Showing 37 results

The New York Times, 229 West 43 Street, New York, N.Y. 10036 - Thanks him for his note, was pleased to read his memoir about [Tennessee] Williams in the 'Orpheus [Descending]' program, and hopes he sees the show, he left feeling justice had been served; exhilarated that [Peter] Hall and [Vanessa] Redgrave 'took on a play no American has had the guts to tackle in 30 years'.

cc: Peter Shaffer

Met, Metropolitan Opera Association, Lincoln Center, New York, New York 10023 - Thanks him for his exhilarating letter; the rehearsals for 'Parade' were hair-raising on account of lack of time; has had a letter from Beverly [Sills], telling him how much more exciting it is to work in her theatre [the New York City Opera], and asking about [directing?] 'Alceste' in 1982, which he can't do; ends with a request that he 'explain Peter Hall's mind' to him someday.

Invitation to his birthday lunch at the Jubilee Hall, Batcombe, 8th Oct. With a note in Peter Hall's hand 'Expecting you Fri. 7th'.

Glyndebourne, Lewes, Sussex BN8 5UU - Is glad to hear he is coming with Leo to see 'Fidelio'; invites Peter and Robert to see 'Ulisse' on June 26th; the ski lift tracks crashed to the floor, so they are instead resorting to a single flying technique; the Trotskyites at the [National Theatre] make Peter Hall's presence a problem.

The National Theatre - 'The play has a possibility which I find staggering'; will be in New York, but will not take him up on his offer, he is a poor guest, spends his life on the telephone, keeps odd hours.

ITT World Communications telegram sent to Peter Shaffer, Plymouth Theatre - 'To wish you every success with Equus.'

Agrees with PS's letter to the Editor of 'The Times' [supporting Peter Hall's production of 'Don Giovanni' at Glyndebourne Festival Opera and deploring the critics]; was a music critic himself and tired of self-centred colleagues.

Copy of a letter written on The Lantz Office letterhead and signed in print by Peter, with two earlier typescript drafts, corrected, of the same letter accompanied by a photocopy of part of the draft. A memo containing his reflections on his dealings with John Dexter and to lesser extent Peter Hall in the matter of directing 'Amadeus'.

The National Theatre - Writes from the new building: 'I survey the Thames as I sit at my desk', the Lyttelton opens in March, the Olivier at the beginning of June, the Cottesloe around the same time; they are hungry for plays.

cc: Peter Shaffer

cc: Peter Shaffer

The National Theatre - Asks, in confidence, if he would write a 20 minute farce for the opening of the new National Theatre next April 23rd, lists the members of the company as of next April who might be persuaded into a new comedy.

National Theatre, South Bank, London SE1 9PX - It ['Amadeus'] has been a different journey than their London adventure but exciting and invigorating, a real collaboration and a joy.

National Theatre, South Bank, London SE1 9PX - Quotes from a fan letter by Michael Frayn about 'Amadeus', 'This is surely the play that he... was put on earth to write … when we all three meet in Edinburgh I shall be too overawed to say anything.'

Image of Schloß Schönbrunn, Wien - Thanks him for the telegram, will be back at Wallingford 24 June.

Photocopy of a letter dated 3 Feb. [1980] with a copy of a typescript letter to the Editor of 'The Sunday Times' dated 4 Feb. 1980 from Dame Janet Baker, each page headed "C. C. Peter Shaffer 6th February '80". She disapproves of the wording of the thumbnail sketch in the arts guide, with its negative review of 'Amadeus' [by James Fenton]; has seen [Schnitzler's] 'Undiscovered Country'; she spends much time in the theatre as she learns so much from actors, admires Paul Schofield [Scofield].

Peter Hall gave her the courage to write to him, admires 'Amadeus', and finds the description of the ensemble in a Mozart opera most insightful, 'To stand on a stage and be a part of a trio or a quartet or sextet is indescribable and I have never been able to understand why those moments are so utterly special. But now I understand, because your play gives me the answer ... the ensemble is a symbol of eternity and musicians are fortunate indeed to be a part of such a figure'.

Has read the play, thinks it much better, is glad Enid is gone, is worried about the three act structure, would love [Colin?] Blakely and [Alan?] Webb, is sorry to have missed him.

Glyndebourne Festival Opera, Glyndebourne, Lewes, Sussex - Was delighted to see PS's letter to 'The Times' [in support of Peter Hall's production of 'Don Giovanni'], agrees that the critics were under-informed, and is particularly suprised that Bill Mann should be, after writing a book on Mozart's operas.

55 Whitehall Park, London, N.19. - Thanks him for letting his read "Amadeus" and to see it; he liked it very much but feels Salieri is wrong for him.

[Image of sculpture by Constantin Brancusi on front] - Welcomes him to London, hopes PS and Peter Hall agree on a schedule and a cast; Paris is lovely, Brancusi is moving.

Is delighted PS is interested in meeting to talk about his play, arranges to meet, no hurry as he would not be able to present such plays until autumn of next year.

Glyndebourne was a haven of rest and good work, enjoyed leading the single life; Ray [Leppard] hoped that PS and Paul [Giovanni] would be at the first night but thinks they must still be in N.Y.; Ray's opera ['La Calisto' by Cavalli] a huge success, but he notes the critics didn't note why it worked and was good, 'but at least they have not been bestial'; thinks of 'Shrivings' with sadness and admiration and declares it all ended with angry notes about management with John Perry; nothing is clear with Dmitri [?] about the film version of 'White Liars', will work with him to create a film version of 'Brave New World'.

The Shakespeare Memorial Theatre - Has heard that PS has written a large cast play and offers to read the script as a possibility for the Stratford company in London.

The Royal Shakespeare Theatre, Direction Peter Brook, Peter Hall, Michel Saint-Denis - Discusses the revised playscript of 'Royal Hunt of the Sun': it is much improved, but feels they don't want to do it for all the reasons discussed on the telephone, 'its the kind of play we're off'. Has enjoyed the collaboration, and wants another one.

Photocopy

The National Theatre, South Bank, London, S.E.1. - Has heard that John Dexter has written to Michael Birkett that PS is angry about 'Equus' not going on next spring and that he is convinced that 'to present a play at the National is to cut down its performance life'; asks him to pick up the phone or to write, as their relationship is important, and hopes that he could see that in future it will be possible to run new plays for long runs.