Collections

Titles distributed by Aquarius Releasing.

1928-1992. 74 titles in mostly 16mm format, but also 35mm and video

contain stills, clippings, lobby cards, pressbooks, posters, and other promotional graphics from over 40,000 domestic and foreign motion picture titles dating from the 1890s to the present. All major U.S. studios are represented, with particularly comprehensive coverage of publicity for the films released by United Artists, MGM, Warner Brothers, Universal and Monogram studios from the 1920s to the 1950s.

Various collections of home movies, ranging from films shot locally in Wisconsin to the movies of famous names from film and television.

1927-1983; 81 titles in mostly 16mm format, but also 35mm and video

The Personal Name collections are made up of publicity and personal photographs,clipping files, and other personal ephemera related to more than 14,000 individual motion picture, television, and theater performers, as well as a limited number of producers, directors, writers, and studio executives.

1927-1974; 60 titles in mostly 16mm format, but also 35mm and video

Feature films produced by RKO

Collection of playbills, 1890-1980’s, mostly from New York productions but including a few from Chicago and Milwaukee. There is also one playbill from England dating about 1898.

121 Taiwanese feature films on 16mm from 1971-1995 in Mandarin, all with English & Cantonese subtitles

Movie trailers from various collections within the Wisconsin Center for Film and Theater Research’s holdings. See archivist for a list of titles, which is forthcoming as an electronic finding aid

1936-1979; 65 titles in mostly 16mm format, but also 35mm and video

Short films featuring vaudevillians, bands, opera singers, comedians, and other performers.

Shows produced by Ziv Television, the most successful producer of action/adventure programming filmed for first run syndication from 1948-1962. The Ziv library includes viewing copies and printing elements for every episode of Boston Blackie, I Led Three Lives, Highway Patrol, Sea Hunt, Bat Masterson, and thirty-two other series.

Tape recordings of plays, improvisations, monologues, and exercises by the New York theater workshop founded in 1947 by Elia Kazan, Cheryl Crawford, and Robert Lewis. Among the featured actors are Richard Beymer, Bruce Dern, Keir Dullea, Jane Fonda, Anne Jackson, Ron Liebman, Viveca Lindfors, Jack Lord, Steve McQueen, Zero Mostel, Paul Newman, Julie Newmar, Patricia Neal, Al Pacino, Geraldine Page, Estelle Parsons, George Peppard, Maureen Stapleton, Rip Torn, Ralph Waite, Eli Wallach, Gene Wilder, and Shelley Winters. Also recorded are discussions and lectures by Lee Strasberg, Etienne Decroux, Cheryl Crawford, and the directors unit.

Papers of Mildred Alberg Freed (1917-2002), a film and television producer, documenting the involvement of her production company Milberg Enterprises in, among other things, the television series “Hallmark Hall of Fame (1955-1959) and “Our American Heritage” (1960-1962); the individual television dramas “Jacob and Joseph” (1973) and “The Story of David” (1976); the theatrical motion picture “Hot Millions” (MGM, 1968); and the stage play “Little Moon of Alban” (1961). Materials include contracts, script files and correspondence, production records, news clippings, and photographs. Collaborators include Norman Corwin, James Costigan, Maurice Evans, Ernest Kinoy, and Ira Wallach.

Papers concerning films of Alex Rose Productions, Inc. Alexandra Rose and Tamara Asseyev co-produced some of the films. Scripts, 1984-1986, of the movies “Norma Rae,” “Big Wednesday,” “Nothing in Common” (4), “I Wanna Hold Your Hand,” “Drive-In,” and “Rock Star”. 35mm print of “I Wanna Hold Your Hand” and 16mm print of “Drive-In.”

Records of the American Community Theatre Association, founded in 1958 to aid the growth and development of community theater, and re-named the American Association of Community Theatre in 1986.

License agreements and clippings collected by Atkinson, a small town theater owner and movie collector. Also includes over 200 film prints collected by Atkinson.

Papers of two playwrights who have collaborated on productions for television, motion pictures, and the stage. Included are multiple drafts of three plays, Make a Million (1958), Send Me No Flowers (1960), and Waltz Me Around Again (1968); a story outline for the film That Funny Feeling (Universal, 1965); sketches performed by Carol Burnett on the Garry Moore Show (CBS); scripts for ten episodes of the Danny Kaye Show (CBS); and biographical notes on Moore.

Papers of S. N. Behrman, a writer noted for his sophisticated comedy for the stage and motion pictures. Illustrating Behrman’s writing techniques are detailed notes, drafts, and revisions of more than thirty plays, screenplays, and adaptations. Among the plays he wrote or adapted are Amphitryon 38, (1937) Biography (1932), The Cold Wind and the Warm (1958), End of Summer (1935), Fanny (1954), Jacobowsky and the Colonel (1944), Jane (1952), No Time for Comedy (1939), The Pirate (1942), Rain from Heaven (1934), and The Second Man (1927); screenplays represented include Bonjour Tristesse (Columbia, 1958), Ninotchka (MGM, 1939), and Waterloo Bridge (MGM, 1940). In addition to script materials for some titles there are clippings, playbills, correspondence, and other related information.

Papers of Ralph Bellamy (1904-1991), a noted actor whose career has spanned more than five decades and encompasses all major areas of entertainment–theater, motion pictures, radio, television, and writing. Documentation of Bellamy’s theatrical work is especially rich, although all aspects of his career are covered. Included in the collection are biographical materials, an oral history interview transcript, awards and certificates, newspaper clippings and reviews, correspondence, and transcripts of Bellamy’s congressional testimony concerning income tax averaging. Within the production files are programs from productions of the Ralph Bellamy Players (Des Moines, Iowa, 1926-1928); several programs, scripts, and other papers regarding plays, motion pictures, and television mini-series; and extensive information concerning Bellamy’s portrayal of Franklin Delano Roosevelt in “Sunrise at Campobello” (theater, 1958-1960; film, 1960). Also in the collection are drafts, typescripts, and a printed copy of Bellamy’s memoirs, “When the Smoke Hit the Fan” (Doubleday, 1979).

Papers of Pandro Berman (1905-1996), a leading motion picture producer associated with RKO during the 1930’s and later with MGM. The collection is composed of extensive production files of correspondence, script drafts, reports and logs, and financial information for A Patch of Blue (1965) and two other films Berman produced between 1964 and 1970. Also included are scripts, clippings, and publicity for many of his earlier films, most notably Blackboard Jungle (1955), The Brothers Karamazov (1958), Butterfield 8 (1960), Cat on a Hot Tin Roof (1958), Dragon Seed (1944), Father’s Little Dividend (1951), Father of the Bride (1950), and Hunchback of Notre Dame (1939). Also included are Ivanhoe (1952), The Long, Long Trailer (1954), National Velvet (1944), Rio Rita (1941), Somewhere I’ll Find You (1942), Sweet Bird of Youth (1962), Tea and Sympathy (1956), and The Three Musketeers (1947). Seven boxes contain notes, correspondence, scripts, and negotiations for unproduced films. The remainder of the collection consists of clippings, miscellaneous personal and business correspondence, financial records, and promotional and biographical information.

Papers of Dan Bessie (1932- ), a writer and filmmaker, consisting of correspondence, film scripts and outlines, book manuscripts and proofs, storyboards and artwork, films, and photographs, documenting films and books made or written by Mr. Bessie alone or in collaboration. Many of the projects involve his father, Alvah Bessie, either as collaborator or as subject. The largest single group of materials relates to the film “Hard Traveling.” Additions, 1971-2000, scripts, storyboards and production proposals for films and books by Dan Bessie, including script drafts, publicity materials, notes and photographs for the film “Hard Traveling.” Also includes scripts for unproduced works. Additions, 1969-2006, consisting of a few personal papers; drafts, proofs and correspondence relating to the books Rare Birds (2000) and Reeling through Hollywood (2006); script, production, distribution and exhibition files relating to films written, produced, and directed by Dan Bessie, especially Hard Traveling (1985), Turnabout (1992), and Nobody’s Boy (unproduced); similar materials relating to stage plays and television programs and series. Film, video, and sound consists of viewing prints and videocassettes of Dan Bessie’s films and elements relating principally to Turnabout. Additions, 1977-1995, consisting of three programs for events organized by Veterans of the Abraham Lincoln Brigade, outline for a book on Ring Lardner and his children, proposal and draft script (with Anna Vracin) for the educational film Hokusai, and correspondence and outlines for a film adaptation of “The House with a Clock in its Walls.”

Scrapbook of articles written by a film critic and studio publicist. The articles relate to the motion picture industry in general, the lives of individual stars, and contract arrangements between the studios and their actors.

Papers of Kermit Bloomgarden, a producer of many award-winning Broadway plays and musicals. Although the amount and type of documentation present varies for each play, the collection includes correspondence, scripts, promotion and reviews, and various kinds of production files. For several titles there are floor plans, elevations, drawings and sketches, costume materials, light plots, property and furniture plots, and prompt books. In addition, legal and business aspects of production are extensively documented by financial statements, budgets, contracts and agreements, tax forms, and royalty statements. Among the productions treated are “Another Part of the Forest” (1946), “The Autumn Garden” (1951), “The Children’s Hour” (1952), “Command Decision” (1947), “The Crucible” (1953), “Death of a Salesman” (1949), “Deep Are the Roots” (1945), “The Diary of Anne Frank” (1955), “Equus” (1974), “Hot L Baltimore” (1973), “The Lark” (1955), “Look Homeward, Angel” (1957), “The Most Happy Fella” (1956), “The Music Man” (1957), “The Shrike” (1952), and “Toys in the Attic” (1960). Prominent correspondents in the files include Jean Anouilh, Leonard Bernstein, Melvyn Douglas, Ketti Frings, Frances Goodrich, Albert Hackett, Julie Harris, Rex Harrison, Lillian Hellman, George Roy Hill, Garson Kanin, Joshua Logan, and Anthony Perkins. Also present are correspondence, reports, and scripts for plays which Bloomgarden only considered for production, many of which were written by noteworthy playwrights. Personal papers and general business records document Bloomgarden’s investments and finances, his work with various theatrical and other organizations, the Kergan Corporation, and Kermit Bloomgarden Productions, Inc. Correspondence with Melina Mercouri, Arthur Miller, and John and Marguerite Sanford is also included.

Business and personal papers of film director Richard Boleslavsky. Correspondence, scripts, legal documents, research materials for films,

diary, address book, books he authored, photos, drawings, reviews, and

film. 4.0 c.f.

Papers of Alvin Boretz (1919-), a writer of dramatic series, specials, and quiz programs for radio and television. Documentation present includes scripts and drafts for radio series such as Big Town (CBS) and for television programs such as Armstrong Circle Theatre (CBS and NBC), Big Story (NBC), Kraft Television Theatre (NBC), Martin Kane: Private Eye (NBC), and Treasury Men in Action (NBC). Some of the television files contain related correspondence and notes. Also included are six scripts prepared for the Voice of America in 1949.

5.6 c.f. (14 archives boxes); plus additions of 17.2 c.f., 2 tape recordings, and 8 photographs.

Photocopied papers of Irving Caesar (1895-1996), a lyricist and composer of popular songs and Broadway musicals and a pacifist. The majority of the collection relates to Caesar’s early career and his social concerns. Songs, 1937-c. 1970, include lyrics satirizing the military-industrial complex; songbooks and recordings of compositions for children about safety, friendship, and the United Nations; and sheet music for the Pledge of Allegiance. Correspondence includes exchanges with George Gershwin, Aldous Huxley, Lyndon B. Johnson, George Seldes, I. F. Stone, Lyle Stuart, Upton Sinclair, William English Walling, and Ella Wheeler Wilcox. Writings include an early journal; articles on the Cold War for the New York “Independent”; speeches; and papers regarding his Peace by Wireless plan. Also included are an undated autobiography, an article about song writing, and a transcript of an

oral history interview, 1971, for the William E. Wiener Oral History Library of the American Jewish Committee.

Papers of a novelist, playwright, and writer of motion picture screenplays. Much of the collection consists of progressive drafts of her novels “A Chosen Sparrow” (1964), “The Man Who Loved His Wife” (1966), and “The Rosecrest Cell” (1968). Motion picture files include scripts and revisions, story ideas sold to studios, clippings, printed matter, and photographs for such films as “Laura” (20th Century-Fox, 1944), “Les Girls” (MGM, 1957), and “Letter to Three Wives” (20th Century-Fox, 1948). Writing for other media is less well represented but there are two television pilots; several short stories; and drafts of “Geraniums in My Window” (1934), a play written with Samuel B. Ornitz; “The Husband” (1957); and “Wedding in Paris” (1954). Two boxes of correspondence contain exchanges with studio executives and literary agents and include some contracts.

Forms part of the Playbill Collection.

Programs on motion picture history presented by a California film historian, consisting of excerpts from original motion pictures (1900-1978), background organ music to accompany silent film, brief program notes, and publicity. For one talk on Laurel and Hardy there is also a recorded version of Chatterton’s commentary.

Papers of a theatrical producer and theater manager. Scripts, correspondence, contracts, and financial records of plays produced or considered for production form the largest portion of the collection.

Of these, files on “Decision” (1944), “Juno and the Paycock” (1940), “Kindred” (1939), and “Miss Liberty” (1949) are the most notable. Several boxes concern the Margaret Webster companies of which Choate was business manager and partner. These contain correspondence with

Webster and others, contracts and bookings, publicity, annotated scripts, some production information, and company journals. Added to this section by David Fennema are research correspondence, interviews

with members of the Margaret Webster Shakespeare Company, and a microfilm copy of portions of the Webster Papers at New York Public Library.

Personal papers include general letters, contracts, miscellaneous biographical records, a scrapbook concerning his eulogy of S. N. Behrman, and brief papers of two groups of which he was an officer: the

Independent Citizens Committee of the Arts, Sciences, and Professions and the Stop Censorship Committee. The folder on the censorship committee, which was concerned with the Hollywood blacklist caused by

the investigations of HUAC, includes a tape of a 1948 meeting at which Florence Eldridge, Jose Ferrer, Moss Hart, Albert Maltz, Burgess Meredith, and Margaret Webster spoke.

Papers of Shirley Clark (1919-1997), a noted maker of experimental films. Included are personal and professional correspondence, clippings, research and financial material, some production information, and films and audio tapes generated at various stages of the filmmaking process. Best coverage is afforded for “The Connection” (1960) and “The Cool World” (1963), studies of heroin addiction and life in Harlem. Small files exist on other works including “Skyscraper” (1959) (an Academy Award-nominated short subject), the Academy Award-winning “Robert Frost: A Lover’s Quarrel” (1963), “Portrait of Jason” (1967), and films relating to her early interest in dance. There are also files on her awards, lectures on film and film techniques, and activities in the Filmmakers Distribution Center; general correspondence referring to business and professional matters; and journals and other biographical materials.

Consists of autograph manuscript score of “Blue, blue, blue,” a song from Act II of Let ’em eat cake, inscribed by George Gershwin to Charlie; vocal score of Porgy and Bess (New York, N.Y.: Gershwin Publishing Corporation, [1935]; 559 pages bound) inscribed by George Gershwin to Theodora and Charlie with a line of musical notation, a hand written index on the back cover and also signed by Rouben Mamoulian and Alexander Steinert; and two typewritten letters signed from George Gershwin, one to Charlie, December 24, 1931 and the other to Theodora, January 21, 1932.

Recorded interview with Marc Connelly (1890-1980), the noted playwright and director concerning his career on Broadway, the play The Green Pastures, and the staging of productions.

Papers of a writer for television and theater whose work is known for its frequent exploration of religious themes. Scripts, notes, and correspondence relating to teleplays for Catholic Hour (NBC), CBS Playhouse, and N.Y.P.D. (ABC), comprise the bulk of the collection. There are, however, some produced and unproduced motion picture and theater scripts and a file of general correspondence containing exchanges with his friend Sir Tyrone Guthrie about dramatic theory and the general state of the theater. Many documents bear helpful annotations supplied by the donor.

Papers of Morton DaCosta (1914-1989), an actor-director, consisting solely of production files for the musical Saratoga (1959) for which DaCosta was both director and dramatist. Included is correspondence with Edna Ferber and Johnny Mercer, three drafts of the script, and set designs by Cecil Beaton.

Papers, mainly 1950s-1980s, of Emile de Antonio (1919-1989), a documentary filmmaker whose work has been characterized by critical exploration of themes in contemporary politics and society. Included are biographical information, correspondence, and extensive files on films produced or considered for production. Produced motion pictures are documented by correspondence, research material, legal and financial records, scripts, production notes, promotion and distribution information, and reviews. This collection includes extensive film, video, and audio tape, as well as some three-dimensional objects.

The papers, mainly 1970 to 1990, consist primarily of scripts, correspondence, publications and administrative documents pertaining to several daytime television series written by Frank and Doris Hursley, and by their daughter Bridget Dobson and her husband Jerome Dobson. The series included are As the World Turns, Bright Promise, General Hospital, Guiding Light, Heritage, One Life to Live, Santa Barbara, and Search for Tomorrow. Also included are miscellaneous television and radio stories and personal papers from both the Hursleys and the Dobsons.

Papers of Tom Donovan, a television producer-director known for his work on various dramatic anthologies and daytime serials. Of the many programs on which Donovan worked, the collection is best for CBS Daytime 90, Hallmark Hall of Fame (NBC), Love Is a Many Splendored Thing (CBS), Love of Life (CBS), Studio One (CBS), United States Steel Hour (CBS), Where the Heart Is (CBS), and A World Apart (ABC). Types of documentation include correspondence, scripts, notes, budgets, set designs, photographs, and reviews. Other sections contain minutes and correspondence pertaining to his activities in the Directors Guild of America and miscellaneous correspondence with other professional organizations.

Papers of a prominent motion picture actor, together with the records of his company, Bryna Productions. Although Douglas also worked as a stage actor during the early years of his career, motion picture files form the most extensive portion of the collection. Of the motion pictures, the early films are represented only by scripts, but after 1952, coverage becomes more comprehensive, and the files include correspondence, contracts, financial papers, scripts, and photographs. The records of Bryna Productions include the above materials, as well as production, promotion, and distribution information.

Papers of an actor-producer, primarily consisting of scripts for “The Streets of San Francisco” (ABC), a television series in which he co-starred, and production files for the Oscar-winning “One Flew Over the Cuckoo’s Nest” (UA, 1975). In the production files are variant scripts by William Peter Blatty, Ken Kesey, Dale Wasserman, and others; correspondence; promotional material; and reviews. Smaller files of similar composition relate to several other films, plays, and television programs with which Douglas was involved. There is also a subject file containing miscellaneous personal and business correspondence and fan mail, clippings, a microfilmed scrapbook, and a file relating to his work for and support of the Eugene O’Neill Memorial Theatre Center. Prominent correspondents include Edmund G. “Jerry” Brown Jr., Cesar E. Chavez, Kirk Douglas, Betty Ford, Tom Hayden, Arthur B. Krim, and Irving Paul Lazar.

Personal and professional papers of a theatrical and motion picture producer active in the United States, Canada, and England. The collection documents both Elkins’ career and personal life, and to a lesser extent, the career and personal life of actress Claire Bloom, Elkins’ wife from 1969 to 1976. Included are a general subject file of correspondence, agreements, clippings, and financial records relating to Elkins’ work as an actors’ representative and producer; personal papers of Elkins and Bloom; and fragmentary corporate records of Elkins’ many production companies.

Papers of Essig, a stage lighting designer, documenting her work as principal or assistant lighting designer from her student productions at New York University (1983-1984), through projects for the Chautauqua Institution (1984-1985), for Westport Country Playhouse, Connecticut (1986), for La Mama Theatre, New York City (1987), for the touring production of Driving Miss Daisy (1987-1989), for various Madison, Wisconsin, theatres (1989-2004; the years when she taught lighting design at the University of Wisconsin-Madison), for the Utah Shakespearean Festival, Cedar City, Utah (1991-1994, 1998 and 2001), and for the Milwaukee Repertory Theatre (1990-1996), among others. Most of the papers document individual productions, and are arranged by production in chronological order; papers for each production usually include rehearsal schedules, production meeting minutes, rehearsal reports, hookups, instrument schedules, light cue synopses, letter-size copies of light plots, and play scripts marked up with lighting cues. For most productions there are also large-scale drawings of stage plans and sections, set designs, and light plots, which are separately held in two series of large (48-inch by 36-inch) folders, the first series consisting of original drawings in pencil on tracing paper and a few Computer-Aided-Design documents printed on plain paper, the second of a variety of reproductions: blueline, redline, and CAD printouts onto thermal paper.

Papers of a Pulitzer Prize-winning novelist and playwright. The bulk of the collection consists of correspondence, manuscript drafts, research material, notes and reviews of some of her novels, short stories, and autobiographical writings. Of these, “Cimarron” (1929), “Giant” (1952), “Great Son” (1944), and “Ice Palace” (1958) are best represented. Also included are scripts, reviews. financial information, and correspondence related to theater scripts such as collaborations with George V. Hobart, as well as adaptations of her work by others. Of the many film adaptations of her novels, the collection includes variant scripts for “Giant” and reviews and correspondence for several other productions.

Papers of a costume and set designer for motion pictures and theater. Comprising the majority of the collection are sketches, designs, photographs, fabric samples, notes, and scripts. Of the 18 motion pictures and 27 plays represented, best coverage is provided for “Alexander the Great” (UA, 1956), “Island in the Sun” (20th Century-Fox, 1959), “Journey to the Center of the Earth” (20th Century-Fox, 1959), “Where’s Charley?” (both the 1947 play and the 1952 Warner Brothers film), and several Shakespearean plays. Miscellaneous papers include awards, clippings and scrapbooks (available on microfilm), correspondence, programs, unidentified designs, and articles about the London stage and Ffolkes’ Shakespearean work.

Correspondence files concerning the motion pictures “A Funny Thing Happened on the Way to the Forum” (United Artists, 1966) and “Buona Sera, Mrs. Campbell” (United Artists, 1969), both of which were produced, and the latter directed, by Mr. Frank.

Papers of a director of plays and operas. Most extensive are theater files containing scripts, reviews, notes, designs, production information, and musical scores. Of varying depth, these materials document Freedman’s work on “Bells Are Ringing” (1956), “The Creation of the World and Other Business” (1972), “Hair” (1967), “MacBird” (1967), “Oh, Dad, Poor Dad, Mama’s Hung You in the Closet and I’m Feelin’ So Sad” (1962), “West Side Story” (1966), and numerous productions of the New York Shakespeare Festival. Material is particularly complete for “Time for Singing” (1966) and “Take One Step” (1968), two plays which Freedman wrote in collaboration with John Morris.

Papers of Michael Gazzo (1923-1995), a playwright, screenwriter, and motion picture actor, consisting of correspondence pertaining to his screenwriting and scripts for ten works. Those pertaining to the stage (1955) and to the ABC television versions of “A Hatful of Rain” are most notable.

Papers of a poet-playwright, including drafts and revisions of plays and teleplays, a small amount of correspondence, drafts of a few poems, miscellaneous notes, and photographs. Unprocessed additions consist of additional drafts.

Papers of Ruth Goodman Goetz (1912-2001), a playwright and screenwriter, together with papers of two members of her theatrical family: her father, Philip Goodman (1885-1940), who was a producer of Broadway plays and musicals, and her husband and collaborator, Augustus Goetz (1889-1957). Also present are papers of agent Leah Salisbury pertaining to her management of Goetz’s literary interests.

Papers of Stuart Gordon, theater director, film director, and screenwriter, born August 11, 1947. The bulk of the collection documents his work in cinema, and, to a lesser extent, television.

Papers of Ulu Grosbard (1929- ), a director for theater, motion pictures, and television. Through files on two works the collection documents his activities in theater and television. Pertaining to the Pulitzer Prize-winning The Subject Was Roses (1964) are correspondence (mainly fan mail); director’s notes; financial, technical, and promotional information; clippings; scripts; and a copy of playwright Frank Gilroy’s production diary. Material on The Investigation (1966) is more extensive and it documents Grosbard’s work both as translator and director of the Broadway and NBC television productions. Present here are correspondence, scripts, clippings, and notes.

Papers of a correspondent and journalism professor, consisting of correspondence, memoranda, and writings. The bulk of the collection is made up of detailed memos on daily activities and information requests submitted by Hamilton as chief of the night bureau of the War Department Public Relations Bureau from May 1941 to January 1942. This period is further documented by a letter describing the White House press room on December 7, 1941. Included with the small correspondence file are two letters describing the selection of the Pulitzer Prize winners in 1934. Writings consist of photocopied articles for “Business Week,” 1943-1946, and cabled stories sent to the “London Daily Mail” as that paper’s Tokyo correspondent in 1924. Particularly noteworthy among this material is Hamilton’s eyewitness coverage of an atomic bomb test in a May 1946 article and his scoop of the Japanese withdrawal from the League of Nations.

Papers of an award-winning writer of television documentaries, including biographical material and research, production information and publicity for the NBC series “Victory at Sea,” “Project XX,” and “Wisdom.” Documentation for “Project XX” is most complete; included are scripts and drafts, correspondence, press releases, reviews, 17 soundtrack recordings, and other production information for 24 episodes. “Victory at Sea” is represented by narrations for all 26 episodes, a script for a motion picture version of the series (UA, 1954), and material pertaining to a book by Hanser and producer Henry J. Salomon, Jr. Notes, scripts, and promotional material pertain to five programs of the “Wisdom” series.

Papers of Sheldon Harnick (1924- ), a lyricist, consisting of correspondence, business records, scripts, production material, and music and lyric manuscripts for seven Broadway musicals. For the highly-acclaimed Fiddler on the Roof (1964) on which Harnick collaborated with Jerry Bock, the collection also includes musical manuscripts for songs not used in the production as well as some legal correspondence relating to motion picture rights. Also well covered are The Apple Tree (1966), She Loves Me (1963) and To Broadway With Love (1964).

Papers of Moss Hart (1904-1961) and Kitty Carlisle (1910-2007), a noted playwright-director and his wife, an actress and television personality. Their combined correspondence, 1935-1960, includes some business mail, fan letters, and personal correspondence from George Abbott, Brooks Atkinson, Bernard Baruch, Bruce Barton, Cecil Beaton, S. N. Behrman, Irving Berlin, Leonard Bernstein, Aaron Bohrod, Truman Capote, Bennett Cerf, Edward Choate, Jerome Chodorov, Claudette Colbert, Hume Cronyn, Russel Crouse, George Cukor, Edna Ferber, Judy Garland, George Gershwin, Sir John Gielgud, Mark Goodson, Oscar Hammerstein II, Rex Harrison, Leland Hayward, Lillian Hellman, George S. Kaufman, Elia Kazan, Jerome Kern, Jean Kerr, Arthur Kober, Alan J. Lerner, Sinclair Lewis, Howard Lindsay, Joshua Logan, Henry R. Luce, Sidney Lumet, Alfred Lunt and Lynn Fontanne, Fredric March, Michael Myerberg, Sir Laurence Olivier, John Osborne, Cole Porter, Anthony Quayle, Jerome Robbins, Morris Rubin, Harry Ruby, Robert E. Sherwood, Herman Shumlin, Jean Sibelius, Phil Silvers, Adlai E. Stevenson, Theodore H. White, Emlyn Williams, and other prominent individuals.

Papers of Patrick Hayes (1909-1998), a Washington, D.C., cultural impressario chiefly consisting of scripts for “People and Events in the World of Music,” a cultural affairs program aired by radio station WGMS. Fragmentary correspondence includes letters from Rudolf Bing, Hubert H. Humphrey, Eleanor Roosevelt, and Harry S Truman. There is also a small file of speeches and remarks.

Playbills

Tape-recorded speech, “Grand Illusions”, by Amy Henderson of the National Portrait Gallery given in May 1987 at the Elvehjem Museum of Art in Madison, Wis. The occasion is Smithsonian Week and the topic is Hollywood photography.

Papers of Gordon Hitchens, a teacher, writer, and founder/editor of Film Comment magazine, including transcripts of interviews, symposia, and panel discussions; manuscripts of unpublished articles; news releases; film catalogs; clippings; and photographs.

Papers of the Hollywood Democratic Committee (HDC), a group organized in 1943 to support the programs and re-election of Franklin D. Roosevelt. In 1945 it re-formed as the Hollywood Independent Citizens of the Arts, Sciences, and Professions; in 1946 it became the Arts, Sciences, and Professions Council of the Progressive Citizens of Southern California; and finally, in 1948, the group withdrew from PCA and organized as the non-partisan National Council of Arts, Sciences, and Professions. Throughout its brief existence the group worked in behalf of liberal causes including civil liberties, racial justice, and peace, and it actively supported the Hollywood community against the Dies Committee and the House Committee on Un-American Activities. It was placed on the HUAC list of subversive organizations.

The collection contains a history of the organization, statements of policy, minutes, financial records, correspondence, information on national affiliates, publicity and campaign materials, and tape recordings of various events sponsored by the committee. Much of the collection consists of subject files related to wide-ranging political action including such topics as control of atomic weapons, the Bretton Woods agreement, the Hollywood Ten, the film strike of 1945, world peace, opposition to the Zoot suit riots, and relations with political leaders such as Henry Wallace and Harold Ickes and scientists such as Albert Einstein, Linus Pauling, and Harlow Shapley.

Professional papers and films of independent film producer Ted Hope.

Papers of an editor of “Theatre Arts” magazine (1918-1946), chiefly consisting of correspondence and manuscripts of articles, poetry, and two operettas by Mrs. Isaacs and members of her family. Among the prominent correspondents are Jacques Copeau, Paul Green, Martha Graham, Edith Hamilton, Robert Edmond Jones, D. H. Lawrence, Thornton Wilder, and Stark Young. In additon to the Isaacs’ writings the collection includes articles by Edward Bourdet, Edward Gordon Craig, Paul Green, and Langston Hughes; an annotated typescript of “A Note on the Theatre” by William Saroyan; and notes on “Mourning Becomes Electra” by Eugene O’Neill.

Papers of Verne Jay and Helen Jay (1925-1989), writers for radio (Verne was a staff writer at WLW-Radio in Cincinnati, Ohio) and television, including original scripts for shows such as “The Shadow,” “Grand Central Station,” “Gunsmoke,” “Colgate Television Theatre,” and others; several photocopies of photographs; and clippings and biographical information.

Papers of a noteworthy motion picture producer-director, chiefly comprised of materials relating to films made for Universal Studios and the Mirisch Corporation. Pertaining to such films as “The Cincinnati Kid” (MGM, 1965), “Fiddler on the Roof” (UA, 1972), “Gaily, Gaily” (UA, 1969), “Jesus Christ, Superstar” (Universal, 1973), “In the Heat of the Night” (UA, 1967), “The Russians Are Coming, The Russians Are Coming” (UA, 1966), and “The Thomas Crown Affair” (UA, 1968) are correspondence, scripts, photographs, technical production information, contracts, reviews, clippings (some available on microfilm), financial records, and sound track recordings. Jewison’s later films are usually well documented and the files trace each title from preproduction planning to distribution and publicity. In addition to the normal production files, the material on “Superstar” is of interest for its portrayal of Jews’ role in the death of Christ. Filed with a group of protest letters from concerned Jewish organizations is one letter from Golda Meir.

Miscellaneous materials pertaining to theatrical history and to other areas of the performing arts, collected by Broadway set designer Albert Johnson.

Papers of a prominent television director, consisting almost entirely of scripts and photographs for series which Jones directed, primarily the “Bell Telephone Hour” (NBC), “The Carol Burnett Show” (CBS), “The Perry Como Show” and “Perry Como’s Kraft Music Hall” (NBC), “Producers’ Showcase” (NBC), and “The Sammy Davis, Jr., Show” (NBC).

Papers of Gordon Kahn (1902-1962), a journalist and screenwriter blacklisted for his support of the Hollywood Ten in his book Hollywood on Trial (1948). Included are general correspondence, research files on the Ten, papers relating to the Screen Writers Guild, and copies of several articles.

Papers of Richard Kaplan (1925-), a filmmaker/producer of documentary and feature films. Included are production and distribution files consisting of research notes, grant information, scripts, work logs, transcripts, reviews, publicity materials, tape recordings, videotapes, and film (including sound tracks), documenting his work on films such as the documentaries A Look at Liv and King: Montgomery to Memphis; television projects, including They Came for Good, on the history of Jews in the United States; and feature films, including projects on Varian Fry, an American journalist involved in the Emergency Rescue Committee (later known as the International Rescue Committee), which assisted refugees during World War II.

Papers of a journalist and writer of short stories, novels, screenplays, and teleplays. Included are scripts primarily relating to his television work, non-theatrical writings, and correspondence. Although Katkov has written for many dramatic television series, most of these programs are represented only by scripts for single episodes. Larger files are present, however, for Ben Casey (ABC), 87th Precinct (NBC), The Loner (CBS), Maya (NBC), The Outlaws (NBC), Slattery’s People (CBS), The Virginian (NBC), and Wanted: Dead or Alive (CBS).

Papers documenting the film production work of an independent filmmaker and teacher of film and video production, lastly at the University of Wisconsin-Madison. Films documented include Hinterland (1983), The Juniper Tree (1990), Aves (1994), Heroine of Hell (1996), and the uncompleted Barefoot to Jerusalem.

Papers (mostly playbills) relating to the career of actor-director John Kelso, son of the donor.

Legal papers of two Los Angeles attorneys who served as counsel for the Hollywood Ten during appearances before the House Committee on Un-American Activities and during subsequent civil suits against the studios to recover losses from the blacklist. Included are correspondence with numerous attorneys and others involved in the cases including Leonard B. Boudin, Charles Katz, Carey McWilliams, Benjamin Margolis, and Alexander Meiklejohn, as well as with Lester Cole, Ring Lardner, Jr., John Howard Lawson, Adrian Scott, Dalton Trumbo, and other Hollywood Ten clients; transcripts of court proceedings and HUAC testimony; briefs and memoranda concerning points of law; exhibits; depositions from E. J. Mannix, Louis B. Mayer, Dore Schary, Jack Warner, and Darryl F. Zanuck; handwritten notes; and material (some in recorded form) pertaining to the national public relations effort in behalf of the Ten. Also included are legal papers for Michael Wilson, a blacklisted writer who was not a member of the Ten, and miscellaneous research materials concerning the Association of Motion Picture Producers, John E. Rankin, and other topics.

Papers of Walter Kerr, playwright and drama critic, and his wife Jean Kerr, humorist and playwright; the collection documents their individual and their collaborative careers. For their New York productions such as King of Hearts (1954), Mary, Mary (1961), and Poor Richard (1964), there are scripts, musical scores and recordings, photographs, notes, clippings, correspondence, and financial records. Also included are materials relating to Walter Kerr’s teaching, and his career as a theater critic. Jean Kerr’s writings are represented by correspondence and financial and legal material for Please Don’t Eat the Daisies (1957), and drafts of three collections of her free-lance articles. Among many prominent correspondents in the collection are W.H. Auden, Richard Burton, Carol Channing, Oscar Hammerstein II, Moss Hart, Helen Hayes, Hubert H. Humphrey, Elia Kazan, Clare Boothe Luce, Fredric March, Mary Martin, Groucho Marx, Richard Rodgers, William Saroyan, Gloria Swanson, and Tennessee Williams.

Papers of a journalist and writer for radio, television, and theater. The majority of the collection consists of scripts for radio and television. Although most radio files contain only one version of a script, the television materials include progressive drafts, together with correspondence and contracts. Among the best represented radio series are “Best Plays,” “Doctor Six-Gun,” “Five Star Matinee,” “Hollywood Love Story,” “The Marriage,” “My Secret Story,” “NBC Theatre,” “NBC University Theatre,” “Nick Carter,” “Woman in Love,” and “X Minus One.” The television files include good coverage of Kinoy’s work for “Big Story (NBC),” “The Defenders” (CBS), “Goodyear/Philco TV Playhouse,” “Dr. Kildare” (NBC), “Naked City” (ABC), “The Marriage,” “Our American Heritage” (NBC), “Roots” and “Roots: The Next Generations” (ABC), “Studio One” (CBS), the made-for-TV movies “Boston,” “Chaplin,” “Lincoln,” “Magnificat,” “Murrow,” and “Skokie,” and many other series and dramatic anthologies. Also present are general correspondence, stage and screen plays, and material on Kinoy’s involvement in the Writers Guild of America.

Scripts, photographs, and recordings collected by Kobal, a writer and researcher in the field of film, television, and drama.

Papers of Howard Koch (1902-1995), a writer of motion pictures. Included are scripts, revisions, treatments, correspondence, stills, clippings, and explanatory notes for various Warner Brothers releases which Koch wrote including “Casablanca” (1942), for which he received an Acadamy Award; “In This Our Life” (1942); “The Letter” (1940); “Mission to Moscow” (1943); “Rhapsody in Blue” (1945); “The Sea Hawk” (1941); “Sergeant York” (1941); and other produced and unproduced motion pictures. Because “Mission to Moscow” led to Koch’s testimony before the House Committee on Un-American Activities in 1947, the notes and correspondence pertaining to the writing of this screenplay are of special interest. Also relating to this subject are a transcript of his testimony to the committee and notes and correspondence relating to his subsequent blacklisting.

Papers of Louis Kronenberger (1904-1980), an author, drama critic, and theatrical educator, containing typescripts of plays; drafts of books including The Thread of Laughter (1952) which pertains to dramatic criticism; several novels; drafts of poems, essays, and articles; speeches; and lecture material.

Papers of Ring Lardner (1915-2000), a screenwriter who, as one of the Hollywood Ten, was imprisoned for refusing to testify before the House Committee on Un-American Activities. Included are articles, clippings, correspondence, legal documents, and publicity concerning Lardner’s appearance before HUAC.

Papers and recordings of composer and librettest Leonard J. Lehrman (1949- ), primarily concerning his productions and additions to works by Marc Blitzstein. Also included are numerous programs related to Lehrman’s performances as a pianist; articles and reviews written by Lehrman; and scores for works by Lehrman not related to Blitzstein.

Papers of two award-winning playwright-producers who formed one of the most successful collaborations in Broadway history. Some of the collection relates to their joint efforts, some to their work alone. Of their collaborative efforts theatrical materials predominate. Among the plays on which there are files are “Anything Goes” (1934), “Arsenic and Old Lace” (1941), “Call Me Madam” (1950), “Detective Story” (1949), “The Great Sebastians” (1956), “The Hasty Heart” (1945), “Life With Father” (1939), “Life With Mother” (1948), “The Sound of Music” (1956), and “State of the Union” (1945). The types of documentation present are scripts and drafts, stage directions, clippings, reviews, and contracts. Also included are scripts for adaptations of several of the above titles for television and motion pictures. Among the notable correspondents are S. N. Behrman, Irving Berlin, Theodore Bikel, William O. Douglas, Edna Ferber, Helen Hayes, Irving Paul Lazar, and Alfred Lunt.

Papers of Kenneth MacKenna (1899-1962), a story editor at Metro-Goldwyn-Mayer, consisting of correspondence and memoranda to studio executives which comment on screenplays, film techniques, screenwriting, and selection of stories; speeches; and a typewritten diary of a scouting trip to London in 1947.

Papers of a novelist, playwright, screenwriter, and blacklisted member of the Hollywood Ten. The collection emphasizes his screenwriting and consists of variant drafts for early successes (“Destination Tokyo,” “Pride of the Marines,” and “This Gun for Hire”); later works for which he received no credit (“Broken Arrow” and “The Robe”) or from which he was fired (“Exodus” and “The Execution of Private Slovik”) because of the Blacklist; and numerous unproduced titles. Work for the Theatre Union during the Depression is documented by script drafts (primarily of unproduced plays) and microfilmed clippings. General writings include microfilmed clippings about his short stories and novels, and speeches and statements, many of which concern the Hollywood Ten and related political issues. Also about the Hollywood Ten are minutes and information pertaining to meetings, legal and public relations materials, and recordings of memorial services for Herbert Biberman and Adrian Scott.

Documentary filmmaker Barbara Margolis’ (1948- ) collection of newsreel film compiled for her documentary about the Cold War entitled “Are We Winning, Mommy? America and the Cold War” (1986). The footage consists principally of newsreel film from Paramount News and Universal Newsreel for the period 1942 through 1953.

Papers of an actor, comedian, and writer, including correspondence and copies of scripts for Animal Crackers (Para., 1930), Duck Soup (Para., 1933), A Night at the Opera (MGM, 1935), and eight other Marx Brothers films, the originals of which are held by the Library of Congress. The correspondence is between Marx and his friend, Dr. Samuel Salinger, the donor of this portion of the collection. Generally personal in nature, the letters contain references to socialized medicine, World War II, and Marx’s career.

Papers of Joseph McBride, a film critic and writer, consisting of script drafts, source material, storyboards, and notes from more than 90 projects in film, television, and theater. Included is material related to his books Orson Welles (1972), John Ford (1974) co-authored with Michael Wilmington, Persistence of Vision (1969), High and Inside: The Complete Guide to Baseball Slang (1980), and Hawks on Hawks (1982); to the films Blood and Guts (1978), Rock ‘n’ Roll High School (1979), and Prom Night (1980); and to several American Film Institute television salutes to movie notables. Tape recordings include interviews conducted by McBride with Fred Astaire, Jacqueline Bisset, Frank Capra, Audrey Hepburn, Gene Kelly, Robert Mitchum, Donna Reed, Jimmy Stewart, Billy Wilder, and others.

Papers of an actor, playwright, and director, consisting of scripts, drafts, and clippings for such musicals as Flying High (1930), Girl Crazy (1930), and Hold Everything (1928).

Papers of a theatrical producer, consisting of extensive business records, scripts, and correspondence for twelve plays presented by Merrick either alone or in association with others. Among these are “Destry Rides Again” (1959), “The Entertainer” (1958), “Fanny” (1954), “Look Back in Anger” (1957), “The Matchmaker” (1955), and “Romanoff and Juliet” (1957). Seven boxes of the collection are comprised entirely of scripts for plays, motion pictures, musicals, and adaptations of novels and stories which were submitted for production by various authors.

Papers of a screenwriter and television writer-producer, consisting primarily of scripts and some supplementary notes and production material. Of Miller’s many film credits, there are 15 scripts from Republic’s Dick Tracy series, numerous scripts for westerns made during the 1940’s such as “My Darling Clementine” (20th Century Fox, 1946), and a shooting script for “Gone With the Wind” (MGM, 1939). Television scripts are the largest part of the collection. Here the earlier materials are also in the western genre and include files for “Cimarron City” (CBS), “Gunsmoke” (CBS), “Rawhide” (CBS), “The Virginian” (NBC), “Wagon Train” (NBC), and other series. Later in his career Miller turned to producing and the collection contains extensive files on two such credits, “Ironside” (NBC) and “The Bold Ones” (NBC).

Papers of a producer of documentary films and television commercials. The bulk of the collection relates to commercials made by All Scope Pictures, Inc., Mitchell’s production company, in behalf of advertising agencies such as Batten, Barton, Durstine, and Osborn; McCann Erickson; Walter Sausy; and Young & Rubicam. Included in the production files are scripts, correspondence, budgets, contracts, and storyboards for commercials for such nationally-prominent clients as Chrysler Corp., E.J. Gallo Winery, General Electric, General Mills, Kaiser Aluminum, Lucky Lager Brewing Co., Max Factor and Co., Rexall Drug Co., W.A. Schaeffer Pen Co., and Standard Oil of California. Also present are correspondence and notes for three Movietone News features, including one about John F. Kennedy’s 1960 California campaign, and fragmentary production files for several proposed television series and special purpose films. Miscellaneous correspondence includes a letter from Darryl F. Zanuck. Films are television programs, instructional and documentary films, and commercials for showing on television or in theaters.

Scripts of television series, pilots, and specials produced by MTM Enterprises, one of the leading independent production companies for television during the 1970s and 1980s. MTM Enterprises was organized in 1970 by Grant Tinker, a television executive and director, and actress Mary Tyler Moore, who starred in the company’s first show, “The Mary Tyler Moore Show.” That series was typical of MTM’s realistic and literate situation comedy and dramatic shows, many of which have won Emmy awards.

Papers of a composer and producer of Broadway plays most prominently known for his collaboration with Richard Aldrich and Julius Fleischmann. Although best on the financial aspects of theatrical production, the papers also contain information on casting, costuming, lighting, and direction for the plays which Myers produced. In addition to financial records, the collection is comprised of contracts, correspondence, clippings, and some photographs and scripts. Documentation concerns The Moon is Blue (1951), Goodbye, My Fancy (1949), The Innocents (1950), My Dear Children (1940), Plan M (1942, with Max Reinhardt and Norman Bel Geddes), and The Shrike (1952). Papers on the Cape Playhouse, which was operated by one of Myers’ associates, are also present.

Chapter roll of the Wisconsin chapter of the national honorary drama fraternity, of which Fredric March was a founding member. Also included is a brochure about the history of the national organization.

Papers of a television and motion picture writer-producer, primarily comprised of files on motion pictures, television series, and made-for-TV movies which Neuman wrote and/or produced. Made up of scripts and drafts, correspondence, production reports, and schedules, the collection demonstrates well the background research and social content for whichNeuman is known. This is particularly true of files on his television adaptation of Albert Speer’s memoirs, “Inside the Third Reich,” and of the files on “Mr. Novak” (NBC) and “Sam Benedict” (NBC), both of which are also useful for studying network censorship, program concept development and sales, and ratings.

Photocopies of correspondence held by Cornell University from playwright Eugene O’Neill and his wife Carlotta to critic George Jean Nathan which were copied for personal research by Jonathan Curvin, a member of the Theater Department of the University of Wisconsin.

Papers of a screenwriter and member of the Hollywood Ten who was imprisoned in 1950 after refusing to answer questions before the House Committee on Un-American Activities. The collection includes correspondence, writings, and other files. Present are manuscripts for two major novels, Haunch, Paunch, and Jowl (1923), and Bride of the Sabbath (1951), scripts for several stage plays, and only a few screenplays and outlines. Annotated research files, clippings, and notes on Judaism and psychiatry illuminate the socio-political themes which were prominent in Ornitz’s work. Also of interest are files which demonstrate his method of character development. Other files relate to Theodore Dreiser’s investigation of the labor conditions in Harlan County, Kentucky, in 1931, and to the Hollywood Ten trial.

Papers of a well known writer of plays, motion pictures, and adaptations, consisting of scripts, revisions, clippings, photographs, scrapbooks, and playbills. Among the represented plays are A Bell for Adano (1944), Mornings at Seven (1939), On Borrowed Time (1938), Point of No Return (1951), and The World of Suzie Wong (1958); among the motion pictures present are East of Eden (Warner Bros., 1955), Homecoming (MGM, 1948), Madame Curie (MGM, 1943), Mrs. Miniver (MGM, 1942), The Old Man and the Sea (Warner Bros., 1955), Sayonara (Warner Bros., 1957), South Pacific (Magna Theatre Corp., 1958), Wild River (20th Century-Fox, 1960), The Yearling (MGM, 1940), and The Young in Heart (UA, 1938). Relating to his writing techniques are a group of annotated novels which Osborn adapted for dramatic production.

Papers of a playwright and screenwriter, including drafts of plays, scripts, correspondence, some playbills, and copies of foreign editions of his work. Insights into the writer’s craft are provided by numerous notes, insertions, and corrections in Patrick’s hand on such plays as The Hasty Heart (1945) and The Story of Mary Surratt (1947), but for his Pulitzer Prize-winning work The Teahouse of the August Moon (1953), there are only brief notes on dialogue, playbills, photographs, and clippings. Included with the documentation of his career as a screenwriter are drafts, treatments, and extensive correspondence relating to location problems, censorship. and difficulties with actors’ rights and perogatives encountered during the filming of The World of Suzie Wong (Para., 1960).

Papers of a producer and playwright primarily concerning two plays, ” The World of Sholom Aleichem” (1953) and “Tevya and His Daughters” (1959), which Perl adapted from the stories of Sholom Aleichem and produced with Howard Da Silva. Documentation includes production correspondence, script drafts, financial records, photographs, recordings, microfilmed clippings, and publicity. Four other productions are less thoroughly represented. Also in the collection are some miscellaneous papers relating to Banner Productions, Perl’s production company.

Records of a company formed in 1938 to produce plays written by its members: Maxwell Anderson, S. N. Behrman, Sidney Howard, Elmer Rice, and Robert E. Sherwood. In subsequent years the company admitted Robert W. Anderson, Kurt Weill, and Roger L. Stevens and began producing plays by outside playwrights. The company dissolved in 1960. The bulk of the records relate to the business and legal aspects of theatrical production although information on the artistic aspects of production is also included. The documentation relates to the company’s relations with some of the leading American and British theatrical personalities of its era. Among them are Marc Blitzstein, Harold Clurman, Katharine Cornell, Hume Cronyn, Jose Ferrer, Garson Kanin, Elia Kazan, Joshua Logan, Alfred Lunt, Guthrie McClintic, Jo Mielziner, Spencer Tracy, and Margaret Webster.

Papers of a motion picture and television writer-publicist whose work was blacklisted during the 1950s as a result of mistaken identity. Scripts for radio, television, and motion pictures form the major portion of the collection; of these several were written under the pseudonym Joe Madison. Most television programs for which Pollock wrote are represented by single scripts, though there are multiple titles for “The Richard Boone Show” and a recording of one episode of “Alfred Hitchcock Presents.” Also included are many short stories and articles and a published copy of his book, “Stork Bites Man.”

A small subject file contains clippings and fragmentary correspondence, some relating to his blacklisting, and financial and promotional materials. Relating to his work as a publicist for Universal is a 1938 memorandum describing the structure and operation of the studio’s promotion department; financial records of a promotional tour for “Back Street”; and a bound compendium on Hollywood advertising of 1936 and 1937 films. Prominent correspondents include Linus Pauling and Clifford Odets.

Unidentified sound recordings.

Fifty-three holograph orchestrations of composer, conductor, and arranger Nelson Riddle (1921-1985). Prepared by Riddle in his capacity as music director for Capital Records, the arrangements are all for Ella Fitzgerald recordings of Ira Gershwin songs.

“Broadway or Theatre,” a lecture by theatrical agent Flora Roberts.

Completed films, workprints, outtakes, and trims from “Come Back Africa,” “Arab Israeli Dialogue,” “Black Fantasy,” “Black Roots,” “Good Times, Wonderful Times,” “On the Bowery,” “Oysters Are in Season,” and other works of documentary film producer and director Lionel Rogosin.

Scripts of the television series “The Rockford Files,” 1979; and an ABC television movie “The Minnesota Strip,” 1979 (accompanied by a 1980 letter), all produced by Meta Rosenberg (1915-2005).

Papers of a television and motion picture writer, consisting mainly of scripts, drafts, notes and research, and other production materials for over 40 television series with which Ross was involved. Most thoroughly documented is his writing for Alcoa-Goodyear Theatre (NBC), Armstrong Circle Theatre (CBS and NBC), Bing Crosby Show (ABC), The Defenders (CBS), Dr. Kildare (NBC), I Remember Mama (CBS), NBC Matinee Theatre, Robert Montgomery Presents (NBC), and Studio One (CBS). Two boxes contain similar, but less extensive materials pertaining to radio and motion pictures.

Papers of a stage designer, consisting of photographs, original and photostatic copies of set, prop, and costume designs and some annotated scripts, sketches, and lighting plots for various dramatic and operatic productions in the United States and Germany. Of special interest is Roth’s reminiscent article about his relationship with Bertolt Brecht and his set designs for Brecht on Brecht (1961).

Papers of a composer, lyricist, and writer of plays and motion pictures, consisting of scripts and music for motion pictures and Broadway musicals. Motion picture files contain scripts for Animal Crackers (Para., 1930), Horse Feathers (Para., 1932), Three Little Words (MGM, 1950), which was based on Ruby’s long, successful collaboration with Bert Kalmar, and other films. Theater files include the books for The Five 0’Clock Girl (1927), High Kickers (1941), Lucky (1927), and The Ramblers (1926), and musicals and revues which Ruby wrote in association with Kalmar, Otto Harbach, Guy Bolton, and George Jessel. Also included are manuscript copies of six songs, including Groucho Marx’s “Hooray for Captain Spaulding” from Animal Crackers, “Three Little Words,” and “Who’s Sorry Now.”

Papers of a creator, writer, and producer of television documentaries. Much of Salomon’s collection focuses on World War II, either by means of his personal wartime correspondence; his participation in the preparation and writing of Samuel Eliot Morison’s History of United States Naval Operations in World War II; or his involvement in the creation and production of Victory at Sea, an NBC television series based on the Navy’s exploits during the war. Included are business and personal correspondence, research materials, correspondence and logs documenting his research activities during the war and in post-war Japan, scripts and clippings for Victory at Sea, a copy of the book adapted from the series and a promotional booklet from NBC, clippings and promotional booklets for Project XX (NBC), and biographical material including a film. Among the prominent correspondents are S. N. Behrman, Samuel Eliot Morison, Nathan M. Pusey, Robert W. Sarnoff, and Romney Wheeler.

Papers of Dore Schary (1905-1980), a playwright, motion picture executive, and activist in Jewish and liberal political causes documenting both his personal and professional life. Included are general correspondence; microfilmed scrapbooks; scripts and production material for plays and motion pictures; records pertaining to MGM; non-dramatic writings, speeches (many in recorded form), and an autobiography and a family memoir; home movies and photographs; correspondence, reports, lists, financial records, and speeches from his tenure as national chairman of the Anti-Defamation League (also available on microfilm) and subject files on other organizations with which he was involved such as the American Civil Liberties Union, the American Jewish Committee, and the Democratic Party; and personal and biographical information.

Papers of a well-known theatrical director who has been associated with the work of Edward Albee, Robert Anderson, Samuel Beckett, Harold Pinter, Thornton Wilder, Tennessee Williams, and other prominent modern playwrights. The bulk of the collection consists of papers relating to plays which Schneider directed or considered for direction. The documentation varies in depth for each production, and ranges from director’s scripts, production notes, correspondence, and contracts to playbills and clippings. Represented are productions on Broadway, off-Broadway, on television, and by various regional and student theatrical groups.

Papers of George Seaton (1911-1979), an Academy Award winning screenwriter, director, and producer, reflecting his work in the film industry. Among the documentation present are scripts and drafts, research notes, correspondence, financial records, cast and crew lists, production reports, shooting schedules, and reviews.

Papers of the writer-executive producer of the television series Shane (ABC), consisting almost entirely of variant scripts, shooting schedules, reports, and other production material for this program, plus variant scripts for the motion picture “If It’s Tuesday, This Must Be Belgium.”

Papers of Sidney Sheldon (1917-2007), a television writer, producer, playwright, and author. The collection concerns both produced and unproduced television shows and includes pilots, final drafts, scripts, holographs, story synopses, call sheets, cast and crew lists, censor reports, correspondence, and shooting schedules. The television series represented in the collection are The Patty Duke Show, I Dream of Jeannie, and Nancy. For the unproduced television shows there are scripts, holographs, notes, and casting materials for “The Connie Stevens Show” and “The Flip Wilson Show” (not the popular version first televised in September 1970).

Papers of a filmmaker and founding member of Third World Newsreel, including research and production files for various projects, film logs, scripts, personal notebooks and sketchbooks, videotapes, slides, and sound recordings.

Miscellaneous designs of Lee Simonson (1888-1967), a noted Broadway stage designer and co-founder of the Theatre Guild. Included are three posters for guild productions at the Garrick Theatre and original water color renderings and pencil sketches of stage designs, costumes, and hair styles. The costume designs for a production of Jane Eyre, which did not open on Broadway, bear extensive notes and some fabric swatches.

Papers of a composer and lyricist, consisting of correspondence, scripts and drafts, music and lyrics manuscripts, and miscellaneous writings. Coverage is best for “Do I Hear a Waltz?” (1965), “Gypsy” (1957), and “West Side Story” (1957), for which Sondheim wrote the lyrics, and for “Anyone Can Whistle” (1964) and “A Funny Thing Happened on the Way to the Forum” (1962), for which he wrote both the music and the lyrics. Also included are small files for several other musicals and television series, both produced and unproduced; a group of miscellaneous songs; and professional correspondence, 1949-1960. Among the prominent correspondents are George S. Kaufman and Oscar Hammerstein II.

Papers of a radio and television producer-director and his actress-wife. Radio material which is the most complete aspect of the collection, includes files of annotated scripts and correspondence on The Adventures of Sam Spade, Philip Morris Playhouse, Suspense, and other series which Spier produced and directed for CBS. Television files include many scripts which he wrote including an award-winning effort for The Untouchables (ABC). Also present are extensive files on Willy (NBC), which he produced and which starred June Havoc. Her career is also represented in Lady Possessed (Republic, 1952), which Spier also directed, and by a small group of other motion picture and theater scripts.

Papers of Steven Starr (1957- ), film and television producer/writer/director, including videotapes of the comedy show “The State” which he produced for MTV, and of his film “Joey Breaker.” Also present are scripts, production notes, and clipping files; a Starr Pictures company profile for Clein and White publicity agents; correspondence on a proposed Bob Marley birthday concert; and other materials.

Papers of a writer and editor on social justice and labor, who was blacklisted for his refusal to testify before the House Un-American Activities Committee in 1951. The collection best illustrates Stevenson’s career as a writer and his interests in the American Southwest, the labor struggles of the New Mexican coal miners, culture and aesthetic theories, and the House Un-American Activities Committee. There is little directly concerning the Hollywood Ten. Included are personal papers, correspondence with family and business associates, and drafts, notes, and reference material from Stevenson’s many articles, essays, political writings, speeches, book reviews, editorials, books, scripts, and short stories.

Papers of David Susskind (1920-1987), a producer, television host, and co-founder/president of the production company, Talent Associates, Ltd. Arranged as alphabetically-ordered subject files, the collection contains a wide variety of material such as correspondence, scripts and drafts, production information, clippings, financial records, and legal material. Much of the collection relates to the award-winning dramatic anthologies and television series with which Susskind was associated. It provides a thorough picture of the business operations of Talent Associates as well as information on Susskind’s personal activities and his opinions and interest in the television industry, politics, and events of topical interest.

Papers of a Wisconsin educator and art administrator who was also prominently associated with the National Endowment for the Arts during the late 1960s and 1970s. Included are minutes, correspondence, and publications of the Wisconsin Arts Board and its predecessor organizations, the Wisconsin Arts Foundation and Council and the Governor’s Council on the Arts; reports concerning work as director of the Wisconsin Memorial Union Theater; planning materials and recorded remarks of Nancy Hanks, Richard Schickel, Twyla Tharp, and others at the 1980 University Forum; and minutes, internal administrative records, publications, and correspondence of the Association of College and University Concert Managers of which Taylor was a founding member.

Records and films of a media center concerned with the production and distribution of films dealing with alternative political themes relevant to people of color and the Third World; including newsletters, correspondence, production schedules, fund raising materials, mailing lists, catalogs, and film production materials (pre-print, raw footage, sound track, etc.).

Papers of Daniel Travanti (1940- ), a Kenosha, Wisconsin native and actor, best-known for his role in the NBC series “Hill Street Blues” and in the television film “Adam.” The collection includes personal correspondence, invitations and requests from charitable organizations, fan mail, and letters about Travanti’s work with alcoholism recovery groups. Other personal papers include awards, and magazine and newspaper articles about Travanti and other members of the “Hill Street Blues” cast. There are also scripts and production files illustrating Travanti’s acting career, among them materials from “Hill Street Blues”; the television movies and specials “Adam: His Song Continues,” “Case of Libel,” “Here’s Richard,” (a special about fitness expert Richard Simmons), and “Murrow,” an HBO film about Edward R. Murrow; “Night of 100 Stars,” a 1985 benefit for the Actors’ Fund of America; and the play “Twigs.”

Records of a privately-owned corporation formed in 1919 by Douglas Fairbanks, Mary Pickford, Charles Chaplin, and D.W. Griffith to distribute motion pictures made by them and other independent producers.

Research files containing clippings, programs, and pamphlets gathered by the Extension Theater Library of the University of Wisconsin. Included are files on production; history and criticism of professional, amateur, and regional dramatic organizations, particularly in Wisconsin; various actors, playwrights, and theatrical personalities; theory, including acting and scenic design; and criticism of individual works. Also included are issues of several theatrical periodicals.

Papers of Nick Vanoff (1929-1991), a television producer-director best known for his work with variety shows. Annotated scripts, production records, set designs, photographs, and clippings for Hollywood Palace (ABC), The King Family (ABC), Perry Como’s Kraft Music Hall (NBC), and other series and specials form the bulk of the collection.

Papers of David Victor (1910-1989), a journalist, producer, and writer consisting entirely of scripts and related production information for numerous radio and television series and pilots. The majority of the scripts, many of which are annotated, pertain to the radio series The Hedda Hopper Show (NBC), The Mel Blanc Show (CBS), and Let George Do It (Syndicated), and to the television series Fireside Theatre (NBC), Gunsmoke (CBS), I’m the Law (Syndicated), The Rebel (ABC), and Walt Disney Presents (ABC). In 1961 Victor became producer of Dr. Kildare (NBC) and over half of the collection consists of production notes, correspondence, and numerous progressive script drafts for this program. Also present are scripts for two motion pictures and various radio and television auditions.

Scripts and professional correspondence relating to the career of a television dramatist. Series for which Wallace wrote which are extensively represented are Armstrong Circle Theatre (NBC and CBS), Justice (NBC), The Nurses (CBS), and The Web (CBS). Star Trek (NBC) is among the less well represented series, though there is a noteworthy critique concerning character portrayal by series creator Gene Roddenberry. Also of note are files relating to Family Films, Inc., a company which produced films for the Radio and Television Commission of the Southern Baptist Convention. These scripts and correspondence show the company’s efforts to convey religious messages and themes through a format of popular entertainment.

Papers of Dale Wasserman (1917- ), a playwright, screenwriter, and television dramatist. In the collection are scripts and drafts, many bearing informative annotations; correspondence; clippings; outlines; and production notes. Files from Wasserman’s award-winning television writing, which primarily date from the 1950’s, are most extensive for “Armstrong Circle Theatre” (CBS), “The Citadel” (ABC), “Climax” (CBS), “Kraft Television Theatre” (NBC), “DuPont Show of the Month” (CBS), and “The Power and the Glory” (CBS).

Five scrapbooks consisting of pre-printed albums entitled “Plays and Players: A Theatre-Goer’s Record,” documenting 348 performances attended by George Simon Wehrwein principally in Madison (Wis.), Chicago (Ill.), Austin (Tex.), and New York. For most productions Mr. Wehrwein has completed the “Play,” “Date,” “Theatre,” and “In Company with” portions of the albums and then pasted in additional information from the productions, e.g. the cast list, a synopsis, reviews, and articles on the playwright or leading players.

Papers of John Wexley (1907-1985), a playwright and screenwriter, consisting of scripts and drafts, treatments, contracts, correspondence, playbills, and clippings. Among the better represented titles are the plays The Last Mile (1930) and They Shall Not Die (1934), and the motion pictures Angels With Dirty Faces (Warner Bros., 1938), Confessions of a Nazi Spy (Warner Bros., 1939), Hangmen Also Die (UA, 1943), and The Roaring Twenties (Warner Bros., 1939).

Fragmentary records of the labor union which since 1954 represents motion picture, television, and radio writers and of its predecessor, the Screen Writers’ Guild; consisting of agreements negotiated between members and the television industry, a constitution, by-laws, a code of working rules, and a bulletin of credits for 1949.