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Apologises for not being at the theatre the night before and for missing Ray. Says he thinks the play went well, and that audiences seem deeply interested and impressed. Says not to pay too much attention to the Dublin critics, "they are a very poor set". Says he has not yet read the new "White Feather", and that they have not yet decided their bills for Cork.

Says in reply to Ray's letter, they planned the Cork program and cannot alter it

Says Ray could not have seen him on Saturday after a performance because he went back to Dublin that afternoon. Says he heard back from Yeats about "The White Feather", and he thinks Ray made the best thing he has done out of it. Says when he comes over to Dublin the next week he will talk to him about "The Gombeen Man" in America.

Diaries kept by Ray spanning his personal life and Abbey Theatre career.

Consists of accounts in the year 1909, includes personal accounts, excerpts from newspapers, program notices for his play "The White Feather" at the Abbey Theatre.

Entries include reports on his family, what books he is reading at the time, and what he is doing for the newspaper. Includes accounts of his interactions with the Abbey Theatre, his play "The Casting-out of Martin Whelan", newspaper clippings, accounts of meeting notable figures such as W.B. Yeats, George Moore, etc.

Details Ray's experiences with the Abbey Theatre and the writing and editing of his play "The Gombeen Man". Discusses the death of his son Ray Brophy, his work as a journalist in Cork, and includes newspaper clippings of criticism for his plays. Includes a detailed personal and family history in which he reveals that his uncle, Hugh Brophy, was a major player in the Fenian Brotherhood, as well as his paternal half-brother John Brophy. Ray goes on to discuss how those connections cost his father, Thomas Brophy, his position as an inspector for the railway.

Drafts of plays and writings by R.J. Ray

Assorted items relating to the Abbey Theatre