Slag

urn:taro:utexas.hrc.00052 David Hare: An Inventory of His Papers at the Harry Ransom Humanities Research Center Katherine Mosley, Joan Sibley Harry Ransom Humanities Research Center, University of Texas at Austin 1995 Text converted and initial EAD tagging provided by Apex Data Services, September 2000. Finding aid written in English Tue Jul 22 15:08:18 CDT 2003 urn:taro:utexas.hrc.00052 converted from EAD 1.0 to 2002 by v1to02.xsl (20030505). Descriptive Summary Hare, David, 1947- David Hare Papers 1968-93 TXRC95-A129 37 boxes (15.42 linear feet), 1 oversize folder These papers consist of typescript drafts, notes, rehearsal scripts, schedules, production notes, correspondence, theatre programs, resumes, photographs, and published texts associated with Hare's plays, teleplays, screenplays, and essays, as well as foreign-language translations of Hare's works; works by other authors; personal correspondence; minutes of meetings; and Hare's English papers from Cambridge University. Harry Ransom Humanities Research Center University of Texas at Austin English. Biographical Sketch

British playwright David Hare was born June 5, 1947, in St. Leonards, Sussex, England, the son of Clifford and Agnes Gilmour Hare. Clifford Hare was a sailor, and when David was five, the family moved to Bexhill-on-Sea, also in Sussex. Hare attended Lancing College and then went on to Jesus College, Cambridge, in order to study with famed Marxist Raymond Williams. After graduating from Cambridge in 1968 with an honors M.A. in English, Hare briefly worked for the film company A. B. Pathé before co-founding the Portable Theatre Company with Tony Bicât. Portable Theatre, a touring experimental theatre group, became a leader in the fringe theatre movement. Hare wrote his first plays for Portable Theatre and served as its director from 1968-71. He also served as literary manager of the Royal Court Theatre from 1969-70 and as its resident dramatist from 1970-71.

Hare's first major play, Slag (1970), won him the Evening Standard Drama Award for most promising new playwright. Like Slag, The Great Exhibition (1972) viewed the failure of contemporary English society to change or accomplish anything. In 1972, Portable Theatre and its subsidiary, Shoot, declared bankruptcy, and Hare became resident dramatist at Nottingham Playhouse. Brassneck, which Hare wrote with Howard Brenton, was produced there that same year. At about the same time, Hare co-founded the Joint Stock Theatre Group with David Aukin and Max Stafford-Clark, and he served as director there from 1975-80. Knuckle (1974), the first of Hare's plays to be produced in London's West End, received the John Llewellyn Rhys Memorial Award; Hare was the first dramatist to win the award. Hare's first plays had established the primacy of social and political issues in his work, but with Knuckle, he shifted from contemporary satire toward what he calls his “history” plays. Hare's plays usually present a romantic relationship between members of the middle class and use the decline and corruption of the characters' careers, relationships, and idealism to reflect historical events.

In Fanshen (1975), based on the book by William Hinton, Hare looked at the process of revolution. As a Joint Stock production, Fanshen was a collective effort in which actors collaborated with the writer, improvising and discussing the text at workshops and rehearsals. With Teeth 'n' Smiles (1975), Hare returned to an examination of the state of post-World War II English society, which he sees as dominated by dishonesty and corruption. A collaboration with Nick and Tony Bicât, it was Hare's only play to premiere at the Royal Court Theatre. Plenty, considered Hare's best play, was produced in 1978 and was Hare's first original play at the National Theatre. The play, about a woman who served in the French Resistance during World War II but finds only disillusionment in post-war Britain, shows the inability of people to effect change. A Map of the World (1983) expands to a global perspective and uses the device of a play within a play; by this time, Hare had become more interested in style and form. Pravda (1985), co-written with Howard Brenton, is a scathing attack on the press. In The Secret Rapture, a Margaret Thatcher-like M.P. takes advantage of her sister's goodness, with tragic consequences. A trilogy on institutions, Racing Demon (1990), Murmuring Judges (1991), and Absence of War (1993), looks at religion, the legal system, and political parties. Hare's most recent play, Skylight (1995), is less directly political, focusing on the failed relationship between two former lovers who meet again.

In addition to directing his own plays, Hare has directed such works as The Pleasure Principle (1973) by Snoo Wilson, The Party (1974) by Trevor Griffiths, Weapons of Happiness (1976) by Howard Brenton, and Devil's Island (1977) by Tony Bicât. Hare also directed a production of King Lear at the National Theatre in 1986, with Anthony Hopkins starring as Lear. Hare became associate director at the National Theatre in 1984 and has also been a member of the council of the English Stage Company.

Like many British playwrights, Hare has written teleplays for the BBC. Licking Hitler (1978) uses a World War II setting to examine the pervasiveness of lies in English culture. As in other Hare works, in Dreams of Leaving (1980) the main characters' loss of idealism leads to despair and madness. Saigon: The Year of the Cat (1983), directed by Stephen Frears, is about the Vietnam War and again juxtaposes personal lives with historical events. Heading Home is about a woman looking back at choices she made that led to her sense of loneliness.

Hare has written several screenplays and even founded a film company, Greenpoint Films, in 1982. Among screenplays by Hare are Plenty (1985), Wetherby (1985), Strapless (1989), Paris by Night (1989), and Damage (1992). Wetherby, about repressed passions among members of the middle class, won the Golden Bear award at the Berlin Film Festival.

Hare married theatrical agent Margaret Mathieson in 1970; they had three children, Joe, Darcy, and Lewis, before divorcing in 1980. Hare married designer Nicole Farhi in December 1992.

David Hare's papers were acquired by the HRHRC in 1993. Additional materials are expected for the collection, and they will be described separately.

More information about David Hare and his work may be found in his autobiographical Writing Left Handed (London: Faber and Faber, 1991), David Hare by Joan FitzPatrick Dean (Boston: Twayne Publishers, 1990), and The Plays of David Hare by Carol Homden (Cambridge University Press, 1995).

Scope and Contents

The David Hare papers consist of typescript drafts (many with holograph revisions), notes, lists, rehearsal scripts, schedules, production notes, correspondence, theatre programs, a poster, clippings and articles, brochures, resumes, photographs, page proofs, and published texts associated with Hare's plays, teleplays, screenplays, and essays, as well as foreign-language translations of Hare's works; works by other authors; personal correspondence; minutes of meetings; and Hare's English papers from Cambridge University, all ranging in date from 1968 to 1993. The material is organized in six series: Works by Hare (1970-92, nd, 27.5 boxes); Collaborations (1971-87, 1.5 boxes); Directing Activities (1969-86, nd, 1 box); Theatre Group Activities (1965, 1971-88, nd,.5 box); Career and Personal (1968-92, nd, 4 boxes); and Works by Others (1993, nd,.5 box).

All of David Hare's stage plays, teleplays, and screenplays from the beginning of his career through 1991 are represented in some form and, along with articles, essays, lectures, and some unpublished works, comprise the largest series. Multiple drafts; rehearsal scripts; notes and dialog fragments; rejected scenes; production material, including casting and rehearsal notes, rehearsal calls, schedules, memos, financial information, and programs; foreign language translations by other authors, and versions of published texts are all present. Among Hare's major stage plays are Slag, The Great Exhibition, Knuckle, Fanshen, Teeth 'n' Smiles, Plenty, A Map of the World, The Secret Rapture, Racing Demon,and Murmuring Judges. Noteworthy manuscripts from these works include notes from Fanshen workshops, improvisations, and collaborative rehearsals; Plenty production material, such as expense estimates, schedules, and set design notes and drawings; and rejected scenes, rehearsal notes, and costume, plot, and prop lists from The Secret Rapture. Among unpublished works present are What Happened to Blake, Deathsheads, and The Madman Theory of Deterrence. Hare's best known teleplays include Man above Men, Licking Hitler, Dreams of Leaving, Saigon: Year of the Cat, and Heading Home. Among unproduced teleplays are The Bloody Workers, In Your Eye, It's Good to Know, Mandrax, and Shop! In addition, Hare's screenplays of Damage, Plenty, The Secret Rapture, Strapless, and Wetherby are represented in the collection. Typescripts of Hare's collection of autobiographical essays, Writing Left-Handed, are also included, as are essays, lectures, and reviews by Hare.

The files also document Hare's involvement with fringe theatres such as the Portable Theatre Co. and Joint Stock Theatre Group, as well as his later associations with the Royal Court Theatre and the Royal National Theatre. Hare was a founder of Portable Theatre, and relating to that venture are materials from the production of England's Ireland, including notes and letters documenting efforts to arrange a tour schedule, and papers relating to the theatre's financial collapse in 1973. Hare also was a founder of the Joint Stock Theatre Group, and its collaborative workshop approach to writing and producing plays can be seen in his Fanshen notebook and notes. In addition, minutes of board meetings, applications for financial assistance, and correspondence from Joint Stock are present. Royal Court Theatre materials include applications for the post of artistic director and related correspondence dating from 1988. Also, notes of English Stage Company council meetings and schedules of Royal Court productions sent to Hare by general manager Graham Cowley may be found with the general correspondence.

While correspondence is scattered throughout the collection, most of it is gathered in the Career and Personal Series. The correspondence is a strength of the collection, and letters, notes, cards, postcards, and telegrams from friends, relatives, colleagues, actors and actresses, other directors, a variety of theatre companies, and theatrical, political and academic organizations may be found. Topics include business matters, Hare's social and political concerns, and personal matters. Noteworthy correspondents include Hare's agent Margaret Peggy Ramsay; his editor Frank Pike at Faber and Faber; his accountants at Midgley, Snelling, and Co.; directors Max Stafford-Clark and William Gaskill; actress Kate Nelligan; and playwrights Trevor Griffiths, John Osborne, and Michael Weller. Some letters are accompanied by clippings, photographs, or brochures. A complete index of correspondents in the Hare collection is located at the end of this inventory. Most of the correspondence is incoming; the few copies of Hare's letters to other people are indicated in parentheses in the index. Other career and personal materials include theatre programs, a file documenting some of Hare's censorship concerns, and school papers from Cambridge University.

Hare has been called a political playwright, and his social and political concerns are reflected throughout the collection. For example, Hare served on the Board of Trustees of Jarrow 86 Trust Ltd., which campaigned against high unemployment levels; letters regarding its financial difficulties were sent to Hare by Simon Osborn. Indications of Hare's political leanings are found in the minutes of the June 20 Group, essays on Thatcher and the political right, and correspondence with organizations such as the Joint Council for the Welfare of Immigrants, Justice, the Nicaragua Solidarity Campaign, and the Index of Censorship. A folder Hare labeled Polemic contains notes and drafts giving his views on the theatre, actors' agents, television drama, the Arts Council, and other subjects.

Although Hare's career began as official censorship of plays in Britain ended in 1968, he has always been concerned with the issues of censorship and the power of the press in its choice of what to publish. He regarded the unwillingness of theatres to present England's Ireland as a form of censorship. Bill Webb of The Guardian asked Hare to write an introduction to its Bedside Guardian in 1986, and Hare sent a piece criticising not only the press in general, but also The Guardian itself; it was not published. A negative review by New York Times critic Frank Rich resulted in the closure of the New York production of The Secret Rapture and generated an argument between Rich and Hare about Rich's power. Hare also exchanged heated correspondence with critic Irving Wardle over A Map of the World. In a Censorship folder, Hare filed correspondence with the BBC about its banning Roy Minton's play Scum and Ian McEwen's play Solid Geometry. The Censorship file also contains letters from a solicitor analyzing possible libel danger in republishing Hare's Ah Mischief: The Role of Public Broadcasting article, originally written for The Guardian, as well as Hare's notes for a debate with Mary Whitehouse about censorship.

Hare has collaborated on various works with Nick Bicât, Tony Bicât, Howard Brenton, David Edgar, and Snoo Wilson, among others. Notable collaborations represented in the collection include Brassneck and Pravda, both cowritten with Howard Brenton, England's Ireland, which was written with six other playwrights, and The Knife, with Nick Bicât and Tim Rose-Price.

As a director, Hare has directed not only productions of his own plays, but also plays by Tony Bicât, Howard Brenton, Trevor Griffiths, Christopher Hampton, and Snoo Wilson. Typescripts, correspondence, and production material from these are contained in the collection.

Within the Works by Others series are two screenplays, Skin Flicker by Howard Brenton and The Serpent's Kiss by Tim Rose-Price, a playscript of Castle of the Sea by Colin Haydn Evans, and The Fever, a performance piece by Wallace Shawn.

Other manuscripts relating to Hare at the HRHRC may be found in the London Review of Books (correspondence 1979-81), James Saunders, and Tom Stoppard collections.

Acquisition

Purchase, 1993

Access

Open for research

Processed by

Katherine Mosley and Joan Sibley, 1995

Index Terms Correspondents Ashcroft, Peggy, Dame Aukin, David Ayckbourn, Alan, 1939- Bachmann, Lawrence P. Bicât, Tony Boddington, Diana Bond, Edward Brenton, Howard, 1942- Bridges, Alan Callow, Simon, 1949- Campbell, Nell Chruchill, Caryl Dench, Judi Downie, Penny Edgar, David Eszterhas, Joe Eyre, Richard, 1943- Farhi, Nicole Frayn, Michael Gadney, Reg, 1941- Gaskill, William Gordon, Heather Griffiths, Trevor Hall, Peter, Sir, 1930- Hampton, Christopher, 1946- Hart, Josephine Hinton, William Howe, Tina King, Kimball Le Carré, Jone, 1931- MacDonald, Sharman Matheson, Margaret Millar, Kenneth, 1915- Mortimer, John Clifford, 1923- Nelligan, Kate Nichols, Peter, 1927- Osborne, John, 1929- Papp, Joseph Parker, Ellen Pike, Frank Pinter, Harold, 1930- Plater, Alan, 1935- Pollock, Patsy Rampling, Charlotte Ramsay, Margaret Rich, Frank Rose-Price, Tim Roth, Phillip Rushdie, Salman Seth, Roshan Shawn, Wallace Smith, Richard M. Snepp, Frank Spender, Stephen, 1909- Stoppard, Tom Trojanowski, Anna Wardle, Irving, 1929- Weller, Michael, 1942- Wilson, Caroline Wilson, Snoo, 1948- Organizations British Broadcasting Corporation Channel Four (Great Britain) Faber and Faber Grennpoint Films Ltd. The Guardian Joint Stock Theatre Group Margaret Ramsey Ltd. Martonplay Midgley, Snelling & Co. Miramax Films National Theatre (Great Britain) New York Shakespeare Festival Royal Court Theatre Subjects Authors, English Authors and publishers Experimental theater--Great Britain Literary agents Theater critics Theater--Production and direction Document Types First drafts Love letters Photographs Screenplays Scripts Theater programs David Hare Papers--Folder List Series I. Works by Hare, 1970-92, nd, 27.5 boxes

Hare's stage plays, teleplays, and screenplays are interfiled and arranged alphabetically by title. Hare's autobiographical book, Writing Left-Handed, and separate folders of essays, articles, and lectures kept by Hare are located at the end of the series. For any given work, there may be research material, multiple draft versions (many of which have holograph revisions); typescript notes of dialog fragments, phrases, and lists of script problems; rejected scenes or discarded pages; rewrite pages; and production material, including audition and casting material, rehearsal calls, rehearsal, production, and tour schedules, contact lists, expense and budget information, set design notes and drawings, sound and lighting notes, photographs, and correspondence. Translations, published texts, and page proofs are also present. Correspondence about a work may range from production memos through opening night telegrams, notes, and fan letters from colleagues as well as from strangers giving their reactions to the work. Teleplays and screenplays may also have synopses, storyboard material, lists of locations, publicity material, cast and crew lists, one-line schedules, and continuity scripts.

All of Hare's major plays from the beginning of his career through 1991 are represented. Of particular interest among the manuscripts of Hare's best-known works are a copy of a rehearsal script of Slag, with light, sound, and other cues; notes from workshops, improvisations, and collaborative rehearsals of Fanshen; rewrite pages and production material from Plenty, including expense estimates, schedules, and set design notes and drawings; and The Secret Rapture rejected scenes, rehearsal notes, costume, plot, and prop lists, as well as Hare's second letter to critic Frank Rich regarding his influence in closing the play.

Among typescripts of Hare's lesser-known and one-act plays, some of which have never been published, are those for his first play, the one-act How Brophy Made Good (1969); the one-act What Happened to Blake (1970); his adaptation of Pirendello's The Rules of the Game (1971); the one-act Deathsheads (1971); The Madman Theory of Deterrence (1983); and the double-bill The Bay at Nice and Wrecked Eggs (1986). Notes and fragments of unfinished plays, as well as typescripts of plays that were never produced, include The Gift of Money, Manningham by Winthrop, and a project with Bill Gaskill to adapt Tolstoy's Resurrection for the stage. Unidentified fragments of works are located at the end of the series.

Hare's teleplays are present in the collection as drafts and a camera script of the unpublished Man above Men (1973); notes, drafts, and production material of Licking Hitler (1978); drafts, lists of script problems, scene locations, lists of voice-overs, and other production material from Dreams of Leaving (1980); drafts and notes for Saigon: Year of the Cat, including notes on meetings with Frank Snepp, author of Decent Interval; and drafts, a rehearsal script, and a production file for Heading Home (1991). Among typescripts of unproduced teleplays are The Bloody Workers, In Your Eye, It's Good to Know, Mandrax, and Shop!

Drafts, rejected scenes, and a French translation of Hare's screen adaptation of Josephine Hart's Damage (1992) are present. Among Paris by Night (1989) manuscripts are research materials; rejected scenes; and a production file of casting, schedule, crew, location, rewrite, and storyboard material. Other screenplay materials include those of Plenty (1985), The Secret Rapture (1993), and a dialogue and continuity script, production material, and a typescript discussion on making the film Strapless (1989). Hare's first and best-received screenplay, Wetherby (1985), is represented by drafts, rejected scenes, memos, and a press kit. Unproduced screenplays include The Jugular Vein; Somewhere in England, based on the book by Reg Gadney; Stella; Transit of Venus, based on the book by Shirley Hazzard; and The Unseen Enemy, based on the novel Il Fascistible by Giulio Castelli.

Drafts of a collection of autobiographical essays, Writing Left-Handed (1991), comprise annotated original and photocopy typescripts and photocopies of printed texts. These are followed by typescripts, corrected proofs, and clippings of essays, lectures, and reviews by Hare.

Hare's original folder titles have been retained and are indicated by single quotation marks in the folder list, while alternate titles of works are given in brackets. Hare's filing system has been maintained, so that some correspondence regarding a work is housed with that work, while similar letters remain housed with general correspondence in the Career and Personal series. All correspondents are listed in the Index of Correspondents at the end of this inventory.

1 1 The Asian Plays--Book. Typescript introduction with holograph corrections, nd 1 2 The Bay at Nice --Playscript. Typescript with holograph corrections, nd. With typescript comments by Reg Gadney, typescript notes and sketches of dialogue, and carbon copy typescript draft pages. The Bay at Nice and Wrecked Eggs (double bill)--Playscript 1 3 Photocopy typescript with holograph revisions, bound, nd 1 4 'Text as performed on Press Night 9 Sept. 1986,' photocopy typescript, 4 Sept. 1986, with some holograph revisions 1 5 'Die Bucht von Nizza und Einfach Eies' [German translation by Paul Bäcker], photocopy typescript, bound, [1987] 1 6 The Bloody Workers--Unproduced teleplay. Typescript, nd Damage--Screenplay based upon the book by Josephine Hart 1 7 Typescript and holograph scene synopses, 9 and 16 June 1991, nd 1 8 'First Draft,' printout typescript, Aug. 1991. With letter from Josephine Hart to Louis Malle, 2 Sept. 1991 1 9 'David's Working Copy--First Draft,' photocopy typescript with holograph revisions, Aug. 1991. With typescript rewrite notes, nd 1 10 'David's Working Copy--Intermediate Draft,' photocopy typescript with holograph revisions, 28 Nov. 1991 1 11 'Birthday Draft,' printout typescript, 5 Dec. 1991 2 1 'David's Working Script Birthday Draft,' photocopy typescript with holograph revisions, 5 Dec. 1991 2 2 'David's Working Script--Second Draft,' printout typescript, Dec. 1991 2 3 'David's Script' 'Christmas Draft,' photocopy typescript with holograph revisions, bound, Dec. 1991,with inserted revision pages, 21 Jan. 1992 2 4 'Master Script' 'Valentine's Draft,' photocopy typescript with holograph revisions, bound, 1 Feb. [1992] 2 5 'Master Script' 'Revised Valentine's Draft,' photocopy typescript with holograph revisions, 1 Feb. 1992 2 6 'Shooting Draft,' photocopy typescript with holograph revisions, bound, Feb. 1992. With additional revision pages, 1 March 1992, nd 2 7 'Rejected Scenes,' typescript pages with holograph revisions, with two memos from Hare to Louis Malle, nd 2 8 French translation with English dialogue. Photocopy holograph manuscript in unknown hand, nd Deathsheads [Deaths and Diseases]--One-act play 3 1 Mimeograph typescript with holograph revisions, nd 3 2 Thermofax typescript, nd. Two copies 3 3 Thermofax typescript, nd Dreams of Leaving--Teleplay 3 4 'First Draft and Notes,' typescript with holograph revisions, nd. With lists of script problems and locations, and letter from Roger Gregory to Hare, 14 Feb. 1979 3 5 Mimeograph typescript, 23 April 1979, with typescript inserts and holograph revisions 3 6 Notebook. Notes and drawings of scene locations, nd 3 7 Scene Breakdowns. Mimeograph typescripts, 14 May 1979 3 8 Mimeograph typescript, with holograph revisions. With original and photocopy typescript list of voice-overs with holograph revisions, nd 3 9 Production Material. Photocopy and original typescript lists of extras and locations; schedules; sequence running order; memos; budget; and holograph notes, Feb-July 1979 Fanshen (based upon Fanshen: A Documentary of Revolution in a Chinese Village by William Hinton) 3 10 William Hinton's interview with Chou En-lai, in New China vol. 1, nos. 1 and 2, 1975. With thermofax copy of Hinton's article Awaken the Mountains, Let the Rivers Change Their Faces..., 1974 3 11 Notebook. Work journal and notes, including notes from workshops and collaborative rehearsals, 6 Aug.-3 Sept., nd. 3 12 'Synopses and Improvisations including two sets of analysis of problems and material,' original and photocopy typescripts, some with holograph revisions, nd Preliminary poster, with mimeograph program, nd (housed in oversize folder) 4 1 'Spare Fanshen Notes,' typescript fragments, nd 4 2 'First Draft,' mimeograph typescript with holograph revisions, nd 4 3 Mimeograph typescript fragments, nd 4 4 Mimeograph typescript for BBC television production, nd 4 5 Published text, in Plays and Players, vol. 22, no. 12, issue 263 and vol. 23, no. 1, issue 264 4 6 'Sundries--some small changes Mar. 14 (2 sheets, one edited), Author's Preface,' Corrected proofs, derived from published text in Plays and Players. With revised list of changes and preface The Gift of Money--Unproduced playscript 4 7 Typescript draft fragments, nd 4 8 Typescript draft fragment and typescript notes with some holograph revisions, nd 4 9 Incomplete typescript, with letter from Wallace Shawn to Hare, nd. 4 10 Incomplete photocopy typescript, nd 4 11 Typescript draft fragments with holograph corrections, and notes, with letter from [Verity Lambert] to Hare, 8 April 1980 The Great Exhibition Playscript 4 12-13 Photocopy typescript, bound, nd. Two copies Teleplay 5 1 Mimeograph typescript, nd Published Text 5 2 Photocopy typescript, bound, with holograph corrections, used as proofs for published text nd 5 3 Published text in Plays and Players, vol. 19, no. 8, issue no. 224, May 1972. Two copies Heading Home [Safe As Houses]--Teleplay 5 4 Typescript draft fragments and notes, with holograph revisions. With photocopy of article Mr. Mathew Versus the Rest, from The Sunday Correspondent, 4 March 1990 5 5 Rehearsal Script. Photocopy typescript with holograph revisions, bound, nd 37 1 Production File, including casting, schedule, crew, rewrite, and contract material, 1990, nd How Brophy Made Good--Play script 5 6 Mimeograph typescript with holograph revisions, nd 5 7 Photocopy typescript, bound, nd 5 8 In Your Eye --Unproduced teleplay. Incomplete typescript with holograph revisions and typescript notes nd 5 9 It's Good to Know --Unproduced teleplay. Typescript, nd The Jugular Vein --Unproduced screenplay 5 10 Typescript with holograph revisions, nd 5 11 Original and photocopy typescript, with holograph revisions, nd Knuckle Play script 6 1-2 'Notes and Bum Drafts' 'Notes and Early Drafts,' typescript drafts and notes with holograph revisions, nd 6 3 'Early Draft Work,' typescript draft and notes, with holograph revisions, nd 6 4 'First Draft,' carbon copy typescript, nd 6 5 Photocopy typescript, bound, nd 6 6 'Dave's Copy,' photocopy typescript, bound, nd 6 7 Photocopy typescript with holograph revisions, bound, nd. With photocopy typescript rewrites, nd 7 1 Discarded pages. Original and photocopy typescript pages, with holograph revisions, nd 7 2 Radio adaptation by Walter Hall. Mimeograph typescript. With letter from Penny Gold of the BBC to Hare, 14 April 1981 7 3 Television adaptation by David Scott Milton. 'First Draft' Photocopy typescript, 27 Nov. 1974, with holograph revisions. With letter from Peggy Ramsay to Hare, 16 Dec. 1974,and thermofax letter from Norman Lloyd to Hare, 6 Dec. 1974 7 4 Television adaptation. Rehearsal Script. Photocopy typescript, [1988] 7 5 Photocopy typescript, marked up for publication, bound, nd. With additional photocopy typescript pp. 73-93, with holograph corrections Licking Hitler Teleplay 7 6 'Notes and First Draft,' photocopy typescript production material, typescript rewrite pages, typescript notes, and thermofax typescript with holograph revisions, April-Oct. 1977, nd. With car rental receipt, July 1977, and letters from Carol Parks of the BBC (20 April and 26 Oct. 1977) and Reg Gadney to Hare (29 Sept. 1976) 7 7 Typescript with holograph revisions, nd 7 8-9 'Revised rehearsal script,' photocopy typescript, 31 March 1977. Two copies. With letter from Steve _____ of Time Out to Hare, 23 March 1978 8 1 Photocopy typescript with holograph revisions, nd. With letter from Stephen Rawsthorne to Hare, 30 Jan. 1978 8 2 Published text. Photocopy page proofs, 1978. With typescript and holograph notes, nd 8 3 [ The Madman Theory of Deterrence] 'I Will Go Batshit,' photocopy typescript, nd Man above Men [The Auschwitz Orchestra] [Trailblazers] --Teleplay 8 4 Two incomplete typescripts with holograph revisions, nd. With typescript and holograph notes, nd 8 5 Two photocopy typescripts, nd; one with holograph revisions, nd 8 6 Camera Script. Photocopy typescript, with holograph notes 8 7 Mandrax --Unproduced teleplay, carbon copy typescript, nd. With letter from Ann_____of the BBC to Hare, 26 May 1970 8 8 Manningham by Winthrop--Unproduced play. Typescript, nd. With typescript lists of actors and writers and with letter from Max Stafford-Clark of the Royal Court Theatre to Hare, 11 April 1984 A Map of the World --Play script 8 9-10 Photocopy typescript, bound, nd. Two copies 8 11 'Second Draft Original,' typescript with holograph revisions, nd 8 12 Photocopy of typescript with holograph revisions, bound, nd 9 1-2 'Rejected Scenes,' typescript notes and draft pages, nd 9 3 Australian production papers. Correspondence, audition and casting papers, and notes, Sept.-Dec. 1981, Jan.-March 1982, nd. With British Council Visitors Proposal Form for Parsuraman Ramamoorthi, 1981 9 4 'David's Script' 'Version C,' photocopy typescript, 19 Aug. 1985, with holograph revisions, 10 Sept. 1985. With photocopy N. Y. production calendar, 9 July 1985, and contact sheet, 22 Oct. 1985 Murmuring Judges --Play script 9 5 Research Notes, typescript, 16 Nov. 1990 9 6 'David's Research,' typescript with some holograph revisions. With note from [Tom Erhardt] to Hare, nd 9 7 Incomplete photocopy typescript, 22 Feb. 9 8 Photocopy typescript, 19 April 9 9 'First Draft,' photocopy typescript, nd 10 1 'Notes,' photocopy typescript notes with some holograph revisions, nd 10 2 'Rejected Scenes,' photocopy typescript pages, some with holograph revisions, nd 10 3 'Murmuring Rewrites,' photocopy typescript pages with some holograph revisions, nd. With memos from Hare to Richard Eyre, letter from Hare to Daphne Tagg of Faber and Faber, and letter from Tagg to Hare Paris by Night [Butter Mountain] --Screenplay 10 4-5 'Casting and Research,' clippings, typescript research notes, and brochures, 1980, 1983, 1985, nd. With letter from Rowena Buckeridge of British Screen Finance Ltd. to Patrick Cassavetti, 11 July 1986 10 6 Research. Clippings and typescript notes, 1978, 1981, 1983, 1985 10 7 First Draft, photocopy typescript, bound, nd 10 8 First Draft, photocopy typescript, bound, Feb. 1984. Two copies (1 of 2) 11 1 First Draft (2 of 2) 11 2 'Second Draft,' photocopy typescript with typescript inserts and some holograph revisions, bound, June 1985 11 3 'Newest Draft,' photocopy typescript with holograph corrections, nd. With typescript list of suggested cuts, 10 April 11 4-5 Photocopy of typescript with some holograph corrections, bound, April 1987. Two copies 11 6 Photocopy typescript, 22 Sept. 1987,bound, with photocopy typescript inserts, 6-20 Oct. 1987,and some holograph revisions. With additional photocopy typescript rewrite pages, 27 Nov. 1987, nd 11 7-8 'Rejected Scenes,' original and photocopy typescript pages with holograph revisions, Aug. and Oct. 1987. With list of rewrites, 4 Sept. 1987; 1985 CPC Summer School joining instructions; and typescript fragment of essay on journalists, nd 11 9 Production notes, typescript, 11 April 1988. With letter from Cineplex Odeon Films to Patrick Cassavetti re. screenings, 2 June 1988 37 2 Production File, including casting, schedule, crew, contact list, location, rewrite, and storyboard material, 1987-88, nd 12 1 French translation by Christiane Barry, [1985] Plenty Play script 12 2 Typescript of scenes 1-7, nd, and typescript of First Draft with some holograph corrections, 15 Feb. 1977. With program from Israeli production 12 3 Incomplete photocopy and original typescripts and typescript and holograph notes, nd. With typescript notes [by Reg Gadney], nd 12 4-5 Photocopy typescript, nd. Two copies 12 6 Photocopy typescript with some holograph revisions, 16 Jan. 1978 12 7 Photocopy typescript with holograph revisions, bound, nd. With photocopy typescript rewrites of scenes 3 and 6 13 1 Mimeograph typescript, bound, nd 13 2 'Blind Alleys on Plenty,' photocopy and original typescript pages, some with holograph revisions, nd. With typescript notes, nd 13 3 Typescript and holograph notes, memos, rewrite pages, expense estimates, schedules, and set design notes and drawings, Feb.-March 1978, nd 13 4 'Unrevised First Draft,' photocopy typescript, bound, 8 Nov. Screenplay 13 5 'The film of Plenty,' typescript draft pages, nd. With typescript synopsis, Aug. 1983, and treatment, nd 13 6 First Draft, typescript, nd 13 7 First Draft, photocopy typescript with holograph revisions, bound, nd 13 8 Second Draft, photocopy typescript, bound, 13 Aug. 1984 Racing Demon Play script 14 1-2 'Research,' typescript and holograph research notes and draft pages, and correspondence and notes by others about the play, 1983, 1987, 1989, nd 14 3 'First Draft' '25 May Draft (Minor Corrections),' photocopy typescript with holograph revisions, 25 May 14 4 'Second Draft' 'New Draft,' photocopy typescript, 12 June 14 5 'Final Revised,' photocopy of 6 Dec. Rehearsal Script, with holograph revisions, nd Screenplay 14 6 Incomplete photocopy typescript, nd 14 7 'Notes,' typescript notes, nd. With letter from Bill Gaskill to Hare, 21 Jan. 1979 14 8 Resurrection--Unproduced play adaptation of the book by Tolstoy. Incomplete typescript, nd The Rules of the Game--Translation of The Parts They Play by Luigi Pirandello 14 9-10 Literal translation by Gwenda Pandolfi, typescript, bound, nd 15 1 Photocopy typescript with holograph revisions, bound, nd. With cast list and notes, 19 May 1971, nd 15 2 Photocopy typescript, nd Saigon: The Year of the Cat--Teleplay 15 3 'Saigon First Draft,' typescript with holograph revisions, nd 15 4 First Draft, photocopy of typescript with holograph revisions, nd 15 5 First Draft, photocopy typescript with holograph revisions, July 1980 15 6-7 Photocopy typescript, bound, Sept. 1980. Two copies. With letter from Don Marbury of Corporation for Public Broadcasting to Hare, 14 April 1982 15 8 Photocopy typescript with some holograph corrections, Sept. 1980 16 1 Photocopy typescript, nd 16 2-3 Photocopy typescript with holograph revisions, nd, and with inserted photocopy typescript revision pages, nd. With fragment of photocopy letter from Frank Snepp, nd 16 4-5 'Notes,' typescript and holograph drafts, correspondence, and notes, including corroboration of events and notes on meeting with Frank Snepp, Jan. 1982, 2 June, 6 Aug., 9 Oct., nd 16 6 Photocopy of typescript with holograph revisions, nd 16 7 'Pick-Up Script (Provisional 14 March 1983) Revised 18 March,' photocopy typescript with holograph revisions, nd The Secret Rapture [The Power of Prayer] Play script 16 8 Incomplete photocopy of typescript with holograph revisions, nd 16 9 Typescript with holograph corrections, nd 16 10 Photocopy of typescript with holograph corrections, nd. With typescript page of notes, nd 17 1 Photocopy typescript pages, nd 17 2-3 'NT Prompt Copy,' photocopy of typescript with holograph revisions in an unknown hand, nd. Two copies, one bound 17 4 'Version C,' bound photocopy of typescript with holograph revisions, 15 Sept. 1989, with typescript inserts, and additional holograph revisions, with typescript inserts, 14 Aug.-4 Oct. 1989, and additional holograph revisions, nd 17 5 'Version C,' photocopy of typescript with holograph revisions, 4 Oct. 1989, with typescript inserts, 14 Aug.-16 Oct. 1989, and additional holograph revisions, nd. With contact sheet from the New York Shakespeare Festival production, 28 Sept. 1989, typescript rehearsal notes and 3 Chinese fortunes, nd 17 6 Photocopy typescript, 24 Oct. 1989, with holograph revisions, nd. With costume, plot, and prop lists, and prop preset, nd 17 7 'Rapture Notebook,' holograph notes, nd 17 8 'Rejected Scenes and Notes,' typescript draft pages and notes, with holograph revisions, nd 17 9 Production contract with New York Shakespeare Festival, 1 Sept. 1989. With photocopy letters from Victoria G. Traube of ICM to Tom Erhardt of Margaret Ramsay Ltd., 21 Sept. 1989, and to Karen Levinson of Paul, Weiss, Rifkind, Wharton, & Garrison, 15 Sept. 1989 17 10 Typescript letter from Hare to Frank Rich of the New York Times, 13 Dec. Radio Adaptation 17 11 BBC World Service adaptation by Chris Venning, photocopy typescript, nd. With letter from Gordon House of BBC World Service to Hare, 20 May 1991 Screenplay 17 12 Film Synopses, typescript synopses, one with holograph revisions by Howard Davies, nd; typescript notes, nd; and faxed rewrite pages, 1992 18 1 First Draft, photocopy typescript with holograph corrections, 26 Feb. 1992 18 2 'March 23 Draft,' photocopy typescript with holograph revisions, 23 March 1992 18 3 Pre-Production Draft, photocopy typescript with some holograph revisions, 18 May 1992 18 4 Pre-Production Draft, photocopy typescript, 20 May 1992 18 5 'Simon's Return' 'Running Changes,' photocopy typescript of Heatwave Draft, 15 June 1992, with holograph revisions, nd 18 6 Simon's Return Draft, photocopy typescript, 18 June 1992 18 7 Pre Production Draft, photocopy typescript, 19 June 1992 18 8 Reading Draft, photocopy typescript with holograph revisions, 13 Aug. 1992 18 9 Final Draft, photocopy typescript with holograph revisions, 28 Aug. 1992, with photocopy typescript insert pages, 25 Sept.-18 Dec. 19 1-2 'Rapture Film Rejected Scenes,' photocopy and original typescript draft pages and notes, 3-14 Aug., nd. With memo from Hare to Howard Davies, nd 19 3 French translation by Jean-Marie Besset, photocopy typescript, bound, nd Published Text 19 4 Photocopy page proofs with holograph revisions, nd 19 5 Photocopy page proofs, with holograph revisions, nd. With notes from Anna Pinter and Frank Pike of Faber and Faber, nd, and photocopy dust jacket design, nd 19 6 Shop! --Unproduced teleplay. Typescript, nd, with additional holograph and typescript draft pages and notes, nd Slag --Play script 19 7 Photocopy typescript with holograph revisions, nd 19 8 Photocopy typescript, bound, nd 19 9 Rehearsal Script [director's copy] Photocopy typescript with holograph revisions and production notations, bound, nd 20 1 French adaptation by Gabriel Arout, photocopy typescript, bound, nd Somewhere in England--Screenplay based upon the book by Reg Gadney 20 2-3 First Draft, typescript, with drawings of sets, nd 20 4-5 First Draft, photocopy typescript, nd 20 6 Second Draft, photocopy typescript with holograph revisions, nd. With typescript script notes, nd; and letter from Rassegna Internazionale del Teatri Stabili, 20 April 1972 20 7 Photocopy typescript, bound, nd 21 1 'First Draft Cuts,' 'Cuts Second Draft,' research material, photocopy typescript draft pages with holograph revisions, drawings, and typescript notes, including script notes by Gadney, 29 Jan. 1972, nd 21 2 'Rejected Scenes,' typescript and holograph draft pages, nd Stella--Unproduced screenplay 21 3 Typescript synopses, 5 Jan. 1980, nd. With letter from Stephen _____ to Hare, 3 Jan. 1980 21 4-6 Typescript draft pages and notes, with holograph revisions, nd 21 7 Typescript, with holograph revisions, nd 21 8 Photocopy typescript with holograph revisions, bound, nd. With typescript notes, nd 22 1 First Draft, photocopy typescript with holograph revisions, nd Strapless--Screenplay 22 2 Photocopy typescript with holograph revisions, nd 22 3-4 'First Draft--Top Copy,' photocopy of typescript with holograph revisions, Jan. 1988. With notebook of holograph notes, nd; photocopy typescript revision pages with holograph revisions, 14, 22 July, 8 Aug. 1988; British Telecom brochure, [1983]; unsigned nudity contract addendum, nd; provisional one-line schedule, 3 June 1988; and typescript cast list, 30 Sept. 1988 22 5 Photocopy typescript, bound, Feb. 1988. With note from Alex Bew of Granada to Hare, nd 22 6 Photocopy typescript with some holograph revisions, bound, nd 22 7 'David's Copy,' Photocopy typescript, 23 May 1988, with holograph revisions, nd 23 1 'Rejected Scenes,' original and photocopy typescript pages, with holograph revisions, nd 23 2 'Proofing Copy,' 'Combined Dialogue and Continuity Post Production Release Script,' photocopy typescript, bound, 22 March 1989 37 3 Production Folder, containing casting, filming, research, crew, location, script, publicity, and agreement material, 1988 (housed in larger box at end of collection) 23 3 Typescript discussion on making the film, nd Teeth 'n' Smiles Playscript 23 4 Photocopy of typescript with some holograph revisions, nd 23 5 First Draft, mimeograph of typescript with holograph revisions, nd 23 6-7 Typescript, with some holograph corrections, nd. With bound photocopy, nd, and holograph notes, nd 23 8-10 Author's First Draft, mimeograph of typescript with some holograph revisions, 15 Dec. 1975. Four copies, two bound 24 1 Author's First Draft (4 of 4) 24 2 Photocopy typescript with holograph revisions, nd 24 3 'Dave's Copy,' composite photocopy and original typescript, with holograph revisions, bound, nd 24 4 Photocopy typescript, bound, nd. With letter from Sheila of Michael Codron Ltd. to Hare, 26 Sept. 1977 24 5 Typescript and holograph notes and draft pages, nd. With rail express parcel receipt, nd. On some versos: typescript Fanshen fragments, nd Screenplay 24 6 Final Draft, typescript with some holograph revisions, 8 April 1976 24 7 Final Draft, mimeograph typescript, 8 April 1976. With letter from Simon Relph of Skreba Films to Hare, 30 Dec. 1981 24 8 'First Draft,' incomplete typescript with holograph notes and revisions, nd 24 9 Mimeograph of typescript with some holograph corrections, with additional holograph notes, nd 24 10 'Teeth Film--My Copy,' typescript and holograph script notes, 29 Sept. 1976, 29 Dec., nd Teleplay 25 1 Mimeograph of typescript with holograph revisions, nd 25 2 First Draft by Geoff Baere, photocopy of typescript with holograph revisions, nd. With letter from Michael of the British Broadcasting Corporation to Hare, nd Transit of Venus--Unproduced screenplay based on the book by Shirley Hazzard 25 3 Clippings, agreement, and holograph notes, 1980-81 The Unseen Enemy--Unproduced screenplay based on the novel Il Fascistibile by Giulio Castelli 25 4 Typescript and holograph notes, nd 25 5 Typescript with holograph revisions, nd 25 6-7 Mimeograph typescript, nd. Two copies, one incomplete 25 8 'First Draft Work,' discarded original and carbon copy typescript pages, some with holograph revisions, nd Wetherby [No, Go On, Say] [O! Solitude] [In Harm's Way]--Screenplay 25 9 Photocopy of typescript with holograph corrections, nd 25 10 'Drafts and First Finished,' typescript draft, nd. With typescript draft fragments and character analyses, nd 25 11 'Revised,' photocopy typescript with holograph notes and revisions, bound, nd 26 1 Photocopy typescript, bound, nd 26 2 Photocopy typescript, with some holograph revisions, bound, nd 26 3-4 Photocopy typescript, bound, nd. Two copies 26 5 Photocopy typescript, 4 May 1984, with holograph revisions and typescript insert pages, 29 May and 9 June 1984. With shot list, list of voice tracks required, call sheet, and other production material, 17 Sept. 1984, nd 26 6 'Rejected Scenes,' original and photocopy typescript draft pages and notes, nd 26 7 Memos from Simon Relph and Sally Jenkins, 2 May 1984, 13 July 1984 26 8-9 'Post Production Script,' photocopy typescript, nd 26 10 Press Kit, 1985 What Happened to Blake--Playscript 27 1 Mimeograph typescript, nd Wrecked Eggs--Playscript (see also The Bay at Nice) 27 2 Photocopy typescript with holograph revisions, nd 27 3 Photocopy typescript with holograph revisions, nd 27 4 'Rehearsal Script,' 'Control Script,' original and photocopy typescript, with holograph revisions, nd 27 5 'The Second Half,' original and photocopy typescript notes and draft pages with holograph revisions, nd Writing Left-Handed--Book 27 6 Incomplete composite of original and photocopy typescripts and photocopies of printed texts, with holograph revisions, nd 27 7 Composite of original printout and photocopy of printout with holograph revisions, with additional holograph revisions, nd. With typescript list of corrections, nd 27 8 'Essays, Lectures, Etc.,' Original and photocopy typescripts and clippings of published articles and reviews by Hare; printout fragment with holograph revisions of Writing-Left Handed; typescript outline of proposed chapters for Writing Left-Handed, 1980-81, 1986, May 1987, 1989, May 1991 27 9 'Articles, Speeches, etc.,' Typescript and printed Diary from the Spectator, 27 Feb., 5 March, 12 March 1988; typescript drafts with holograph revisions of Hare's essay An Unacceptable Form: On The Knife, typescript notes reviewing Kathleen Tynan's biography of Kenneth Tynan, typescript essay on Thatcher, typescripts and corrected proofs of The Awkward Squad: About Joint Stock, typescript of An Introduction to the Asian Plays, typescript fragment of Sailing Downward: On <emph render="italic">Pravda</emph>, early typescript of Writers and the Cinema: On <emph render="italic">Wetherby</emph>, holograph notes about Pravda, a birthday photograph, and clippings, nd 27 10 'Polemic,' typescript reviews and essays, some with holograph revisions, and notes about theatre, the Arts Council, and actors' agents. With typescript resumes, nd 28 1 'Lectures,' typescripts with holograph revisions of talks given by Hare, nd, including “The Awkward Squad: About Joint Stock,” a lecture at Notre Dame, and others. With letter from Steve Rogers of Midland Group Nottingham to Hare, 30 Oct. 1980. 28 2 'Old Notes,' sonnet written with a friend as a poetry magazine hoax, nd; unidentified works, nd; and typescript list of Hare's plays, [1980] 28 3 'Big Play,' untitled fragments of early play and teleplay, nd. With tax slip, 1972 28 4-6 Unidentified Works, typescript fragments and notes, nd Series II. Collaborations, 1971-87, nd, 1.5 boxes

At various times during his career, David Hare has collaborated with Nick Bicât, Tony Bicât, Howard Brenton, Ken Campbell, Brian Clark, David Edgar, Francis Fuchs, Reg Gadney, Trevor Griffiths, Steven Poliakoff, Tim Rose Price, Hugh Stoddart, and Snoo Wilson. Of these, the best known are two stage plays written with Howard Brenton, Brassneck (1973) and Pravda (1985). Brassneck materials consist of various scripts, a rehearsal notebook, and production material for the teleplay; a German translation; and a copy of the published text in Plays and Players. Among Pravda materials are drafts, photographs of the German production, an adaptation in French and one for radio, and rejected scenes from a proposed screenplay. Notes and correspondence with Reg Gadney accompany a typescript of a proposed screenplay titled The Crumb Bun. The Portable Theatre project England's Ireland (1972), cowritten with six other playwrights, is represented by typescripts as well as a production folder that is housed with Portable Theatre material and records efforts to schedule a tour of the controversial play. The Knife (1987) was an opera with music written by Nick Bicât and lyrics by Tim Rose Price and starring Mandy Patinkin as a man who undergoes a sex change operation. Many draft versions, along with such production material as rehearsal notes and a comparison to Conundrum, are present. Typescripts of Deeds (1978), written with Brenton, Griffiths, and Campbell, and Inside Out (1968), an adaptation of Franz Kafka's diaries cowritten by Tony Bicât, are present as well. Manuscripts of all collaborations are arranged alphabetically by title.

Brassneck (with Howard Brenton) Playscript 28 7 Mimeograph typescript with holograph revisions, nd Teleplay 28 8 Photocopy typescript with holograph revisions, nd 28 9 BBC Rehearsal Script, mimeograph typescript, 1975 28 10-11 Camera Script, mimeograph typescript, Feb. 1975 28 12 Rehearsal Notebook, nd. With some notes on Knuckle and The Pleasure Principle, nd 28 13 'Production Notes,' holograph and typescript rehearsal notes and schedules, cast lists, and other production material, nd. With letter from Bob Ringwood to Hare, nd 28 14 German translation by Gustav K. Kemperdick, mimeograph typescript, bound, 1974 Published Text 28 15 Published text, in Plays and Players, vol. 21, no. 1, issue no. 241, Oct. 1973 28 16 Correspondence re. publication, Oct. 1973 The Crumb Bun (with Reg Gadney)--Screenplay 29 1 Typescript and holograph notes, nd. With letter from Reg Gadney to Hare, nd, and letter from Hare to Gadney, nd; notes on Knuckle; and letter from Charles Davy of The Observer to Walter Stock [authors of England's Ireland], 13 Oct. 1972 29 2 Typescript with holograph corrections, nd, and typescript notes, 23 March 1973.With letters from Reg Gadney to Hare, 2 April, 17 April, 27 April, and 14 May 1973 Deeds (with Howard Brenton, Trevor Griffiths, and Ken Campbell)--Playscript 29 3 Mimeograph typescript, with some holograph revisions, nd England's Ireland [ Northern Ireland] (with Tony Bicât, Howard Brenton, Brian Clark, David Edgar, Francis Fuchs, and Snoo Wilson)-- Playscript 29 4 Typescript with holograph notes and revisions, nd 29 5 Mimeograph of typescript with holograph notes [by Howard Brenton], nd Inside Out (with Tony Bicât)--Playscript 29 6 Mimeograph typescript, with holograph revisions, nd The Knife (book for opera by Nick Bicât, with lyrics by Tim Rose-Price) 29 7 'Version B Post Presentation Script,' photocopy typescript, bound, 8 July 1986, with typescript inserts and page of holograph notes, nd 29 8-9 'Version C,' photocopy typescript, bound, 14 Nov. 1986 29 10 'Version C,' 'David's Script,' photocopy typescript, with some holograph revisions, bound, 14 Nov. 1986 29 11 'Version D,' photocopy of typescript with holograph revisions, bound, 12 Feb. 1987 30 1 'Version D,' photocopy of typescript with extensive holograph revisions, bound, 6 March 1987. With letter from Serge Mogilat of the New York Shakespeare Festival to Hare, 28 April 1987 30 2 'Nick's Opera,' Production material, including typescript and holograph notes, typescript notes by Mandy Patinkin, typescript rehearsal notes, printout typescript comparison to Conundrum, holograph and typescript draft pages, and typescript list of problems, March 1987, nd 30 3 Lay-By (with Howard Brenton, Brian Clark, Trevor Griffiths, Steven Poliakoff, Hugh Stoddart, and Snoo Wilson)--Text and review published in Plays and Players, vol. 19, no. 2, issue no. 218, Nov. 1971 Pravda (with Howard Brenton) Playscript 30 4 First Draft, photocopy typescript, bound, 3 Dec. 1984 30 5 'Final Version,' photocopy typescript with holograph revisions, bound, nd 30 6 Photographs of German production, nd. With note from Tom Erhardt to Hare, nd 30 7 French adaptation by Guy Dumur, printout typescript, bound, [1986] 30 8 Radio adaptation by Richard Worley, mimeograph typescript with holograph revisions, nd Filmscript 30 9 'Film--Rejected Scenes,' typescript pages with holograph revisions, nd Series III. Directing Activities, ca. 1969-86, nd, 1 box

In addition to directing his own plays, Hare has directed some of the first productions of plays by his contemporaries. Included in the collection are a typescript of Howard Brenton's Christie in Love (1969); a rehearsal script and production schedule and notes for Tony Bicât's Devil's Island (1977); a typescript, cast list, rehearsal notes, and correspondence relating to Trevor Griffith's The Party (1974); and a typescript and production file for Snoo Wilson's The Pleasure Principle (1973). Holograph notes for a production of The Provoked Wife (1973), and a typescript of Total Eclipse (1981) by Christopher Hampton are also present, as are typescripts, correspondence, production schedules, and a seat availability list for Howard Brenton's Weapons of Happiness (1976). Hare directed a production of King Lear at the National Theatre in 1986, and production material from that show, such as correspondence regarding Anthony Hopkins' performance and other matters, and a typescript interview, are also part of the series.

31 1 Christie in Love (by Howard Brenton) [1969, 1970]--Playscript, typescript, nd Devil's Island (by Tony Bicât) [1977]--Playscript 31 2 Rehearsal Script, photocopy typescript with holograph corrections, nd. With typescript and holograph notes, nd; typescript summary, 22 Feb. 1976; and letter from Stephen Spender, 30 July 1976 31 3 Photocopy typescript with holograph revisions, nd. With production schedule, contact list, and notes, nd 31 4 King Lear (by William Shakespeare) [1986]--Playscript, Production material, including typescript and holograph notes, correspondence, cast list, and interview, Sept.-Dec. 1986, nd. With signed photograph of John Cleese, nd The Party (by Trevor Griffiths) [1974]--Playscript 31 5 Photocopy and original typescript, with holograph revisions and inserts by [Trevor Griffiths], bound, nd. With cast list, Dec. 1973, and notes from Hare to Robyn, Griffiths to Rob[y]n, and Griffiths to Hare, nd 31 6 Production File, rehearsal notes, rehearsal calls, and rewrite pages, Sept-Nov. 1974, nd. With letter from Griffiths to Hare, nd, and letter from Nick [Bicât] to Hare, nd The Pleasure Principle (by Snoo Wilson)--Playscript 31 7 Photocopy typescript with holograph revisions by [Snoo Wilson], bound, nd 31 8 Production File, typescript and holograph notes, correspondence, typescript sound and lighting notes, lists of proposed season productions, audition notes, rehearsal notes, and rehearsal schedule, Oct. 1973, nd 31 9 The Provoked Wife, holograph notes, nd 31 10 Total Eclipse (by Christopher Hampton) [ca. 1981]--Playscript, mimeograph typescript with holograph revisions, bound, nd Weapons of Happiness (by Howard Brenton) Playscript [1976]-- 31 11 Mimeograph typescript with holograph revisions, 24 May 1975 32 1 Mimeograph typescript with holograph notes and revisions, nd 32 2 Photocopy typescript with few holograph revisions, bound, nd. With typescript notes, nd. On some versos of notes: mimeograph typescript Fanshen pages, nd 32 3 Photocopy typescript with holograph revisions, bound, nd. With correspondence, notes, rewrite pages, production schedules, and seat availability list, May, June, Nov. 1976 Series IV. Theatre Group Activities, 1965, 1971-88, nd, .5 box

Hare is also important in modern British theatre for his involvement with fringe theatres that produced the early works of many contemporary playwrights. From his association with the Portable Theatre Company come a press release, clippings, a program, and correspondence connected with its production of England's Ireland, particularly with attempts to arrange a tour schedule. A folder labeled The Final Days contains Portable Theatre's application for financial assistance and related correspondence. Minutes of board meetings, applications for financial assistance, a list of actors, and correspondence from the Joint Stock Theatre Group are present. Applications for the post of Artistic Director at the Royal Court Theatre in 1988 and pertinent correspondence complete the series.

Portable Theatre Group 32 4 England's Ireland receipts, correspondence, press release, scene breakdown, costume chart, actor Tim Curry's resume and photograph, tour schedules, clippings, and program, 1972 32 5 'The Final Days,' mimeograph application for financial assistance and related correspondence, 1971-73. With mimeograph typescript summary of Harold Pinter's works, for Mummers symposium, Nov. 1965 32 6-7 Joint Stock Theatre Group, minutes of board meetings, applications for financial assistance, and correspondence, 1974-76. With typescript Timon idea summary by Tony Bicât and typescript list of Joint Stock actors, nd. On some versos: typescript pages of Devil's Island, nd 32 8 Royal Court Theatre 'Artistic Directors 1988,' applications for the post of Artistic Director and related correspondence, March-May 1988. With box office receipts, October. Series V. Career and Personal, 1968-92, nd, 4 boxes

In 1988, Hare, Margaret Drabble, Antonia Fraser, Michael Holroyd, John Mortimer, Harold Pinter, Salman Rushdie, and others met as what came to be called the June 20 Group to discuss ways to reestablish the intellectual basis of the political left. Summary notes on that meeting, along with a cover letter from Pinter to Hare, are present. Hare's Censorship file contains letters about his essay Ah Mischief, along with a copy of that essay, and correspondence with the BBC regarding the teleplays Scum and Solid Geometry. Hare's clipping files consist mainly of articles and reviews pertaining to Blair Brown, The Secret Rapture, its critic Frank Rich, and Writing Left-Handed.

Hare's chronological arrangement of his correspondence has been maintained, and included are both his personal correspondence and that relating to his work. Noteworthy correspondents include David Aukin; Tony Bicât; Diana Boddington; Nell Campbell; Frances Conroy; Judi Dench; Pennie Downie; David Edgar; Richard Eyre; publisher Frank Pike at Faber and Faber; Reg Gadney; William Gaskill; Jane Greenwood; Trevor Griffiths; Peter Hall and others at the National Theatre; Christopher Hampton; Josephine Hart; agents Margaret “Peggy” Ramsay and Tom Erhardt at Margaret Ramsay Ltd.; Hare's ex-wife, Margaret Matheson; accountants Midgley and Snelling; John Mortimer; Kate Nelligan; John Osborne; Joseph Papp; Patsy Pollock; Charlotte Rampling; Philip Roth; Salman Rushdie; Roshan Seth; Wallace Shawn; Max Stafford-Clark and others from the Royal Court Theatre; Tom Stoppard; Anna Trojanowski; Irving Wardle; Michael Weller; Caroline Wilson; and Snoo Wilson. Some letters are accompanied by clippings, photographs, or brochures. A separate folder of correspondence with William Hinton about Fanshen has been retained. Hare was very close to Peggy Ramsay, and in addition to her letters to him discussing his work and other playwrights, there are condolences he received after her death in 1991 and letters from Simon Callow and solicitors Harbottle & Lewis discussing matters of her estate. Notes that Hare made for her funeral service accompany some of Ramsay's favorite quotations, sent to Hare by Callow. Along with clippings housed separately in the same series, Hare's second letter to Rich, an exchange of letters with Richard Smith of Newsweek, and letters of support from fans, actors, playwrights, and others associated with the theatre document Hare's well-publicized debate with Frank Rich about Rich's power and responsibility as a critic. Hare's rejected essay for The Bedside Guardian criticizing the press accompanies The Guardian editor Bill Webb's letters to Hare. The Guardian did publish an article by Hare discussing theatre critics, and letters he received in response include one from Michael Billington. Filed in the general correspondence, letters from Colin Ludlow and Gordon House of the BBC discuss cutting offensive parts of Knuckle and The Secret Rapture. A complete index of correspondents in the Hare collection is located at the end of this inventory.

Theatre programs and leaflets include those for Hare's own plays Fanshen, Murmuring Judges, and Pravda, as well as Arthur Miller's A View from the Bridge, Peter Gill's Mean Tears, Alan Ayckbourn's A Small Family Business, and Heathcote Williams' The Local Stigmatic. A program from a celebrity cricket match, a booklet on Pebble Mill programs; a souvenir program from the first production at the Lancing Theatre of Lancing College, and a throwaway for the National Theatre's touring production of Hamlet are also present.

Hare's English papers from Cambridge University date from 1968.

32 9 June 20 Group 'Edited version of meeting of June 20th Group,' typescript, nd. With letter from Harold Pinter to Hare, 12 Aug. 1988 32 10 'Censorship' file, correspondence re. Ah Mischief, Scum, and Solid Geometry, 1978-1981. With mimeograph typescripts with holograph revisions of Ah Mischief, nd; and untitled typescript with holograph revisions, nd Clippings 33 1 Reviews and articles, primarily about Hare, Blair Brown, The Secret Rapture, Frank Rich, and Vanessa Redgrave, 1989-90 33 2 Reviews, primarily of Writing Left-Handed, 1990-91 Correspondence, 1972-92 33 3-5 'Correspondence 197[2]-1992' 33 6 'Private Correspondence 1979-1982' 33 7-8 'Private Correspondence 1983' 34 1 'Correspondence 1984' 34 2 'Correspondence 1985' 34 3 Correspondence 1986 34 4-5 'Correspondence 1987/88' 34 6 'Correspondence 19[89]-1991' (1 of 3) 35 1-2 'Correspondence 19[89]-1991' 35 3-4 'Correspondence 1992' 35 5 'Hinton/Hare correspondence,' 1975-76 35 6 Theatre programs and leaflets, nd 35 7 'English Tripos,' Cambridge University exam papers, 1968 (1 of 4) 36 1-3 'English Tripos,' Cambridge University exam papers, 1968 Series VI. Works by Others, 1993, nd .5 box

Typescrpts of works by other authors, in addition to those directed by Hare, are arranged alphabetically by author. Among them are the screenplays Skin Flicker by Howard Brenton and The Serpent's Kiss by Tim Rose-Price; a playscript, Castle of the Star, by Colin Haydn Evans; and The Fever, a performance piece by actor and playwright Wallace Shawn.

36 4 Brenton, Howard. Skin Flicker--Screenplay, mimeograph typescript, bound, nd 36 5-6 Evans, Colin Haydn. Castle of the Star--Playscript, photocopy of typescript with holograph revisions, nd. With letter from Andy of Young Indy Series II Ltd., nd 36 7 Rose-Price, Tim. The Serpent's Kiss--Screenplay, printout typescript, 1993. With letter from Price to Hare, 24 March 1993 36 8 Shawn, Wallace. The Fever--Performance piece, photocopy typescript, bound, nd. With letter from Shawn to Hare, nd David Hare Papers--Index of Correspondents

Each folder contains one letter written by that correspondent to David Hare unless otherwise indicated in parentheses. Organizational affiliations are also indicated in parentheses.

Alexander, Bill, 1948- (Royal Shakespeare Company)--34.2 Allberry, William--34.6 Almeida Theatre Company Ltd. (Jonathan Kent and Ian McDiarmid)--33.5, 35.3 Ambrose, David Edwin, 1943- --35.3 American Cinematheque (Dennis Bartok)--35.3 Anderson, Catherine M.--35.1 Anderson, Sarah Pia (to Matthew Evans)--32.8 Ansorge, Peter (British Broadcasting Corporation)--33.3 (2), 33.7 Antaeus (Daniel Halpern)--35.1 Apex Trust (Lynne Wallis)--33.4 Armfield, Neil--33.6 Armstrong, Karen--34.2 Arts Council of Great Britain (Ian Brown, Anthony Field, William Rees-Mogg) (2 to Hare, 3 to Tony Bicât, and 1 to Nicki Gaida)--32.5 (3), 34.1 (1), 35.2 (2) Arts for Nicaragua Fund (Charlotte Cornwell)--35.1 Ashcroft, Peggy, Dame (Motley Theatre Design Course)--33.4 Ashenden, Robin--35.1 Association for Spina Bifida and Hydrocephalus (Sarah Pracey)--34.5 Aukin, David (Hampstead Theatre, Haymarket Theatre, Joint Stock Theatre Group, Oval House) (6 to Hare, 1 to N. V. Linklater of the Arts Council of Great Britain)--32.5, 32.6, 33.4, 33.7, 34.1, 35.1 Ayckbourn, Alan, 1939- (re. Peggy Ramsay)--34.5, 34.6 Azenberg, Emanuel “Manny”--35.2 BP Arts Journalism Awards--34.5 Bachmann, Lawrence P. (4 to Hare, 1 to and 2 from Peggy Ramsay)--33.5, 34.4, 34.5, 35.2 Baker, Amanda (The Get Real Theatre Company)--35.3 (2) Barker, Howard--33.7 Bartholomew, Ian (also to Howard Brenton)--34.2 Beech, Julian--13.3 Berryman, Mark--34.2 Bertish, Suzanne--31.4, 34.2, 34.5 Bertelli, Gian Carlo--33.8, 34.2 Besset, Jean-Marie--34.6 Bexhill College (Chris King (2), Tony Lewis (1))--35.3 (2), 35.4 Bicât, Nick (1 from Frannie Conroy, 1 from [Hare], 1 to Hare)--31.6, 33.4 34.4 Bicât, Tony (8 to Hare, 1 to Peter Evans)--32.5, 32.7, 33.3, 33.4, 33.8, 34.3 Bickerton, Jill--33.7 Billington, Michael, 1939- --35.2 Binyon, Michael, 1944- --34.1 Birmingham International Film & Television Festival (Roger Shannon)--33.5 Birmingham Readers & Writers Festival (Kate Organ)--35.1 Blackeyes (British Broadcasting Corporation TV Film Studios)--33.4 Blair, Isla--35.1 Blakemore, Michael (1 from Michael Codron, 1 to Hare)--33.3, 34.5 Bloom, Michael--33.8 Blythe, Peter--34.2 Boddington, Diana--33.3, 33.7, 34.2, 34.5, 35.1 Bodry-Sanders, Penelope, 1944- --33.3, 33.4 (2) Bond, Edward (1 to Hare, 1 to Matthew Evans)--32.8, 34.6 Boorman, John, 1933- --35.3 Boyle, Danny (Royal Court Theatre)--34.1, 34.2 Brackenbry, Robert (?)--34.2 Bragg, Melvyn, 1939- ( The South Bank Show, London Weekend Television, ltd.)--34.1, 35.3 Brenton, Howard, 1942- --32.3, 32.7, 33.4, 33.5, 34.1, 34.2 (2), 35.2 (2), 35.4 Bridges, Alan, 1927- --33.3 British Broadcasting Corporation Ann_____--8.7 Pat Dyer--37.1 Roger Gregory (2 to Hare, 1 from Hare, 1 from Elaine Scarratt)--3.4, 3.9 (3) Carol Parks--7.6 (2) David Rose--3.9 Dawn Robertson--3.9 (2) Ian Trethowan--32.10 (3) John Tydeman--34.4 British Broadcasting Corporation. Radio Drama John Tydeman--35.3 Penny Gold--7.2 British Broadcasting Corporation. Network Production Centre (Phil Sidey)--32.10 British Broadcasting Corporation. Television Service Michael--25.2 Colin Ludlow--34.5 (2) Christopher Hale ( One Pair of Eyes)--33.7 Brian Wenham--33.6 BBC World Service (Gordon House)--17.11 British Drama League (with anonymous prank cover letter)--34.1 British Screen Finance Ltd. (Rowena Buckeridge to Patrick Cassavetti)--10.4 British Telecom (D. P. Curtis)--35.2 Broughton, Pip (to Matthew Evans)--32.8 Brown, Frank--33.7 Brown, Paul--34.6 Bruce, Linda--34.4 Bryden, Bill, 1942- (to Matthew Evans)--32.8 Buist, Mike (from Hare)--34.2 Busby, Anne (to Nick Starr)--33.5 Byrd, Doyne--35.1 (2) C., Julie (2 to Hare, 1 to Louis Malle)--35.1, 35.2, 35.3 C., Michael--33.6 C., Peter--33.4 Callow, Simon, 1949- (5 to and 1 from Hare)--33.4, 33.5, 35.2, 35.3 (3) Campbell, J.--33.5 Campbell, Nell (Laura Campbell) (Little Nell)--33.3, 33.6 (3), 34.1 Campling, Christopher Russell, Very Rev.--14.1, 34.6 Carnegie-Mellon University (Elisabeth Orion re. Elizabeth Himelstein)--35.1 Carolyn Jardine Publicity (Carolyn Jardine)--34.6 Carter, Loli--33.7 Casarotto Ramsay Ltd. (to Maggie Hanbury from Tracey Scoffield of Faber and Faber)--35.4 Cast of Plenty (New York) (also to Joseph Papp)--33.7 Chambers, David--33.3 Chance, William--34.2 Chandler, Paul--31.8 Channel Four (Great Britain) Susan Binney to Simon Relph--35.2 Michael Ian Grade, 1943- --35.3 Melanie Lindsell--35.3 Chapman, Penny (?) (Adelaide Festival of Arts Inc.)--9.3 Charter 88 (Organization) (Jungman, Ann)--35.2 Chelsea Arts Club (London, England) (Mavis Cheek)--33.5 Chelsom, Peter--34.5 Church of England. General Synod (John Miles)--34.4 Church of the Transfiguration (New York, N.Y.) (Anthony Newfield)--35.3 Church, Michael (Times Educational Supplement)--33.7 Churchill, Caryl (1 to and 1 from Matthew Evans)--34.6 Cine Cymru Productions (Karl Francis to Peggy Ramsay)--33.3 Cineplex Odeon Films (to Patrick Cassavetti)--11.9 City of London School (_____ Bass from Hare, Bruce Farthing, Martin Hammond, John Maurice (2), Neel Sachder of the English Literature Society)--33.3, 34.4, 34.5, 35.1 (2), 35.3 Clark, Anthony (to Matthew Evans)--32.8 Clarke, Nobby and Lynne--34.5 Clein and Feldman Inc. (Sheila Barr)--34.5 Clerton, Thelma (?)--33.7 Clissold, Roger (Thorndike Theatre)--34.6 Codron, Michael (1 to Michael Blakemore)--33.3, 33.6, 34.2 Cohen, Buzz--33.4 Cohn, Sam--33.4, 33.5, 34.6 Cole, Harriet--34.2 Conroy, Frances Frannie (6 to Hare, 1 to Nick Bicât)--33.3, 33.4 (2), 34.6 (3), 35.3 Copson, Simon--33.7 Corbet, Sandra--33.3 Corbishley, Hanna--35.1 Cornwell, Charlotte--34.2 (2), 34.4 Cornwell, David-see Le Carré, John, 1931- Corporation for Public Broadcasting (Don Marbury)--15.6 Costa, Joseph--34.2 Covington, Julie (?)--34.4, 34.5 Cowley, Graham (13 to Hare, 1 to Arts Council of Great Britain)--32.6, 32.7; see also Royal Court Theatre Coyote, Peter--33.4 (2), 35.1 Cratchley, John (Hertfordshire College of Higher Education)--33.8 Croft, Stephen--31.6 Cross, Pippa (?)--34.2 Crossthwaite, Ivor, Mr. and Mrs.--35.1 (2) Croucher, Brian--33.3 Cuervo, Alma--33.4 Cullingham, Mark--33.8 Culver, Stephanie--35.1 Curtis, Simon (British Broadcasting Corporation, Royal Court Theatre)--34.6, 35.1 Cushman, Robert (The Observer)(from Peggy Ramsay)--33.7 Dance, Charles--35.2 Daniel, Estelle--33.7 Daniele, Graciela--33.4 D'Arcy, Eamon (from Christine Dunstan)--9.3 Davidson, Martin P. (Martin Peter), 1960- ( Late Show)--33.5 Davies, Howard--19.1 Davies, Oliver Ford--33.7, 35.1, 35.2 Davis, Allan--33.3 Davis, Paul (Paul Davis Studio)--34.6 De Jongh, Nicholas, 1944- --34.1, 35.3 De la Tour, Andy--33.5, 34.2; see also Nicaragua Solidarity Campaign Dellheim, Charles--35.1 Dempsey, Mike--34.6, 35.3, 37.1 Dench, Judi Jude (?)--33.7 (2), 34.2, 34.4, 35.1 (2) Dewhurst, Keith, 1931- and Alexandra (Bilgola Beach Productions Pty Ltd.)--33.3, 34.1 DiGaetani, John Louis, 1943- (Hofstra University)--33.3 Doelger, Frank (from Hare)--33.5 Donesky, Finlay--34.6 Dovercourt at St. John's Wood (R. K. Irani)--34.5 Downie, Penny Pen--33.3 (2), 33.6, 33.7 (6), 34.2 Dramatists' Club (Sheila Saville)--34.4 The Dryden Society (Trinity College, Cambridge) (Anthony Wilson)--34.4 Dunn, Tony--34.1 Durham, Tom--34.6 Eatwell, Sue (from Clive E. Goodwin)--32.4 Edgar, David--33.5, 34.2 (2), 35.1 (2) Edinburgh Book Festival 1987 (Jenny Brown)--34.4 Edmondson, Eileen--33.7 Edward R. Pressman Film Corporation (Neal Weisman)--34.4; see also Pressman, Edward and Annie Edwards, Dick--33.5 Eisenberg, Deborah--33.3, 33.8; see also Shawn, Wallace Elizabeth II, Queen of Great Britain, 1926- (by Lord Chamberlain)--35.1 English Stage Company--see Royal Court Theatre Enigma Productions Ltd. (David Puttnam)--33.4, 33.8, 34.1 Erdman, Dennis--34.2 Erhardt, Tom--see Margaret Ramsay Ltd. Esquire, inc. Lee Eisenberg, 1946- --35.2 Lisa Bain (to Stephanie Tanner of Margaret Ramsay Ltd.)--34.4 Laura Marmor--34.4 Adam Moss (2)--34.4 Eszterhas, Joe (to Michael Ovitz of Creative Artists Agency)--34.6 Eurographica (Roland Pieraccini)--35.1 European Stage Company (Peter Casterton)--33.3 Evans, Lisa--33.7 Evans, Matthew--see Royal Court Theatre Evans, Peter (Portable Theatre) (1 from Jack Phipps of DALTA, 1 to and 2 from Susan Timothy of DALTA, 1 from Jenni R. Vaulkhard of Nottingham Playhouse)--32.4 Eyre, Richard, 1943- (National Theatre) (7 to and 2 from Hare)--10.3, 33.4, 33.6, 34.1 (3), 34.4, 35.2, 35.3 F., Ben (Pravda)--34.2 Faber and Faber Helen Alexander, Robert McCrum--33.7 Victoria Buxton--33.4 Anne Elletson--34.5 Matthew Evans--see Royal Court Theatre Frank Pike (9 to Hare, 1 to Micheline Steinberg of Margaret Ramsay Ltd.)--19.5, 33.4, 33.6, 33.7, 34.2 (4), 34.5, 34.6 Anna Pinter--19.5 Tracey Scoffield (2 to Hare, 1 to Maggie Hanbury of Casarotto Ramsay Ltd.)--35.2, 35.4 (2) Daphne Tagg (1 to and 1 from Hare)--10.3 Fairclough, Angela--34.2 Farhi, Nicole (1 from Diana __, 1 from Anna Trojanowski, 1 to unidentified editor)--33.5, 35.4 Fauzy, Lena--33.5 Festival internazionale del film di Locarno (Gian Carlo Bertelli)--33.8, 34.2 Festival Mondial du Théâtre (Bogdan Jedrzejowski)--32.4 Financial Times (Michael Coveney)--33.8 5 & Dime Productions (Brenda Bazinet)--35.2 Foco Novo Theatre Company (Roland Rees)--33.7, 34.5 Forman, Denis, Sir, 1917- (3)--37.3 Forsyte Kerman Solicitors (Forsyte Kerman to Matthew Evans of Faber and Faber, 2 from Clare Druett to Giles de la Mare)--32.10 Foster, Miranda--34.2 Fowler, Molly--33.7 Fox, Edward, 1937- --34.4 Fox, James, 1939- --34.1 Franklin, Patricia--34.2 Fraser, Shelagh--33.6, 35.2 Frayn, Michael--33.3, 33.6, 34.6 Frayne, Francis--33.5 Frears, Stephen (and Anna)--21.3, 33.6, 33.8, 34.4 Freedman Broder & Angen (Debra Bonseigneur to and from Heather Gordon)--35.3, 35.4 Friels, Colin--33.4 Gadney, Reg, 1941- (1 to Caroline, 1 to David and Margaret Hare, 1 to Hare and Howard Brenton, 12 to and 1 from Hare)--7.6, 29.1 (2), 29.2 (4), 33.3, 33.5, 34.2 (2), 34.4 (4), 35.2 Gale, Steven H. (Missouri Southern State College)--33.7 Galloway, Jenny--34.2 Gambaccini, Paul, 1949- (1 to Hare, 1 from Ghita Cohen of the National Theatre)--34.6 Gaskill, William--14.7, 33.3 Gawtry, Lee Stephen (with 1 letter from Central School of Speech and Drama and 1 letter from Vivyan Ellacott of Kenneth More Theatre)--35.3 Gay Sweatshop (Richard Sandells)--34.4 Genard, Emily--33.7 Gerard, David--35.1 Gero, Frank--34.6 Giannachi, Gabriella--33.3 Glenister, John--33.6 Goldfarb, Michael--34.5 Goldie, Lawrence, Dr. (Society for the Medical Treatment of Victims of Torture)--35.3 Gonet, Stella--33.5, 35.1 Good Food Guide (Drew Smith)--34.1 Goodwin, John, 1921- --33.3 Goodwin, Roy--33.5 Gordon, Paul--35.2 Gowrie, Alexander Patrick Greysteil Ruthven, Earl of, 1939- (from Hare)--34.5 Grabowscy, Malgorzata and Andrzej--33.6 Grade, Michael Ian, 1943- --35.3 Granada Group PLC (Denis Forman, Sir, 1917-) (3)--37.7 Granada Film Productions Limited (Sue Austin to Hare and from Karen Jaehne of Spectrafilm, Mike Wooler to and from Hare)--37.3 Granada Television Network, Ltd. (Alex Bew)--22.5 Granada Television Network, Ltd. (Michael Cox)--33.6 Grange, Derek (?)--34.6 Grant, Steve (Time Out (London, England))--35.1 Granta (Bill Buford)--34.1 Great Britain. Board of Inland Revenue (V. Hicks)--35.2 Great Britain. Post Office. Telecommunications Management Services Dept.--33.3 Greatrex, Christina (?)--33.4 Greenpoint Films Ltd.--33.5 Patrick Cassavetti to Hare, to Margaret Ramsay, to Carolyn Wilson--34.4 Hare to Lord Gowrie, Judy Lee Oliva, Lord Ted Willis--35.1 Simon Relph to and from Susan Binney of Channel Four--35.2 Juanita Sturgis--34.5 Greenwood, Jane (and Ben, Sarah, and Kate)--33.4, 34.1, 34.2 (2), 35.3 Gregory, André--35.3 Greig, Virginia--34.2 Griffiths, Trevor (4 to Hare, 1 to Robyn __)--31.5 (2), 31.6, 33.3 (2), 33.6 Grove, Valerie--34.6, 35.2 Guardian, The (Nicholas de Jongh)--34.1, 35.3 Guardian, The (Patrick Ensor)--33.6 (2) Guardian, The (Bill Webb)--34.1, 34.2 (3) Guildhall School of Music and Drama (London, England) (Church, Tony)--33.7 Gunter, Mich & John--34.2 (3) Hachem, Samir--33.3, 35.1 Hackett, Jeanie (to Tom Erhardt of Margaret Ramsay Ltd.)--35.3 Hackett, John--35.1 Hain, Peter, 1950- --35.3 Halifax Building Society (D. Bennett, J. D. Birrell, D. A. Griffiths)--34.5 (2) Hall, Christopher--37.3 Hall, Peter, Sir, 1930- (The Peter Hall Company, National Theatre Triumph Productions Ltd.) (1 to Peggy Ramsay, 10 to and 1 from Hare, 1 from Ghita Cohen of the National Theatre)--13.3 (2), 31.4, 33.6 (2), 33.7, 33.8 (2), 34.2 (2), 34.6 (3) Halliday, Ruth (4)--37.3 Halliwell, David (Vardo Productions Limited)--35.2 (2) Halpern, Daniel, 1945- --see Antaeus Halsey, Katharine A. (re. Patrick Halsey)--34.6 Halsey, Patrick--34.2 Hampton, Christopher, 1946- (4 to Hare, 1 to Peggy Ramsay)--33.3, 33.6 (4) Hancox, Alan (Alan Hancox Fine Books)--34.6, 35.1 Harbin, Billy J., 1930- --33.8 Harbottle & Lewis (G. Laurence Harbottle) (3 to Hare, 1 to Simon Callow)--33.3 (2), 33.5, 35.4 Hardy, Cordelia--35.2 Hardy, Robert--34.5 Hare, Clifford and Agnes (A. C. and Nancy) (parents) (1 to Margaret Morris)--34.1, 34.2, 34.5 Hare, Darcy (daughter)--34.1, 34.4 (2) Hare, Jenny (with note from Agnes Hare to Margaret Morris, and from Morris to David Hare)--34.5 Hare, Joe (son)--34.1, 34.2, 33.7 Hare, Lewis (son)--33.7, 34.4 Hargreaves, Gill--35.1 Harris, Walter B.--33.7 Hart, Josephine (and Maurice Saatchi) (6 to Hare, 1 to Louis Malle)--1.8, 33.5 (3), 34.4, 35.3, 35.4 Hazzard, Shirley, 1931- --33.6 Hebb, Barbara--35.1 Hemming, Lindy--34.2 Henson, Nigel (son of Basil Henson)--35.1 Henson, Patricia--35.1 Herrmann, Ed--33.7, 34.1, 34.2 Heyman, Norma--35.1 Higgins, Clare--35.1 Hiley, Jim--34.2 Himelstein, Elizabeth--35.1 Hinton, William (3 to Hare, 1 to Tom Erhardt of Margaret Ramsay Ltd, 3 to and 1 from Peggy Ramsay)--35.5 (8) Holt, Michael--33.4 Hope, Polly--35.1 Hopkins, Anthony, 1937- --34.6 Horovitz, Israel--34.6 Howe, Tina--33.5 Hudson, D. (?)--33.7 Hughes, Dusty--34.1, 34.2 Hughes, Walter--34.5 Humberts Chartered Surveyors--34.2 Hunter, Al--33.3, 33.5 Hurt, Mary Beth--33.4 Hutchinson (Firm) (Paul Sidey to Stephanie Tanner of Margaret Ramsay Ltd.)--34.5 Hytner, Ben--33.4 (2), 35.1 Independent on Sunday (London, England) (Blake Morrison)--35.3 Index on Censorship (George Theiner)--33.8 (2) Institute of Contemporary Arts (London, England) (Lisa Appignanesi)--33.7 Institution of Professionals, Managers, and Specialists (Sarah Goodall)--33.4 International Creative Management Sam Cohn--33.4, 34.6 Dennis--34.1 Victoria G. Traube to Tom Erhardt of Margaret Ramsay Ltd., to Karen Levinson of Paul, Weiss, Rifkind, Wharton & Garrison, and to Vincent Malle)--17.9, 35.2 International Foundation for Training in the Arts (David MacCreedy)--35.2 Jamison, Jim--33.7 Jarre, Charlotte Rampling--see Rampling, Charlotte Jarrow 86 Trust Ltd. (Osborn, Simon)--34.5 (2) Jenkins, Peter--33.8 Jenkins, Sally-26.7 Jessop, D. J. (Jessop Associates)--33.5 Joint Council for the Welfare of Immigrants (Claude Moraes)--35.3 Joint Stock Theatre Group (13 from Graham Cowley to Hare, 1 from Cowley to Arts Council of Great Britain)--32.6, 32.7 Jones, Anthony (Fraser & Dunlop Scripts, Ltd.)--34.6 Jordan, Andy (Bristol Express Theatre Company)--33.7 Jordan, Neil--34.2 Justice (Society) (Elizabeth Aldwinckle)--35.3 Kayden, Jerold S.--34.2 (2) Keeler, Richard (and Jeremy Nichols, re. Patrick Halsey)--34.2 Kenny, Mary (1 to Hare and 1 from Ghita Cohen of National Theatre)--34.6 (2) Kenway, John--35.3 Kerley, William--35.3 Kielley, Philip--33.5 Kimber, M.--33.4 King, Kimball--34.6, 35.3 Kirby, Johanna--33.6 Knapp-Fishers (R. Fountaine to A. M. Tony Bicât)--32.5 Kolouchová, Eva--33.6, 33.7 Kurtz, Swoosie--34.6 Lambert, Verity (?)--4.11 Lapotaire, Jane--33.3 Lawson, Kenneth--33.4 Le Carré, John, 1931- --33.7 Leeb, Eugene--33.5 Leigh-Hunt, Barbara Bar--35.1 Lemmon, David (Pelham Cricket Year)--33.7 Levai, Rosemary Rosi (and Pierre, Paula, Jenny (Hare), and Jorgie (Hare))--33.3, 34.2 (3) Levy, B. S. (Burt S.)--33.7 Lewis, Juliette--33.5 Lloyd, Matthew (Hampstead Theatre)--33.7 Lloyd, Norman, 1914- --7.3 Lloyd, Peter--34.5 Loftus, Timothy--33.7 London International Literary Festival 1992 (Caroline Michel)--35.2 London Weekend Television, ltd. (“Plays on Stage”) (Michael Hallifax)--35.3; see also South Bank Show Lopata, James A.--33.3 Lord, Derek--35.3 Luke, Clare N.--35.3 McCallum, Martin--32.3 McCallum, Rick (1 to Sue Austin, 1 from Linda Gregory, 2 from Hare)--35.2, 27.3 McCann, Elizabeth Ireland--35.1 McDermott, Ed--33.7 Macdonald, Ross--see Millar, Kenneth, 1915- Macdonald, Sharman-35.1 McDonald, Sheena--34.6 McGrath, John, 1935- --34.1 McKellen, Ian--34.2 Mackintosh, Kenneth--34.2 MacLeod, Charlie--35.2 Malchiodi, Giovarmo (?)--34.5 Malle, Louis, 1932- (1 from Julie, 2 from Hare, 1 from Josephine Hart)-- 1.8, 2.7, 35.2 Margaret Ramsay Ltd. Mary Carter--37.1 Sally Emmett) (2 to Hare, 1 from Paul R. King of Pumpkin Players)-- 34.4 (2), 34.5 Tom Erhardt (1 from Marta Andras, 1 to Barry Braverman of Monthly Review, 3 to Hare, 1 from William Hinton, 1 from Genista McKintosh, 1 from Angela K. Röhl, 1 from Victoria Traube) --9.6, 17.9, 30.6, 34.5, 35.1, 35.2, 35.5 Margaret Ramsay--see Ramsay, Peggy Micheline Steinberg (1 to Hare, 1 from Frank Pike of Faber and Faber)--34.2 (2) Stephanie Tanner (4 to Hare, 1 from Paul Sidey of Century Publishing) --34.4, 34.5, 35.1, 37.3 Peggy Ramsay, Tom Erhardt, Diana, Clodagh, Felicity--33.6 Marks and Spencer--34.4 Marnier, Edward--35.1 Marowitz, Charles (Open Space Theatre)--32.4 (2) Marr, David--33.4, 34.2 Marshall Best Productions (Jonathan Best)--35.3 Martin, M.--33.4 Martin, Secker & Warburg--see Secker & Warburg Martonplay (Marta Andras to Tom Erhardt and to Peggy Ramsay)--35.1, 37.2 Marvin A. Krauss Assoc.--33.5 Matheson, Hugh--34.2, 35.1, 35.3 Matheson, Margaret M (1 also from Joe, Lewis, and Darcy Hare)--33.3, 33.6 (2), 34.5, 35.1 Matheson, Nina (ex-sister-in-law)--33.5 Mathias, Sean--33.7 Mathieson, Eric (National Theatre)--33.7 Matthie, Alexandra--34.2 Maughan, Sharon--33.5, 35.1 (3) Mayer, Gerda--33.7 Mazhar, Amal (Mrs.)--35.3 (2) Meacock, June--34.6 Methuen & Co. (Pamela Edwardes)--34.3 Methuen London Ltd. (Nicolas Hern)--34.2 Michael Codron Ltd. (Sheila)--24.4; see also Codron, Michael Midgley, Snelling & Co. Heather Gordon (1 to Debra Bonseigneur of Freedman, Broder and Angen; 18 to Hare)--33.4, 34.4 (13), 35.2 (2), 35.3 (2), 35.4 Stanley Vereker (3 to Hare)--34.2, 34.4 Midland Bank (Michael Ralls)--35.3 Midland Group (Nottingham, England) (Steve Rogers)--28.1 Millar, Kenneth, 1915- --33.3 Millian, Andra--35.3 Milne, Paula--35.1 Milton, Cherry--33.5 Milton, Sophie (Lucasfilm, Ltd.) (1 to and 3 from Hare)--34.6, 35.2 Minton, Roy, 1933- --34.1 Miramax Films (Trea Hoving to Rick McCallum of Young Indy Worldwide Productions, Susan Slonaker to McCallum)--35.2, 37.3 Miramax Films (Charles Layton)--33.4 Mitchell, Graham--34.2 Mitchell, Julian (?)--35.1 Moberly, Richard (South London Industrial Mission) (3 to Hare, 1 from Ghita Cohen of the National Theatre)--14.1 (2), 34.6 (2) Modern Painters (Karen Wright)--33.5, 35.2 Moffatt, John--34.4 Montagu, Helen (Helen Montagu Ltd.)--33.7 Moore, Charles, 1956- (The Spectator)--14.1 Morahan, Chris--13.3 Morgan, Cass--34.4 Moriarty, Paul--33.5 Morley, Sheridan, 1941- --34.6 Mornington Building Society--34.5 Morris, Margaret Maggie (sister)--34.2, 34.4, 34.5 Mortimer, John Clifford, 1923- --34.2, 35.1 Morton, Ian--35.3 Mosher, Greg (The Goodman Theatre, Chicago Theatre Group, Inc.) --33.4, 33.7 Mountain Building Services Ltd.--33.4, 34.4 Moving Pictures International (Kate Bull)--35.3 Muir, Jamie (London Weekend Television, ltd.)--33.7 (2), 33.8 Multi Broadcast Home Entertainment Centres (Murphy, V.)--33.4 National Theatre (Great Britain) Ian--34.2 John--34.2 Tim to Hare and David Brenton--34.2 Jules Boardman--32.3 Kevin Cahill--33.7, 34.5 Ann Churchill-Brown--33.6 Jude Clark--33.4 Ghita Cohen to William Allberry, Peter Hall, David Hare, Mary Kenny, Peter Warnes--34.6 (4), 35.3 Giles Croft--35.3 (2) Penny Devonshire--33.7 Richard Eyre (7 to and 2 from Hare)--10.3, 33.4, 33.6, 34.1 (3), 34.4, 35.2, 35.3 Peter Hall--see Hall, Peter, Sir, 1930- Genista McIntosh--35.7 Eric Mathieson--33.7 Jill to Josette Nicholls--31.4 Julie Pike--34.5 Nick Starr (1 from Anne Busby, 3 to Hare)--33.5, 34.1, 34.5, 35.3 Caroline Wilson--34.2, 34.5 (2); see also Wilson, Caroline National University Publications. Literary criticism series (Patricia Seefelt)--33.3 National Westminster Bank (H. L. Lovelock to Peter Evans)--32.5 Naughton, John--33.4 Nelligan, Kate (K.)--33.1, 33.3 (2), 33.4, 33.6, 33.7 (2), 33.8, 34.1 (3), 34.2 Neumann, Marianne--35.1 New Dramatists, Inc. (Paul A. Slee)--35.3 New York (Rhoda Koenig)--34.4 New York Shakespeare Festival Robert Kamlot--33.7 Serge Mogilat--30.1 Joseph Papp--33.4, 33.7, 34.2, 34.4 Rosemarie Tichler--35.3 Cast of Plenty--34.2 New Yorker, The William Shawn--34.2 Alec Wilkinson--34.1 Nicaragua Solidarity Campaign Andy De la Tour--33.8 (2) David S. Kitson--34.5 Nichols, Jeremy (and Richard Keeler)--34.2 Nichols, Peter, 1927- --35.1 Nivens, Michele (?)--34.6 Noble, Adrian (Royal Shakespeare Company Barbican Theatre)--35.1 Norton, George--35.1 Norwich Union Fire Insurance Society (Firm) (G. Atcheler)--34.5 Nottingham Playhouse (Jenni R. Vaulkhard to Peter Evans of Portable Theatre)--32.4 Observer (London, England) Julian Barnes--34.3 Charles Davy to Walter Stock [authors of England's Ireland]--29.1 Jane Lott to Caroline Wilson--34.4 Donald Trelford--35.2 Oestreicher, James--34.2 Oliva, Judy Lee, 1952- (1 to and 1 from Hare)--34.4 O'Neill, William--34.4 Osborne, John, 1929- --33.6, 34.5, 34.6, 35.2, 35.3 (2) Osmond, Andrew--34.2 Oxfam (Charles Fox, Anne Lloyd-Williams, Marcus Thompson)--34.5 Oxford Playhouse (Elizabeth Sweeting to Snoo Wilson)--32.4 Oxford Union (Christopher Hall)--35.3 PMK Public Relations (Catherine Olim)--33.3, 33.4 P., Judith (re. Peggy Ramsay)--33.4 P., Roger--34.5, 34.6 Page, Katharine--33.7 Palace Pictures (Daniel Battsek, Sydney Sharpe)--34.2 (3) Palance, Holly --33.7 Pandolfi, Gwenda--33.5 Papp, Joseph (New York Shakespeare Festival) (4 to Hare, 1 from cast of Plenty)--33.4 (2), 33.7, 34.2 34.4 Paragon House (Andrew DeSalvo)--35.2 Parker, Ellen (with drawing of Hare)--33.5, 33.8, 34.2 Patinkin, Mandy--34.6 Pauker, David--35.1 Paul, Weiss, Rifkind, Wharton & Garrison (to Karen Levinson from Victoria G. Traube)--17.9 Payne, D. P. P.--34.2 Pearce, Edward--33.5 Pember, Ron--34.2 Phillips, Jayne Ann, 1952- --33.6 Phillips, Peter--34.4, 34.5 Pickup, Ronald (Ronnie)--34.4 Pike, Frank--see Faber and Faber Pile, Stephen--34.1 Pinter, Harold, 1930- --32.9, 34.2 Plater, Alan, 1935- --35.2 Playwrights in Anglia --33.5 Poke, Greville--34.6 Pollock, Patsy (Enigma Productions Ltd., Columbia Pictures Corp. Ltd.) (7)--33.4, 33.6 (2), 34.1, 34.2 (2), 35.1 Pressman, Edward and Annie--33.8, 34.2, 34.4; see also Edward R. Pressman Film Corporation Professions for World Disarmament & Development (Jeffrey Segall)--33.7 Pryce-Jones, David, 1936- --34.6 Pryor, Cashman, Sherman & Flynn (to Paul J. Sherman from Peggy Ramsay)--33.7 Pumpkin Players, Inc. (Paul R. King to Sally Emmett of Margaret Ramsay Ltd.)--34.4 Puttnam, David, 1941- --see Enigma Productions Ltd. Quarto (John)--33.6 Quick, Diana (?) (1 to Hare, 1 to Hare and Nicole Farhi--33.5, 34.1 Raban, Jonathan--34.5 Ralph-Bowman, Mark--33.7 Rampling, Charlotte--33.3, 33.5 (3), 34.6, 35.1 Ramsay, Margaret Peggy (1 to Dennis, 1 from Marta Andras, 2 to and 2 from Lawrence Bachmann, 1 from Cine Cymru Productions, 1 to Robert Cushman, 1 to and 1 from John Frankau, 1 from Greenpoint Films, 1 from Peter Hall, 1 from Christopher Hampton, 18 to Hare, 2 to and 2 from William Hinton, 1 to Harold Hobson, 1 to Pryor, Cashman, Sherman and Flynn) --7.3, 33.3 (2), 33.4, 33.6 (7), 33.7 (2), 34.1 (2), 34.2 (4), 34.4 (4), 34.5 (4), 34.6, 35.1 (2), 35.5 (4), 37.2 (2) Ramsay, Robin (?)--35.2 Rassegna Internazionale Dei Teatri Stabili--20.6 Rawsthorne, Stephen--8.1 Really Useful Group (satirical letter to Nick Bicât purporting to be from Jane Fann)--34.4 Rees-Mogg, William, 1928- --see Arts Council of Great Britain Reginald of London Ltd. Hair Systems (Reginald)--33.4 Reid, J. Graham--33.8 Relph, Simon (Skreba Films, Greenpoint Films Ltd.)--24.7, 26.7, 34.1, 34.2 (2) René-Martin, Linda--33.5 Renfrew District Council--35.2 Rhys Williams, Brandon, Sir, 1927-1988 (Ione Douglas)--34.1 Rich, Frank (from Hare)--17.10 Richmond, Stephanie--34.2 Ridgman, Jeremy--34.2, 35.2 Rietty, Robert--33.5 Ringwood, Bob (?)--28.13 Rissik, Andrew--34.6 Riverside Studios (Rebecca O'Brien)--33.6 Roberts, Eileen--34.2 Roberts, Ivor--34.2 Roberts, Willem--34.6 Röhl, Angela Kingsford (Litag/The Literary Agent) (to Tom Erhardt of Margaret Ramsay Ltd., with note from Erhardt to Hare and Hare to Richard Eyre)--35.2 Rose, Penny--37.3 Rose-Price, Tim--34.2, 36.7 Rosenthal, Jack, 1931- --35.1 Roth, Philip--33.6, 33.7, 34.1 Round House (George O. Hoskins)--32.7 Royal Borough of Kensington and Chelsea (T. C. Clowry)--34.4 Royal Court Theatre Danny Boyle--34.1, 34.2 Graham Cowley--34.5 (4); see also Cowley, Graham Matthew Evans (1 to and 1 from Caryl Churchill, 2 to Hare)--34.2, 34.6 Max Stafford-Clark (1 from Howard Brenton, 10 to and 1 from Hare, 1 to Matthew Evans)--8.8, 32.6, 32.7, 32.8, 33.3, 33.4, 33.5, 34.1 (3), 34.4, 35.3 Royal Court Young People's Theatre (Elyse Dodgson)--35.2 Royal Insurance (U.K.) Ltd.--34.5 Royal Lyceum Theatre (Edinburgh, Scotland) (Clive Perry)--32.4 Royal Opera House (Jeremy Isaacs, 1932-)--34.6 Royal Society of Literature (Great Britain) (Joseph Bard Memorial Lecture)--33.4 Royal Shakespeare Company--see Noble, Adrian Rudin, Scott, 1958- --33.4 Rudman, Michael (1 to Hare, 1 to Matthew Evans)--35.2 Ruilan, Chen (Peking University)--34.4 Rushdie, Salman--33.8 Russell, Willy (to Al Hunter)--33.5 Rutland, Zoë (?)--34.2, 34.4 St. Martin-in-the-Fields (Church: Westminster, London, England) (Geoffrey Brown)--35.1 Sam Cohn Office (Dennis)--33.5; see also Cohn, Sam Sampliner, Susan--34.6 Sanders, Douglas W.--35.1 Sawkins, John--33.5 Scarratt, Elaine (to Roger Gregory)--3.9 Scott-Fox, Judy--33.4, 35.1 Scottish Gourmet, The--34.5 (2) Secker & Warburg (T. G. “Tom” Rosenthal)--33.7 (2) Selway, Mary--34.4 Sepp, Anto--33.5 Seth, Roshan--34.1 (3), 35.3 7:84 Theatre Company (John McGrath, 1935-)--34.1 Shawn, Wallace (Wall, Wally)--4.9, 33.6, 34.1, 34.2, 36.8; see also Eisenberg, Deborah Sher, Antony, 1949- --35.1 Sidey, Phil--32.10 Simonson, Eric--35.1 (2) Simpson, Helen--33.5 Sinclair, Malcolm--35.2 Singer, Nicky, 1956- --33.7 Sipper, Ralph B. (Joseph the Provider)--33.8, 34.1 Slingsby, Sally--34.2 Slovenské Narodné Divadlo (Darina Porubjaková) --33.5 Smith, A. C. H. (Anthony Charles H.), 1935- --34.2 Smith, Bo--35.1 Smith, Philip J.--33.4 Smith, Richard M. (Newsweek) (1 to and 1 from Hare)--34.6 (2) Snepp, Frank--16.3 Soames, Mary (National Theatre)--35.2, 35.4 Society for Pirandello Studies (Elizabeth Schächter)--33.5 Soho Theatre Company (Abigail Morris)--35.3 South Bank Show (Jamie Muir)--33.7 (2), 33.8 South Bank Show (Melvyn Bragg)--34.1, 35.3 Spender, Stephen, 1909- --31.2 Sphinx Theatre Group (Theresa Boden)--34.1 Spink, Brian--34.2 Stacey, Nicholas--34.6 Stafford-Clark, Max--see Royal Court Theatre State Theatre Company of South Australia (Mary)--33.8, 35.2 Steppenwolf Theatre Company (Randall Arney)--35.1 Stevens, Rochelle--33.7 Stewart, Paul--34.2 Stokes, Simon (to Matthew Evans)--32.8 Stone, Karen--34.2 Stoney, Heather--34.6 Stoppard, Tom--33.6, 33.8 (2), 34.6 Strapless Films Ltd. (Christopher Hall, Wendy Shorter (3))--37.3 Stubbs, Imogen --35.2 Sunday Telegraph, (London, England) (Trevor Grove)--35.3 Sunday Telegraph (London, England) (Peregrine Worsthorne)--34.4 Sundholm-Miller, Catharina--35.1 Susan Smith Blackburn Prize (William Blackburn)--34.5 Swansea Festival Fringe Company Ltd. (Christopher Hood)--33.8 Sydney Theatre Company (Christine Dunstan) (to Eamon D'Arcy, Max Harding (2), Arno Leinas, Frank Millane, and Keith Yates; 2 to and 2 from Hare)--9.3 Sydney Theatre Company (2 from Ann Churchill-Brown to Hare, 1 from Donald McDonald to Hare, 5 from Richard Wherrett to Hare)--9.3 Sydney Theatre Company--33.6 Talbot, Mark--33.8 Telluride Film Festival (Stella Pence)--33.3 Terkel, Studs, 1912- (WFMT, Chicago)--33.6 Thames Television, ltd. (John Frankau) (2 to Hare, 1 to and 1 from Peggy Ramsay)--33.6 (3) Thames Television, ltd. (to Michael Dunlop from Hare)--33.6 Thorn, Tracey and Ben Watt--35.1 Thorpe, Harriet--34.2 Threadkell, Sarah--35.3 Time Out (Steve)--7.8 Times Literary Supplement (Jeremy Treglown)--34.2 (2) Tomlin, Gary--33.5 Tomlinson, Andrew--35.2 Townley, Alistair--34.5 Traube, Victoria G.--34.6, 35.2; see also International Creative Management Traverse Theatre (Edinburgh, Scotland) (Alan Pollock)--34.4 Treglown, Jeremy--34.2 (2) Trethowan, Ian--32.10 Trojanowski, Anna and Mike Winchester--33.3, 33.4, 33.5 (3), 34.4, 34.6, 35.4 (2) Tydeman, John--35.3, 34.4 Tynan, Kathleen--33.7, 33.8, 34.4 Ungaro, Joan--33.3 University College, Cork (John P. Fraher)--35.4 University College Cork (Granary Theatre) (Steven H. Gale)--35.3 University of East Anglia (C. W. E. Bigsby)--33.6 University of Essex (Kevin O'Malley)--32.4 University of London. Westfield College (James Redmond, M.A.)--33.7 Urbanski, Douglas J. (re. Gary Oldman)--35.4 Vaillant, Nigel le--34.2 Van Dyck, Jennifer--33.4 Vancouver International Film Festival (Alison Gumbley)--35.2 VanderHeyden, Tina (Tina VanderHeyden & Associates)--35.1 Vanity Fair (Stephen Schiff)--35.2 Venables, Clare (to Matthew Evans)--32.8 Verdin, Greta--35.3 Vernon, Alexander (?)--35.1 Vinovich, Stephen--33.4 W., Zee--33.3 Walking the Line Ltd.--35.3 Wall Street Journal, The --34.6 Ward, F. Dixon--33.7 Ward, Philip--33.4 Wardle, Irving, 1929- --32.4, 33.7 (3) Warnes, Peter (1 to Hare and 1 from Ghita Cohen of National Theatre)--34.6 Watershed (1 from and 1 to Steve Pinhay)--33.6 Watson, George--35.1 Webster, Alan--35.1 Weinstein, Harvey (Miramax Films) (from Hare)--33.4 Weller, Michael, 1942- --33.3, 33.6 (3), 33.7 (2), 34.1 Wells, John (Whitehall Theatre)--33.6 Wherrett, Richard (Sydney Theatre Company Limited)--33.7 Westminster, Eng. Dept. of Planning and Transportation (Phillip Thompson to Nicole Farhi)--35.3 Whiteside, Janet--34.2 William Morris Agency--31.4 Williams, Michael--33.5 Willis, Ted--34.5 Wilson, Caroline C (National Theatre) (10 to Hare, 1 from Jane Lott of The Observer)--33.3, 33.4, 34.4, 34.5, 34.6, 35.1 (2), 35.2 (2), 35.3 (2) Wilson, Snoo, 1948- (2 to Hare, 1 from Elizabeth Sweeting)--32.4, 33.6, 34.1 Wilson, Stuart--34.1 Wilton, Penelope--35.2 Wilton, Rosemary--35.1 Woddis, Roger ( New Statesman Society)--33.4 Wood, Charles and Valerie (4 to Hare, 1 from Ghita Cohen of the National Theatre)--33.4, 33.5 (2), 34.6 (2) Wood, Stephen (from Hare)--35.3 Wooldridge, Susi--33.7 Worth, Irene--34.5 Wright, Nicholas--31.4 Wright, Patrick--35.3 Write On! Festival (Liz Leach, Made in Wales Stage Company)--35.2 Wyver, John--34.1 Yallop, David A. (from Hare)--35.1 York, Susannah--33.7 Young Indy Worldwide Productions Ltd. (Rick McCallum and Sophie Milton)--35.2 (3) Young Vic Company (Karen Stephens)--35.3 Young, Nicola--33.4 (2) Younghusband, Jan and Grant--34.2, 34.5 (2), 35.1 ZLR the literary magazine (Neil Cross)--34.4 Unidentified Unidentified (to Brenton and Hare)--34.2 Unidentified (“Blonde Scots idiot”)--33.3 Unidentified (in Three Birds Alighting in a Field)--33.4 Unidentified (re. Elektra/Orestes opera music)--35.4 Andy (Young Indy (Series II) Ltd.)--36.6 B (Peggy Ramsay doctor)--35.2 B--34.6 C--31.4 Cass and George--34.2 Charles (film The Weather in the Streets)--33.7 D (in Three Birds Alighting in a Field)--33.5 Donald--33.3 Françoise--34.4 Giles--34.2 Hannah, Kate, Nick, Natalie, Zoë--34.4 Iain (re. Alan Clarke documentary)--35.2 Iona--34.2 Janet and Louise--34.2 Jill (Citicorp Investment Bank) (to Josette Nicholls of National Theatre)--31.4 Jim ( Blood Wedding)--33.3 Kevin--34.2 Marianne (novel about the Bill of Rights)--35.1 Marjorie ( Plenty)--33.6 Mark ( Pravda)--34.2 Mary (re. Peggy Ramsay death)--33.4 Mary--34.2 Michael--34.2 Nan (?) (New York Map of the World)--34.2 Nicholas--31.8 Rich (Holland, interview)--34.1 Robert (Radio Nottingham)--34.2 Robin (Robyn) (1 from Hare, 1 from Trevor Griffiths)--31.5 Saliha (?)--33.5 Sarah (mentions Nina or Nick and Laura)--33.4, 34.2, 34.6 Steve (Linden Gardens, London)--33.8 Tate (?)--34.2 Tom--33.4 Tony (Whitehall Rd., London)--34.5 Trish--35.2 U., Steven G. (?) (re. Hare in The Spectator)--34.5