Correspondence relating to Choate-Shields production of Paul Vincent Carroll's 'Kindred', the correspondence relates mostly to the casting and staging of the play, although no letters relate directly to the 'failure' of the play and its short run, some relate to the subsequent rival of 'Juno and the Paycock' in response to the failure. Includes letter dated October 1939 addressed to 'Dick' (Richard Madden) from Paul Vincent Carroll, in which Carroll writes 'Kindred received a poor, uninspired, pedestrian production at the Abbey, owing to the absence there of a producer (i.e. director) of any importance since Hugh Hunt left.' also includes letter dated 6 November 1939 from Burgess Meredith, 654 Madison Avenue addressed to Edward Choate, 307 East 44th St. New York City in which he informs Choate that he won't be available for 'Kindred', he writes 'This is a final and rather tearful statement that yesterday I sighed for "Young Man with A Horn... I am telling you this not because I believed you were waiting for me, but because you did call me up a couple of weeks ago and so I just thought I ought to let you know." ' Includes letter dated 28 December 1939 addressed to The Council, Actors' Equity Association, 45 West 47th Street, New York City from Edward Choate and Arthur Shields appealing to the council to permit 'alien' actors involved in the production of 'Kindred' to work on the proposed production of 'Juno and the Paycock' Choate and Shields write 'The company of "Kindred" - of which three members are alien Irish Actors - is anxious to continue working together in spite of the failure of the play. We are addressing you to ask for a dispensation in connection with these aliens in our present company and for permission to have miss Sarah Allgood join our company in a revival of "Juno and the Paycock".'
Correspondence relating to Choate-Shields production of Paul Vincent Carroll's 'Kindred'; the correspondence relates primarily to the casting of the play and also the rewriting of the script; in a letter dated 12 April 1939 in response to Choate's suggesting the casting of John Gielgud in the lead role in 'Kindred' Arthur Shields writes 'I quite understand what you say as to his value as far as appeal to an audience is concerned but I know -even from my slight knowledge of him that he is not right for Dermot. [Burgess] Meredith sounds much nearer the mark.' Also includes letter dated April 15 1939 from Edward Choate approaching Laurence Oliver for the lead role in 'Kindred'. Also includes letter dated 27 April 1939 from Hugh Hunt addressed to Edward Choate in which he writes 'I do not agree that Boss should play Dermot, unless you intend playing the play purely on its value as a script, which might be dangerous'. Also includes letter dated 28 April 1939 from Aideen O'Connor addressed to Edward Choate in which she writes 'I was staying at Yeats last week-end and read "Kindred" to Anne. She was very excited by it, but did not like it. She thinks the first two scenes terrific -with a few reservations about the Figures. She didn't like their pompous way of speaking and thought these was too much repetition of certain words and phrases -such as "brother in blood"'. Also includes correspondence between Edward Choate and Paul Vincent Carroll regarding revisions to the script of the play, in letter dated 11 May 1939 from Choate addressed to Carroll, Choate writes 'Of late I have become seriously troubled over the confusion, disappointment and dismay which arise in almost everyone who reads 'Kindred', and this condition has seriously handicapped and thwarted me in my efforts to interest actors and others in the play.' Also includes letter date 31 May 1939 addressed to Hugh Hunt informing him that he would not be engaged as director of the play. In a letter dated 9 June 1939 written in response to Choate's request for changes to the script Paul Vincent Carroll writes 'I need hardly tell you that I have cursed you into hell and out of hell again...but that's just because I like you so much.' and goes on to write 'I have been working very seriously on the play for the past month, and I think you will find drastic changes in it when the revised script arrives.' Also includes letter dated 21 June 1939 from Aideen O'Connor addressed to Edward Choate in which she writes 'When you get this Boss will have explained to you by which long and painful paths we arrived at the decision for him to go alone! I miss him very much as its not for long I don't mind so badly.'
Correspondence relating to Edward Choate and Arthur Shields' production of Paul Vincent Carroll's play 'Kindred'. Includes correspondence between Edward Choate and Paul Vincent Carroll and Carroll's American agent Richard J. Madden. In letter dated 1 January 1938 (This is almost certainly a typing error and should read 1 January 1939) from Edward Choate addressed to Paul Vincent Carroll, Choate writes ' "Boss" Shields has brought me the gratifying news that you are willing to consider seriously my desire to serve as the producer of your next play in America.' Also includes letters attempting to secure financing for the production for example a letter dated 28 February 1939 from Edward Choate addressed to stage and screen actor Joe Calleia, Choate writes 'I have been very lucky in securing the rights to a new play called "Kindred" by Paul Vincent Carroll, the author of "Shadow and Substance and "The White Steed". I imagine you know that those plays have been two of the biggest hits of the past two seasons...Joe, I am shamelessly approaching everybody I ever knew for help with the financing.' and goes on to write 'what I really want you to do is to let me know if you have any connections out there [in Hollywood] which would enable you to raise a few hundred dollars to invest in Kindred.' Also includes a letter dated 4 March 1939 from Edward Choate addressed to Arthur Shields at the Hotel Whitby, New York, N.Y. in which Choate writes 'this will our verbal understanding that you are to be associated with me in the American production of Paul Vincent Carroll's 'Kindred' which you were instrumental in securing for me. You will participate in the net profits from the production to the extent of one fifth of the producer's share...' Also includes correspondence with various actors who were approached to play the lead in the production including Robert Donat, John Gielgud and Burgess Meredith.
Correspondence relating to Edward Choate production of 'Juno and the Paycock' and also his attempts to stage Paul Vincent Carroll's 'Old Foolishness', also correspondence of a more personal nature between Choate and Shields following Shields illness and withdrawal from an active role in productions. Includes letter dated 3 January 1940 from Richard J Madden acting on behalf of Sean O'Casey addressed to Edward Choate, Paycock productions Inc., 223 West 44th Street, New York City granting Choate 'sole and exclusive rights to present Mr. O'Casey's play "Juno and The Paycock" in the city of New York, commencing on or about February 1st 1940.' Also includes letter dated 3 January 1940 from the Actors' Equity Association addressed to Edward Choate, 223 West 44th Street, New York, N.Y. confirming that 'none of' Sara Allgood, Aideen O'Connor, Barry Fitzgerald, Arthur Shields' will be obliged to the six-months period between engagements that usually apply to all alien actors.' Also includes letter dated 23 January 1940 from Edward Choate, 223 West 44th Street addressed to Arthur Shields, Lenox Hill Hospital, Park Avenue and 76th Street, New York City enclosing the accounts of Paycock productions (see ref). Arthur Shields was at that time in hospital suffering from T.B. Also includes correspondence between Edward Choate and Arthur Shields relating to Paul Vincent Carroll's play 'The Old Foolishness', in letter dated 19 February 1940 addressed to Edward Choate from Arthur Shields, Villa Riposo. Shields writes 'I have read over 'The Old Foolishness very carefully and I might as well come to the point at once and say that I am somewhat disappointed in it.' Also includes correspondence between Arthur Shields and Edward Choate relating to Aideen O'Connor's role in 'Grey Farm' by Terence Rattigan and Hector Bolitho, she was forced to quit the play after coming under pressure from its producers. Choate apparently abandoned plans to produce 'The Old Foolishness' in letter dated 24 June 1940 from Paul Vincent Carroll, Torquil, Carmyle Avenue, Glasgow E 2. addressed to Edward Choate, The Shubert Theatre, West 44th St., New York City, Carroll writes 'the news that you have had to abandon "The Old Foolishness" for lack of finance came as a severe disappointment, for I was looking forward to your winning through with it, and besides I feel that with all his cash Golden is a bit of an idiot, and you with all your poverty are a bit of an artist.'
Correspondence relating to Edward Choate's proposed production of Paul Vincent Carroll's play 'The Strings, My Lord, Are False'. Includes letter dated 14 March 1941 from Paul Vincent Carroll, South Park House, Ascog, Isle of Bute, Scotland addressed to Eddie Choate, The Shubert Theatre, Broadway, New York City writes of the failure of 'The Old Foolishness' on Broadway 'I could scarcely account for the failure of the play until I read the final Crothers' script that arrived last week...I will not go into detail over the incredible sentimental drivel and phoney Irishness she introduced...'; also includes letter dated 21 July 1941 from Paul Vincent Carroll addressed to Edward Choate, The Shubert Theatre, 44th St. New York City, enclosing the cast and scenes of his play 'The Strings, My Lord, Are False'. Also includes letter dated 23 August 1941 from Aideen O'Connor, 1843 North Cherokee Avenue, Hollywood, California addressed to Edward Choate, she writes 'The brothers Shields have been engaged as follows: Boss finished in "How Green Was My Valley" some weeks ago...[Barry] went straight into "Tarzan's Secret Treasure" - in which he wrestled with monkeys, escaped from crocodiles, rode elephants - and was flung into a lake an average of three times a day !' Edward Choate, Carroll's agent Richard Madden, Arthur Shields and Aideen O'Connor all agreed that 'The Strings, My Lord, Are False' required a lot of work; in a letter dated 3 October 1941 from Paul Vincent Carroll addressed to Edward Choate, The Beaux Arts Apartments, East 44th Street, New York City, Carroll wrote in response '...if you want a play of the Wookey type now on Broadway, you've come to the wrong man for it. It is cheap false and unreal.' he goes on 'I like you Eddie. God knows why. But for some strange reason, I do. I even like Iris. For that reason I am remaking my play. I am making it more of a story. I don't say it will be a better play, but it will be more "suitable". ' After the revised script had been sent to Choate he writes in a letter dated 18 November 1941 addressed to Carroll 'As you gathered from Dick's cable and mine, you have lifted us up very high, and it is now up to us to follow through and give you a production worthy of your tremendous achievement.' However further changes were requested by Choate, in a Telegram dated 1 December 1941 Carroll responded 'Your suggestions too fictional and novelist frankly refuse touch script again accept or reject leave me alone.'
Correspondence relating to Edward Choate's proposed production of Paul Vincent Carroll's play 'The Strings, My Lord, Are False', also relates to ongoing financial issues regarding 'Paycock Productions'. Includes letter dated 12 January 1942 from Barry Fitzgerald, 1734 North Gardner Street. Hollywood, California addressed to Edward Choate in which Fitzgerald writes ' I can't with honesty say I should play the part...I'd love to do so but I doubt very much whether my interpretation would be acceptable and whether it would make for success of the play.' Also includes letter dated 29 January 1942 from Edward Choate addressed to Aideen O'Connor, 1843 No. Cherokee Avenue, Hollywood, California, in which Choate writes 'I am still continuing to struggle with the intricate problems of getting Paul's play on and, frankly, I don't know what's going to happen.' 'The Strings, My Lord, Are False' was staged at the Royale Theatre on Broadway by Edward Choate and ran from 19 May 1942 until 31 May 1941 for a total of 15 performances. None of the correspondence relates directly to the staging of the play, however with reference to the play success in Dublin and relative failure on Broadway in a letter dated 25 May 1942 from Aideen O'Connor, 1843 N. Cherokee Ave., Hollywood, California addressed to Edward Choate, O'Connor writes 'I am sure Paul will never blame you for a minute - its one thing for a play to be a great success in New York. For one thing -- as much as I hate it I must say this -- Eire is now so insular, so cut off by her own will from contact from the rest of the world that she is eager to accept and applaud any offering that brings her a feeling of what is going on in the world of war.' In letter dated 12 November 1943 addressed to Edward Choate Aideen O'Connor writes 'Just a very short note with a piece of news. Boss's wife died some time ago and he and I were married last week. We are very happy about it.' Also includes further correspondence between Paul Vincent Carroll and Edward Choate which is primarily personal although there is some discussion of Carroll's new play 'The Wise Have Not Spoken'; in a letter dated 2 March 1946 addressed to Edward Choate from Paul Vincent Carroll, 113 Eton Hall, London, N.W.3 Carroll writes 'I was more than surprised that you did not like my play, "The Wise Have Not Spoken". Its message is becoming the most urgent one in the world, so urgent that it may again involve you country in an even bloodier war...it is now a question of the material way of life or the spiritual way -- the way of iron and stone or the way of the vision beautiful.'
Correspondence between An Taibhdhearc and three government departments, Finance, Education and the Gaeltacht over a period of forty years concerning the initial setting up of the theatre and showing its reliance on government funding and support. Most of the letters are listed individually but attention should be drawn to T1/B/466, a file of correspondence covering the 1960s. See also T1/B/868 and T1/B/880 for correspondence with An Roinn Tionscail agus Tráchtála relating to entertainment tax. See also 200 and 758 tax correspondence with An Roinn Tionscail and Tráchtála relating to entertainment tax.
Correspondence relating to insurance policies relating to the Taibhdhearc.