File of correspondence relating to contracts, as well as correspondence dealing with proposed productions, particularly to the States. Also material relating to her stay at the Great Southern Hotel during the production in Galway. Includes copy letter from Johnny Hippsley to Mildon Goldman, outlining possible work offers for Siobhan that have come in, including possible Druid productions of "Bailegangaire" in Australia and the States, a possible new play about Elizabeth Bowen at a New York venue, and the possibility of a part in The Dead a film by John Huston, "Siobhan has told me this is a part she would like to play if she is offered it" (25 July 1986). Also letter from Tom Murphy, Danesmoate, commenting that he hasn't a pen left in the house, and enclosing the script of "Bailegangaire". "I know I worked too hard of it and pushed it over the last few months - not my usual procedure of relaxed nerves ..." (8 Apr 1985). Also copy letter from Johnny Hippsley to Garry Hynes, Druid Theatre, Galway, following telephone conversations between Tom Murphy, Siobhán, Garry and himself. He comments on the proposed New York production that Siobhán’s name should not be used in relation to the production unless a contract had between herself and Druid. All her performances in the States have to be agreed with her agent there, Milton Goldman. He comments that Siobhán would like the play in an intimate venue like Papp’s Theatre in off-Broadway. “Her reasons for going to Galway in the first place were that she wanted to do a play for the people of Galway again, that she thought it was a great play and that she respected Druid for the work they were doing”. He comments further that she has reservations about the Gaiety as a venue, but that she will go ahead with it (7 Apr 1986). Also letter from Tom Murphy to Johnny Hippsley giving her version of events in relation to a possible production in the USA, stating that he had never said she would be playing the role. He comments that his agent is still waiting to hear from Joe Papp on the possibility of working on the production if it was in the Long Wharf Theatre. He comments on John’s point about input “I think it should be remembered that the play took two years in the writing and a third year – or more! – of my time in the collaborative and other aspects of the business of seeing the project realized”. The only firm offer he has at the moment is from the Long Wharf Theatre. He ends by commenting that the matter will be handled by his agent in the States (19 May 1986).
