TABLE OF CONTENTS
Descriptive Summary
Biographical Sketch
Scope and Contents
Arrangement
Restrictions
Index Terms
Related Material
Administrative Information
Description of Series
Series I. Works,
ca. 1960-2000, nd
|
Tom Stoppard:
An Inventory of His Papers at the Harry Ransom Humanities
Research Center [Part I]
| | |
|
|
| Creator | Stoppard,
Tom |
| Title | Tom Stoppard Papers
|
| Dates: | 1939-2000 (bulk 1970-2000) |
| Abstract: | The papers of this British playwright
consist of typescript and handwritten drafts, revision pages, outlines, and
notes; production material, including cast lists, set drawings, schedules, and
photographs; theatre programs; posters; advertisements; clippings; page and
galley proofs; dust jackets; correspondence; legal documents and financial
papers, including passports, contracts, and royalty and account statements;
itineraries; appointment books and diary sheets; photographs; sheet music;
sound recordings; a scrapbook; artwork; minutes of meetings; and
publications. |
| RLIN Record # | TXRC94-A2 |
| Extent | 149 document cases, 9
oversize boxes, 9 oversize folders, 10 galley folders (62 linear
feet) |
| Language | English. |
| Repository: | Harry Ransom Humanities Research Center,
University of Texas at Austin |
Playwright Tom Stoppard was born Tomas Straussler in Zlin,
Czechoslovakia, on July 3, 1937. However, he lived in Czechoslovakia only until
1939, when his family moved to Singapore. Stoppard, his mother, and his older
brother were evacuated to India shortly before the Japanese invasion of
Singapore in 1941; his father, Eugene Straussler, remained behind and was
killed. In 1946, Stoppard's mother, Martha, married British army officer
Kenneth Stoppard and the family moved to England, eventually settling in
Bristol.
Stoppard left school at the age of seventeen and began working as a
journalist, first with the
Western Daily Press (1954-58) and then with
the Bristol
Evening World (1958-60). Having developed a
specialization in film and theatre criticism, in 1960 Stoppard became a
free-lance journalist, writing critical articles and, for the
Daily Press, two pseudonymous weekly
columns. By the end of the year, he had completed his first full-length play,
A Walk on the Water (later produced on stage
in 1968 as
Enter a Free Man), and acquired an agent,
Kenneth Ewing of Fraser and Dunlop Scripts. He also wrote a short piece,
The Gamblers, which was eventually performed
by the University of Bristol drama department in 1965. Stoppard has referred to
this as his "first" play in that he claims
A Walk on the Water was an unoriginal
composite of several plays he admired. Over the next few years, Stoppard wrote
various works for radio, television, and the theatre. Among these were
"M" Is for Moon among
Other Things (1964),
A Separate Peace (1966), and
If You're Glad I'll Be Frank (1966).
A Walk on the Water had been broadcast on
ITV Television in 1963 and on BBC-TV in 1964, and Stoppard wrote many episodes
of the radio serial
A Student's Diary: An Arab in London
(1966-67). In addition, three short stories were published by Faber and Faber
in the anthology,
Introduction 2: Stories by New Writers
(1964).
From September 1962 until April 1963, Stoppard worked in London as a
drama critic for
Scene, writing reviews and interviews both
under his name and under the pseudonym William Boot (taken from Evelyn Waugh's
Scoop). In 1963, he began writing his only
novel,
Lord Malquist and Mr. Moon. The names Boot
and Moon recur in many of Stoppard's works, generally with Boot being a
character who makes things happen and Moon being a character to whom things
happen.
While participating in a colloquium sponsored by the Ford Foundation in
Berlin in 1964, Stoppard wrote a one-act play that later became
Rosencrantz and Guildenstern Are Dead. The
play, which focuses on two minor characters from
Hamlet, examines the ideas of fate and free
will. In August 1966,
Rosencrantz and Guildenstern Are Dead was
performed by Oxford University students as part of the Edinburgh Festival
fringe, and, at the same time, Stoppard's only novel was published; to
Stoppard's surprise, it was the play that succeeded, establishing his
reputation as a playwright. When the play, having caught the attention of
Kenneth Tynan, was performed by the prestigious National Theatre Company at the
Old Vic in London in 1967, it received immediate and widespread acclaim.
Stoppard, at age 29, was a major success.
Of Stoppard's plays written over the next ten years,
Jumpers, produced in 1972, and
Travesties, produced in 1974, are among the
best known.
Dirty Linen and New-Found-Land (1976) was
written for Ed Berman, founder of the Inter-Action community arts organization,
on the occasion of his being granted British citizenship.
By 1977, Stoppard had become concerned with human rights issues, in
particular with the situation of political dissidents in Eastern Europe and the
Soviet Union. In February 1977, he visited Russia with a member of Amnesty
International. In June, Stoppard met Vladimir Bukovsky in London and traveled
to Czechoslovakia, where he met Václav Havel. Stoppard became involved with
Index on Censorship, Amnesty International,
and the Committee against Psychiatric Abuse and wrote various newspaper
articles and letters about human rights. He organized a Roll Call, or reading
of names of Soviet refuseniks, at the National Theatre in 1986.
Stoppard's political concerns surfaced in his work.
Every Good Boy Deserves Favour (1977) was
written at the request of André Previn and was inspired by a meeting with
Russian exile Viktor Fainberg. The play, about a political dissident confined
to a Soviet mental hospital, is accompanied by an orchestra using a musical
score composed by Previn.
Professional Foul is a television play that
Stoppard wrote over a period of three weeks as a contribution to Amnesty
International's declaration of 1977 as Prisoner of Conscience Year.
Subsequent major stage plays by Stoppard include
Night and Day (1978),
The Real Thing (1982),
Hapgood (1988),
Arcadia (1993),
Indian Ink (1995), which was based upon his
radio play
In the Native State (1991), and
Invention of Love (1997).
In addition to his original stage plays, Stoppard has written original
screenplays, teleplays, and radio plays, as well as adaptations for the stage
and screen. His screenplay of
Brazil, coauthored with Terry Gilliam and
Charles McKeown, was nominated for an Academy Award in 1985;
Shakespeare in Love, a screenplay co-written
with Marc Norman, won that award in 1999. Other well-known screenplays by
Stoppard include
Empire of the Sun (1987, adapted from the
novel by J. G. Ballard),
The Russia House (1989, adapted from the
novel by John le Carre), and
Billy Bathgate (1991, adapted from the novel
by E. L. Doctorow), as well as a film version of his own
Rosencrantz and Guildenstern Are Dead (1991)
that won the Grand Prize at the Venice Film Festival. Stoppard also sometimes
reads and contributes to scripts by other writers for directors Kathleen
Kennedy, Mike Nichols, and Steven Spielberg. Among teleplays by Stoppard, the
best known is
Squaring the Circle: Poland, 1980-81, a
fictional documentary about the history of Solidarity.
The Dissolution of Dominic Boot (1964),
Stoppard's first radio play, was the basis for his teleplay
The Engagement (1970).
Albert's Bridge, produced by the BBC in
1967, won the Prix Italia. Other successful radio plays by Stoppard include
Artist Descending a Staircase (1972),
The Dog It Was That Died (1982), and
In the Native State (1991).
Tom Stoppard has established an international reputation as a writer of
"serious comedy"; his plays are plays of ideas that
deal with philosophical issues, yet he combines the philosophical ideas he
presents with verbal wit and visual humor. His linguistic complexity, with its
puns, jokes, innuendo, and other wordplay, is a chief characteristic of his
work. In recognition of his achievements, Stoppard was knighted in 1997.
Stoppard has been married twice, to Jose Ingle (1965-72), a nurse, and
to Miriam Moore-Robinson (1972-92), the head of a pharmaceutical company, and
he has two sons from each marriage.
More information about Stoppard and his work may be found in
Contemporary Authors: New Revision Series,
vol. 39 (1993);
Dictionary of Literary Biography, vols. 13
(1982) and 233 (2001);
"Ambushes for the Audience: Towards a High Comedy of
Ideas" in
Theatre Quarterly (vol. 4, no. 14, 1974);
"Profiles: Withdrawing with Style from the
Chaos," by Kenneth Tynan in the
New Yorker (19 December 1977); and
"Tom Stoppard: His Life and Career Before
Rosencrantz and Guildenstern," by John
Fleming in
The Library Chronicle, vol. 26, no. 3
(1996).
Return to the Table of Contents
The Stoppard papers consist of typescript and holograph drafts, revision
pages, outlines, and notes; production material, including cast lists, set
drawings, schedules, and photographs; theatre programs; posters;
advertisements; clippings; page and galley proofs; dust jackets;
correspondence; legal documents and financial papers, including passports,
contracts, and royalty and account statements; itineraries; appointment books
and diary sheets; photographs; sheet music; sound recordings; a scrapbook;
certificates; artwork; minutes of meetings; and publications, all ranging in
date from 1939 to 2000, but primarily from 1970 to 2000. The material is
organized in five series: Works (1962-2000, nd, 114.5 boxes), Works about
Stoppard (1974-81, nd, 2.5 boxes), Correspondence (1954-93, 21.5 boxes), Legal
and Personal Material (1944, 1966-72, 1987, nd, 8 boxes) and Works by Other
Authors (1975-78, nd, 2.5 boxes).
Nearly all of Stoppard's major plays, screenplays, teleplays, and radio
plays are represented in some form, along with many of his lesser-known works
and some that were never produced. Stoppard's short stories are not well
documented in the collection, although his only novel,
Lord Malquist and Mr. Moon, is represented.
For many works, materials from first or early drafts through various revisions,
production, further revisions, and publication are present, reflecting
Stoppard's practice of rewriting passages of his work continuously. Many of the
typescripts are the result of Stoppard's dictation to a typist via cassette
tape. Stoppard's revision process continues even after a play has begun
production and been published. Page proofs, galleys, and typesetting copy
typescripts show changes made in subsequent editions after the initial
publication of a work.
For many of the works represented in the collection, Stoppard has
maintained correspondence files, including production files and fan mail,
separate from his general correspondence files, although similar materials may
be found in both locations. Correspondence filed under a title usually consists
of letters from people involved in various phases of a production, or from
people praising or commenting upon the work. Reviews and articles about a work
accompany the manuscripts, and are located under that title. When Stoppard
collaborates with other writers, he works with them on a sequential basis
rather than concurrently, and his amount of involvement varies by situation.
Stoppard often is involved in film projects anonymously. For example, he often
provides input on scripts sent to him by Stephen Spielberg, Mike Nichols, and
Kathleen Kennedy.
Stoppard's career as a journalist is not as well documented in the
collection as his playwriting career. However, through the years Stoppard has
continued to write occasional pieces for various periodicals, and many of those
are present. Folders of reviews and articles by Stoppard, some accompanied by
letters from editors, are located at the end of the Works series. Additional
articles by Stoppard about political issues are located in his
"Russia File" in the Correspondence series. Most
correspondence from editors of periodicals is housed with the general
correspondence.
Correspondence in the collection relates almost exclusively to
Stoppard's career rather than to his personal life. Most of the correspondence
is letters from people involved in productions of his plays, as well as
translators, journalists, periodical editors, fellow playwrights, and admirers
of his work. Nearly all of the letters have brief notations, made mainly by
Stoppard and his secretary Jacky Matthews, recording any responses. Photocopies
of some outgoing letters, usually dictated by Stoppard to his secretary, are
housed with the incoming correspondence. Of particular interest is Stoppard's
correspondence with Anthony C. H. Smith; covering an approximate 30-year span,
these letters trace Stoppard's writing career from its beginning. Letters from
Stoppard's agent, Kenneth Ewing, cover the years 1962-87 and also follow the
rise of Stoppard's career. Correspondence from Faber and Faber, Stoppard's
primary publisher, discusses publication of Stoppard's books and includes
printed dust jackets. Other significant correspondents include Ed Berman, Dirk
Bogarde, Noël, Carr, Michael Codron, Guy Dumur, Lady Antonia Fraser, Michael
Frayn, David Hare, Glynn Boyd Harte, Michael Horovitz, Ilya Levin, Bryan Magee,
Trevor Nunn, Laurence Olivier, Harold Pinter, Ned Sherrin, and Kenneth Tynan.
All correspondents in the Stoppard collection may be found in the Index of
Correspondents.
Stoppard's interest in human rights issues is reflected throughout the
collection. Correspondence with many human rights organizations, files on
Czechoslovakia and Russia, and material from his work organizing the Roll Call
at the National Theatre reveal the extent of his involvement in these issues.
Through his contacts with political dissidents, Stoppard became friends with
Czechoslovakian playwright and politician Václav Havel. Correspondence with
and about Havel, copies of his works, and material from Stoppard's translation
of Havel's
Largo Desolato were originally grouped
together. The correspondence has been separated and added to the Correspondence
series, while
Largo Desolato material has been housed with
other works by Stoppard. Translations of Havel's
The Beggar's Opera and
The Conspirators are located in the Works by
Other Authors series, along with works by Christopher Figg, Tomás Gartland,
Tony Harrison, Vladimir J. Konecni, David Mamet, James Saunders, Peter Shaffer,
Anthony C. H. Smith, Stephen Sondheim, and others.
Few original materials relating to Stoppard's personal life are present
in the collection, although some letters to his parents, photocopies of
marriage, divorce, and birth certificates, memorabilia, and photographs are
present. The collection does provide information about Stoppard's interests in
cricket, chess, fishing, and other subjects. For example, Harold Pinter
arranged cricket matches with Stoppard through correspondence, while Anthony
Smith, his wife, and Stoppard used their letters to each other to play chess.
Similarly, typescript and printed copies of interviews, Stoppard's responses to
various requests, and correspondence about production disputes provide insights
into Stoppard's character and personality. Stoppard's interest in Ernest
Hemingway, as well as his ability to form friendships quickly, can be seen in
correspondence with Joan St. C. Crane of the University of Virginia, Carol
(Mrs. Patrick) Hemingway, and Margie (Mrs. Louis Henry) Cohn of House of
Books.
Additions to the collection are expected. Other manuscripts relating to
Stoppard at the HRHRC may be found in the Gordon Dickerson, David Hare, Francis
Henry King, London Magazine, Harold Pinter, and James Saunders papers.
Return to the Table of Contents
| | |
Arrangement
|
| Due to size, this inventory has been divided into three separate units which can be accessed by clicking on the highlighted text below: |
| |
| Tom Stoppard Papers--Series I. Suberies A. (A-Q)[Part I] [This Page] |
| Tom Stoppard Papers--Series I. Subseries A. (R-Z) - Series V. [Part II] |
| Tom Stoppard Papers--Index of Correspondents and Index of Works [Part III] |
| Note to Researchers |
| This finding aid for the Stoppard papers is a conflation of the five
finding aids that were created for the original collection received in 1991 and
1993, and for four accretions that were described separately, received in
1994-1996, and 1998-1999. Materials added to the collection over time have not
been physically interfiled for the most part, but the series descriptions and
folder list group materials relating to a specific work or topic regardless of
when they were received by the Center. |
Return to the Table of Contents
Access
Open for research
Return to the Table of Contents
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| Correspondents |
| | Amis, Kingsley |
| | Ashcroft, Peggy,
Dame |
| | Ayer, A.J. (Alfred Jules),
1910- |
| | Beckett, Samuel,
1906- |
| | Bell, Quentin |
| | Berman, Ed |
| | Bigsby, C.W.E. |
| | Billington, Michael,
1939- |
| | Blackford, Richard,
1954- |
| | Blackwell, Vera |
| | Bogarde, Dirk,
1921- |
| | Bolt, Robert |
| | Boorman, John,
1933- |
| | Bukovskii, Vladimir
Konstantinovich, 1942- |
| | Carr, Noël |
| | Carsen, Robert |
| | Codron, Michael |
| | Cohn, Louis Henry,
Mrs. |
| | Cooper, Donald |
| | Crane, Joan St.
C. |
| | Doctorow, E.L.,
1931- |
| | Dumur, Guy,
1921- |
| | Evans, Harold |
| | Ewing, Kenneth |
| | Eyre, Richard,
1943- |
| | Fainberg, Viktor |
| | Fassbinder, Rainer Werner,
1946- |
| | Fraser, Antonia,
1932- |
| | Frayn, Michael |
| | Frink, Elisabeth,
1930- |
| | Gaskell, Philip |
| | Ghose, Zulfikar,
1935- |
| | Gilliam, Terry |
| | Gray, Simon,
1936- |
| | Greene, Graham,
1904- |
| | Griffiths,
Trevor |
| | Guppy, Shusha |
| | Hall, Peter, Sir,
1930- |
| | Hampton, Christopher,
1946- |
| | Hardy, Joseph,
1929- |
| | Hare, David,
1947- |
| | Harte, Glynn
Boyd |
| | Harwood, Ronald,
1934- |
| | Havel, Vaclav |
| | Hedberg,
Johannes |
| | Horovitz, Michael,
1935- |
| | James, Clive,
1939- |
| | Jellicoe, Ann |
| | Kerensky, Oleg,
1930- |
| | Kundera, Milan |
| | Le Carré, John,
1931- |
| | Levin, Ilya Davidovich,
1948- |
| | Losey, Joseph |
| | Luff, Peter |
| | McKellen, Ian |
| | Magee, Bryan |
| | Marcus, Frank |
| | Märthesheimer, Peter,
1938- |
| | Matthews, Jacky |
| | May, Robert M. (Robert
McCredie), 1936- |
| | Mitchell, Adrian,
1932- |
| | Mortimer, John Clifford,
1923- |
| | Mosley, Nicholas,
1923- |
| | Nichols, Peter,
1927- |
| | Nunn, Trevor |
| | Olivier, Laurence,
1907- |
| | Pike, Frank |
| | Pinter, Harold,
1930- |
| | Read, Piers Paul,
1941- |
| | Saunders, James,
1925- |
| | Shaffer, Peter |
| | Sher, Antony,
1949- |
| | Sherrin, Ned |
| | Smith, A.C.H. (Anthony
Charles H.), 1935- |
| | Spiel, Hilde |
| | Spielberg, Steven,
1947- |
| | Swander, Homer D.,
1921- |
| | Theiner, George |
| | Toms, Carl |
| | Trotter,
Josephine |
| | Tynan, Kenneth,
1927- |
| | Vladislav, Jan,
1923- |
| | Wells, John,
1936- |
| | Wesker, Arnold,
1932- |
| | Wintour, Charles |
| | Wood, Peter,
1927- |
| Organizations |
| | Brandman
Productions |
| | Faber and Faber |
| | Fraser & Dunlop Scripts
Ltd |
| | House of Books, Ltd. (New
York, N.Y.) |
| | Inter-Action
Trust |
| | Iron Mountain
Proudctions |
| | TVS (Firm: Great
Britain) |
| | Index on
Censorship |
| Subjects |
| | Authors, English |
| | Authors and
publishers |
| | Czech drama |
| | Dissenters |
| | Human rights
workers |
| | Literary agents |
| Document Types |
| | Birth
certificates |
| | Christmas cards |
| | Galley proofs |
| | Negatives |
| | Passports |
| | Photographs |
| | Report cards |
| | Screenplays |
| | Scripts |
| | Theater programs |
| | Watercolors |
Return to the Table of Contents
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|
The following items have been removed from the collection and housed
with the Center's Personal Effects holdings:
-
Every Good Boy Deserves Favour
needlepoint, nd
-
Rosencrantz & Guildenstern Are Dead
ball and cup, "Zagreb 1990"
- Silver cricket bat charm, with stone inlays and engraved on the
back: "Tom from Henry & Annie New York 5-1-84 Keep
nudging..."
- Silver airplane tie clip
- Ivory letter-opener in the form of a cricket bat
- Fishing flies attached to label "777W72 Gareth
& Keeyard "(?)
- Silver skiing medallion "Offert Par Les Skis
Rossignol" (in box)
- White t-shirt with purple "Playbill Lincoln
Center Theater Hapgood" logo
- Glass paperweight, "The First New York
International Festival of the Arts June 11-July 11, 1988 Music, Dance, Theatre,
Film and Television of the 20th Century"
- Framed cartoon by "Marc," captioned
"He's deeply depressed-he got a brilliant review in the
Sunday Times," Nov. 1978
- Miniature Liberty Bell "presented to Stoppard
by Mayor Edward G. Rendell, City of Philadelphia, February 7,
1996"
- Presentation key engraved "Terry Hands,"
in pouch inscribed "Taormina Arte"
- Graduation hood for honorary degree bestowed by the University of
York, with accompanying letter from robe makers Ede and Ravenscroft,
1984
- Antoinette Perry award for
The Real Thing, 1984
- International Film & Television Festival of New York award,
1984 (medallion, in box)
- Drama Desk Award, "1983 1984 Outstanding New
Play
The Real Thing By Tom Stoppard"
(two metal plates mounted on wooden blocks)
- Lincoln Center Theater "Joan Cullman Award for
Extraordinary Creativity Tom Stoppard Hapgood 1995
Arcadia" (bronze award in box)
- Los Angeles Drama Critics Circle award for Distinguished
Achievement, "1997 Writing, Tom Stoppard,
Arcadia, Center Theatre Group/Mark Taper
Forum" (plaque)
- Las Vegas Film Critics Society's 1998 Sierra Award to:
"Tom Stoppard, Best Screenplay
Shakespeare in Love"
(plaque)
- Broadcasting Press Guild Television Awards "1977 Best Single Play
Professional Foul by Tom Stoppard,
Produced by Mark Shivas, Directed by Michael Lindsay-Hogg for BBC-2"
(framed award certificate)
- "The British Academy of Film and Television
Arts Certificate of Award The Council hereby certifies that Tom Stoppard won
the British Academy Award for Outstanding Achievement During 1977 in the
Category Best Script Presented at the Wembley Conference Centre, May 16
1978" (framed certificate)
- "Nomination Antoinette Perry Award Best Play
Arcadia, Author: Tom Stoppard, Producer:
Lincoln Center Theater, André Bishop, Bernard Gersten, 1994-1995, The American
Theatre Wing, Inc. and The League of American Theaters and Producers,
Inc." (framed certificate)
- University of London Doctor of Literature honorary degree
certificate, 9 June 1982, program of the proceedings, and text of introductory
speech (all in embossed degree holder tube)
- Brunel University honorary degree certificate, 18 Dec. 1979, and
text of introductory speech (in embossed degree holder tube)
- "Oh! Look what I've got on my plate!"
ceramic plate painted with titles of early works by Stoppard, [ca. 1977]
The following have been removed from the collection and are housed with
the Center's film holdings:
- Thirteen "Master" Beta videotapes of the
Roll Call at the National Theatre, 1986
- Six audio tape reels of the Roll Call at the National Theatre,
1986
- VHS videotape of the University of Hull degree conferment,
1998
- VHS videotape of the University of York honorary degree conferment,
1984
- Fragments of film showing the making of the film
Rosencrantz & Guildenstern Are Dead,
[1990]
Three original watercolors of Victorian
postcards, ca. 1898, have been removed from the collection and housed with the
Center's Art Collection. One is labeled
"Isle of Wight" by "John
Renage"
A bust of Stoppard by Alan Thornhill is on
display in the Center's Reading Room.
In addition, printed editions of Stoppard's
works in a variety of languages have been removed from the collection and are
cataloged with the Center's book holdings, as is a publication about Costas
Tsoclis' "Ark" project that had accompanied
correspondence regarding that project.
|
Return to the Table of Contents
Purchases and gifts, 1991-2000
Katherine Mosley, 1993-2000
Return to the Table of Contents
| | | | | | | | | | | | | |
| |
Series I. Works,
ca. 1960-2000, nd (122 boxes)
|
| The series is divided into two subseries: Original Works and
Adaptations; and Reviews, Articles, and Lectures. |
| The Original Works and Adaptations subseries, arranged
alphabetically by title and within title by genre, consists of typescript and
holograph manuscripts, revision pages, outlines and notes, page proofs, galley
proofs, printed pages and books, theatre programs, production materials,
photographs and negatives, posters, advertising material, clippings,
correspondence, and awards. |
| Nearly all of Stoppard's plays, screenplays, teleplays, and radio
plays are represented in some form, some quite extensively. Because Stoppard
continuously revises his works, even after they are produced and published,
many variant versions are present. Stoppard's original labeling of manuscript
versions has been retained and is indicated in the folder list with single
quotation marks. In keeping with Stoppard's original filing system, some
correspondence regarding a work is housed with that work, while similar letters
regarding works are housed with general correspondence in the Correspondence
series. Clippings, primarily reviews collected by Stoppard's parents, and
numerous posters and programs from domestic and international productions cover
nearly all of Stoppard's major works. Works particularly well represented in
the collection include
Arcadia, Cats, Empire of the Sun, Hapgood, Hopeful Monsters, Indian Ink, The Real Thing, Rosencrantz and Guildenstern Are Dead,
and
Travesties. |
| Among early manuscripts by Stoppard are holograph and typescript
drafts of his only novel,
Lord Malquist and Mr. Moon; a short
play,
The Gamblers, which he refers to as his
first "original" play; and
Higg and Cogg, which was performed with
The Gamblers by the University of
Bristol drama department. Reviews of those works are also present. Stoppard's
first full-length play,
A Walk on the Water, which was produced
as a teleplay, staged in Hamburg, adapted for broadcast as a radio play, and
eventually revised for a London stage production as
Enter A Free Man, is represented by
typescripts, a shooting schedule, programs, clippings, and page proofs.
Stoppard originally wrote
Rosencrantz and Guildenstern Are Dead as
a one-act play about the characters from
Hamlet meeting the mad King Lear when
they arrive in England. Among very early versions of
Rosencrantz and Guildenstern in the
collection is a mimeograph typescript of
Rosencrantz and Guildenstern Meet King Lear.
Rosencrantz and Guildenstern is a good
example of the many forms of material present in the collection for a single
title; in addition to items relating to various productions of the play, there
are also materials from the 1978 and 1983 radio productions, an unproduced 1968
screenplay, the film that was eventually produced in 1991, and page proofs of
various Faber and Faber editions of the published work. |
| Jumpers material consists of
typescripts, correspondence, theatre programs, posters, and clippings from
various productions, as well as a reproduction of a drawing by William Hewison,
sheet music, page proofs, and a French translation by Jacques De Decker. The
author's notes to translators accompanies one of several early
Travesties drafts, and typescripts
showing revisions made for the 1993 production are also present. Among other
Travesties materials are a memo from
Stoppard to directors, clippings of articles and reviews, profit sheets,
photographs, posters, programs, and an ink caricature drawn by William Hewison
for
Punch. Letters from Noël Carr, widow of
Henry Carr, are among correspondence about the play. In addition, there are
German translations of the play by Hilde Spiel, correspondence regarding a
German production of the play, and an incomplete draft of an opera by Bolen
High.
Night and Day is represented by various
drafts, programs, posters, production notes, articles and reviews, and
correspondence, including correspondence relating to a German production. A
German translation of the play by Hilde Spiel is also present, as are
typescripts and page proofs of various printed editions and drafts of a
screenplay based on the play. |
| Many manuscripts relating to one of Stoppard's most popular plays,
The Real Thing, are present; of
particular note are performance notes; drafts of revisions made for the 1984
American production; photographs; posters; and production correspondence,
including lists of casting possibilities, rehearsal schedules, touring
schedules, cast lists and other company information, correspondence with
actors, directors, and others, congratulatory notes, telegrams, and fan mail.
Page proofs, galleys, and typescripts of various published editions trace many
of the revisions made to the play over the years. A proposed précis by Otis
Guernsey for
The Best Plays of 1983-84 and related
correspondence are also included, as are French and Italian translations.
Stoppard's Tony Award for the play is housed with the Center's personal effects
collection. A typescript for a radio broadcast of
The Real Thing is also present. Notable
Hapgood manuscripts include numerous
revision pages, production correspondence, fan mail, a printed teacher's
handbook, and corrected page proofs of the 1988 and 1994 Faber and Faber
editions of the play. Draft fragments from an abandoned film adaptation are
also present. |
| Among
Hapgood correspondence are letters
between Stoppard and J. C. Polkinghorne discussing physics and physicists. |
| Of Stoppard's more recent plays,
Arcadia and
Indian Ink are the most heavily
represented. Numerous drafts, production materials, photographs, tickets,
programs, posters, correspondence, and page proofs from both works are present.
In addition, there are typescripts from the radio production of
Arcadia. |
| Manuscripts of Stoppard's radio play
In the Native State, the precursor to
Indian Ink, include drafts, clippings,
awards, and correspondence. Among drafts and translations of the radio play
Artist Descending a Staircase are those
used to enter the play in the Italia Prize. In addition, that work was later
adapted for the stage, and drafts, programs, and posters from the production
are present. |
| Materials relating to the screenplay of
Rosencrantz and Guildenstern Are Dead
consist of typescripts, trailer notes, preliminary production notes, filming
notes, cue sheets, photographs, correspondence, financial files, and
advertising material, including rejected layout ideas. Among other screenplays
represented in the collection are
Brazil, Empire of the Sun, The Russia House, Billy Bathgate, and
Shakespeare in Love. Besides various
drafts of
Brazil, there are a plot outline and
synopsis by Terry Gilliam and production material, including correspondence
showing the problems that arose as a result of the collaboration between
Stoppard, Gilliam, and Charles McKeown.
Empire of the Sun materials consist of
numerous drafts, a shooting script, production memos, correspondence regarding
script revisions and other production matters, research photographs of
Shanghai, and production photographs. Included in production correspondence are
letters between Stoppard and the Writers Guild of America relating to a writing
credit dispute that Stoppard eventually won.
The Russia House materials comprise
typescripts and a production file of correspondence with Fred Schepisi about
script revisions. Drafts and correspondence for
Billy Bathgate are present, as are
drafts, clippings, awards programs, and some correspondence relating to
Shakespeare in Love. |
| Screenplays present in the collection that were never produced
include
Hopeful Monsters (based upon the book by
Nicholas Mosley),
Cats (an animated screenplay adaptation
of the musical by Andrew Lloyd Webber),
Innocent Blood (from the novel by P. D.
James),
Knuckle (an adaptation of the play by
David Hare),
Galileo, and
The Frog Prince (based upon John
Collier's short story). Also noteworthy are drafts of filmscripts for
Stoppard's popular radio play
Albert's Bridge and his novel
Lord Malquist and Mr. Moon. Uncredited
revisions of screenplays by other authors include those for
Always, Chaplin, Indiana Jones and the Last Crusade, Medicine Man, Schindler's List, and
Sleepy Hollow. |
| Stoppard's well-known teleplay
Squaring the Circle: Poland, 1980-81 is
represented by background research, multiple drafts, notes on revisions, and a
correspondence and production file. Drafts of the introduction to the Faber and
Faber text and correspondence with director Mike Hodges, Stephen Schlow and
Dale Sheets of Metromedia, and James Gatward of TVS provide information about a
dispute with Metromedia regarding changes to the film for the American market.
Poodle Springs was a made-for-television
film of Robert Parker's Philip Marlowe book; correspondence and numerous drafts
from that project are present. |
| The second subseries is comprised primarily of clippings, typescript
and holograph drafts, and galleys of reviews and articles by Stoppard on a
variety of topics. Some of these are accompanied by correspondence from the
editors of periodicals in which they were published. Lecture material is also
located in this subseries and includes notes, drafts, correspondence, programs,
and advertisements. |
| | | Subseries A: Original Works and Adaptations, (A-Q)
1962-2000 |
| | | | A.O.P. --Proposed screenplay,
never produced |
| box-folder |
| 1.1 | | | | | "Film Outline," photocopy
typescripts,
May 1984 |
| box-folder |
| 69.1 | | | | | Photocopy typescript memo summarizing Warner Brothers
agreement,
14 Aug. 1984 |
| | | | After Magritte |
| | | | | Stage play |
| box-folder |
| 1.2 | | | | | | Incomplete typescript draft with holograph
revisions,
nd With holograph revision pages and notes, Aug.-Sept.,
nd |
| box-folder |
| 69.2 | | | | | | Notebook of holograph draft pages and notes,
2-19 Sept. [1970]; drafts of introduction to
teleplay; draft re. proposition vs. fact; notes for
Where Are They
Now? |
| box-folder |
| 69.3 | | | | | | Photocopy typescript,
nd |
| box-folder |
| 69.4 | | | | | | "Revised ms, Prelims
copy," photocopy typescript with holograph corrections in unidentified
hand and printer's marks,
nd. With letter from Faber and Faber to Stoppard,
3 May 1973 |
| box-folder |
| 69.5 | | | | | | Photocopy typescript,
nd |
| box-folder |
| 69.6 | | | | | | "Rehearsal Script,"
mimeograph typescript, with holograph notes on versos of two pages,
nd |
| box-folder |
| 69.7 | | | | | | Incomplete photocopy of typescript with holograph
revisions in unidentified hand,
nd |
| | | | | | Double bill with
The Real Inspector
Hound
(see
The Real Inspector Hound,
Folders 104.12 and 104.13) |
| box-folder |
| 53.9 | | | | | | Photographs, advertisement, and poster from Sao
Paulo, Brazil, production,
1994 (poster removed to Oversize Box 2, folder
1) |
| box-folder |
| 1.3 | | | | | | Program with holograph notes,
[1970] |
| box-folder |
| 69.8 | | | | | | Programs and flyers,
1970-85, nd |
| | | | | | Mounted posters |
| | | | | | | Teatro dell'Orologio, Rome,
1987 (Oversize Box 2) |
| | | | | | | Malmo Stadsteater, Sweden,
nd (Oversize Box 4) |
| box-folder |
| 69.9 | | | | | | Articles and reviews,
1970-73, 1984 |
| box-folder |
| 69.10 | | | | | | Correspondence,
1996, 1999 |
| | | | | Book |
| box-folder |
| 69.11 | | | | | | Dust jacket,
[1971] |
| | | | Albert's Bridge |
| | | | | Radio Play |
| box-folder |
| 66.11 | | | | | | Mimeograph typescript, with holograph notes in an
unknown hand,
1967. With production information and opening and closing
announcements. |
| box-folder |
| 69.12 | | | | | | Articles and reviews,
1967 |
| | | | | | Prix Italia award certificate,
1968 (Oversize Box 2, folder 2) |
| | | | | Stage play |
| box-folder |
| 1.4 | | | | | | Programs,
nd |
| box-folder |
| 69.13 | | | | | | Program, French production,
1999 |
| box-folder |
| 69.14 | | | | | | Articles and reviews,
1969, nd |
| box-folder |
| 69.15 | | | | | | St. Alban's Repertory Theater production--letter
from Albert Ihde, program, articles and reviews,
1969 |
| box-folder |
| 1.5 | | | | | | Articles and reviews, French production,
[1974] |
| box-folder |
| 53.10 | | | | | | Advertisements and poster for Paris production,
1994 (poster removed to Oversize Folder 5) |
| | | | | | [Double bill with
If You're Glad I'll Be
Frank] |
| box-folder |
| 69.16 | | | | | | | Flyer and program,
[1969] |
| box-folder |
| 69.17 | | | | | | | Reviews and advertisement,
1969 |
| | | | | | | Signed photo reproduction sent by cast and crew,
Jan. 1999 (Oversize Box 7) |
| box-folder |
| 69.18 | | | | | | Correspondence,
1997, 1998 |
| | | | | Screenplay, by Stoppard and A.C.H. Smith |
| box-folder |
| 1.6 | | | | | | Typescript synopses and notes by Stoppard and
Anthony Smith, with holograph corrections,
6 and 25 Sept 1969, nd |
| box-folder |
| 1.7 | | | | | | "Film Outline," carbon
typescript, with holograph revisions,
nd |
| box-folder |
| 1.8 | | | | | | "Film Outline,"
typescript, with holograph revisions,
nd |
| box-folder |
| 1.9 | | | | | | "Film Outline," photocopy
typescript, bound,
nd |
| box-folder |
| 66.12 | | | | | | Typescript, with typescript inserts and holograph
revisions,
nd |
| | | | Always (Revision of the screenplay
by Jerry Belson and Diane Thomas) |
| box-folder |
| 69.19 | | | | | Original and faxed typescript pages with holograph
revisions,
11 May, 10 and 17 July, and 10 and 14 Aug. 1989.
With memos from Stoppard to Steven Spielberg, 3, 11,
and 17 July 1989 |
| box-folder |
| 69.20 | | | | | Correspondence and meeting notes,
1989-90 |
| | | | Another Moon Called Earth [The
Critics]--Teleplay |
| box-folder |
| 66.13 | | | | | Carbon typescript,
nd |
| box-folder |
| 66.14 | | | | | Rehearsal Script. Mimeograph typescript,
1967 |
| box-folder |
| 69.21 | | | | | Articles and reviews,
1967 |
| | | | Arcadia |
| | | | | Stage play |
| box-folder |
| 53.11 | | | | | | "Mathematical Chaos and Strange
Attractors," photocopy excerpt from
Structures and Strangeness, Nov. 1981 With note from Oliver Stoppard to Stoppard,
nd |
| box-folder |
| 40.9 | | | | | | Incomplete typescript with holograph revisions,
bound,
nd (Missing pages are located in Folder
40.10) |
| box-folder |
| 40.10 | | | | | | Incomplete typescript,
nd (Includes pages from incomplete, bound typescript in
Folder 40.9) |
| box-folder |
| 69.22 | | | | | | Typescript fragment,
nd |
| box-folder |
| 69.23 | | | | | | Typescript of Act One, with holograph revisions,
nd |
| box-folder |
| 69.24 | | | | | | Faxed pages of typescript with holograph revisions,
9 June 1992 |
| box-folder |
| 69.25 | | | | | | "Replacement pages," 30 July 1992 |
| box-folder |
| 69.26 | | | | | | Typescript page,
nd |
| box-folder |
| 40.11 | | | | | | Typescript with holograph revisions, bound,
Nov. 1992 |
| box-folder |
| 53.12 | | | | | | Photocopy typescript, with holograph revisions,
Nov. 1992 |
| box-folder |
| 41.1 | | | | | | Photocopy of typescript with holograph corrections,
Nov. 1992 |
| box-folder |
| 41.2 | | | | | | Typescript with holograph corrections, bound,
Dec. 1992 |
| box-folder |
| 41.3 | | | | | | Typescript with some holograph corrections by
Stoppard and unknown person, bound,
8 Dec. 1992 |
| box-folder |
| 41.4 | | | | | | Photocopy typescript with holograph corrections,
bound,
[Dec. 1992] |
| box-folder |
| 53.13 | | | | | | Photocopy typescript, with holograph revisions,
bound,
Jan. 1993 |
| box-folder |
| 41.5 | | | | | | Photocopy typescript, bound,
Jan. 1993 |
| box-folder |
| 53.14 | | | | | | Printer's copy,
Jan. 1993 (bound) |
| box-folder |
| 41.6 | | | | | | Rehearsal Script. Photocopy typescript with
holograph revisions, bound,
29 Jan. 1993 |
| box-folder |
| 41.7 | | | | | | Photocopy typescript,
Jan. 1993 (with holograph revisions, March 1993,
bound) |
| box-folder |
| 54.1 | | | | | | Press Script. Photocopy typescript, with a few
holograph corrections, bound,
19 April 1993 |
| box-folder |
| 70.1 | | | | | | "Press Script," bound
photocopy typescript,
19 April 1993 |
| box-folder |
| 54.2 | | | | | | Photocopy typescript pages, with holograph
revisions,
nd |
| box-folder |
| 42.1-5 | | | | | | "Arcadia Pages,"
typescript, faxed, and holograph drafts and revision pages; Peters, Fraser, and
Dunlop catalogue copy form; rehearsal papers, including rehearsal calls, list
of contacts, stage diagrams, rehearsal notes, production schedule, sound and
music cues, research material, and rehearsal script; theatre program drafts and
page proofs, including drafts by John Barrell, Rupert Christiansen, and Robert
M. May; and page proofs for Faber & Faber text;
Aug. 1992-April 1993, nd. (With letters from Stoppard to Caroline and to
Charles Boyle and letters from Robert May to Stoppard and Emma Fielding)
(theatre program drafts and page proofs removed to
Oversize Box 7) |
| box-folder |
| 42.6 | | | | | | Correspondence and production file--correspondence,
Royal National Theatre leaflet, theatre tickets, and printed invitation to cast
party,
Feb.-April 1993. With "roundup" summary of
current productions and publications of Stoppard's plays, 1993 |
| box-folder |
| 54.3 | | | | | | Revised production schedule,
12 March 1993 |
| | | | | | Lincoln Center Theater production |
| box-folder |
| 70.2 | | | | | | | Bound photocopy typescript with holograph
revisions,
nd |
| box-folder |
| 70.3 | | | | | | | Typescript draft with holograph
revisions [Missing pages are located in "Trims Suggested"] |
| box-folder |
| 70.4 | | | | | | | "Trims Suggested for Lincoln
Centre," typescript draft pages with holograph revisions,
nd |
| box-folder |
| 70.5 | | | | | | | "Arcadia Script
Variations," typescript list of changes, with holograph note from
Stoppard to company on verso of
Hopeful Monsters typescript
page,
[1995] |
| box-folder |
| 70.6 | | | | | | Holograph production notes,
nd |
| box-folder |
| 42.7 | | | | | | Rideau de Bruxelles, Belgium, production photographs
and poster,
1993 (poster, two copies, removed to Oversize Box 2,
folder 1) |
| box-folder |
| 70.7-9 | | | | | | Comedie-Francaise productions--programs, flyers,
ticket, photographs, posters and faxed and bound reviews,
1997-98 (posters, two copies, with poster of season schedule,
removed to Oversize Box 2, folder 1) |
| box-folder |
| 70.10 | | | | | | Photographs from the original National Theatre
production,
1993 |
| box-folder |
| 54.4 | | | | | | Photographs from Cape Town, South Africa,
production,
nd. With note from Gordon Dickerson of Peters Fraser
& Dunlop to Stoppard, nd |
| | | | | | Photograph of touring cast,
1995 (Oversize Box 8) |
| box-folder |
| 70.11-12 | | | | | | Photographs from various productions,
1997-98, nd |
| box-folder |
| 54.5 | | | | | | National Theatre brochures,
1992-93 |
| box-folder |
| 54.6 | | | | | | TheatrePrint. The Weekend Ad. Photocopy page proofs,
with some holograph corrections,
nd (page proofs removed to Oversize Box 7) |
| box-folder |
| 54.7 | | | | | | Theatre programs--Poland, Australia. With a Lyttelton advertising leaflet proof and a
rehearsal note from Aldwych,
1993-94, and with Haymarket Theatre ticket,
19 May 1994 |
| box-folder |
| 71.1-6 | | | | | | Programs (some signed by cast), flyers, advertising
postcard, ticket |
| box-folder |
| 54.8 | | | | | | Rejected poster design, Lincoln Center Theater,
nd |
| box-folder |
| 71.7 | | | | | | Lincoln Center Theater poster design |
| | | | | | Poster: Teatr Wybrzeze, Poland, two copies,
1994 (Oversize Box 2, folder 1) |
| box-folder |
| 71.8-10 | | | | | | Articles, reviews, and advertisements,
1993-1999 (see also Oversize Box 6) |
| box-folder |
| 54.9 | | | | | | The Laurence Olivier Awards program,
1994 |
| box-folder |
| 71.11 | | | | | | Nomination certificates for Writers' Guild Macallan
award, 1993, and Laurence Olivier Award, 1994; Critics' Circle London Theatre
Award, 1993; Tony Awards tickets, 1995 |
| | | | | | Drama Critics' Circle award certificate for Best
Play,
1994 (Oversize Box 2, folder 2) |
| box-folder |
| 54.10 | | | | | | Correspondence,
1993-94, nd |
| | | | | Radio Play |
| box-folder |
| 54.11 | | | | | | Photocopy of miscellaneous typescript draft pages,
with holograph revisions in an unknown hand made for radio broadcast, with
additional holograph revisions by Stoppard,
nd. With letter from BBC Radio to Stoppard,
13 Aug. 1993 |
| box-folder |
| 54.12-13 | | | | | | Photocopy typescript, with holograph revisions,
Sept. 1993 |
| | | | | | Advertisement from
The Modern Review, Dec.-Jan. 1993/94 (Oversize Box 6) |
| | | | | Book |
| box-folder |
| 72.1 | | | | | | Photocopy page proofs,
1999 |
| box-folder |
| 72.2-6 | | | | | Correspondence, drafts of blurb and bio, crossword
puzzle, Newstead Abbey guide,
1992-99 |
| | | | | Oil pastel portrait of Stoppard as Septimus [by
Jennifer Dundas],
30 March 1995 (Oversize Box 5, folder 7) |
| | | | Artist Descending a
Staircase |
| | | | | Radio Play |
| box-folder |
| 66.15 | | | | | | Typescript, with holograph revisions,
nd |
| box-folder |
| 72.7 | | | | | | Mimeo typescript, with holograph revisions,
nd. With holograph notes re.
The Real Inspector Hound on
versos of pp 44-45 |
| box-folder |
| 66.16 | | | | | | Mimeograph typescript,
1972 |
| box-folder |
| 72.8-9 | | | | | | Mimeo typescript,
[1972] Two copies |
| box-folder |
| 66.17 | | | | | | Photocopy of typescript with holograph notations
showing cuts,
1972 |
| box-folder |
| 54.15 | | | | | | Photocopy typescript, with holograph revisions,
bound,
nd |
| box-folder |
| 72.10 | | | | | | BBC Entry, Italia Prize, bound photocopy typescript
with holograph markings,
[1973] |
| | | | | Stage play |
| box-folder |
| 72.11 | | | | | | Composite draft of typescript pages and photocopy
pages of printed text, with typescript revisions taped in,
nd |
| box-folder |
| 73.1 | | | | | | Photocopy of composite draft of typescript pages and
photocopy pages of printed text with typescript revisions,
nd |
| box-folder |
| 73.2 | | | | | | Bound typescript with holograph revisions and
holograph insert page of notes,
nd |
| box-folder |
| 73.3 | | | | | | Programs and flyer,
1988-89 |
| box-folder |
| 54.14 | | | | | | Theatre program, Kings Head Theatre Club production,
nd |
| | | | | | Poster: King's Head Theatre Club,
[1988] (Oversize Box 2, folder 1) |
| | | | | | Poster: Rideau de Bruxelles, Belgium,
1989 (Oversize Folder 5) |
| | | | | Book |
| box-folder |
| 73.4 | | | | | | Dust jacket proof,
nd |
| box-folder |
| 73.5 | | | | | Articles and reviews,
1972-89 |
| box-folder |
| 73.6 | | | | | Correspondence,
1972-91 |
| | | | | Translations |
| box-folder |
| 73.7 | | | | | | L'Artiste Descendant
L'Escaller--translation for Italia Prize by Hélène Corrie, bound
photocopy typescript,
nd |
| box-folder |
| 73.8 | | | | | | Listamadur A Leid Nidur
Troppur--translation by Gudjon Olafsson, bound typescript,
nd |
| | | | Artist Descending a Staircase and Where
Are They Now?: Two Plays for Radio--Book |
| box-folder |
| 73.9 | | | | | Incomplete mimeo typescript with holograph printer's
marks. With typescript front pages with holograph printer's marks,
[1973] |
| box-folder |
| 73.10 | | | | | Page proofs with holograph corrections,
[1973] |
| | | | Billy Bathgate --Screenplay
adaptation of the book by E. L. Doctorow |
| box-folder |
| 1.10-11 | | | | | Holograph draft sections,
Sept.-Nov. 1989 |
| box-folder |
| 1.12 | | | | | Holograph draft,
Sept.-Nov. 1989 |
| box-folder |
| 1.13 | | | | | Composite photocopy of corrected typescript, and faxes
with holograph revisions,
Nov. 1989 |
| box-folder |
| 1.14 | | | | | Photocopy typescript, with holograph corrections,
nd |
| box-folder |
| 2.1 | | | | | Photocopy typescript, with holograph notes,
Nov. 1989 |
| box-folder |
| 54.16 | | | | | Photocopy typescript, with some holograph revisions,
nd. With additional photocopy typescript pages, with
holograph revisions, nd |
| box-folder |
| 2.2 | | | | | "Revised First Draft,"
photocopy typescript,
March 1990 |
| box-folder |
| 55.1 | | | | | Revised First Draft, photocopy typescript, with
holograph revisions,
March 1990 |
| box-folder |
| 55.2 | | | | | Incomplete photocopy typescript, with holograph
revisions,
nd. With holograph draft pages, May 1990 |
| box-folder |
| 73.11 | | | | | "Second Draft," bound
photocopy typescript,
May 1990 [with holograph revisions] |
| box-folder |
| 55.3 | | | | | Revised Second Draft, photocopy typescript, bound,
25 May 1990 |
| box-folder |
| 55.4 | | | | | Revised Second Draft, photocopy of typescript with
holograph revisions,
25 May 1990 |
| box-folder |
| 55.5 | | | | | Revised Fourth Draft, photocopy typescript, with some
holograph notations,
14 Sept. 1990 |
| box-folder |
| 55.6 | | | | | Revised Fourth Draft, photocopy typescript,
14 Sept. 1990 [with photocopy typescript insert pages, 20 Sept.
1990-23 Jan. 1991, bound] |
| box-folder |
| 55.7 | | | | | Faxed typescript rewrite pages, some with holograph
revisions, by Stoppard, Robert Benton, and Edgar Doctorow,
22 July-13 Sept. 1991. With meeting notes, 16 Aug. 1991, and memos from
Stoppard to Benton, 26 Aug. and 12 Sept. 1991 |
| box-folder |
| 56.1 | | | | | Revised Fourth Draft, photocopy typescript,
14 Sept. 1990. With photocopy typescript insert pages, 20 Sept.
1990-23 July 1991, and some holograph revisions, bound |
| box-folder |
| 73.12 | | | | | Sheet music for
"Bye Bye Blackbird" |
| box-folder |
| 73.13 | | | | | Correspondence,
1989-91 |
| | | | Born Yesterday --Play by Garson
Kanin, directed by Stoppard, two copies of Greenwich Theatre magazine
cue, no. 8,
April/May 1973 One with holograph notes by Stoppard (Oversize Box 6) |
| | | | The Boundary --Teleplay,
co-authored by Clive Exton,
1975 |
| box-folder |
| 2.3 | | | | | Holograph and typescript draft fragments,
nd |
| box-folder |
| 74.1 | | | | | Mimeo typescript with holograph revisions,
nd |
| box-folder |
| 2.4 | | | | | Articles and reviews,
nd |
| box-folder |
| 74.2 | | | | | Correspondence,
1995 |
| | | | Brazil --Screenplay, with Terry
Gilliam and Charles McKeown |
| box-folder |
| 2.5 | | | | | Photocopy typescript plot outline and synopsis by
Terry Gilliam,
nd. With letter from Gilliam, nd |
| box-folder |
| 2.6 | | | | | Typescript draft,
nd. With photocopies of some pages |
| box-folder |
| 2.7 | | | | | Holograph drafts,
Aug.-Dec. 1982 |
| box-folder |
| 2.8 | | | | | Photocopy of corrected typescript,
[Sept. 1982] |
| box-folder |
| 2.9 | | | | | Incomplete photocopy typescript, with holograph
revisions,
Sept. 1982 Pages missing from this version were used for
succeeding, Dec. 1982, photocopy typescript |
| box-folder |
| 3.1 | | | | | Photocopy typescript, with typescript corrections,
Dec. 1982 Incorporates pages from Sept. 1982 photocopy
typescript |
| box-folder |
| 3.2 | | | | | Photocopy typescript, with typescript and holograph
revisions,
Jan. 1983. With note from Gilliam, nd |
| box-folder |
| 74.3 | | | | | Bound photocopy typescript with holograph notes and
revisions,
Jan. 1983 |
| box-folder |
| 3.3 | | | | | Photocopy of corrected typescript,
June 1983 |
| box-folder |
| 3.4 | | | | | Photocopy typescript, bound,
nd |
| box-folder |
| 3.5 | | | | | Photocopy typescript, bound,
Oct. 1983 |
| box-folder |
| 3.6 | | | | | Typescript fragments, with holograph corrections,
nd |
| box-folder |
| 3.7 | | | | | Correspondence and production file,
1982-1986 |
| box-folder |
| 74.4 | | | | | Correspondence,
1982, 1989, 1993 |
| | | | Cats --Animated screenplay
adaptation of Andrew Lloyd Webber's musical based upon
Old Possum's Book of Practical Cats
by T. S. Eliot |
| box-folder |
| 56.2 | | | | | Photocopy typescript draft synopsis, nd, and
accompanying notes,
29 Jan. 1994 |
| box-folder |
| 56.3 | | | | | Holograph and photocopy and faxed typescript draft
pages, with holograph revisions,
11 Feb. 1994, nd. [With letter from Andrew Lloyd Webber to Stoppard, and
notes from Stoppard to Lloyd Webber and Jacky Matthews, nd] |
| box-folder |
| 74.5 | | | | | Faxes of typescript and holograph revision pages,
revised typescript pages, and faxes of typescript revision pages with holograph
revisions,
24 Feb. 1994 |
| box-folder |
| 74.6 | | | | | Typescript fragment,
nd |
| box-folder |
| 56.4-5 | | | | | Photocopy and faxed typescript draft fragments, with
holograph revisions, and holograph insert pages, rewrite pages, and script
notes,
Feb.-March 1994. With correspondence between Stoppard, Andrew Lloyd
Webber, and Trevor Nunn, Feb. 1994 |
| box-folder |
| 74.7 | | | | | Fax of typescript page with holograph revisions,
1 March 1994 |
| box-folder |
| 74.8-9 | | | | | Typescript fragments,
nd |
| box-folder |
| 74.10 | | | | | Faxes of holograph and typescript revision pages,
2 March 1994 |
| box-folder |
| 74.11 | | | | | Typescript page,
nd |
| box-folder |
| 74.12 | | | | | Typescript revision pages, nd; faxes of typescript and
holograph revision pages,
3 March 1994 |
| box-folder |
| 74.13 | | | | | Typescript fragment, with holograph revisions in Jacky
Matthews' hand,
nd |
| box-folder |
| 74.14 | | | | | Typescript fragment,
nd |
| box-folder |
| 74.15 | | | | | Holograph revision page,
nd |
| box-folder |
| 74.16 | | | | | Composite fragment of holograph pages and faxed
typescript pages with holograph revisions,
nd |
| box-folder |
| 74.17 | | | | | Typescript fragments,
nd |
| box-folder |
| 74.18 | | | | | Typescript pages,
nd |
| box-folder |
| 74.19 | | | | | Typescript fragment with holograph corrections in
Jacky Matthews' hand,
nd |
| box-folder |
| 74.20 | | | | | Typescript fragment,
nd. Two copies |
| box-folder |
| 74.21 | | | | | Faxes of holograph revision pages,
14 March 1994 |
| box-folder |
| 74.22 | | | | | Incomplete bound typescript draft, with holograph
revisions and insert pages,
nd |
| box-folder |
| 56.6 | | | | | Photocopy and faxed typescript draft fragment, with
holograph revisions,
14 March 1994. With holograph rewrite pages, 4 March 1994,
nd |
| box-folder |
| 56.7 | | | | | Correspondence with Andrew Lloyd Webber, Trevor Nunn,
and Anthony Jones,
March-April 1994. With holograph and faxed typescript revision pages, 15
and 16 March 1994 |
| box-folder |
| 74.23 | | | | | Faxes of holograph revision pages,
20 and 21 March 1994 |
| box-folder |
| 74.24 | | | | | Composite fragment of original and faxed typescript
pages with holograph revisions,
30 March 1994 |
| box-folder |
| 74.25 | | | | | Holograph revision pages, with photocopy text of
songs; typescript pages with holograph corrections in Jacky Matthews' hand,
nd |
| box-folder |
| 74.26 | | | | | Typescript fragment,
nd |
| box-folder |
| 74.27 | | | | | Typescript pages with holograph corrections in Jacky
Matthews' hand,
nd |
| box-folder |
| 56.8 | | | | | Holograph rewrite pages,
nd |
| box-folder |
| 56.9 | | | | | Holograph script notes and holograph, typescript, and
faxed typescript rewrite pages,
March and April 1994. With letter from Stoppard to Andrew Lloyd Webber and
Trevor Nunn, nd |
| box-folder |
| 56.10 | | | | | Photocopy and faxed typescript draft fragments, with
holograph revisions,
15-17 March, 26 April, 4 May. With song lists and breakdown, nd |
| box-folder |
| 56.11 | | | | | Photocopy typescript draft fragment, with holograph
revisions,
nd |
| box-folder |
| 57.1 | | | | | Photocopy typescript draft, with holograph revisions
and holograph insert pages. With holograph pages of notes and rewrites,
20 and 22 April 1994, nd |
| box-folder |
| 57.2 | | | | | Holograph, photocopy typescript, and faxed typescript
draft pages, with holograph revisions,
Feb.-April 1994. With "Trevor breakdown,"
nd |
| box-folder |
| 57.3 | | | | | Photocopy and faxed typescript draft fragments, with
holograph insert and rewrite pages,
9 Feb.-4 May 1994. With correspondence between Stoppard and Andrew Lloyd
Webber, Steven Spielberg, Kenneth Ewing, and Anthony Jones re. script, Feb.,
April, May, and July 1994; list of songs, nd; and "Trevor
breakdown," nd |
| box-folder |
| 57.4 | | | | | Preliminary Draft, photocopy typescript draft
fragment, with holograph revisions,
5 April 1994 |
| box-folder |
| 75.1 | | | | | Typescript draft with holograph revisions in Jacky
Matthews' hand, nd; Stoppard's faxed holograph rewrite pages, 11 April 1994;
and typescript pages incorporating the revisions and with holograph corrections
in Jacky Matthews' hand, nd |
| box-folder |
| 75.2 | | | | | Typescript draft,
nd |
| box-folder |
| 57.5 | | | | | Photocopy typescript draft with holograph revisions
and holograph insert pages,
14 and 15 April 1994, nd |
| box-folder |
| 75.3 | | | | | Typescript draft with holograph revisions in Jacky
Matthews' hand and faxes of typescript pages with holograph revisions by
Stoppard,
18 April 1994 |
| box-folder |
| 75.4-5 | | | | | Typescript fragments,
nd |
| box-folder |
| 75.6 | | | | | Composite typescript draft, with holograph revisions
in Jacky Matthews' hand,
nd |
| box-folder |
| 75.7 | | | | | Faxes of holograph pages,
27 April 1994 |
| box-folder |
| 75.8 | | | | | Holograph title page,
29 April 1994 |
| box-folder |
| 75.9 | | | | | "First Draft," typescript
pages,
29 April 1994. With holograph revisions in Jacky Matthews' hand,
nd |
| box-folder |
| 75.10-11 | | | | | "First Draft," typescript
draft,
29 April 1994. Two copies With holograph revisions, nd. |
| box-folder |
| 75.12-15 | | | | | "First Draft," Stoppard's
and his secretary's copies of typescript draft,
29 April 1994. With Stoppard's phoned and faxed revisions,
nd |
| box-folder |
| 76.1-2 | | | | | Typescript pages with holograph revisions,
nd |
| box-folder |
| 76.3-5 | | | | | "First Draft," typescript
draft,
29 April 1994. Three copies, two bound. |
| box-folder |
| 76.6 | | | | | "First Draft," typescript
draft,
29 April 1994. With holograph revisions in Jacky Matthews'
hand |
| box-folder |
| 76.7 | | | | | Typescript pages,
nd |
| box-folder |
| 76.8 | | | | | Typescript pages with holograph revisions in Jacky
Matthews' hand,
nd |
| box-folder |
| 76.9 | | | | | Typescript page,
nd |
| box-folder |
| 57.6 | | | | | First Draft, photocopy typescript,
29 April 1994. With faxed typescript rewrite pages, 5 April
1994 |
| box-folder |
| 57.7 | | | | | Incomplete photocopy typescript, with holograph
revisions,
nd |
| box-folder |
| 57.8 | | | | | Photocopy typescript, with a few holograph
corrections,
nd |
| box-folder |
| 57.9 | | | | | First Draft, typescript,
1 May 1994. With typescript rewrite pages, nd |
| box-folder |
| 58.1 | | | | | First Draft, typescript, with holograph revisions,
1 May 1994 |
| box-folder |
| 58.2 | | | | | Photocopy typescript, with holograph revisions and
insert pages,
nd |
| box-folder |
| 76.10 | | | | | Typescript revision pages and memo from Stoppard to
Lloyd Webber,
4 May 1994 |
| box-folder |
| 76.11 | | | | | "Second Draft," composite
typescript draft, with holograph revisions in Jacky Matthews' hand and with
faxes of typescript and holograph revision pages,
8 June 1994 |
| box-folder |
| 76.12 | | | | | Typescript fragment with holograph memo from Jacky
Matthews to Sarah,
nd |
| box-folder |
| 58.3 | | | | | Photocopy and faxes typescript, with holograph
revisions,
7 June 1994, nd. With additional photocopy typescript draft fragment,
with holograph revisions, nd |
| box-folder |
| 58.4 | | | | | Second Draft, photocopy typescript, with holograph
revisions,
12 June 1994 |
| box-folder |
| 76.13 | | | | | Faxes of typescript and holograph pages,
27 and 29 July 1994 |
| box-folder |
| 76.14 | | | | | Typescript pages with holograph revisions in Jacky
Matthews' hand and fax of holograph revision page,
3 Aug. 1994 |
| box-folder |
| 76.15 | | | | | Faxes of typescript and holograph revision pages,
3 Aug. 1994 |
| box-folder |
| 58.5-6 | | | | | Photocopy typescript, with holograph revisions and
insert pages,
5 and 6 Aug. 1994. With additional "dead"
photocopy typescript draft fragments, nd, and holograph rewrite pages, Feb.,
March, July, and Aug. 1994. On some versos: photocopy pages of unidentified
book and photocopy typescript list of
Arcadia script revisions,
nd] |
| box-folder |
| 76.16 | | | | | Typescript draft with holograph revisions in Jacky
Matthews' hand and faxes of typescript and holograph revision pages,
10 and 11 Aug. 1994 |
| box-folder |
| 58.7 | | | | | Third Draft, photocopy and faxed typescript, with
holograph revisions,
Aug. 1994 |
| box-folder |
| 58.8 | | | | | Photocopy typescript, with holograph revisions,
nd |
| box-folder |
| 59.1 | | | | | | |