A NOTE TO THE USER
Most of the manuscripts in this Collection were undated. Whenever a copyright date could be located, it was used, even though the particular play or novel might obviously have been written several years earlier.
In general, correspondence, including that with producer Arthur Hopkins, has been placed with related manuscripts whenever possible, Exceptions have been made in the case of the various literary agents who handled a variety of scripts, and in the segregation of extensive correspondence with certain individuals. These files (in Box 1) have many references to separately boxed plays and novels.Copyright to these works was assigned to the Diocese of Tucson.
Grateful acknowledgment is made to Nancy Wynn, of New York, for invaluable assistance in the preliminary processing, identification, and arrangement of this collection.
Box 1 Correspondence; Copyrights
1) Correspondence: Lawyer (M.L.Malevinsky, 1931)
Regarding various plays; for legal matters, see following file.
2) Correspondence: Agent (Adrienne Morrison, Pinker & Son, 1931-1939)
3) Correspondence: Agent (Miriam Howell, 1947-1954)
4) Correspondence: Agent (Helen Harvey, 1951-1954)
5) Correspondence: Agent (Phyllis Anderson, 1952-1954)
6) Correspondence: Agent (John Gibbs Agency, 1953)
7) Correspondence: Agent (Leah Salisbury, 1953-1959)
8) Correspondence: Agent (Lucy Kroll, 1954-1955)
9) Correspondence: (Terese Hayden, 1943, 1953-1955)
10) Correspondence: (Zita Johann, 1928-1937?)
11) Correspondence: (Robert Edmond Jones, 1937-1945)
12) Correspondence: (Alexander Koiransky, 1928?-1953?)
13) Correspondence: (Abby Mann, etc., 1951-1954)
14) Correspondence: (Donald Oenslager, 1937-1953)
15) Correspondence: (Lawrence Langner, Theresa Helburn, Theatre
Guild, 1945, 1953-1954)
Includes correspondence regarding television
versions of various plays.
16) Correspondence: (Wisconsin Center for Theatre Research, 1962-1963)
17) Correspondence: (Miscellaneous)
18) Correspondence: (Book Orders and Subscriptions, 1963-1969)
19) Correspondence: (Property in California)
20) Correspondence: (Property in California - "The Beverly Dream," 1940)
21) Copyrights
Box 2 Articles; Trips; Miscellaneous
1) Miscellaneous Personal Items, including Photographs
2) Articles on Mexico for the New York Herald Tribune, 1924
3) Articles on Mexico for the New York Herald Tribune, 1943
4) Articles on Mexico for the New York Herald Tribune, 1949
5) Mexico (Miscellaneous material)
6) Mexico (Miscellaneous publications)
7) "The Log of a Chrysler" (Automobile trips in Europe,
United States and Mexico, 1929-1931?)
8) Far East Trip, 1936-1937 (Diary, Notes, etc.)
9) Far East Trip, 1936-1937 (Travel Brochures, etc.: India,
Egypt, Ceylon)
10) Far East Trip, 1936-1937 (Travel Brochures, etc.: China,
Japan)
11) Notes on Modjeska
12) Lectures for Koiranski
13) Russian Theory of Acting (Notes, clippings)
Box 3 Personal Interest Clippings (Topics as listed by Sophie Treadwell)
1) Architecture 10) Poems
2) Books 11) Politics
3) Crime 12) Schools
4) Man 13) Theatre
5) Morals 14) Tucson, Arizona
6) Movies 15) U.S.A
7) The Negro 16) Woman
8) People 17) Zoology
9) Philosophy and Religion 18) Miscellaneous
19) Wien, 1964
20) World Affairs (including Nazism, Russia, Isolation,
Lindberg)
21) Notes on Sutter
Box 4 Early Manuscripts; Miscellaneous
1) University of California notebooks, (1906 - poetry, miscellaneous fragments, etc.)
2) Plays: untitled, unfinished, fragments
3) Story: "Letters from 'A' to 'B' "
4) Stories: various
5) Notes, clippings, etc. on K.Jaspers, Monakow, and psychology
Box 5 Plays: Early (1905-1918)
1) LE GRAND PRIX (circa 1905) "my first play"
2) CONSTANCE DARROW (circa 1908)
3) THE RIGHT MAN (1908)
4-5) THE SETTLEMENT (1911) 4 versions; also called LIMELIGHT.
6) MADAME BLUFF (1918)
7) THE ANSWER (1918?)
8) One Act Plays (TRANCE, 1918)
9) One Act Plays
LA CACHUCHA
GUESS AGAIN
HIS LUCK
JOHN DOANE
A MAN'S OWN
MRS. WAYNE. Later titled THE EYE OF THE BEHOLDER
SYMPATHY (first Sophie Treadwell play produced)
TO HIM WHO WAITS
Box 6 Plays: Edgar Allen Poe (1910-1936)
1-2) POE (4 acts, 6 scenes) 2 versions
3) NEPENTHE (4 acts, 5 scenes)
4) POE (3 acts, 5 scenes)
5-6) EDGAR ALLEN POE (3 acts, 5 scenes) 2 versions
7) PLUMES IN THE DUST (3 acts, 6 scenes)
8) Correspondence, 1919-1962
(includes John Barrymore, Guthrie McClintic, Eugene O'Neill,
Kenneth Macgowan)
9) Clippings
Box 7 Plays: RIGHTS (1921) and GRINGO (1922)
1-6) RIGHTS (1921) and later versions with titles THE KING PASSES,
MARY BEATON (1938), LOVE AND PRINCIPLE (1941), RIGHTS(date?)
7-9) GRINGO (1922) various versions
10) GRINGO Box Office Statements, etc., 1922-1923, 1937)
Box 8 Plays: Various (1918-1925)
1) PHILOMEL
2) LONEY LEE (1923) later version of PHILOMEL
3) O'NIGHTINGALE (1923) later version of LONEY LEE
4) LAUGHTER (1922?) a play about Chaplin's youth.
5) CLAWS (1918)
6) OLD ROSE (1921) later version of CLAWS
7) LOVE LADY (1924) later version of OLD ROSE
8-9) YOU CAN'T HAVE EVERYTHING (1925) 2 versions
10) MANY MANSIONS (1925) 2 versions
Box 9 Plays: LONE VALLEY (1926-1933)
1) INHERITANCE (1st version of LONE VALLEY)
2-3) BETTER TO MARRY (2nd and 3rd versions)
4) DELIVERANCE (4th version)
5) WILD HONEY (5th version)
6) SET FREE (6th version)
7) BOUND (7th version)
8-10) LONE VALLEY (8th, 9th, 10th versions)
11) Correspondence, etc., (includes letter from Katherine Hepburn)
Box 10 Plays: MACHINAL (1928)
1) Correspondence, 1928-1964
2) Correspondence (Foreign Rights and Productions, 1928-1963)
3) Clippings and miscellaneous items
Box 11 Plays: MACHINAL (1928)
1-8) Various versions, including the 1961 production in New York
Box 12 Plays: LADIES LEAVE (1929) and MILLION DOLLAR GATE (1930)
1) LADIES LEAVE (1929) 2 versions
2-5) MILLION DOLLAR GATE (1930) 4 versions
Box 13 Plays: FOR SAXOPHONE (1934)
1-8) Various versions
9) Correspondence
10) German version
Box 14 Plays: Various (1930-1936)
1) THE ISLAND (1930) 3 versions
2) ANDREW WELL'S LADY (1931)
3) THE LAST ARE FIRST (1933) 1st version of PROMISED LAND
Includes a letter from Thomas Mitchell.
4) PROMISED LAND (1933?) 2 versions.
Includes letters from Paul Muni and Theresa Helburn.
5-6) THREE (1936) 2 versions
Box 15 Plays: HOPE FOR A HARVEST (1938)
1) Correspondence, 1941-1953.
Includes letters from Frederic March, Theresa Helburn, Lawrence Langner.
2) Contracts , Sketches, etc.
3) Notes taken during re-write.
4) Box Office Statements, 1941.
5) Clippings
6) Source material
7-10) Various undated versions.
Box 16 Plays: HOPE FOR A HARVEST (1938, 1941)
1-9) Various dated and/or identified versions, 1938-1941.
Box 17 Plays: HIGHWAY (1942)
1) Correspondence, 1942-1955.
Includes letters from Margaret Webster, Lawrence Langner, Howard Lindsay,
Theresa Helburn, Marc Connelly, Elliott Nugent.
2-9) Various versions, including television scripts.
Box 18 Plays: THE LAST BORDER (1944-1946)
1) Correspondence, 1943-1946.
Includes letters from Florence Eldridge, Katherine Cornell, Margaret Webster,
Alfred Lunt, Helen Hayes, Lawrence Langner.
2-12) Various versions, from 1945 through 1946, with changing titles:
MADRID 7
THE WATCHED DOOR
BORDERLINE
THE LAST BORDER
Box 19 Plays: THE LAST BORDER (1947) and A STRING OF PEARLS (1943-44? 1950)
1-3) THE LAST BORDER (1947) various versions
4) THE LAST BORDER. German version.
5) A STRING OF PEARLS. Correspondence, 1951-1953.
6-10) A STRING OF PEARLS (1943-44? 1950) various versions
Box 20 Plays: JUDGMENT IN THE MORNING (1952), GARRY (1954), THE SIREN (1953)
1) JUDGMENT IN THE MORNING. Correspondence, 1951-1954.
Includes letters from Louis Calhern, Alfred Lunt, Billy Rose, Theresa Helburn.
2-7) JUDGMENT IN THE MORNING (1952) various versions, with changing titles:
DON'T LEAVE ME
I WAS LIKE THAT IN A WAY
I WAS LIKE THAT
JUDGMENT IN THE MORNING
8) IN LOVING LOST. Early version of GARRY.
9-10) CARRY (1954) also version as cut for television.
11) THE SIREN (1953)
Box 21 Plays: WOMAN WITH LILIES (1948-1967)
1) Correspondence, 1956-1968
2) Background, notes, etc.
3) SAUCE FOR THE GOOSE early version of WOMAN WITH LILIES
4) TAKE MY EAR (1950) early version of WOMAN WITH LILIES
5) SIEMPRE (1954) early version of WOMAN WITH LILIES
6-8) WOMAN WITH LILIES. 3 undated versions, including one identified as
"original version for U.A.." [University of Arizona]
Box 22 Plays: WOMAN WITH LILIES (1967)
1-3) NOW HE DOESN'T WANT TO PLAY. 3 versions
Including Xerox of Peter Marroney's copy as performed in
Tucson, Ariz., July 26-29, 1967.
4) WOMAN WITH LILIES. Copy made after "the Tucson debacle".
5) Last version, December 15, 1967.
6) Various endings, fragments, rewrites.
Box 23 Novels: LUSITA and HOPE FOR A HARVEST
1) LUSITA (1930's)
2) HOPE FOR A HARVEST, Correspondence, 1939-1948,
3) Fragments, "pages from original."
4-5) 2 incomplete versions (many pages missing). Final typescript.
Box 24 Novel: ONE FIERCE HOUR AND SWEET
1) Correspondence, 1957-1964.
2-4) 3 versions, including 2 with first title: DEEP WELL CENTER
5) Reviews
Box 25 Novels: BY LINE and THE GREAT NAME STORY
1-2) Outlines only.
3) THE GREAT NAME STORY. Correspondence, 1959-1966.
4-5) THE HILL AND THE BAY. Fragments of an early version (1961?)
of THE GREAT NAME STORY.
6-9) THE GREAT NAME STORY. Chapters 1-47 of the Abbott Magness
version (1965?). Also some fragments.Box 26 Novel: THE GREAT NAME STORY
1-2) 2nd version. Chapters 1-26.
3-4) Anna Magness version (1968?) miscellaneous notes, outlines,
beginning chapters, etc.
Box 27 Miscellaneous Manuscripts
1) Work for United Artists:
NEW YORK NIGHTS (1929) and BLIND RAFTERY
2) Play: ACTRESS (Incomplete)
3) Play: Untitled (Outline and notes only, In folder marked "San Salvador".)
4) Television Dramas: THE GORGEOUS INNOCENT and NATALIE, INC.
(also titled WOMEN ARE TERRIBLE)
5) Novel: RIO BRAVO (Incomplete)
6) Novel about a young girl in New York and Mexico (Incomplete)
7) Story: HEAVEN ON EARTH (1948)
8) Early Scenarios: DEEP WATERS
MORA
LAURITE
SAUCE AND THE GOOSE
MOTHER LODE
TRACKS' END
9) Scenarios with William High.
BILL AND A HATBOX. 2 part story published in
Live Stories, Aug. & Sept. 1919
THE CAREER OF LILTHA ZANE. A synopsis.
JOAN'S JOB. A synopsis.
10) Collaborations with Gilda. (Unidentified)
11) Miscellaneous stories, "ideas," fragments.