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The National Theatre - Ken [?] tells him the typed script might reach him by the end of the week, is 'quite peaky with hunger for it' as it has been talked about for so long; has been asking colleagues about their opinion of a new Shaffer play, at the moment Paul Scofield, who won't answer until he has more information.

45 Temple Fortune Hill, N.W.11 - Has not replied sooner because of an attack of flu. Would like to meet: suggests lunching together to discuss a show. He would like to see the Oliviers [in Anouilh's "Antigone"?] but expects it would be difficult to get a ticket; there should be a good French or Italian film on. Has been told that Trevelyan should ask about his Austrian friend's government stock at the Chief Accountant's Office at the Bank of England, though he will probably also need to consult the Trading with the Enemy Department in Kingsway. José is well and visiting her parents, Sandra is staying with the Luces temporarily with her baby, and they look forward to Bessie's promised visit in spring.

[At top: Laurence Olivier] The Nat. - Is writing in his own 'illegible' because he does not want Peter to feel it is on any record; is upset that he cannot send his customary glowing admiration, but feels that 'Syllabub' is not up to his standards, and 'if he dared advise', he thinks Peter shouldn't show it around before showing it to a friend whose opinion he also trusts.

70 Roebuck House, Palace Street, London SW1E 5BE - Apologises for his statement that Ken Tynan was responsible in some way for 'Black Comedy' in a letter to Lord Chandos in October 1968 and published in his biography; states that he always believed this to be true, however mistakenly, and that the letter was written at a time when he was trying to influence the Board and stop the attacks on Tynan; he apologises profusely for the hurt caused.

Two copies, both with corrections and signed by Peter. 173 Riverside Drive, Apartment 16C, New York, NY 10024 - Thanks him for his letter, sent 'at last' [about the reference to 'Black Comedy' in his book], giving the details of the genesis of his idea for the staging, describing the limited extent of Kenneth Tynan's involvement; finds it more than unfortunate that Olivier should have defended Tynan to his Board by implying he was responsible for the idea of 'Black Comedy' and its implication that PS has been taking credit for work he never did; rejects his letter of apology, noting Olivier's waffling 'my mistake, if mistake it was'; is further hurt by the fact that Olivier fails to mention two of the 'smash-hits' he provided the company entirely, and attribute the third to someone else.

[At top: Laurence Olivier], Nat. Th. - Despite his own storm of openings, he is thiinking of Peter and his opening and sends his best wishes; thanks him for the [marvels?] he created for 'Love for Love', indistinguishable from the Congreve; may he be rewarded with a real triumph next week.

Is still in Southampton, hasn't heard from his contact in Paris; went to the Isle of Wight in stormy weather; maybe she [Celeste Holm?] is like that in real life, given her compassionate Ado Annie; would really like to see Olivier and Richardson do 'Othello' at the Old Vic if that comes to pass; has given up on [getting a job in] Germany; is glad to hear his tone of semi-resignation, thinks he will get over him in the 'giddy round of hardly quiet fun' that awaits him in Cambridge; they've said what needs saying 'as to the sexual fears', and has faith in their ability to get past this; is thrilled at the sound of the latest 'undertaking' [unidentified]; describes meeting on a ferry Dave Calhoun, the son of his professor at Yale who is going to Cambridge, will be a Henry Fellow like Dud Towne was (who he describes), thinks Dave will make Brian [Shaffer] a good friend, as someone with common interests and 'sharp enough to stay with him'; saw the Olivier 'Pride and Prejudice', 'like a good symphony being butchered'. The letter continues the next day, arranges a time for him to call; the news from the [Frances] Whyte-Diamond front is good: 'you'll be much relieved to see us getting on so beautifully', part of which is an active sex life.

[Sticker at top: Norman A. Punt, F.R.C.S.ed., D.L.O., 1 Conway House, 6 Ormonds Gate SW3 4EU] - A Christmas card, thanking him for his letter; perhaps his [Punt's] hours have made him less perceptive; remembers asking an over-tired Larry [Olivier] to cut [O'Neill's] 'Long Day's Journey' and being challenged by him as to how, which was of course impossible; thinks the first Act [of 'Amadeus'] does drag; Paul [Scofield] is superb, and Simon Callow is a protege of his; is sorry about [Tony's] '[The Case of the Oily] Levantine', notes it is a bit of 'tit for tat'.

Air mail letter missing the top third, written from Cornwall. Found John Osborne's 'Entertainer' with Max Wall upsetting, played even nearer the truth than Sir Larry [Olivier]'s version; Raymond [Leppard] has settled with Peter [?] and is in good spirits; is depressed by the news and fears the country will soon be broke; sends her best to Paul [Giovanni].

The letter is cc'd to Peter Shaffer, and states that as Sir Laurence Olivier cannot undertake to play "Mark" in the 'The Battle of Shrivings' until June, rather than April, Shaffer will consider himself free to look elsewhere for a theatre in which to open the play around the turn of the year.

Director, The National Theatre at Fifty. Lone Star Productions Limited, Mount Pleasant Studios, 51-53 Mount Pleasant, London WC1X 0AE - Thanks him for the interview about the National Theatre, it was interesting to hear his memories of Ken Tynan, John Dexter, Paul Scofield, and Olivier; will let him know when the documentary appears on BBC2.

John Gielgud, 16 Cowley Street, London S.W.1. - Saw 'Black Comedy' at long last, thought Maggie Smith brilliant, Bob Stephens, whom he didn't like in the Lope de Vega play, is excellent, thinks the characters should have exchanged trousers; Larry [Olivier] has approached him about going to the National, and discusses the Pirandello Henry IV which he has been told he should act; would like [Luchino] Visconti to direct it, not [Franco] Zeffirelli ('for obvious Othello reasons on my part!'), wonders if PS could adapt it, and suggests ways of doing it so that English audiences will like it; wonders what PS thinks of the idea; has to go to New York to do a small part in a film in November but will be in London until then.