Correspondence relating to Choate-Shields production of Paul Vincent Carroll's 'Kindred', the correspondence relates to the casting of the play; includes letters addressed to Dudley Digges who was suggested as a possible director of the play. Also includes correspondence with Paul Vincent Carroll regarding the Abbey theatre production of the play in Dublin, in letter dated 21 August 1939 from Edward Choate addressed to Paul Vincent Carroll, Carroll writes 'I was delighted to hear that the Abbey is doing a production of the play - both for selfish reasons and for your sake. I am going to make every effort to get over to Ireland to see it next month.' Also includes a letter dated 23 August 1939 from Arthur Shields at The Hollywood Athletic Club addressed to Edward Choate, Shields writes 'There is a lot of work to be done on "Kindred" yet. I still think the scene with the two figures is just a little too long but I am not fearful the way Dudley[Digges] is.' Also includes letter dated 2 September 1939 from Edward Choate, addressed to Aideen O'Connor at 307 East 44th Street, New York City, advising her that 'The production date [of Kindred] has been unavoidably advanced, due to the outbreak of war in Europe which will prevent Paul Vincent Carroll, the author, from coming to this country as he planned.'
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 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 Paul Vincent Carroll and Edward Choate and Arthur Shields. Includes letter dated 28 April 1952 from Edward Choate addressed to Arthur Shields, 1535 North Sierra Bonita Avenue, Hollywood 46, California; Choate describes the work he'd recently been involved with and also writes that Paul Vincent Carroll had visited New York the previous autumn, Choate writes 'Paul is as decided a character as he ever was, but his cockiness has turned to bitterness.' Also includes letter dated 19 May 1952 from Arthur Shields, 1534 North Sierra Bonita Avenue, Hollywood 46, California, addressed to Eddie Choate. Shields complains that work in Hollywood is hard to get for people like himself, 'T.V. has upset things and cut down prices to a horrible extent. I think I will change agent and work for a much smaller figure...'; also includes letter dated 8 May 1953 from Paul Vincent Carroll, 22 Park Road, Bromley, Kent, England addressed to Edward Choate, 152 West 42nd Street, New York, N.Y. Carroll writes that 'My darling Pearl died on Easter Sunday morning to the sound of joy bells of St. Martin's-in-the-Fields, and it was all very heartbreaking' he recalls their reunion after he returned from New York in 1951 'She just clung to me, and cried , "What the hell do they matter? Haven't we got each other?" Now, I have no one to turn to, and I am very lonely and distracted.'
Typescript manuscript of 'The Spanish Soldier' by Louis D'Alton, the play was staged under the title 'Tanyard Street' at The Little Theatre, New York from 4 February 1941 to 23 February 1941. Barry Fitzgerald, Arthur Shields and Aideen O'Connor all featured in the cast.
Typescript manuscript of 'The King of Friday's Men' - 'a play based on rural tradition' by Michael J. Malloy. The play appeared on Broadway in February 1951, none of the Shields family were in the cast.
Letters from Harold Bromley, 5 East 76th Street, New York 21, N.Y. addressed to Laurie Shields and Arthur Shields respectively. In a letter dated 13 October 1959 Bromley thanks Shields for sending a clipping from the L.A. Times. In relation to 'Goodwill Ambassador' Bromley writes 'Of Course, I have no objection to a little publicity and the mention of Arthur's possible connection with the play. You know you are a natural press agent?' Arthur Shields apparently met Bromley on his way to Dublin in October 1959.
Letter from B.D. Shamberg of Frank Cooper Associates addressed to Arthur Shields, 1535 N. Sierra Bonita, Los Angeles 46, California. Shamberg writes that he was talking to their 'New York Office today and expect to get a better definition of the "firm offer" ' regarding 'Goodwill Ambassador'.