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Photocopy of loan receipt for a loan for the sun of $1,360 for the production of 'Juno and the Paycock' by Edward Choate, loaned by Harry Goetz; in lieu of a fixed rate of interest Goetz was to receive a sum equal to 24.48% of all 'net profits'.

Photocopy of a handwritten list of the cast of the Choate production of 'Juno and the Paycock'; gives list of characters and names of players for example 'Captain Barry', 'Juno Sally'

Cutting from the New York Times of a cartoon by Al Hirschfeld of the cast of 'Juno and the Paycock' which was revived on the stage in new York in 1940. Cartoon features caricatures of Aideen O'Connor, Grania O'Malley, Sara Allgood, Barry Fitzgerald, Arthur Shields, Effie Shannon and Harry Young. (2 Copies)

Accounts for Edward Choates production of 'Juno and the Paycock'; including operating expense and production budget.

Accounts for Edward Choates production of 'Juno and the Paycock'

Accounts for Edward Choates production of 'Juno and the Paycock'

Correspondence between Edward Choate, Arthur Shields, Paul Vincent Carroll and others. Mostly photocopies from the Edward Choate collection.

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 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.'