Showing 49 results

Went to see 'Amadeus' in Chichester, as Paul [Scofield] had finished at the National before his return to England; admires the production, directing by Paul Giovanni and acting by Keith Michell.

Condolence note on the death of Paul Giovanni, reflects on his interaction with him every spring at [the University of South Carolina], Columbia, describes a memorial service they held, and encloses his 'Lines in Memory of Paul Giovanni', read at the service; assures PS he always spoke lovingly of him.

Shares his memories of Tony Shaffer, including his gratitude when PS offered Tony a way out of their work filming advertisements, recalls spending six months reading the entire 15 vols. of 'The Golden Bough' as part of the research for their last collaboration, 'The Wicker Man'; remembers when Tony left during the shoot PS and Paul [Giovanni] stepped in, and is pleased Paul is getting good reviews for the music, which is too often ignored because it fits seamlessly into the plot; understands Tony didn't like the film, and that Nick Rogue [recte Roeg?] would have made a more interesting film of it; thinks it the one product of Hardy Shaffer that seemed worthwhile.

Forwarding a letter from Sommer & Gross to Paul Giovanni dated 2 June 1970.

Duplicated typescript with Paul Giovanni's notes for his production at the Studio Arena Theatre, with drawings of the set, notes on actors, stage directions, production calendar.

Is sad he can't help Peter, does not like watching him suffer, feels 'like a prince under a great king who has just lost a battle'.

Went to hear Ronnie [Gilbert?] at a night club, describes it as a great success, then went to Stuart's [?] house 'and turned on'; notes he is saying 'we' because 'there are two of me' but he's very annoyed at 'me' lately; will be flying to see him in the beginning of April, and misses him. Encloses a typed poem, the first he's written.

Hopes he is feeling better, urges perspective, and moderation in his approach to life and work; his project is settled and is back in class again; still has not seen "Heather" [?]; PS is misquoted in ads for 'Bohikee Creek'; say hello to Jim and Molly [?] and give his best to Robert Stephens.

Hasn't been to the analyst since he returned, dreads telling the analyst that he is quitting and the analyst telling him why; has the programmes from the National; the play sounds interesting, sounds big, 'as all your ideas sound these days'; of course it was foolish to think he could sit and write a companion piece to 'Black Comedy' at this moment, given what has happened in the last few months; misses him and is waiting for an end to their separation; went to see 'The Ten Commandments': 'what a scream up! Lots of scenes with Anne Baxter saying to Charlton Heston, "Oh, Moses, Moses ... I'm a queen but I am also a woman."'

Misses him; hopes his trip is going well and he is not running around too much; the fish and cat are fine; Peter [Firth?], Paul [Giovanni], and RL have been to the 'Equus' party (awful), and then he took Peter to the gym, which Peter hated; asks after Carolyn [Shaffer], the girls and Jas [?].

Misses him, says he would spend time with Heather [?] but he often comes up with ideas which drive Paul to call him 'a provincial queen'; may drive to Philadelphia with him [Heather] to see 'The Last Analysis' at the Repertory Theatre; Ronnie [Gilbert?] opens the next night in a 'filthy' play at the Dramatists Theatre called 'Hot Buttered Roll'; [another] Gilbert [?] isn't speaking to him, which he tries to analyse; encloses a clipping from his mother [not present].

Possibly incomplete letter, lacking a closing and signature. Didn't reverse the charges on a phone call to PS in July and is shocked by how much the calls cost, and how much PS must have spent on them in the last four months, says they must stop; asks for PS to bring two things from England: guitar strings by Savarez and the piano score of Weill's 'Seven Deadly Sins' with text by Brecht, which he'd like to put on for the Open Theatre that season; closes with a poem.

Has cleaned the apartment as Paul [Giovanni] is having some English people up; misses Peter; 'Evita' opened to bad notices; [John] Hopkins' 'Losing Time' was panned; Algernon and Cecily and the fish are fine; Paul [Giovanni] is having troubles with a gecko waking him up at night; isn't all that happy to be in New York, nothing to do, people are so odd, Alan & Paula [Schwartz?] never call; is going to the new Stoppard play ['Dogg's Hamlet, Cahoot's Macbeth'?] with Enid Harlow; Peter Wood is in town but doesn't call; another friend is so taken with 'the Latin stud' that being with them is tedious; June [Anderson?] is singing 'Fledermouse' [sic]; the NYC Opera is on strike; Paul is going over sooner than RL; wishes PS were there.

It is the day of the final session of recording [by the group Forever Children?] and he and Kendal [Kendell Kardt] are going to make sure they are louder than Ronnie [Gilbert]; shares the lyrics to 'Saint Vincents Hospital' by Kendal, who misses Joyce [Aaron Funk?] very much.

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'.

Two notes and five press cuttings found together in one envelope. One note lists his 'choice of possibilities' which require expensive wigs, expensive trips to the oculists, or bodyguards, the other with 'Love' written multiple times; with 5 press cuttings, some altered to combine their names, and three others: a cutting from 'Cash Box' Record Reviews of Forever Children's "Only the Rain" and "Merry-Go-Round", the start of an article 'Shirley Temple to Run for House from California', and an ad for Andy Warhol's 'I, a Man'.

Three letters dated 27 Feb., 1 and 3 March from Sydney. He describes being ill with inflamed glands, visiting the Sydney hospital, and improving after Diane Cilento adjusts his back and head; having dinner with Diane's friend Patrick Hockey and others who talked about their blood lines and their money, and make unwanted sexual advances; describes Diane's plans to direct a movie called 'The Last Tango of Rudolph Valentino' and going to 'Love & Pain & the Whole Damn Thing' with Diane to evaluate Maggie Smith for the film. Describes Sydney's beauty and peacefulness and expense; going to the Opera House, also beautiful, to see Dame Joan Sutherland in 'Lucrezia Borgia', though he thinks the acoustics too bright and [Richard] Bonynge 'played it like Waltzing Matilda'; describes the bodies of the people on Bondi Beach, which 'would drive [Paul] Giovanni out of his mind'; goes to the zoo and sees a platypus; hopes PS is holding up well with Milos [Forman].

A sympathy letter on the death of Robert [Leonard]; remembers Paul Giovanni and Robert and the evenings and weekends spent together, with Bob Livingstone; he was with Bob as he was dying and learned about dignity in death; had recently shown his class "The Old Dark House" and laughed a little too loud at certain lines.

A poem about returning home, in Paul Giovanni's hand, sent to Peter in an envelope marked Special Delivery.

Invitation to an event to explore the forthcoming Fun Palace, with a note on the back asking him to come if he has nothing else to do, with someone rich or impressionable, signed J.L.