1
|
Miscellaneous Correspondence, 1955-1963
|
|
|
Box
26
Folder
2
|
Mulhare, Edward, 1955-1957
|
|
|
Box
26
Folder
3
|
Musicians and Conductor, 1955-1962
|
|
|
Box
26
Folder
4
|
Pascal Arbitration, 1955-1963
|
|
|
Box
26
Folder
5
|
Protection of Rights, 1955-1961
|
|
|
Box
26
Folder
6
|
Oliver Smith, 1954-1961
|
|
|
Box
26
Folder
7
|
Summer Tent Theaters, 1961-1962
|
|
|
Box
26
Folder
8
|
Supporting Actors, 1955-1963
|
|
|
Financial Statements
|
|
|
Box
26
Folder
10-11
|
1956-1957
|
|
|
Box
27
Folder
1-7
|
1958-1964
|
|
|
Box
27
Folder
8
|
History
|
|
|
Box
27
Folder
9
|
Insurance
|
|
|
Box
27
Folder
10-11
|
Investors (CBS), 1955-1963
|
|
|
Legal Records
|
|
|
Box
26
Folder
9
|
Corris vs. Levin, 1965
|
|
|
Levin vs. CBS
|
|
|
Box
27
Folder
12
|
Correspondence, 1955-1961
|
|
|
Box
27
Folder
13
|
Court Documents
|
|
|
Box
27
Folder
14
|
Memoranda, Exhibits, and Testimony
|
|
|
Box
28
Folder
1
|
Notes, Correspondence, and Clippings
|
|
|
Box
28
Folder
2-3
|
Claimant's Post-Trial Brief
|
|
|
Box
28
Folder
4
|
Claimant's Reply Brief
|
|
|
Box
28
Folder
5
|
Agreements
|
|
|
Liza vs. Hellinger
|
|
|
Box
28
Folder
6-7
|
Briefs
|
|
|
Box
29
Folder
1
|
Continued Examination, pre-trial
|
|
|
Box
29
Folder
2-3
|
Correspondence, 1955-1977
|
|
|
Box
29
Folder
4
|
Supreme Court Briefs
|
|
|
Box
29
Folder
5
|
Distributions to Investors
|
|
|
Box
29
Folder
6
|
Dramatists Guild Statements
|
|
|
Box
29
Folder
7
|
Royalty Statements
|
|
|
Box
29
Folder
8
|
Testimony, Correspondence, Clippings
|
|
|
Box
29
Folder
9
|
Second Trial
|
|
|
Box
62
Folder
2
|
Light Plots and Hanging Plans by Feder
|
|
|
Box
29
Folder
10
|
Merchandising Contracts
|
|
|
Box
29
Folder
11
|
Miscellany
|
|
|
Music
|
|
|
Box
30
Folder
1
|
Vocal Score, Annotated
|
|
|
Box
30
Folder
2
|
Voice Parts, Printed Score
|
|
|
Box
60
Folder
1
|
Piano-Conductor's Score
|
|
|
Box
60
Folder
2-5
|
Act I Orchestrations
|
|
|
Box
61
|
Act II Orchestrations
|
|
|
Payroll
|
|
|
Box
30
Folder
3
|
Out of Town Salaries and Exemptions
|
|
|
Box
30
Folder
4
|
Salary List, 1956, July-December
|
|
|
Box
30
Folder
5
|
Payroll Earning Cards, 1956
|
|
|
Employee Earning Records
|
|
|
Box
30
Folder
6
|
1959
|
|
|
Box
31
|
1959-1961
|
|
|
Box
32
Folder
1-3
|
1961-1962
|
|
|
Box
32
Folder
4
|
Playbills
|
|
|
Publicity and Public Relations
|
|
|
Box
32
Folder
5
|
Correspondence, 1955-1962
|
|
|
Box
32
Folder
6
|
Editorial Campaign, 1957-1961
|
|
|
Box
33
Folder
1
|
Letters from the Public, 1956-1962
|
|
|
Box
33
Folder
2
|
Richard Maney
|
|
|
Box
33
Folder
3
|
Thank You Letters
|
|
|
Box
33
Folder
4
|
Miscellany
|
|
|
Royalties
|
|
|
Box
33
Folder
5
|
General
|
|
|
Box
33
Folder
6
|
Authors' Royalties
|
|
|
Box
33
Folder
7
|
ABC Paramount Records, 1957-1969
|
|
|
Box
33
Folder
8
|
Correspondence, 1955-1972
|
|
|
Box
33
Folder
9
|
Chappell & Co., 1956-1965
|
|
|
Box
33
Folder
10
|
Columbia Records, 1956-1970
|
|
|
Box
33
Folder
11
|
Tams-Witmark, 1964-1971
|
|
|
Micro 135
Reel
1
|
Scrapbook, 1957-1963
|
|
|
U.S. Mss 79AN
|
Scripts
|
|
|
Box
34
Folder
2
|
Early Script Outlines
|
|
|
Box
34
Folder
3
|
Mimeographed Script by Alan Jay Lerner
|
|
|
Box
34
Folder
4
|
Mimeographed Script (annotated), undated
|
|
|
Box
34
Folder
5
|
Mimeographed Script (annotated), undated
|
|
|
Box
34
Folder
6
|
Mimeographed Script (annotated to indicate material cut from production)
|
|
|
Box
34
Folder
7
|
Mimeographed “Rehearsal Script”
|
|
|
Box
34
Folder
8
|
Lyrics and Songs Not Used
|
|
|
Box
34
Folder
9
|
Mimeographed Script (annotations by stage manager)
|
|
|
Box
35
Folder
1
|
Mimeographed Script (technical annotations)
|
|
|
Box
35
Folder
2
|
Mimeographed Script (bus and truck annotations)
|
|
|
Box
35
Folder
3
|
Taxes
|
|
|
Technical Production
|
|
|
Box
35
Folder
4
|
Costumes
|
|
|
Box
35
Folder
5
|
Equipment
|
|
|
Box
35
Folder
6
|
Lighting
|
|
|
Box
35
Folder
7
|
Running Time
|
|
|
Box
35
Folder
8
|
Scenery
|
|
|
Box
35
Folder
9
|
Stage Plots
|
|
|
Box
34
Folder
1
|
Ticket Scandal Clippings
|
|
|
Weekly Settlements
|
|
|
Box
36
|
1956-1959
|
|
|
Box
37
|
1959-1961
|
|
|
Box
38
Folder
1-4
|
1961-1962
|
|
|
National Company
|
|
|
Contracts
|
|
|
Box
38
Folder
5
|
Actors
|
|
|
Box
38
Folder
6
|
Crew
|
|
|
Box
38
Folder
7
|
Dancers
|
|
|
Box
38
Folder
8
|
Musicians
|
|
|
Box
38
Folder
9
|
Persons Contracted on Tour
|
|
|
Box
38
Folder
10
|
Principals
|
|
|
Box
39
Folder
1
|
Singers
|
|
|
Box
39
Folder
2
|
Staff
|
|
|
Box
39
Folder
3-8
|
Theaters, 1956-1963
|
|
|
Correspondence
|
|
|
General
|
|
|
Box
40
Folder
1
|
Brian Aherne, 1956-1959
|
|
|
Box
40
Folder
2
|
Ned Alvord and Al Butler, 1956-1962
|
|
|
Box
40
Folder
3
|
Bookings, 1956-1963
|
|
|
Box
40
Folder
4
|
Chorus, 1956-1964
|
|
|
Box
40
Folder
5
|
Financial, 1957-1963
|
|
|
Box
40
Folder
6
|
Edwin Lester (Civic Light Opera Association of Los Angeles), 1956-1959
|
|
|
Box
40
Folder
7
|
Moss and Hayman Attractions, 1956-1963
|
|
|
Box
41
Folder
1
|
Oliver Prickett (Greek Theatre, Los Angeles), 1956-1963
|
|
|
Box
41
Folder
2
|
Props and Costumes, 1959-1963
|
|
|
Box
41
Folder
3
|
Anne Rogers, 1956-1958
|
|
|
Box
41
Folder
4
|
Staff (including J. Grossman), 1956-1964
|
|
|
Box
41
Folder
5
|
Supporting Actors, 1956-1963
|
|
|
Box
41
Folder
6
|
Diane Todd, 1958-1960
|
|
|
Box
41
Folder
7
|
Charles Victor, 1956-1964
|
|
|
State Correspondence
|
|
|
Box
41
Folder
8
|
A-C
|
|
|
Box
41
Folder
9
|
California
|
|
|
Box
41
Folder
10
|
D-G
|
|
|
Box
42
|
I-P
|
|
|
Box
43
Folder
1
|
R-V
|
|
|
Box
43
Folder
2-3
|
Texas
|
|
|
Box
43
Folder
4
|
W
|
|
|
Box
43
Folder
5
|
Miscellaneous Correspondence, 1956-1963
|
|
|
Box
43
Folder
6
|
Earnings Lists, 1962-1963
|
|
|
Employee Earnings Reports
|
|
|
Box
43
Folder
7
|
1959
|
|
|
Box
44
|
1959-1961
|
|
|
Box
45
Folder
1
|
1961, continued
|
|
|
Box
45
Folder
2
|
Financial Miscellany
|
|
|
Box
45
Folder
3
|
Insurance
|
|
|
Box
45
Folder
4
|
Leasing Arrangements, 1955-1960
|
|
|
Box
45
Folder
5
|
Owners, Casts, and Tour Routes, 1956-1963
|
|
|
Box
45
Folder
6
|
Payroll Summaries, 1961
|
|
|
Box
45
Folder
7
|
Programs
|
|
|
Box
45
Folder
8
|
Promotion
|
|
|
Box
45
Folder
9-11
|
Settlements, 1957-1963
|
|
|
Technical Production
|
|
|
Box
46
Folder
1
|
Correspondence and Contracts, 1956-1964
|
|
|
Box
46
Folder
2
|
Inventories
|
|
|
Box
46
Folder
3-4
|
Ticket Requests
|
|
|
Box
46
Folder
11
|
Unemployment Insurance
|
|
|
Box
46
Folder
5-10
|
Weekly Settlements, 1957-1963
|
|
|
Foreign Productions
|
|
|
Box
47
Folder
1
|
Miscellaneous Foreign Contracts
|
|
|
Box
47
Folder
2
|
Argentina
|
|
|
Box
47
Folder
3-4
|
Australia
|
|
|
Box
47
Folder
5
|
Canada
|
|
|
Box
47
Folder
6-7
|
Denmark
|
|
|
Box
47
Folder
8
|
European, Proposed Tour
|
|
|
Box
47
Folder
9
|
Finland
|
|
|
Box
47
Folder
10
|
Germany
|
|
|
Great Britain
|
|
|
Box
47
Folder
11
|
Advertising and Publicity
|
|
|
Box
47
Folder
12
|
Clippings
|
|
|
Box
47
Folder
13
|
Contracts
|
|
|
Correspondence
|
|
|
Box
47
Folder
14
|
Actors and Casting
|
|
|
Box
47
Folder
15
|
Contracts
|
|
|
Box
48
Folder
1
|
Costumes
|
|
|
Box
48
Folder
2
|
Finances
|
|
|
Box
48
Folder
3
|
General Correspondence
|
|
|
Box
48
Folder
4
|
Musicians
|
|
|
Box
48
Folder
5
|
Opening Night
|
|
|
Box
48
Folder
6
|
Production
|
|
|
Box
48
Folder
7
|
Production Staff
|
|
|
Box
48
Folder
8
|
Program
|
|
|
Box
48
Folder
9
|
Publicity
|
|
|
Box
48
Folder
10
|
Record Album
|
|
|
Box
48
Folder
11
|
Staging
|
|
|
Box
48
Folder
12
|
Tour
|
|
|
Box
48
Folder
13
|
Financial Statements
|
|
|
Box
48
Folder
14
|
Profit Statements
|
|
|
Box
62
Folder
3
|
Light Plots
|
|
|
Box
48
Folder
15
|
Program
|
|
|
Box
48
Folder
16
|
Receipts
|
|
|
Royalty Statements
|
|
|
Box
48
Folder
17-18
|
1958-1959
|
|
|
Box
49
Folder
1-7
|
1960-1966
|
|
|
Box
62
Folder
4
|
Set Design
2 drawings
|
|
|
Box
49
Folder
8
|
Holland
|
|
|
Box
49
Folder
9
|
Iceland
|
|
|
Box
49
Folder
10
|
Israel
|
|
|
Box
49
Folder
11
|
Italy
|
|
|
Box
49
Folder
12
|
Japan
|
|
|
Box
49
Folder
13
|
Mexico
|
|
|
Box
49
Folder
14
|
Norway
|
|
|
Box
49
Folder
15
|
Poland
|
|
|
Box
49
Folder
16
|
Portugal
|
|
|
Russia
|
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Box
49
Folder
17
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Banking Account
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Box
49
Folder
18
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Bills
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Box
49
Folder
19
|
Cables
|
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Contracts
|
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Box
49
Folder
20
|
Actors and Staff
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Box
50
Folder
1
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Production and Legal, Waiver of Royalties
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|
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Correspondence
|
|
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Box
50
Folder
2
|
Actors
|
|
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Box
50
Folder
3
|
ANTA
|
|
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Box
50
Folder
4
|
Financial
|
|
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Box
50
Folder
5
|
General
|
|
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Box
50
Folder
6
|
Homecoming Party
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Box
50
Folder
7-8
|
Expenses
|
|
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GA 102-103
|
Film of the Touring Company in the USSR
|
|
|
U.S. Mss 79AN
Box
50
Folder
9
|
Insurance
|
|
|
Box
50
Folder
10
|
Itinerary
|
|
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Box
50
Folder
11
|
Miscellany
|
|
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Box
50
Folder
12
|
Payrolls
|
|
|
PH 101A
|
Photographs of touring company visiting sites in the USSR
|
|
|
U.S. Mss 79AN
Box
62
Folder
1
|
Posters
|
|
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Box
50
Folder
13
|
Programs
|
|
|
Box
50
Folder
14
|
Publicity
|
|
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Box
50
Folder
15
|
South Africa
|
|
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Box
50
Folder
16
|
South America
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|
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Box
50
Folder
17
|
Spain
|
|
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Box
50
Folder
18
|
Sweden
|
|
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Box
50
Folder
19
|
Switzerland
|
|
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Box
50
Folder
20
|
Turkey
|
|
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Box
50
Folder
21
|
Yugoslavia
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|
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The Girl Who Came to Supper (1963)
|
|
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Box
50
Folder
22
|
Advertising, 1963-1964
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|
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Box
50
Folder
23
|
Auditions
|
|
|
Box
51
Folder
1
|
Box Office Statements
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|
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Box
51
Folder
2
|
Clippings
|
|
|
Contracts
|
|
|
Box
51
Folder
3
|
General
|
|
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Box
51
Folder
4
|
Authors
|
|
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Box
51
Folder
5
|
Broadway Theatre
|
|
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Box
51
Folder
6
|
Terrence Rattigan
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|
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Correspondence
|
|
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Box
51
Folder
7
|
Bankers Trust
|
|
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Box
51
Folder
8
|
Bookings
|
|
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Box
51
Folder
9
|
Broadway Theatre
|
|
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Box
51
Folder
10
|
Irene Browne, 1963-1964
|
|
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Box
51
Folder
11
|
CBS
|
|
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Box
51
Folder
12
|
Casting
|
|
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Box
51
Folder
13
|
Columbia Pictures
|
|
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Box
51
Folder
14
|
Columbia Records
|
|
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Box
52
Folder
1
|
Equity
|
|
|
Box
52
Folder
2
|
Jose Ferrer
|
|
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Box
52
Folder
3-4
|
Foreign Productions
|
|
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Box
52
Folder
5
|
General
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Box
52
Folder
6
|
Florence Henderson
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Box
52
Folder
7
|
Investors
|
|
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Box
52
Folder
8
|
Legal
|
|
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Box
52
Folder
9
|
Limited Partners
|
|
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Box
52
Folder
10
|
London Production
|
|
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Box
52
Folder
11
|
Miscellany
|
|
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Box
52
Folder
12
|
Musicians
|
|
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Box
52
Folder
13
|
Tessie O'Shea
|
|
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Box
52
Folder
14
|
Production Staff
|
|
|
Box
53
Folder
1
|
Terrence Rattigan
|
|
|
Box
53
Folder
2
|
Regent Play Co.
|
|
|
Box
53
Folder
3
|
Tracy Rogers
|
|
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Box
53
Folder
4
|
Sean Scully
|
|
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Box
53
Folder
5
|
Theatre Guild
|
|
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Box
53
Folder
6
|
Earnings List
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Box
53
Folder
7
|
Financial Statements
|
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Box
53
Folder
8
|
Limited Partnership Agreement
|
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Box
53
Folder
9
|
Levin Pre-Production Log
|
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Box
53
Folder
10
|
Music and Lyrics
|
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Box
53
Folder
11
|
Preview Schedule and Theater Statistics
|
|
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Box
53
Folder
12
|
Programs
|
|
|
Box
53
Folder
13
|
Publicity
|
|
|
Box
53
Folder
14
|
Record Album
|
|
|
Tape 1254A
No.
1-2
|
Recording of All Performance Songs, April 14, 1963
|
|
|
U.S. Mss 79AN
Box
53
Folder
15
|
Rehearsal Notes
|
|
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Box
53
Folder
16
|
Royalties
|
|
|
Box
62
Folder
5
|
Set Designs #13-19 by Oliver Smith
|
|
|
Scripts
|
|
|
Box
53
Folder
17
|
Fragments
|
|
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Box
53
Folder
18
|
“The Sleeping Prince,” Typed Script, by Harry Kurnitz, undated
|
|
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Box
53
Folder
19
|
Act II Revised Typed Script, July 15, 1963
|
|
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Box
53
Folder
20
|
Mimeographed Script
|
|
|
Box
54
Folder
1
|
Summary
|
|
|
Box
54
Folder
2
|
Taxes
|
|
|
Technical Production
|
|
|
Box
54
Folder
3
|
Costumes
|
|
|
Box
54
Folder
4
|
Lighting Plot
|
|
|
Box
54
Folder
5
|
Tickets
|
|
|
Box
54
Folder
6
|
Weekly Settlement Sheets
|
|
|
Series: Part 2: Additions
|
|
|
Subseries: General
|
|
|
Box
184
Folder
1
|
City of New York Commission on Human Rights, 1978
|
|
|
Correspondence
|
|
|
Box
184
Folder
2
|
Century Lighting, Inc., 1963-1968
|
|
|
Box
184
Folder
3-7
|
General, 1965-1977; undated
|
|
|
Box
184
Folder
8
|
League of New York Theaters and Producers, 1975-1978
|
|
|
Box
184
Folder
9
|
Rejected Scripts, 1968-1971; undated
|
|
|
Box
184
Folder
10
|
Office Lease, 1975
|
|
|
Box
184
Folder
11
|
“The Official Sex Manual”
|
|
|
Subseries: Theater - Produced
|
|
|
My Fair Lady (New York, March 24, 1976)
Producer: Herman Levin
Director: Jerry Adler
Book and Lyrics: Alan Jay Lerner
Music: Frederick Lowe
Cast: Christine Andreas, Ian Richardson
|
|
|
Financial
|
|
|
Box
188
Folder
1
|
Budget, undated
|
|
|
Correspondence
|
|
|
Box
188
Folder
2
|
General, 1975-1976
|
|
|
Box
188
Folder
3
|
Insurance, 1975-1981
|
|
|
Box
188
Folder
4
|
Royalties, 1976-1977
|
|
|
Box
188
Folder
5-6
|
Insurance
|
|
|
Box
188
Folder
7
|
Miscellany
|
|
|
Box
188
Folder
8
|
Operating Statements, 1976-1978
|
|
|
Box
188
Folder
9
|
Record Album Statements, 1975-1980
|
|
|
Box
188
Folder
10
|
Television Commercial
|
|
|
Box
188
Folder
11
|
Tickets
|
|
|
General
|
|
|
Box
188
Folder
12
|
Actors' Equity Arbitration
|
|
|
Box
188
Folder
13
|
Andreas, Christine
|
|
|
Correspondence
|
|
|
Box
188
Folder
14
|
Actors' Equity, 1975-1976
|
|
|
Box
188
Folder
15
|
Audience Reaction, 1976-1977; undated
|
|
|
Box
188
Folder
16
|
Cast Party, 1976; undated
|
|
|
Box
188
Folder
17
|
General, 1975-1977; undated
|
|
|
Box
188
Folder
18
|
Opening Night Congratulations, 1976, March
|
|
|
Box
188
Folder
19
|
Opening Night Ticket Requests, 1976, Jan.-Mar.
|
|
|
Box
188
Folder
20
|
Pascal Estate, 1975-1976
|
|
|
Box
188
Folder
21
|
Record Album, 1976
|
|
|
Box
188
Folder
22
|
Richardson, Ian, 1975-1976
|
|
|
Box
188
Folder
23
|
Shaw Estate, 1975-1977
|
|
|
Box
188
Folder
24
|
Ticket Requests, 1976-1977; undated
|
|
|
Box
189
Folder
1
|
Memoranda
|
|
|
Box
189
Folder
2
|
Miscellany
|
|
|
Box
189
Folder
3
|
Programs
|
|
|
Box
189
Folder
4-6
|
Record Album
|
|
|
Box
189
Folder
7
|
Richardson, Ian
|
|
|
Box
189
Folder
8
|
Script, Prompt, undated
|
|
|
Box
189
Folder
9
|
Souvenir Book
|
|
|
Production
|
|
|
Box
189
Folder
10
|
Casting
|
|
|
Box
189
Folder
11-18
|
Contracts
|
|
|
Correspondence
|
|
|
Box
189
Folder
19
|
Actors Equity, 1975-1977
|
|
|
Box
189
Folder
20
|
Advertising, 1975-1977
|
|
|
Box
190
Folder
1
|
Casting, 1971-1977; undated
|
|
|
Box
190
Folder
2
|
Contracts, 1975-1977; undated
|
|
|
Box
190
Folder
3
|
Costumes, 1975-1977; undated
|
|
|
Box
190
Folder
4
|
General, 1971-1977
|
|
|
Box
190
Folder
5
|
Lunt-Fontanne Theatre, 1976-1977
|
|
|
Box
190
Folder
6
|
Music, 1975-1976
|
|
|
Box
190
Folder
7
|
Program, 1976
|
|
|
Box
190
Folder
8
|
Publicity, 1975-1977, undated
|
|
|
Box
190
Folder
9
|
St. James Theatre, 1976
|
|
|
Box
190
Folder
10
|
Shubert Theatre, 1975-1976
|
|
|
Box
190
Folder
11
|
Television Commercial, 1976; undated
|
|
|
Box
190
Folder
12
|
Costumes
|
|
|
Box
190
Folder
13
|
Equipment
|
|
|
Box
190
Folder
14
|
Lunt-Fontanne Theatre
|
|
|
Box
190
Folder
15
|
Musical Scores
|
|
|
Box
190
Folder
16-19
|
Promotion/Publicity
|
|
|
Box
190
Folder
20-21
|
Reviews, 1976-1977
|
|
|
Box
190
Folder
22
|
St. James Theatre
|
|
|
The Great White Hope (New York, Oct. 3, 1968)
Producer: Herman Levin
Director: Edwin Sherin
Author: Howard Sackler
Cast: James Earl Jones, Jane Alexander, Lou Gilbert
|
|
|
Financial
|
|
|
Box
192
Folder
1
|
Alvin Theatre Weekly Statements, 1968-1970
|
|
|
Correspondence
|
|
|
Box
192
Folder
2
|
General, 1968-1973
|
|
|
Box
192
Folder
3
|
Insurance, 1970-1971
|
|
|
Box
192
Folder
4
|
Limited Partnership, 1968-1972
|
|
|
Box
192
Folder
5
|
Tax, 1968-1973
|
|
|
Box
192
Folder
6
|
Theatre Development Fund, 1968-1969
|
|
|
Box
192
Folder
7
|
Great Hope Corporation, Bank Statements, 1971-1972
|
|
|
Great White Hope Company
|
|
|
Box
192
Folder
8
|
Bank Statements, 1968-1973
|
|
|
Box
192
Folder
9
|
Financial Operating Statements, 1968-1971
|
|
|
Box
192
Folder
10
|
Insurance
|
|
|
Box
192
Folder
11
|
Limited Partnership Agreements
|
|
|
Box
192
Folder
12
|
Miscellany
|
|
|
Box
192
Folder
13
|
Taxes, 1968-1971
|
|
|
General
|
|
|
Correspondence
|
|
|
Box
193
Folder
1
|
Audience Reaction, 1968-1972; undated
|
|
|
Box
193
Folder
2
|
General, 1966-1971; undated
|
|
|
Box
193
Folder
3
|
Movie, 1968-1972; undated
|
|
|
Box
193
Folder
4
|
Opening Night, 1968, Oct.
|
|
|
Box
193
Folder
5
|
Record Album, 1968-1969
|
|
|
Box
193
Folder
6
|
Stock and Amateur Right, 1968-1970
|
|
|
Box
193
Folder
7
|
Ticket Requests, 1968-1969; undated
|
|
|
Box
193
Folder
8
|
Tony Awards, 1969
|
|
|
Box
193
Folder
9
|
Memoranda/Notes
|
|
|
Box
193
Folder
10
|
Miscellany
|
|
|
Box
193
Folder
11
|
Movie
|
|
|
Box
193
Folder
12
|
Programs/Souvenir Book
|
|
|
Box
193
Folder
13
|
Record Album
|
|
|
Box
193
Folder
14
|
Stock and Amateur Rights
|
|
|
Tape 1076A
No.
1-2
|
Tape Recordings
|
|
|
U.S. Mss 79AN
|
Production
|
|
|
Box
194
Folder
1-4
|
Casting
|
|
|
Box
194
Folder
5-8
|
Contracts
|
|
|
Correspondence
|
|
|
Box
194
Folder
9
|
Actors, 1968-1969; undated
|
|
|
Box
194
Folder
10
|
Actors' Equity, 1968-1970
|
|
|
Box
194
Folder
11
|
Advertising, 1968-1970
|
|
|
Box
194
Folder
12
|
Alvin Theatre, 1968-1970
|
|
|
Box
194
Folder
13
|
Casting, 1968; undated
|
|
|
Box
194
Folder
14
|
General, 1967-1970; undated
|
|
|
Box
194
Folder
15
|
London Production, 1968-1970
|
|
|
Box
194
Folder
16
|
Musicians, 1968
|
|
|
Box
194
Folder
17
|
Music License, 1968-1969
|
|
|
Box
194
Folder
18
|
Publicity, 1968; undated
|
|
|
Box
194
Folder
19
|
Sackler, Howard, 1966-1968; undated
|
|
|
Box
194
Folder
20
|
Sherin, Edwin, 1968-1969
|
|
|
Box
194
Folder
21
|
Costumes
|
|
|
Box
195
Folder
1
|
Miscellany
|
|
|
Box
195
Folder
2
|
Music
|
|
|
Box
195
Folder
3
|
Promotion/ Publicity
|
|
|
Box
195
Folder
4
|
Reviews, 1968
|
|
|
Box
195
Folder
5
|
Scene Breakdowns
|
|
|
Script
|
|
|
Box
195
Folder
6
|
Revised, 1969, Nov.
|
|
|
Box
195
Folder
7-9
|
Unedited, undated
|
|
|
The Great White Hope (National Tour, 1968-1971)
|
|
|
Financial
|
|
|
Box
196
Folder
1
|
Bank Statements, 1969-1972
|
|
|
Box
196
Folder
2
|
Contracts
|
|
|
Box
196
Folder
3-5
|
Correspondence, 1969-1972
|
|
|
Box
196
Folder
6
|
Miscellany
|
|
|
Box
196
Folder
7
|
Operating Statements, 1969-1971
|
|
|
Box
196
Folder
8
|
Payroll
|
|
|
General
|
|
|
Box
196
Folder
9
|
Correspondence, 1969
|
|
|
Box
196
Folder
10
|
Programs
|
|
|
Production
|
|
|
Box
196
Folder
11
|
Casting
|
|
|
Box
196
Folder
12
|
Chicago Tour
|
|
|
Box
196
Folder
13
|
Cleveland Tour
|
|
|
Box
196
Folder
14-18
|
Contracts
|
|
|
Box
196
Folder
19-20
|
Correspondence, 1968-1971; undated
|
|
|
Box
196
Folder
21
|
Los Angeles Tour
|
|
|
Box
196
Folder
22
|
Script, Prompt, 1970, Jan. 10
|
|
|
Lovely Ladies, Kind Gentlemen (New York, Dec. 28, 1970)
Producer: Hermen Levin
Director: Lawrence Kasha
Book: John Patrick
Music and Lyrics: Stan Freeman, Franklin Underwood
Cast: Kenneth Nelson, Ron Husmann, Eleanor Calbes
|
|
|
Financial
|
|
|
Box
197
Folder
1
|
Box Office Statements, 1970, Dec. - 1971, Jan.
|
|
|
Box
197
Folder
2
|
Budget, 1969; undated
|
|
|
Box
197
Folder
3
|
Company Manager's Settlement Statements, 1970, Dec. - 1971, Jan.
|
|
|
Correspondence
|
|
|
Box
197
Folder
4
|
General, 1971
|
|
|
Box
197
Folder
5
|
Insurance, 1970-1971
|
|
|
Box
197
Folder
6-7
|
Investors, 1968-1970
|
|
|
Box
197
Folder
8
|
Joint Ventures, 1968-1970
|
|
|
Box
197
Folder
9
|
Limited Partnerships, 1969-1970
|
|
|
Box
197
Folder
10
|
Overcall, 1970-1971
|
|
|
Box
197
Folder
11
|
Insurance
|
|
|
Box
197
Folder
12
|
Investors Assignments
|
|
|
Box
197
Folder
13
|
Limited Partnership Agreements
|
|
|
Box
197
Folder
14
|
M.G.M. Negotiations, 1969
|
|
|
Box
197
Folder
15
|
Taxes, 1970-1971
|
|
|
Box
197
Folder
16-19
|
Teahouse Music Company Bank Statements, 1969-1972
|
|
|
General
|
|
|
Box
198
Folder
1
|
Basic Rights Agreement, 1969
|
|
|
Correspondence
|
|
|
Box
198
Folder
2
|
Audience Reaction, 1970-1971
|
|
|
Box
198
Folder
3
|
Failure of Show, 1970-1971
|
|
|
Box
198
Folder
4
|
General, 1969-1972
|
|
|
Box
198
Folder
5
|
Opening Night Ticket Requests, 1970
|
|
|
Box
198
Folder
6
|
Protest, 1970-1973;undated
|
|
|
Box
198
Folder
7
|
Opening Night Seating
|
|
|
Box
198
Folder
8
|
Programs
|
|
|
Box
198
Folder
9
|
Protest Materials
|
|
|
Box
198
Folder
10
|
Souvenir Book
|
|
|
Production
|
|
|
Box
198
Folder
11
|
Casting
|
|
|
Box
198
Folder
12-14
|
Contracts
|
|
|
Box
199
Folder
1-4
|
Contracts
|
|
|
Correspondence
|
|
|
Box
199
Folder
5
|
Actors' Equity
|
|
|
Box
199
Folder
6
|
Authors, 1969-1971
|
|
|
Box
199
Folder
7-8
|
Casting, 1969-1970
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|
Box
199
Folder
9
|
Contracts, 1969-1971
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|
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Box
199
Folder
10
|
Music, 1970-1972
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|
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Box
199
Folder
11
|
Record Album, 1969
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Box
199
Folder
12
|
Costumes
|
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Box
199
Folder
13
|
Equipment
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Box
199
Folder
14
|
Majestic Theatre
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Box
199
Folder
15
|
Music
|
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Box
199
Folder
16
|
Notes/Schedules
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Box
199
Folder
17
|
Publicity
|
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Box
199
Folder
18
|
Reviews, 1970-1971
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Box
200
Folder
1
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Script, 1970, Nov. 7
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Box
200
Folder
2
|
Script, Stage Copy, undated
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Box
200
Folder
3
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Set Designs
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Lovely Ladies, Kind Gentlemen (Philadelphia, Aug. 19, 1970)
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Box
200
Folder
4
|
Box Office Statements, 1970, Aug.-Sept.
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Box
200
Folder
5
|
Company Manager's Settlement Statements, 1970
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|
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Box
200
Folder
6-7
|
Correspondence, 1970
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|
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Box
200
Folder
8
|
Financial Statements, 1970
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Box
200
Folder
9
|
Reviews
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|
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Box
200
Folder
10
|
Shubert Theatre
|
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Lovely Ladies, Kind Gentlemen (Los Angeles, Sept. 8, 1970)
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Box
200
Folder
11
|
Box Office Statements, 1970, Sept.-Oct.
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|
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Box
200
Folder
12
|
Company Manager's Settlement Statements, 1970
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|
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Box
200
Folder
13
|
Contracts
|
|
|
Box
200
Folder
14-15
|
Correspondence, 1968-1971
|
|
|
Box
200
Folder
16
|
Financial Statements, 1970
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|
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Box
200
Folder
17
|
Miscellany
|
|
|
Box
200
Folder
18
|
Reviews, 1970
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|
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Lovely Ladies, Kind Gentlemen (San Francisco, Nov. 3, 1970)
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|
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Box
200
Folder
19
|
Box Office Statements, 1970, Nov.-Dec.
|
|
|
Box
200
Folder
20
|
Company Manager's Settlement Statements, 1970
|
|
|
Box
200
Folder
21
|
Correspondence, 1970
|
|
|
Box
200
Folder
22
|
Financial Statements, 1970
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|
|
Box
200
Folder
23
|
Reviews, 1970
|
|
|
Tricks (New York, Jan. 8, 1973)
Producer: Herman Levin
Director: Jon Jory
Book: Jon Jory
Music: Jerry Blatt
Lyrics: Lonnie Burstein
Cast: Rene Auberjonois, Walter Bobbie, Carolyn Mignini
|
|
|
Financial
|
|
|
Correspondence
|
|
|
Box
201
Folder
1
|
General, 1972-1974; undated
|
|
|
Box
201
Folder
2
|
Insurance, 1972-1973
|
|
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Box
201
Folder
3
|
Investors, 1971-1974; undated
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|
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Box
201
Folder
4
|
Insurance
|
|
|
Box
201
Folder
5
|
Investors
|
|
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Box
201
Folder
6
|
Limited Partnership Agreements
|
|
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Box
201
Folder
7
|
Miscellany
|
|
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Box
201
Folder
8
|
Pre-production Expenses
|
|
|
General
|
|
|
Correspondence
|
|
|
Box
201
Folder
9
|
Actors' Equity, 1972-1973
|
|
|
Box
201
Folder
10
|
Contracts, 1972-1973
|
|
|
Box
201
Folder
11
|
General, 1972-1973
|
|
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Box
201
Folder
12
|
Record Album, 1972-1973
|
|
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Box
201
Folder
13
|
Memoranda
|
|
|
Box
201
Folder
14
|
Miscellany
|
|
|
Box
201
Folder
15
|
Music
|
|
|
Box
201
Folder
16
|
New York Theaters
|
|
|
Box
201
Folder
17
|
Programs
|
|
|
Box
201
Folder
18
|
Record Album
|
|
|
Box
201
Folder
19
|
Ticket Requests
|
|
|
Production
|
|
|
Box
202
Folder
1
|
Alvin Theatre
|
|
|
Box
202
Folder
2
|
Casting
|
|
|
Box
202
Folder
3-5
|
Contracts
|
|
|
Box
202
Folder
6
|
Correspondence, 1972-1973; undated
|
|
|
Box
202
Folder
7
|
Costumes
|
|
|
Box
202
Folder
8
|
Equipment
|
|
|
Box
202
Folder
9
|
Publicity
|
|
|
Box
202
Folder
10
|
Reviews, 1973
|
|
|
Tricks (Louisville, KY, 1971)
|
|
|
Box
202
Folder
11
|
Contracts
|
|
|
Box
202
Folder
12
|
Correspondence, 1972
|
|
|
Box
202
Folder
13
|
Publicity
|
|
|
Tricks (Washington, DC, May 24, 1972)
|
|
|
Box
202
Folder
14
|
Reviews, 1972
|
|
|
Tricks (Detroit, Nov. 27, 1972)
|
|
|
Box
202
Folder
15
|
Correspondence, 1972-1973
|
|
|
Box
202
Folder
16
|
Fisher Theatre
|
|
|
Box
202
Folder
17
|
Publicity/Reviews, 1972
|
|
|
Tricks (London, undated)
|
|
|
Box
202
Folder
18
|
Contracts
|
|
|
Box
202
Folder
19
|
Correspondence, 1973-1974
|
|
|
Box
202
Folder
20
|
Miscellany
|
|
|
Subseries: Theater - Unproduced
|
|
|
Baker's Dozen
|
|
|
Box
203
Folder
1
|
Contracts
|
|
|
Box
203
Folder
2
|
Correspondence, 1973-1977
|
|
|
Box
203
Folder
3
|
Script Drafts, undated
|
|
|
The Baker's Wife
|
|
|
Box
203
Folder
4
|
Contracts
|
|
|
Box
203
Folder
5
|
Correspondence, 1966-1968
|
|
|
Box
203
Folder
6
|
Miscellany
|
|
|
Beautiful People
|
|
|
Box
203
Folder
7
|
Contracts
|
|
|
Box
203
Folder
8
|
Correspondence, 1971-1972
|
|
|
Box
203
Folder
9
|
Script, 1972, Feb. 23
|
|
|
Family Life
|
|
|
Box
203
Folder
10
|
Script, undated
|
|
|
Forty Years On
|
|
|
Box
203
Folder
11
|
Correspondence, 1968-1969
|
|
|
Box
203
Folder
12
|
London Production, 1968
|
|
|
Box
203
Folder
13
|
In Fashion
|
|
|
L'Aide Memoire
|
|
|
Box
203
Folder
14
|
Correspondence, 1968
|
|
|
Box
203
Folder
15
|
Miscellany
|
|
|
The Ramayana
|
|
|
Box
203
Folder
16
|
Contracts
|
|
|
Box
203
Folder
17
|
Correspondence, 1965-1970
|
|
|
Box
203
Folder
18
|
Miscellany
|
|
|
Box
203
Folder
19
|
Outline of Play, undated
|
|
|
Suite in Three Keys
|
|
|
Box
203
Folder
20
|
Budget, undated
|
|
|
Box
203
Folder
21
|
Correspondence, 1965-1968
|
|
|
