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DIRECTORS:
INTERNATIONAL FAMOUS AGENCY, LTD.
LAURENCE EVANS (MANAGING)
MICHAEL ANDERSON
OTIS S. BLODGET (U.S.A)
ROBIN DALTON
TIM WILSON
7th February, 1975
Mr. Maurice Rowdon,
5 Tamworth Street,
London, SW6 1LB.
Dear Maurice,
I think really the only sensible thing is to send all these back to you for
the time being.
Yours ever,
Rdbin Dalton
enc.
11-12, HANOVER STREET, LONDON, W.1. TELEPHONE : 01-629 8080 - CABLE: LIMEY, LONDON
NEW YORK. LOS ANGELES - PARIS - ROME
(REGISTERED OFFICE)
(REG. NO. 945898 ENGLAND)
D ANNUALLY BY THE CITY OF WESTMINSTER


THAMES AND HUDSON LTD
DIRECTORS:
U. NEURATH (CHAIRMAN) : T. M. NEURATH (MANAGING) S. BARON (U.S.A.) T.CRAKER w. GUTTMANN - H. J.JARROLD C.B.E.
ASSOCIATB DIRECTORS: S. HUNTLEY - C. M. KAINE - I. MACKENZIE-KERR - E. C. PETERS - I. R. SUTTON
CABLES: THAMESHUDS LONDON WCI TELEX: 25992 TELEPHONE: OI-636 5488
30-34 BLOOMSBURY STREET LONDON WCIB 3QP
24th October 1974
Maurice Rowden, Esq.,
5, Tamworth Street,
London, SW6.
Dear Maurice,
DIAGHILEV
I am returning to you herewith the two copies of your
outline of "The Indian Crucifixion" which you sent me some
weeks ago. I am afraid that we feel unable to make you an
offer at this stage.
On account of royalties due to you under the contract for
"Diaghilev" you have received the total sum of £1500.00, £500.00
of which is on account of royalties earned on an American edition,
which,however, in the absence of a final manuscript, we were not
able to settle so far. In addition we paid you £75.00 for expenses
on November 7th 1973.
Since you have now received in advance all that you can
have under the contract, we feel that it is not unreasonable to
expect you to produce a reduced and publishable manuscript before
further payments are made. I want you to know though that we are
are prepared to pay you another advance against royalties once
a publishable manuscript is in our hands. Perhaps I should
remind you of Stanley's letter to you where he thought it would
be necessary to cut the manuscript to 30,000 - 35,000 words.
In great haste, and with all good wishes,
Vnelye Balka
Penelope Britten, pp
Mrs. Eva Neurath.
Dictated by Mrs. Neurath, but due to her departure, unable to be
signed by her.
REGISTERHD NO. 473109 INGLAND REGISTERED OFFICE: 30 BLOO OMSBURY STREET WCIB 3QP


THAMES S AND HUDSON LTD
DIRECTORS:
E. U. NEURATH (CHAIRMAN) - T. M. NEURATH (MANAGING) S. BARON (U.S.A.) - T. CRAKER w. GUTTMANN H. J.J JARROLD C.B.E.
ASSOCIATE DIRECTORS: S. HUNTLEY - C. M. KAINE I. MACKENZIE-KERR E.C. PETERS - I. R. SUTTON
CABLES: THAMESHUDS LONDON WCI TELEX: 25992 TELEPHONE: OI-636 S488
30-34 BLOOMSBURY STREET LONDON WCIB 3QP
EN/PB
3rd February 1975
Maurice Rowden Esq.,
5 Tamworth Street,
London SW6.
Dear Maurice,
DIAGHILEV
We would like to know what progress you have made
with the manuscript since you took it back in July
of last year.
Yours sincerely,
Era
Eva Neurath
REGISTERED NO. 473109 ENGLAND REGIS D OFF FICE: 30 BLOO MSBURY STREET WCIB 3QP




Denton Hall & Burgin
Solicitors
Denning House
90 Chancery Lane
London WC2A 1EU
Patrick Leslie Burgin
SrE Steven Buck Beharrell
DonalP. J. Moloney Mullens
Canham
Seghen J. Norris
Telephone: 01-242 1212
imiose Catherall
John R. Salter
Andrew M. B. Daws
Geoffrey J. Searle
Night Service: 01-2427485
Kenneth R. Dearsley
Nigel Sinclair
MichaelF. Flint
F. Taylor
Telex: 263567 Burgin G
RnPA Williams
Cables:
London
Emovrte Charles G. Green
S. Brown
Burginhal
WC2
Henry E. St.L. King
tred Cave-Browne-Cave
Fax
Timothy L. Kirby
RobertA. Goldspink
(Groups 2):
B.M. Kirkham
John E. R. Houghton
L D E Box 242
Overseas Partners
Christopher J. D. Clarke Robert W.. Jewkes
Hong Kong Office
Harcourt 1001 Hutchison Road, House Hong Kong
Consultants
The Rt Hon. Lord Fletcher Sir John Terry
Telex: 65750 DHB HX
HMF/PC
5 October 1981
M Rowdon Esq
Casa Compardi
San Gimignano 53037
Siena
Italy
Dear Mr Rowdon
Thank you for your letter of the 13th ultimo, which arrived
whilst I was away from the office on vacation.
I have asked someone in our Entertairments Department to
look at the position relating to Creepy Weepy Corporation
Inc.
I have been advised that it is samewhat difficult from the
correspondence to assess the exact relationship between
you and your literary agent and Creepy Weepy Corporation
Inc. It seems clear, however, that in consideration of the
advance you wrote a book based on a story outline provided
by the Creepy Weepy Corporation.
Carol Smith in her letter of the 18th August states that the
project has now apparently gone dead SO that the prospects
of your negotiating a contract with Creepy Weepy Corporation
seem negligible particularly as the agreement does not
appear to have been signed. Incidentally, the copy of the
agreement was not enclosed with your letter and we have
obtained a copy from Curtis Brown Limited.
In the circumstances, therefore, it looks as if it may be
sensible for you to retain the advance that has been paid
on the basis of a claim for quantum meruit. You will appreciate
that this advice is somewhat unsatisfactory. I suggest that
when you are in England next that we should talk about the
matter further in case there is sufficient information available
to enable you to take proceedings. It would however clearly
be very speculative to take proceedings against a New York
Corporation. Another course of action may be to contemplate


DENTON, HALL & BURGIN
instituting proceedings in America but again you will be faced
with the costs of instituting proceedings with no guarantee as
to the outcome.
We have written to the Ramana Health Foundation with regard to
the insurance claim and I will let you know as soon as I hear
anything further.
I have heard nothing further in respect of the Temple Gothard
claim on Portslade Productions Limited up to the present time.
Yours sincerely
yLU
Howard M Field


CURTIS BROWN
LIMITED
1 Craven Hill London W2 3EP
Telephone01-262 1011
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kifull, mus he a Couy = fle Creeyy Hayy lnc.
(umnls lih,ultut heme, A pach dill, 6 pik
Mutten. luonls
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AMEMBER OF THE CURTIS BROWN GROUP LONDON SYDNEY NEW YORK
Directors Richard Odgers (Chairman) Michael Shaw (Managing Director) Diana Baring Andrew Best
Felicity Bryan Peter Murphy Kathleen Nathan Graham Watson George Webster
Telex 261536 Cables Browncurt, London W2 Registered Office address as above Registered in London 1030815


Casa Campadi
San Gimignano 53037
(SIENA)
Italy
VENDETTA
Dear Carol,
I have your letter of 22 June.
Back in July of last year we discussed a contract with the
Creepy Weepy Corporation for VENDETTA in which the Corporation
required me not only to sell my copyright outright but to forego
all 'moral rights' as author (if such is possible) and even any
claim to authroship.
I told you at that time that any agent who presented his clients
with such a contract was in my opinion putting the clock back a
hundred years, besides putting himself in some professional danger.
There was also the fact that you yourself owned the Creepy Weepy
Corporation together with an ex-lawyer in Los Angeles, and could not
therefore present yourself as a disinterested party or agent in the
proper sense. I found myself in the position of having no one to
negotiate for me.
However, you told me that the copyright clauee was not your
invention but that of your lawyer-partner in the Corporation. He
had insisted, you told me, that copyright ownership was essential in
the case of a book series. This, I pointed out, was rubbish. You
were inclined to agree and said that a new contract would be sent to
me which would look after all the points I had metioned, and meanwhile
I was to write the novel in two months, by the end of September, as
this was required by Fontana Books. I would receive the first advance,
and the revised contract, wi thin days of my returning to my Italian
home. I did complete the book by the endof September but no advance
or contract arrived. I received a new 'draft' contract in February
1981 together with the first advance, and you promised the final printed
contract 'shortly'.
This has now reached me with your letter of June 22. But in it
I am still required to sell my copyright outright. The percentages,
I notice, are considerably below those mentioned in the first contract,
before I set out to write the book, and they are considerably below
what is generally accepted today. The subsidiary rights divisions


are appallingly disadvantageous to the author. And despite the fact
that I am required to sell my copyright I must sign a warranty. That
is, I must protect the Ceepy Weepy Corporation in all its dealings
thoughI have no control over those dealings and no rights or claims
on my own work. I could indeed get myself into serious difficulties
by signing such a warranty, without the smallest action on my part.
Moreover, I know nothing of the Creepy Weepy Corporation's agree-
ment with Fontana Bokks and Bantam Books, andit is surely essential that
I should know what contractual arrangements the Corporation has made
with these firms when it touches on my work. What you have told me
in the past of the Creepy Weepy Corporation has been disquieting.
You described your lawyer partner to me as a 'hustler' and, later,
a 'killer'. You told me that the final contract had been delayed
because you had had a disagreement with him. And you told me that
you had succeeded in removing him from the Corporation-there was
some matter of an even more powerful gentleman in New York making
financial threats in his direction (presumably a greater 'killer').
Frankly, Carol, I do not like the smell of the Creepy Weepy
Corporation and believe that if such companies gain an element of
control in the book industry it will be a bad day for publishers and
authors and their agents.
I realise you provided me with the story line for VADETTA and
of course some adjustment of my royalty must be made to allow for
that but I must ask you, when the final draft of the book is complete,
to sell it in the oridnary way and repay the Corporation from the new
advance.
With all godd wishes,
Aaua
Maurice Rowdon
Copy:
Susan Watt, Fontana Books.


FURT HE R
MA TERIAL
CAROH
SMITH
l VENETTA 5


MAHLER at the Arts
6 It happened that a few weeks ago I read the script of MAHLER by
Maurice Rowdon and reported that while a play for two characters was
generally very difficult to put over, this play, though it had a few
46 contrivances," ,> ran very smoothly, had great zest, a delight in its two
characters, and a feeling of rapture for the music that enslaved them. -
a moving play -
THE JEWISH CHRONICLE Feb 23
4 Anne Mahler, the daughter of the composer, will not be going to see
MAHLER, the new play about her father by Maurice Rowdon - .
- I know the play,' she said. 4 Mr. Rowdon sent it to me some time ago
and I sent it back as being beneath discussion. I am scandalised that
anyone should put it on.'i
THE TIMES Jan 31
6 MAHLER covers an infinity of time, during and after the characters'
lives . . .Alma sits and faces death with the screaming of a jungle cat. .
the assurance of the young woman who knows that she is secure socially
and attractive physically Edith Macarthur handles beautifully.
THE STAGE Feb 22
4 Kit Surrey has designed a structure of wood and gauze that takes John
B. Read's evocative lighting well.
As Mahler Vladek Sheybal nicely
understates the 42 year old honeymooner with a book in his hand.'
THE TIMES Feb 15
6 Edith Macarthur is very much all-woman, beautiful to look at, graceful
in stature and good to hear. Vladek Sheybal is cunningly self-effacing as
Mahler, the man who is not of this world but who has to live in it -
I see that Mahler's daughter Anna, having read the script of this play,
described it as inept. It isn't.'
THE EVENING NEWS Feb 15


Maurice Rowdon
44 Brookwood Road London SW18 5BY U.K.
e-mail: rowdoxylaol.com Hincol
Marianne
Velmans
cup
Transworld publishers
Grreg
Whinenl
61-63 Uxbridge Road
London
Redisiovay
W5 55A
FORWARD TO THE DEATH
cluy
Dear Marianne Velmans
I have your letter of the 10th. You say you ought
simply to have written me that you don't publish that
kind of book. This would certainly have got the thing
off your desk, which I believe was your only concern.
But the fact is that you knew perfectly well what
kind of book was coming to you because it came to you
at the request of your husband, who works at Random
House.
The story began when Chrissy Iley at the Sunday Times
told your husband at Random House exaçtly what the bwu le
subject of my book was.
lie
TM s ch in ho
was
She told him that she thought that this, exactly the
right time-after A
so many WW2 commemorations and
adventure stories about it Afor /a book that
demolished that war as an
frivolous myth.
OG A
Your husband was interested and told her to have me
send it to you, and to speak to you about it when she
could. In all good faith Chrissy passed this message
on to me.
Yet you make no mention of her---nor to the fact that
my letter accompanying the script clearly said that I
was sending it after being instructed (so to speak)
to do so by Chrissy.
2 Fatmou neyth h C
resaw


5 Tamworth Street London SW6 ILB Tel: 01.385 4003
The Society of Authors
84 Drayton Gardens
Eondon
SW 10 9SD
Dear Sirs,
Some years ago my ex-agents Bolt and Watson
negotiated a contract with Maurice Temple Smith Ltd
for a non-fiction book to be written by me and called
MONASTICISM.
Temple Smith was due to pay my agents
£1000, &750 on signature and £250 on the pre-sale of the
American rights. The contract stated that if within
three months no American publisher had made an offer,
Maurice Temple Smith and I would discuss another subject,
and agree on another book.
The &750 was paid to my
agent.
Maurice Temple Smith wished to negotiate MONASTICISM
in the States himself, and failed to persuade a publisher
to participate (this was my first synopsis, incidentally,
not to find an American publisher).
During his efforts
to sell the book in the States he asked me to produce
new synopses repeatedly, and in all I produced four or
five before he was satisfied, despite the fact that he
had signed the contract on the basis of my first synopsis,
which was over ten thousand words in length.
The time came to drop MONASTICISM, as per contract,
and I then made several suggestions for a new subject,
none of which interested Maurice Temple Smith, who
stated in a letter to me that he would be happy to with-
draw from the contract.
My agent subsequently submitted to Temple Smith on my
kehalf two completely new synopses on very different sub-
jects---one an in-depth study of an Italian village (the
degree of saleability of my Italian books was well known
to Temple Smith) called A TUSCAN VILLAGE, and a book of
ideas based on two or three hundred pages of notes called
THE INDIAN CRUCIFIXION.
I cannot of course plan, research
and write new books more than once or twice a year.
also put forward the idea of writing a book on Michelanagelo,
and Isabella d'Este, but Temple Smith said that unless they
were in-depth studies they were outside the scope of his
list. Yet A TUSCAN VILLAGE and THE INDIAN CRUCIFIXION
were in-depth, and books requiring much work, not picture-
book 'quickies' of the kind I sometimes write for Weiden-
feld.
Maurice Temple Smith now feels that he must be repaid
the money in instalments, and he is preparing to go to law
to achieve this. My ex-agents are sending you a copy of
the contract by separate cover.
I would be glad of your
advice.
routs sineerely,
llrtt -
Maurice Rowdon


Dear Mr Sheil,
You are receiving by separate cover from
Weidenfeld my LEONARDO, and from me THE FALL OF
VENICE and A ROMAN STRÉET. This is a lot of Italy
but since I've lived there most of my adult life
and still do it seems apt. I enclose now a break-
down of my published things.
David Bolt and I were always, and remain, good
friends, and we divided because he no longer under-
stood what I was trying to do as a writer. He is
an excellent agent but we both felt the need of a
break---and any disagreements we had over contracts
and procedure were only symptomatic of the other
thing.
Yours sincerely,
Maurice Rowdon


PRo TECT
lsabella d'ene Merchionen 2 Manha
4T Cartanjee
2v6
N.Y. DUTTON (1103)


huca Bellani
Drcumenti e hiemoie


maurice
smith
temple
Maurice Rowdon Esq
6 February 1975
5 Tamworth Street
SW6 1LB
Dear Maurice,
Thanks for your letter of 4 February. While I'm
very anxious to get this matter cleared up quickly
I certainly don't want to do so in any atmosphere
of ill will so do let me try and straighten out
one or two of the misunderstandings that seem to
have arisen.
You have, it is true, put forward two specific
projects in A TUSCAN VILLAGE and the INDIAN
CRUCIFIXION. but for the reasons I explained at
the time neither of these seemed to be a possibility
for my own list. After that we had a talk here in
which I gathered quite clearly that you did not want
to commit yourself to a longterm project but would
much prefer to find a short-term project with some
other publisher from which the £750 advance could
be repaid to me. This would leave you in exactly
the same financial position as if you had written
the book for me and, as I said at the time, it isn't
possible for me to offer any short-term project of
this kind because this clearly means a heavily
illustrated book of a type which I am not publishing.
I had a very clear impression that the dilemma was
quite simply that at present you did not want to
enter into any longterm project, other than the two
books which: you suggested and which I was not able
to commission. I alsos understood that you were in
fact offering one or two shorter ideas for illustrated
books for other publishers, but nothing definite seems
to have come of that.
You say in your last paragraph that you feel I want
to withdraw from the contract without discussion.
Believe me, I've no wish to do this. The project
has in fact collapsed simply by the inability of
any of us to find an American publisher and that was
certainly not through want of trying on my part.
I spoke to dozens of publishers (literally dozens)
MAURICE TEMPLE SMITH LTD - 37 GREAT RUSSELLST: - LONDON WC1 3PP. 01-636 9810
Directors: : M Temple Smith, H M Lefroy, B Saklatvala, J Temple Smith. Registered in England, number 952755. Registered offices as above.


and submitted the synopsis to a number of them, all
without success. You said then, and I quite understand
the force of this, that it would not be financially
possible for you to go ahead and write the book without
American support. If it had not been for that difficulty,
what was there to stop you writing the book at any
time during the four years since wee: first signed the
agreement? Certainly nothing on my side: I would have
been very happy to have received the typescript at
any time and to have offered the complete book in
America.
The business of date is really central. The agreement
was made in March 1971 and specified delivery by
1 August 1972. Nothing said or done on my side
prevented the book being written by the contractual
date. As I understand it, it was purely and simply
that you were unwilling to go ahead without an American
publisher, and that situation still persists. That
being so, I must take it - and indeed you have said
this - that you cannot now see your way to writing the
book at all.
I'd like you to see things a bit from my point of view.
I have lost the use of this money for almost four years,
during which time the interest charges have eaten up
well over half of it and its buying value has also been
reduced by around a half. Even if you repay the money
tomorrow, I will have lost three-quarters of its value
purely due to the passage of time. On your side, you
will have had the interest-free use of the money, which
means in effect that I will have paid you something like
£300 outright in interest. I must confess that I feel
personally very hurt that you should want to make so
many difficulties in acknowledging that the money must
now be repaid. The facts, surely, are very simple:
you contracted to write a book by 1 August 1972. For
reasons which had nothing whatsoever to do with me
you decided that it was not possible to write the book.
For eighteen months I have held back, making repeated
attempts to find ways of dealing with the question but
you are not able to offer me a project that I want


Dear Felicity Bryan,
Itwas a pleasure meeting you yesterday and I
enclose THE ITALIAN SKETCHES which you asked for and
THE FALL OF VENICE.
I also enclose the first chapter of the proposed
new DIAGHILEV which I aim to make between 65000 and
75000 words.
The other immediate book deal I am concerned
about is the one I mentioned about DOGS. Werner
Schmid is as you may know the most enterprising
theatre producer and showman in the German speaking
world. He has asked me to write a book on a group
of dogs who can talk and add up faster than we can,
and Wernet will do all the work of sealing the project
to publishers world wide. He is offering me 15%
of all he gets, and wants a two page contract as soon
as possible. All this concerns another matter too
called Cosmic Nourishment but I won't go into that
aswell: but if Werner goes into an enterprise---as
he decided on a hunch to turn Uri Geller into a world
name---we need have no fears.
All this seems to be assuming that we are already
in business together but I hope this is so as I feel
very much OK with you.
Yours,
Maurice Rowdon


DIAGHILEV
Dear Eva,
I believe a letter has been written to Messrs
Bolt and Watson about this book. As you know, they
are no longer my agents. Though I appreciate that
they negotiated the contract I cannot believe in
their powers to be helpful in any way. It was indeed
mainly on account of their handling of DIAGHILEV in
myabsence last year that I left them.
Robin Dalton who took over my book affairs
temporarily has for some time been negotiating with
other book agents on my behalf, and the matter should
beseettled in the next few days. Then I hope that
we shall reach an agreement satisfactory to both of
Yours,
Maurice Rowdon


Dear Mr Savory,
Before me is a filmscript based on Jean Rhys's
novel GOODBYE TO MR MACKENZIÉ written by Harold
Becker and Mark Smith, and the property of Keep
Films, 5 Eaton Place, London, s.w.1.
Last year Harold Becker, the American direct-
or of RAGMAN'S DAUGHTER, approached me to write a
filmscript for Jean Rhys's novel GOODBYE TO MR
MACKENZIE. He pointed out that he had no
to finance the writing but that the film was amoncyr-
ways set up, financially, in the States (this
turned out not to be the case). I agreed to
write the script and we met again in France, where
the final draft was made, called JULIA. This
had been with my agents, IFA, since early this
year.
Last month I heard in Rome that a new script
based on this book, and by Harold Becker and Mark
Smith, had been shown to Julie Christie in Calif-
ornia. I called my agent--who is also Julie
Christie's--and he pointed out that my name app-
eared nowhere on the script.
I saw Harold Becker recently in London and
he explained that Jules Buck, of Keep Films, had
asked him for a 'redraft' of my script, and the
one shown to Julie Christie without my name, was
the result.
My, agents have shown me a copy of this second
draft ('by Harold Becker and Mark Smith') and not
only has my JULIA been followed throughout for its
shape and much Os its dialogue but whole scenes
purely of my own invention have been included.
I wonder if you could suggest to Mr Jules Buck
that he is dealing in stolen property: a fact of
which he must be perfectly aware, since he knew
of the existence of JULIA the moment it was ready.
Yours sincerely,
Maurice Rowdon


maurice
smith
temple
Maurice Rowdon Esq
10 January 1975
5 Tamworth Street
SW6
Dear Maurice,
Since you are leaving David Bolt (although he will still be
responsible as an agent for the contract for MONASTICISM)
it obviously becomes more important that you and I should
stay in touch over the question of the advance and how it
can be recovered, especially if this should involve the
advance on another book. Can you tell me who your new
agent will be? 4
With best wishes.
Yours,
Kgeaman
PP Maunce
MAURICE TEMPLE SMITH LTD - 37 GREAT RUSSELL ST - LONDON WC1 3PP - 01-636 9810
Directors : M Temple Smith, H M Lefroy, B Saklatvala, J Temple Smith. Registered in England, number 952755. Registered offices as above.


FROM
Maurice Rowdon
THOR PUBLISHING COMPANY
5 Tamworth St
P. O. BOX 1782
London SW6 1LB
VENTURA, CALIF. 93001
England
Jan
SUBJECT:
DATE
Dear Sir:
FOLD 1
The editor for Farout Press Books is away for
about 8 weeks. We will hold your Letter for
her attention.
Very since: erely yours,
Meu leefracr ,
ALICE MCGRATH
SIGNED,
PRINTED BY GRAYARC CO., INC., BROOKLYN, N. Y. 11232


DIRECTORS:
INTERNATIONAL FAMOUS AGENCY LTD.
LAURENCE EVANS MANAGING)
MICHAEL ANDERSON
OTIS S. BLODGET (U.S.A]
ROBIN DALTON
TIM WILSON
Mr. Maurice Rowdon,
5 Tamworth Street,
London SW6.
29th January 1975
Dear Maurice,
I have had a very qualified answer from A.M. Heath about
looking after you, and I think you would be ill-advised to
persevere with them in view of their lack of total
enthusiasm.
I think what is really needed is a smaller agency with more
enthusiasm and with greater knowledge of your way of working.
Had you thought, for instance, of Anthony Shiel?
I think the most important thing for you is enthusiasm, and
I am sure you will agree.
Kindest regards,
Yours sincerely,
Ohinn
Robin Dalton
11- -12, HANOVER STREET, LONDON, W.1. TELEPHONE: 01-629 8080 - CABLE: : LIMEY, LONDON
NEW YORK. LOS ANGELES PARIS - ROME
(REGISTERED OFFICE)
(REG. NO. 94 398 ENGLAND)
LICENSED ANNUALLY BY THE CITY OF WESTMINSTER


DIRECTORS:
INTERNATIONAL FAMOUS AGENCY, LTD.
LAURENCE EVANS (MANAGING)
MICHAEL ANDERSON
OTIS S. BLODGET (U.S.A)
ROBIN DALTON
TIM WILSON
17th January, 1975
Mr. Maurice Rowdon,
5 Tamworth Street,
London, SW6 1LB.
Dear Maurice,
I am sad about Georges Borchardt after what I heard about him from I.F.A.
I think probably that A.M. Heath would be happy if we let them handle you
for the States as well because in the past when I have split it they have
not been too happy about it. The only thing is that they work with
Brandt & Brandt in America who used to be one of the best agencies, but,
in my opinion, they are not too hot now. What do you think?
Yoyrs ever,
Rbbin Dalton
11-12, HANOVER STREET, LONDON, W.1. TELEPHONE: : 01- 629 8080 - CABLE: LIMEY, LONDON
NEW YORK. LOS ANGELES PARIS ROME
(REGISTERED OFFICE)
(REC.NO. 945898 ENGLAND)
LICENSED ANNUALLY BY THE CITY OF WESTMINSTER


34 HASKER STREET
LONDON SW3 2LQ
16th. January, 1975.
Maurice Rowdon, Esq.,
Dark & Light Theatre,
Longfield Hall,
Knatchbull Road,
LONDON,
Dear Maurice,
I am sure that you:1l understand my
letter to Frank. Please don't hesitate
to ask me if there is anything I can
Can I just take this opportunity of
saying how much your clear thinking
enthusiasm has helped the Dark & Light.
I am sure that with you on the board the
company will take on the position and
meaning that it should have in Lambeth
as a centre of entertainment for the
public and workshop for black actors.
Yours sincerely,
Juye
(Gedrge Baker)


16ete Sonuarye 19750
Feante counines Eagee
Daats & Lacht Theatro,
Longfleld Bali,
Enetolbull Road,
LONDON,
SalaSe
ty dons Prankis
Hov that tho Dasis 6 Laght bos Soruletod 4t0 now
polioy and oppointod a now Artietio Disoctor E Chints
a obould otop bools Anto botng a patson sathor ehon
taling on aotivo pasrt oa your boord uhtle not corwying
out any of a diroetorta rooponsibilieioo.
Thio doca not conng of coureos Gnt E obala not bo
avallable 48 a oaa bo of any eorvico at ony tande
a totd Hourico and Nosuon that a vould puroue Cho
pososbalstios of a London ehontro for Bundoy night
propontatione by tho Dasis a Laght and a vili continuo
to follou thio
3 thinis tho noot
adoa
t0 to eranosor Eno Daporor and tho appstOE0 for
Gunday night abouinge
a do bopo Chat a bavo boon of GOuo holp to you and
N rowitorato ploase oult on 0o for any holp M oon
civo you acadne
40 ovors
GOa Masts Gabbe
Hosaon Doaton
taurioo Boudon
(Goongo Dalior)


Dear Miss Schoeller,
I believe my agents the International Fanous Agency
have written to you about my books. By separate cover
I am sending you THE FALL OF VENICE (Weidenfeld), which
was published in the United States as THE SILVER AGE OF
VENICE, also ITALIAN SKETCHES and A ROMAN STREET (both
published by Gollancz) which would perhaps make one
volume. My satirical novel AFTERWARDS (published by
Barrie and Rockcliff) is coming to you from Dr Fischer
in Italy.
Yours sincerely,
Maurice Rowdon


Dear Robin,
Rosemary Macomber of Georges Borchardt Inc feels
I am right to have put all my eggs in one basket over
here and that I should do the same in the States.
She only recently took my work on: before that my
American deals were handled either by David Bolt or
by the British publisher I was hooking up with.
She doesn't really dig my work---of course that's
why she's willing to let me go. This creates a
practical probelm---do IFA in the States feel a bit
exposed on the bookside? if they do, do they work
do with an author's agent? or should my work
go tou A.M.Heath's associate there?
Yours ever,
Maurice Rowdon


Farout Press Books
Thor Publishing Company
P.0. Box 1782
Ventura
CALIFORNIA
USA
Dear Sirs,
Will you consider publishing a full-length
poem which is connected with Indian thought? My
books are published in the States by Praeger,
St Martin's Press and Regnery. I happen to be
using your Kung Fu meditations.
Perhaps I can do something to advance your
house in Europe. I live mainly in Italy and know
a good many publishers here and there.
Yours sincerely,
Maurice Rowdon


THE ADVENTURES OF MONSIEUR PUJOL
Dear Robin,
I haven't ever asked you if you handle
television material, and it is a medium I love
to keep away from, but I enclose a sample of
a lighthearted six-part series which might
interest you. I wrote it last year when some-
one brought me the original book (now out of
copyright), and did nothing with it.
Yours ever,
Maurice Rowdon


DIRECTORS:
INTERNATIONAL FAMOUS AGENCY LTD.
LAURENCE EVANS MANAGING]
MICHAEL ANDERSON
OTIS S. BLODGET (U.S.A)
ROBIN DALTON
TIM WILSON
2nd January, 1975
Mr. Maurice Rowdon,
5 Tamworth Street,
London, S.W.6.
Dear Maurice,
I have heard from I.F.A. New York that, in their opinion, George Borchardt
is a first class agent and they feel you would be ill advised to leave him.
As I am a little bit nervous about my own ability to properly handle your
book rights in the way they should be done, maybe we should heed this advise
because I would hate to disrupt your American association only to find that
I can't handle it properly here.
As you know, I have been nervous about my ability to do so - in terms of
background knowledge and time - and I can't help feeling that I might be
more use to you as a sort of catalyst and adviser behind the scenes.
We can talk about that at your leisure, but meanwhile,in view of what my
ladies in New York say, I think it is important you think seriously about
Borchardt.
Kindest regards.
Yours sincerely,
Ohl
Robin, Dàlton
11-12, HANOVER STREET, LONDON, W.1. TELEPHONE: 01-629 8080 - CABLE: LIMEY, LONDON
(REGISTERED OFFICE)
NEW YORK. LOS ANGELES PARIS : ROME (REG. NO. 945898 ENGLAND)
EN NSED ANNUALLY BY THE CITY OF WESTMINSTER


Mwiy 1
Dear Robin,
Thanks for yours of 2nd January and I've
written to Georges Borchardt to have their agree-
ment on all this, as it was David Bolt who took
me to them.
I think what you and I need to do now is to
decide which of the books and projects of mine for
offer should be farmed out to A.M.Heath for routine
submission, and which are worth---like DIAGHILEV---
your special attention. The fact is one bogs down
with all literary agents, perhaps because of the
plodding nature of their work. My INDIAN CRUCIF-
IXION project has just come back from Eyre Methuen
and I feel sure that if you had presented it they
would have come up with a yes.
Yours ever,
Maurice Rowdon


Dear Mrs Macomber,
You may know from David Bolt that I have left
his agency and that the IFA, who have hitherto dealt
with
plays and films, have taken over all my affairs.
They SP be handling the book side here in conjunct-
ion, probably, with A.M.Heath.
Now the Anerican side of IFA point out that I
could not do better than with you, and so I have to
put it to you now whether you regard defection from
Bolt as defection from you, or whether in plain words
you want me to move anyway.
I was with David Higham Associates for some
and moved with David Bolt when he separated from gears
I mean by this that I am not in the habit of shifting
agents lightly.
Yours,
Maurice Rowdon


DIRECTORS:
INTERNATIONAL FAMOUS AGENCY LTO.
LAURENCE EVANS (MANAGING)
MICHAEL ANDERSON
OTIS S. BLODGET (U.S.A)
ROBIN DALTON
TIM WILSON
6th December, 1974
Mr. Maurice Rowdon,
5 Tamworth Street,
London, SW6 1LB.
Dear Maurice,
Thank you for your letter with a copy of your letter to David Bolt.
Could you now send me a full list of all your works, and also W. H. Allen
are asking what sort of money we would be looking for on the book. I can
answer that question, but I can't answer your full biography.
Yours ever,
Jluol
Hadlon
Mf Robin Dalton
11-12, HANOVER STREET, LONDON, , W.1. TELEPHONE : 01-629 B080 CABLE : LIMEY, LONDON
(REGISTERED OFFICE)
NEW YORK. LOS ANGELES - PARIS - ROME
(REG. NO. 945898 ENGLAND)
LIC ISED ANNUALLY BY THE CITY OF W VESTMINSTER


Portslade
Productions Ltd.
5 Tamworth Street London SW6 1LB Tel: 01.385 4003
Directors: Maurice Rowdon and Nicholas Kimber
FINGERPRINTS ON THE WATER
Dear Deborah Norton,
Herewith the play we talked about on the
phone yesterday.
The IFA are exceptionally nice, if you're
going to get an agent. May I glorify you to
them?
Yours,
Maurice Rowdon
Company Reg No. 51236 Reg Office 24 Castle Street Edinburgh 2
Registered as Theatrical Employers


CHRISTOPHE
Dear Denys Becher,
I have pleasure in enclosing a copy of the
above for the attention of Ron Lee. As I said
over the phone, setting this up will not be easy
and it may be a long process. Do you think I
could have this copy back as they are disappear-
ing at a stupendous rate, and we have to make
lighting and sound insertions for the final
draft.
With best wishes,
Yours sincerely,
Maurice Rowdon


Bolt
Watson LTD AUTHORS' AGENTS
8 Storey's Gate London SWI
Tel: 01-930 5378/9 Cables: Bandwag London SWI
Directors: David Bolt Sheila Watson
24th January 1975
Maurice Rowdon Esq.,
5 Tamworth Street,
London SW6 1LB.
Dear Maurice,
The enclosed arrived this morning from Maurice Temple
Smith, and it seems pointless to paraphrase - so here is a
xerox copy, which presumably your new agents will deal with?
However, as we were very much involved, I should be grateful
if you would let me know what you decide to do.
One of my outstanding questions is answered, as I
understand Borchardt are bowing out.
The other wasn't: our Spanish associates have asked for
a second copy of SPANISH TERROR to speed up their submissions;
is it all right to order this on your A/C and send it, or not?
Yours,
Aail -
DLB/MYS:encl.
Reg. No. 1002046 London Registered Office 20/21 Princes Street London WIR 8TQ
Although every care is taken of MSS while in our possession we can accept no responsibility for loss or damage thereto


maurice temple smith
David Bolt Esq
23 January 1975
Bolt & Watson Ltd
8 Storey's Gate
SW1
24 JAN mS
Dear David,
Maurice Rowdon
I wrote on 10 January to Maurice asking who his
new English agent would be but I have not heard
from him. It is obviously important that we should
be able to keep in touch with his new agents since
Maurice's suggestion is that the £750 he owes me
must be recovered from the advance on his next
book. Do you yet know who his agent will be?
I am extremely unwilling to have recourse to legal
action but all my suggestions to Maurice for
gradual repayment of the money have resulted in no
deffinate response from him at all, only a vague
suggestion that somehow or other we might find a
book that he could write. He himself admits that
he would not want to get involved in a long term
project and I am not really in a position to
publish short term books, which in this fiéld
really mean heavily illustrated books with a short
text.
I am willing to consider any sensible arrangement
under which we can rely on the money returned
within a deffinate period. But unless I do have
from Maurice, presumably through you, some
suggestion as to how this might be done in a way
that would return the whole of the money due to me
within twelve months, then I do not see how I can
avoid taking legal action to recover the debt.
With best wishes.
Yours,
Mawrice
MAURICE TEMPLE SMITH LTD : 37 GREAT RUSSELLST: LONDON WC1 3PP 01-636 9810
Directors : M Temple Smith, H M Lefroy, B Saklatvala, J Temple Smith. Registered in England, number 952755. Registered offices as above.


Maurice Temple Smith
37 Great Russell Street
London WC1 3PP
Dear Maurice,
I have received your letter of 10 January, and
also an enclosure from Messrs Bolt and Watson dated
24 January.
The matter of my literary agent is still not
settled, and negotiations wili take some time yet.
The IFA, who hitherto have represented me only for
films and plays, took over my literary affaits from
Bolt and Watson as a temporary measure, while
negotiated with a full-time book agent on my peacyr.
This is a matter neither the IFA nor I are going to
hurry, if it means inadequate representation.
Your enclosure from Bolt and Watson says that I
have only made 'vague' suggestions to
on subjects
for other possible books. This is quite untrue. I
have repeatedly suggested titles, and you have repeated-
and without the smallest discussion rejected them.
N is not true that I have 'admitted'---I am not before
any tribunal---that I do not want to get involved in
a llong-term project'. Both A TUSCAN VILLAGE and
THE INDIAN CRUCIFIXION are long-term projects, exhaust-
ively described in synopsis form, and you rejected
both: neither is 'a heavily illustrated book with a
short text'. THE INDIAN CRUCIFIXION is described in
its close-typed, thirty-page synopsis as a book of
100,000 words, with no illustrations to speak of. It
also points out that work has been going on on this
project for the last 2-3 years.
Perhaps the truth is what you wrote me in a letter
last year, that you would like to withdraw from the
contract, without discussion and without sincere en-
deavour to meet me half-way.
Yours,
Maurice Rowdon


maurice temple smith
18 January 1974
Maurice Rowdon Esq
5 Tamworth Street
SW6
Dear Maurice,
David Bolt says you'd like to have this back with
the idea of thinking about making it a picture book.
I'm looking forward very much to having your synopsis
on A TUSCAN VILLAGE and also some specimen material
for it.
Yours ever,
Mamnice
Directors : M Temple Smith, H M Lefroy, B Saklatvala, J Temple Smith. Registered in England, number 952755. Registered offices as above.


THE ARTS COUNCIL OF GREAT BRITAIN
IOS Piccadilly, London, WIV OAU
TELEPHONE: 01-629 9495
TELEGRAMS: AMEC, LONDON, W.1
CHAIRMAN: PATRICK GIBSON
SECRETARY-GENERAL: SIR HUGH WILLATT
GRANTS TO WRITERS
On the recommendation of publishers, literary editors, and other
responsible members of the literary profession, grants may be awarded
by the Arts Council to writers who are British subjects or Commonwealth
subjects resident in Great Britain; who have normally had at least one
volume published or have had a body of work published in critical magazines;
and who are currently engaged in writing. The main purpose of such grants
is to enable writers to buy time to complete the projects on which they
are engaged.
Applications are considered on their individual merit, but as a guide it
should be borne in mind that the concern of these grants is with literature
as an art rat ther than with books in general. The scope of these grants
is therefore usually confined to works of fiction, poetry, criticism and
biography.
Intending sponsors should write to the Literature Director, Arts Council of
Great Britain, 105 Piccadilly, London WIV OAU, for a sponsorship form which,
when completed, should be returned to the Literature Director with one copy
of a published work (where applicable).
GRANTS TO TRANSLATORS
Arts Council grants are available, on publishers' recommendations, for the
translators into English of approved works of foreign fiction, biography
and autobiography, travel, poetry, or other kinds of creative writing,
which have been proposed for publication. Publishers are required to supply
the Literature Director with details of the translators and of their
contractual relationship with them.
July, 1973


DIAGHILEV
Dear Eva,
I am referring your letter of yesterday to my
agent Robin Dalton of the IFA.
The IFA, who have hitherto looked after me for
plays and fiims only, took over my literary affairs
at the end of last year. They are negotiating with
a full-time book agent on my behalf, but in the mean-
time are representing me for the outstanding books,
of which DIAGHILEV is one.
Yours,
Maurice Rowdon


5 Tamworth Street London SW6 ILB Tel: 01.385 4003
Maurice Temple Smith
37 Great Russell Street
London WC1 3PP
Dear Maurice,
I have received your letter of 10 January, and
also an enclosure from Messrs Bolt and Watson dated
24 January.
The matter of my literary agent is still not
settled, and negotiations will take some time yet.
The IFA, who hitherto h'ave represented me only for
films and plays, took over my literary affairs from
Bolt and Watson as a temporary measure, while they
negotiated with a full-time book agent on my behaif.
This is a matter neither the IFA nor I are going to
hurry, if it means inadequate representation.
Your enclosure from Bolt and Watson says that I
have only made 'vague' ' suggestions to you on subjects
for other possible books.
This is quite untrue.
have repeatedly suggested titles, and you have repeated-
and without the smallest discussion rejected them.
N is not true that I have admitted'---I am not before
any tribunal---that I do not want to get involved in
a "long-term project'.
Both A TUSCAN VILLAGE and
THE INDIAN CRUCIFIXION are long-term projects, exhaust-
ively described in synopsis form, and you rejected
both: neither is 'a heavily illustrated book with a
short text'. THE INDIAN CRUCIFIXION is described in
its close-typed, thirty-page synopsis as a book of
100,000 words, with no illustrations to speak of. It
also points out that work has been going on on this
project for the last 2-3 years.
Perhaps the truth is what you wrote me in a letter
last year, that you would like to withdraw from the
contract, without discussion and without sincere en-
deavour to meet me half-way.
Yoyrs,
wdt
Maurice Rowdon


Dear Mrs Macomber,
Thank you for sending me my manuscripts
and list of submissions in the States. I
have reimbursed Messrs Bolt and Watson the
equivalent of $4.17.
One MS is still missing, SOPHIA, and I
wonder if you would send that on the same
arzangement.
Yours sincerely,
Maurice Rowdon


to publish instead and we are therefore driven back
to the simple business of repaying the money. There
after all, no possible question that it is due
repayment.
tot
I suggested some months ago that we should reach a
figure for a modest monthly repayment. You are
probably no better off personally than I am, and
therefore I realise than any repayment is going to
be unwelcome. Nevertheless, it is repayment of a
debt: I'm not asking for anything from you beyond
that.
I must therefore put forward again a perfectly clear
suggestion to which I hope you will agree. This is
that you should repay a certain sum each month (I
suggest the very low figure of £50) until the whole
£750 is paid off, with the additional provision that
as soon as you receive any advance from another
publisher you will let me have half that advance until
the remaining sum outstanding between us is paid off.
This really seems to me a very modest proposal for
recovering a debt which is so long overdue. Please
let me have a definite response.
Yours,
Momrice
Copy to David Bolt


Bolt 80 Watson LTD AUTHORS' AGENTS
8 Storey's Gate London SWI
Tel: 01-930 5378/9 Cables: Bandwag London SW I
Directors: David Bolt Sheila Watson
Maurice Rowdon Esq.,
5th February 1975
5 Tamworth Street,
London SW6 1LB.
Dear Maurice,
Many thanks for yours of the 28th January with
the copy of THE SPANISH TERROR which has gone off to
Spain.
I'm enclosing a photostat of the Maurice Temple
Smith MONASTICISM contract as you ask.
Incidentally, we ought to be quite clear on one
point: although (with the exception of THE SPANISH TERROR)
we have in effect handed over unsold rights in your work
to your agent - Robin Dalton I take it we are both
responsible for and entitled to commission on work where
the contract is still inforce and was drawn up through us
(which includes, of course, Highams). So we shall have
to be involved in whatever happens next on DIAGHILEV. I
realise that this was the point of controversy, but you
must realise of course that we can't simply opt out and
abdicate our responsibility as far- as the publishers are
concerned.
Yours,
SaJ -
DLB/BSH: encl.
Reg. No. 1002046 London Registered Office 20/21 Princes Street London WIR 8TQ
Although every care is taken of MSS while in our possession we can accept no responsibility for loss or damage thereto


THAMES AND HUDSON LTD
DIRECTORS:
E. U. NEURATH (CHAIRMAN) T. M. NEURATH (MANAGING) S. BARON (U.S.A.) - T. CRAKER - W. GUTTMANN - H.J.JARROLD C.B.E.
ASSOCIATE DIRECTORS: S. HUNTLEY - C. M. KAINE - I. MACKENZIE-KERR - E. C. PETERS - I. R. SUTTON
CABLES: THAMESHUDS LONDON WCI TELEX: 25992 TELEPHONE: OI-636 5488
30-34 BLOOMSBURY STREET LONDON WCIB 3QP
24th October 1974
Maurice Rowden, Esq.,
5, Tamworth Street,
London, SW6.
Dear Maurice,
DIAGHILEV
I am returning to you herewith the two copies of your
outline of "The Indian Crucifixion" which you sent me some
weeks ago. I am afraid that we feel unable to make you an
offer at this stage.
On account of royalties due to you under the contract for
"Diaghilev" you have received the total sum of £1500.00, £500.00
of which is on account of royalties earned on an American edition,
which,however, in the absence of a final manuscript, we were not
able to settle so far. In addition we paid you £75.00 for expenses
on November 7th 1973.
Since you have now received in advance all that you can
have under the contract, we feel that it is not unreasonable to
expect you to produce a reduced and publishable manuscript before
further payments are made. I want you to know though that we are
are prepared to pay you another advance against royalties once
a publishable manuscript is in our hands. Perhaps I should
remind you of Stanley's letter to you where he thought it would
be necessary to cut the manuscript to 30,000 - 35,000 words.
In great haste, and with all good wishes,
linelye Buda
Penelope Britten, pp
Mrs. Eva Neurath.
Dictated by Mrs. Neurath, but due to her departure, unable to be
signed by her.
REGISTERED NO. 473109 ENGLAND REGI STERED OFFICE: 30 BL MSBURY STREET WCIB 3QP


FROM
INTERNATIONAL FAMOUS AGENCY, LTD.
WITH COMPLIMENTS
Robin Dalton
11-12, HANOVER STREET,
LONDON, W.1.


ATV House
Directors
Associated
17 Great Cumberland Place
Sir Lew Grade Chairman
London W1A 1AG
and Chief Executive
Norman Collins Deputy
TeleVision
telephone 01-262 8040
Chaiman
cables and telegrams
Jack Grll Deputy Charman and
Ayteevee London W1
Finance Director
Corporation
talex 23762
Louis Benjamin
Bruce Gyngell
Limited
Sir Max Aitken Bt DSODFC
ESE Birk
Sir Eric Clayson
Alexander. Jarratt CB
C o Staniev CBE
From The Office of Sir Lew Grade
11th November, 1974.
Dear Robin,
Thank you for your letter of
the 8th November.
We are going slowly on the
Lorenzo series for the time being,
due to many complications.
However, I shall let you
know if there is anything at all
I can do with Maurice Rowdon, but
at the present time, we cannot do
anything.
Yours S incerely,
2. relp -
(Lew Grade)
Mrs. Robin Dalton
Registered Office: ATV House 17 Great Cumberland Place London W1A 1AG
Registered in England No. 544144


Dear Robin,
SVENGALI
I enclose the letter from Harold Becker which is self-
explanatory. He makes a lot of money on commercials
and may want to finance this himself, I mean the writing
of the script, unless a producer is already there.
Please don't hesitate to go in for the highest first
payment (by American standards).
I don't intend to
write any more free scripts.
DIAGHILEV
In view of W.H.Allen's apparent reluctance to commiss-
ion this should we not tell Stanley Baron of Thames and
Hudson that if he wants the book reduced to 32000 words
from a contracted 60,000 we must have a new contract
(which will also release us from Bolt and Watson).
He might feel inclined to invest more money quickly,
rather than lost the book. Please let me know if
you will handle this yourself, or if current obstacles
are too great.
ANTONY SHEIL
I spoke with Sheil and we agreed that I send him a few
of my books for him to formulate the position. I also
called Dick Blodget to ask why the IFÀ had failed to
communicate with any of its authors, though agreements
were signed with the IFA. It seemed funny to disappear
without telling their clients.
Yours ever,
Maurice Rowdon


Harbottle & Lewis
34 South Molton Street
Solicitors
London W1Y 2BP
Telephone: 01. 629 7633
G.Laurence Harbottle
Cables: Harlex London W1
J.B. Stutter
Telex: 22233
R.S. Aikin
James C. G. Crichton
Our reference G:ms
Alan J. Patten
H.J. Beach
Your reference
Mark P. Gibbs
R.W. Lee
F.L. Caldwell
Heald and Nickinson,
M.H.D. Bowler
R. A.Storer
48 Bedford Square,
London WC1B 3DS
24th November, 1975.
WITHOUT PREJUDICE
Dear Sirs,
re: Maurice Temple Smith & Maurice Rowdon
Further to our telephone conversation on the 21st November, we note
that your clients feel unable to include the dog bock in their list.
As your clients appear unable to agree any of our suggestions,
our client would be prepared to consider a means of returning money to your
clients, but feels it only fair that it should be acknowledged that he has
spent a lot of his valuable time in connection with this matter.
Our suggestion would be as follows:
1. That as and when our client has income from the dog book, a proportion
100L would be made available to your client until by that means £375.00
had been repaid. We cannot make a precise proposal with regard to
timing on this at this particular stage, but we trust that your client
will accept the principle; we would hope to be able to be more precise
on timing fairly shortly.
2. With regard to the balance, my client would be prepared to repay that
if he obtained income from 'Monasticism'. Thus if he finds another
publisher to accept and publish the work, 25% of that arrangement
would be applied in repaying the balance of £750. An acknowledgement
from your client that it has no rights in 'Monasticism' would be
necessary.
We trust that this arrangement meets with your approval.
Yours faithfully,
Harbottle & Lewis


HEALD AND NICKINSON
SOLICITORS
INCORPORATING: GODFREY DAVIS & BATT AND GRUNDYIZOD & COMPANY
48 BEDFORD SQUARE. LONDON WC1B 3DS
TELEPHONES: 01-637 0321 & 01-323 2841 CABLES: RETAINER LONDON WCI TELEX: 268003
G. K. GODDARD
JAOUE
GODFR EY DAVIS. LL.B
ALSOAT:-
a. SENIOR, o.B.E.
BLACK. LL.B.
SWAN, M.
CAMBERLEY. St SURREY AND YATELEY. HANTS
M. STONE. LL.D.
E. JAOUE
BROWN, B.
c. ENZE ER
vos. M
A. NOLI BEN, LL. B.
MADRID OFFICE AT:-
CON U
GOMEZ-ACEBO & POMBO, 1. ABOGADOS.
OVERSEAS: IAN s. BLACKSHAW
VELAZOUEZ 27. MADRID TEL: 226 02 28.
OUR REF.
JB/PHW
YOUR REF. G:mb
24th November 1975
Messrs. Harbottle & Lewis.
34 South Molton Street,
London
W1Y 2BP
Dear Sirs,
re: Maurice Temple Smith
and Maurice Rowden.
We thank you for your letter of the 14th November.
Our
clients have considered the draft enclosed with your letter which
confirmed to them that whatever the merits of the book as a
potential "seller" it is not suitable for their list as your
client must be aware.
He should not therefore have been surprised that our clients
did not consider that it was appropriate for them to publish even
before seeing the manuscript.
We look forward to your proposals now for refund of the advance
for which we have been asking without further delay and without
further unnecessary expense to either party.
We return the draft typescript herewith.
Yours faithfullyyo
HEALD AND NICKINSON
Enc.


HEALD AND NICKINSON
SOLICITORS
INC
TIN NG: GODFREY DAVIS & BATTAND GRUNDYIZOD & COMPANY
48 BEDFORD SQUARE, LONDON WCIB 3DS
TELEPHONES: 01-637 0321 & 01-323 2841 CABLES: RETAINER LONDON WCI TELEX: 268003
c. K. CODDARD
JAQUE
GODFA REY DAVIS. LL.B.
ALSOAT:-
J. a. SENIOR, O.D.E
BLACK. LL.B.
SWAN, M.A,
CAMBERLEY. SURREY ANDYATELEY. HANTS
M. K. STONE, LL.B.
E. JAOUE
. BROWN, LL B.
c. ENZER
RINOS.
GL BEN, B.
MADRID OFFICE. AT:-
CONS SUL A. D. RI
GOMEZ-ACEBO & POMBO, ABOGADOS.
OVERSEAS: IAN s, BLACKSHA
VELAZOUEZ: 27. MADRID 1.1 TEL: 226 02 28.
OUR REF.
JB/PHW
YOUR REF.
G:mb
24th November 1975
Messrs. Harbottle & Lewis.
34 South Molton Street,
London,
WIY 2BP
Dear Sirs,
WITHOUT PREJUDICE
re: Maurice Temple Smith Limited
and Maurice Rowden
We refer to the telephone conversation which we had with you
last week, and look forward to your detailed proposal now which
should please include not merely provision for repayment of half
the advance, but also provision for repayment t of the balance on
the lines discussed with an overall time limit in any event.
Our clients understand your client's position and would be prepared
to agree reasonable terms for the repayment.
They have no wish to
be forced to take proceedings in this case and from our conversation
it does look as if a settlement may be imminent.
Yours faithfully,
MMNL
HEALD AND NICKINSON


Harbottle & Lewis
34 South Molton Street
Solicitors
London W1Y 2BP
Telephone: 01. 629 7633
G.Laurence Harbottle
Cables: Harlex London W1
J.B. Stutter
Telex: 22233
R.S.Aikin
James C. G. .Crichton
Our reference G:mb
Alan J. Patten
H.J. Beach
Your reference
Mark P. Gibbs
R.W. Lee
F.L. Caldwell
M Rowdon Esq
M.H.D. Bowler
R. A.S Storer
5 Tamworth Street
London SW6
14th November 1975
Dear Maurice,
I enclose a copy of a letter I have sent to the publisher's
lawyers today. I think in view of what they say in their letter of
16th September, we are not heading for success. However, let's wait
and see.
Yours sincerely,
Mark Gibbs
Enclosure


Harbottle & Lewis
34 South Molton Street . London W1Y 2BP
Gemb
JB/LB
Heala and Nickinson
48 Bedford Square
London WO1B 3DS
14th November 1975
Dear Sire,
Res Maurice Temple Smith and Haurice Roudon
With further reference to your letter of 20th Ootober, we have
heard from our alients who was somenhat surprised that the publishere
rejeoted the proposed work unseen, just on the basis of a summary.
Our olient has aotually passod to us a copy of the first draft
and perhape your olient would iike to give it further consideration.
Youre Baithfully,
HARBOTTLE AND LEWIS
Enclosure


DIRECTORS:
INTERNATIONAL FAMOUS AGENCY LTD.
LAURENCE EVANS (MANAGING)
MICHAEL ANDERSON
OTIS S. BLODGET [U.S.A]
ROBIN DALTON
TIM WILSON
5th March 1975
Maurice Rowdon, Esq.,
Portslade Productions Ltd.,
5, Tamworth Street,
London SW6
Dear Maurice,
Right after talking to you the other day, I
have finally had a call from David Haitley of
W.H. Allen, who says they could well be interested
in DIAGHILEV and would like you to go and see him.
Yours ever,
bhin
Robin Dalton
11-12, HANOVER STREET, LONDON, W.1. TELEPHONE : 01-629 8080 . CABLE: LIMEY, LONDON
(REGISTERED OFFICE)
NEW YORK. LOS ANGELES - PARIS - ROME (REG. NO. 945898 ENGLAND)
C CENSED ANNUALLY BY THE CITY OF WESTMINSTER


With Compliments
Harbottle & Lewis
34 South Molton Street
Solicitors
London W1Y 2BP
Telephone: 01. 629 7633
Cables: Harlex London W1
Maurice Rowdon Esq.,
Telex: 22233
5 Tamworth St.,
Lyndon SW6
Our reference G:ab
Your reference


Harbottle & Lewis
34 South Molton Street
Solicitors
London W1Y 2BP
Telephone: 01.629 7633
G. Laurence Harbottle
Cables: Harlex London W1
J. B. Stutter
Telex: 22233
R.S.A Aikin
James C.G.Crichton
Our reference
G:ab
Alan J. Patten
JB/SL
H. J. Beach
Your reference
Mark P. Gibbs
R.W. Lee
F.L. Caldwell
Messrs. Heald and Nickinson
48 Bedford Square,
27th May, 1975.
London WCIB 3DS.
For the attn. of Mr. Black
Copy
Dear Sirs,
"Monasticism"
We act for Maurice Rowdon, who has passed to us your letter of
the 2nd May. We spoke to your office last week to explain our
interest.
Although we have seen some correspondence that has passed
in this matter, we will need to see the Agreement you refer
to dated the 19th March 1971. We shall be grateful if you
could let us have a copy as soon as possible.
Yours faithfully,
b.C.C Maurice Rowdon Esq.


Dear Mark,
I enclose
1, the contract on a book to be called MONASTICISM
between myself and the publishers Maurice Temple Smith.
You will notice that Clause 12 stipulates that in the
event of his not finding an American publisher another
subject would be chosen by mtaual consent.
2. some of my correspendencewith Maurice Temple
Smith on this.
3. my correspondence on this with the Society of
Authors.
L. a letter dated 2 May from Maurice Temple Smith's
lawyers threatening proceedings.
As you will see I offered Maurice Temple a biography
of Michelangelo on the lines of my LEONARDO DA VINCI
which Weidenfeld have just published. I subsequently
offered him a longer biography of Beatrice d'Este in
whom I was becoming interested. He rejected both ideas.
There would have been little doubt of his recouping and
much more on these projects, as I have a market on Italian
subjects on both sides of the Atalantic. My LORENZO THE
MAGNIFICENT last year recouped its advance and much more
within a few weeks of publication.
His claim on these ideas was that he did not publish
picture-books or shortterm books (what we call quickies
in the trade). He needed more 'in-depth' or 'long-term'
books. I then offered him a complete MS of about 90,000
-100,000 words (a quickie is from 10,000 to 60,000 words)
of serious history called THE SPANISH TERROR, which seemed
to fit him as a publisher of history. This was success-
fully published last year by Messrs Constable àn Britain
and St Martin's Press in the States. It recouped more
than the advance made by Temple Smith on publication.
Having tried picture books or quickies, a biography
and straight history I now tried travel, on the lines of
earlier gravel books published
Goilancz. I offered
Km a synopsis with photographs of X TUSCAN VILLAGE.
I now tried a book of general ideas called THE
INDIAN CRUCIPIXION, which was in-depth, long-term,
historical and uniilustrated. It was laid out exhaustive-
ly in a two-pabt synopsis. This too he turned down on


the grounds that it wasnot his sort of book.
I ought to point out that in fact there has never
been the smallest discussion between us, except one
hinging on the fact that he wanted to withdraw from the
contract and had no subjects to suggest. He did suggest
one title, to my agent of the time---a book on the art
market, about which I know nothing, Each new title of
mine hé would treat as not having taken place, once he
had rejected it. There was never the smallest discussion
of my projects, nor was I given the smallest oppostunity
to persuade that these pro.jects were suitable and profit-
able.
I think it ought to be pointed out that I am still
open to discussion on other titles, and on the rejected
ones too.
Yours,
Maurice Rowdon


SB/1
MEMORANDUM OF AGREEMENT
harch
made this
day
1971 BETWEEN
Chandos House, Buckingham Gate Lbndon. S.w.1
Manrice Rowdon Esquire
cfaDavid" Bplt & a'fison Namited.Sfeit Limited
ted of
(hereinafter called the AUTHOR) of the First Part
AND
Meurice Temple Saith Linited of 37 Great Ruassell Street, London w.C.1.
(hereinafter called the PUBLISHERS) of the Second Part
WHEREBY it is mutually agrced as follows respecting a vork to be
written by the said Author and at present entitled:
MOMASTICISM
hereinafter referred to as the said work.
1. The Publishers shall during the legal term of copyright have the exclusive
licence of producing and publishing the said vork in volume form in the English
language througheut the World mubject to the oonditions folloving.
2. The said vork shall consist of about 100,000 (one hundred thousand) vords
in length and the Author shell deliver to the Publishers the complete typesoript
thereof ready for press by Intumagust-1972. The Publishers shali publish the
said vork within twelve montha from such delivery unless prevented from doing
so by ciroumstances beyond their contrel at a published price of about E3 (three
pounds) net in the first instance unless othervise mutually agreed.
3. The copyright line to be prirted by law on every copy of the said work
issued by the Publishers or under licence fron them shall he as follows:
0 19XX Maurice Rowdon
(xx indicates the year of first publication)
4. The Author hereby warrants to the Publishers that the eaid work is in no way
whatever an infringenent of any existing copyright and that it contains nothing
obscene or which with the intention of tle Author is libellous and the Author will
indemnify the Publishers against any loss injury or damage (including any legal
costs or expenses properly incurred) occasioned to the Publishers in consequence
of any breach (unknown to the Publishers) of this warranty.
Initialled by_


SB/2
5. The Publishers shall make up accounts of the sales of the said work (ex-
cluding copies given away in the interests of the said work and copies acciden-
tally destroyed on which no royalties shall be paid) half yearly to 30th April
and 3let Catober in the firet year of publieation and thereafter ammally to
30th April in each year and deliver and settle the seid sccounts vithin three
months thereafter respeotively provided hovever that in the event of there being
less than £5 (fivo pounds) due to the Author at any aooounting date then no account
need be submitted unless specifioally demanded nor payment made in respeet of that
year in whioh cene the amount due vill be carried forvard to the next aocounting
dete. The Publiahers shall pay the Author as follovet
a) On all copies sold except as specified in Clauses 5 b), c) d), e)and g)
A royalty of 10% (ten
oent) of the Britiah published prioe on all
oopies sold to 6,000 (six TEEE a royalty of 12, (tvelve per cent) of
the British published price on all oopies sold thereafter to 12,000 (tvelve
thouennd) and a royalty of 14% (fourteen per cent) of the British published
price on all copies sold thereafter.
XS atbntuxbanqaogxpocpcorcabncpugpont .
ottrodaatidxponktxouton
On oopies sold in the Nutional Book Sale a royalty of 10% (ten per oent)
of the Netional Book Sale prioe copies only to be sold with the Author's consent.
c) On all cheaper editions published at two-thirds or less of the original
published price:
A royalty of 85 (eight per oent) of the British published price on all
copios sold. in the event of the Publisher issuing the seid vork in any paperbaak
edi tion at a price of not more than two-thirds of the original published priee
a royalty of 7is (seven and one-helf per oent) of the British published prioe on
all oopies sold of that edition.
d) Book Society:
On the sale of a quantity of copies of 2,000 (two thousand) or more to the
Book Sooiety or a similar organisation a royalty to be nuutually agreed.
Initialled by_


SB/3
e) Sub-licences:
In the event of the Publishers sub-licensing any of the following rights
which shall be done only with the consent of the Author such consent not to be
unreasonably withheld then (provided that the Publishers do not manufacture the
book for the sub-lessee or arrange to participate with the sub-lessee on each
individual book in any way in which event the royalty to the Author shall be
mutually agreed) the gross sums received from the sub-lease shall be divided
between the Author and the Publishers aocording to the scale eet out belows
Miazaahatumsghisonisminiak
Reprint Book Club rights:
Book Digest Condensation rights:
Picturisation Book rights:
Rights of entry granted to an American
publisher or Book Club to distribute
American copies in territory granted in
this agreement exclusively to the
Publishers:
Reprint rights for regular sale:
The gross proceeds reoeived by the Publishers under this clause shall be
divided as to 50% (rirty per cent) to the Author and 50% (nrty per cent) to
the Publishore on the firet one thousend pounde receiveds 60% (sirty per cent)
to the Author and 40% (forty per cent) to the Bublishers thereafter to E5,000
five thousand pounds); 70% (seventy per cent) to the Author and 30% (thirty
per cent) to the Publishers thereafter to E10,000 (ten thousand pounds) and
80% (eighty per cent) to the Author and 20% (tventy per cent) to the Publishers
on all sums resdeved thereafter.
tx XXOUXER Iyoooxfomxthoususd >pesanduprgayania OnXaSgAN AEEXEK X** gNeetN X
ugo cootr-partuerss atvancex axx ON X000004x 58 20 C Xauax: TX X > XMAS 0.K X
XXOUX : Maxex romaed Xh** XIC* NOWOX XXK E 3OOK K h00 xburdseck wa xata
Rowerablsxfoomxehexsadexi BL X*XXX Bommonwest tk Engiist xamong a gateX
f) A sum of £1,000 (one thousand pounds) payable as to &750 (seven
hundred and fifty pounds) on signature of this agreement by both
parties and £250 (two hundred and fifty pounds) on signature by the
Publisher of an agreement for U.S. volume rights, in advance and on
account of all sums due to the Author under clauses 5 a)b)c)d) and e
of this agreement.
g) On all gross sums received from the sale of U.S. Volume rights by
way of advances and royalties, 92%% (ninety-two and one half per cen
6. When the demand for the said work has evidently ceased the Publishers shall
be at liberty to dispose of the remainder at remainder price which shall not be
subject to royalties but when sold above cost the Author shall be entitled to 10%
(ten per cent) of the net receipts of the copies sold. The Author shall have the
option of purchasing remainder copies at the remainder price. The Publishers shall
not destroy their remaining stock without first offering some copies to the Author.
7. All details as to the manner of production publication and advertisement and
the number and destination of free copies sball be left to the discretion of the
Publishers who shall bear all expenses in connection therewith except the amount
(if any) of Author's corrections in the proofs (other than printers' errors) in
excess of10 % (
ten
per cent) of the cost of composition which
extra amount shall be borne by the Author and settled in account.
8. The Author shall receive on publication six presentation copies of the said
work and shall be entitled to purchase further copies for personal use (but not
for re-sale) at two-thirds of the published price.
Initialled by


SB/4
9. If the Publishers fail to fulfil or comply with any of the provisions of
this agreement within one month after written notification from the Author or
his representatives of such failure or if they go into liquidation other than
a voluntary liquidation for purposes of reconstruction only then and in either
of these events this agreement shall automatically determine without prejudice
to any claim which the Author may have either for monies due and/or damages
and/or otherwise.
10. If the said work be allowed to go out of print to the extent of the Pub-
lishers having less than one dozen copies in stock they shall state that fact
on the next royalty statement rendered at the accounting day next following the
day on which the said work has gone out of print and should they fail to issue
a new edition of not less than 500 (five hundred) copies of the said work within
nine months of the date on which the said royalty statement was due then this
agreement shall automatically determine in respect of the said work without pre-
judice to royalties and other monies due to the Author from the Publishers and
without prejudice to the Publishers' continuing enjoyment of the benefits of any
sub-licence granted by them with the Author's consent during the continuance of
this agreement. Should the Publishers fail to notify the Author in the manner
aforesaid that the said work is out of print then this agreement shall be deemed
to have determined in respect of the said work as from nine months from the date
on which notification should have been given.
11. All rights other than those herein specifically granted to the Publishers
are hereby reserved to the Author exoept that all proseeds from anthology and
quotation righte shell be divided equally betveen the Author and Publishers
and all proceede froa the right to reproduce the work or any part thereof by
film miorography xerography or any other such met thod shall also be divided
equally between the Author and Publishers.
12. Should the Publishers be unsuecessful in arranging the sale of U.S. volume
rights vithin three months of the date of this agreement, then the egreement shall
be transferred to another work on a subject to be mutually agreed, the terns and
oonditions, with the exception of the delivery date in Cluuse 2, to be otherwise
the same.
13. All monies due under this agreement shall be paid to the Author's represent-
atives"DaxwaKExg8XXX90XXXX900XX80X3 atpnat-O6ORIRemcoatyeuylONYRN#
receipt shall be a full discharge of the monies received and the said
thontsson
Ksesaiates
BarodrEsgNt
Limited is hereby empowered by the Author to conduct negotiations with
the Publishers in respect of ali matters arising in any way out of this agreement
but the authority given to the Publishers under this clause may be revoked by the
Author at any time on giving aotice atowt thegaid Publishers who shall then upon
notification to the said Baniamgnka cassoclases Limited pay direct to the Author
all monies due. tunder thisr ragreement less 10% (ten per cent) which shall be paid to
the said BaviaxErga AesdetatesLimit ted by the said Publishers at the same time as
the remainder is paid to the Author and in such case none but the Author's receipt
shall be a full and sufficient discharge to the Publishers.
*Bolt & Watson Limi ted of Chandos House, Buckingham Gate, London
FOR AND ON BEHALF OF THE AUTHOR
FOR AND ON BEHALF OF THE PUBLISHERS


maurice
smith
temple
Maurice Rowdon Esq
7 November 1974
5 Tamworth Street
SW6
Dear Maurice,
I was very interested to look at your synopsis
for THE INDIAN CRUCIFIXION but, as I feared when
we spoke on the phone, it really isn't within
the field of my list. I'm sure it would be a
mistake to venture into a type of publishing
which has become a speciality in its own right,
and would do you no good as an author.
I'm afraid this leaves us back where we were and
I'll get in touch again with David Bolt.
With best wishes.
Yours,
Manrice
MAURICE TEMPLE SMITH LTD : 37 GREAT RUSSELLST - LONDON WC1 3PP - 01-636 9810
Directors : M Temple Smith, H M Lefroy, B Saklatvala, J Temple Smith. Registered in England, number 952755. Registered offices as above.


Cables: Auctoritas London
The Society of Authors
84 Drayton Gardens
London SW10 9SD
A Company limited by shares registeredi in England No. 19993
(Reg. Office)
Telephone: : 01-373 6642
Maurice Rowdon, Esq.,
5 Tamworth Street,
London, SW6 1LB.
17th February, 1975
Dear Mr Rowdon,
Thank you for your letter of 28th January and for the copy of
the Agreement between you and Maurice Temple Smith for the
publication of Monasticism.
This is a peculiar situation and not like one that we have
ever encountered before. It seems to us that the legal
position turns entirely on the question whether a court would
consider that you have made every effort to offer suitable
alternatives to Monasticism. We think, therefore, that your
best line at this point is to put, in writing, to Temple Smith
that you have done everything within your power to comply with
Clause 12 of the Agreement; that you consider that the
responsibility for failing to reach mutual agreement rests with
Temple Smith and you therefore propose not to return the £750
unless he Can convince you to the contrary. We suggest that
you ask Maurice Temple Smith to set out his contention in
detail in a letter which you may show to The Society of Authors,
of which you are a memher.
Perhaps you will contact us again if the response you have to
this is not satisfactory.
As the contract you sent us is a copy, we presume we may keep it.
Yours sincerely,
hooeltr
Roma Woodnutt


HEALD AND NICKINSON
SOLICITORS
INCORPO RATING: GODFREY DAVIS & BATT AND GRUNDY IZOD & COMPANY
48 BEDFORD SQUARE, LONDON WC1B 3DS
TELEPHONES: 01-637 0321 & 01-323 2841 CABLES: RETAINER LONDON WC1 TELEX: 268003
G. K. GODDAR RD
s. JAQUE
GODFREY DAVIS. LL.B.
ALSO AT:-
ACK. LL.B.
M. K. STONE, LL. B.
C. E. JAQUE
D. R. BROWN, LL.B
CAMBERI RLEY, SURREY AND YATELEY. HANTS
C. ENZER
IGL N. LL
CON
T: A D. BRI RIZZANO
GOMEZ-ACEBO DRID OFFICE & AT:- POMBO, ABOG SADOS,
OVERSEAS: IAN BLACKSHAV
VELAZQUEZ 27. MADRID 1. TEL: 226 02 28.
OUR REF. JB/SL
YOUR REF.
2nd May 1975
Maurice Rowdon Esq.,
5 Tamworth Street
London S.W.6.
Dear Sir,
We act on behalf of Maurice Temple Smith Limited of 37 Great
Russell Street, London W.C.1. who have instructed us to ply to
you for payment of the sum of £750.00 which our clients instruct
us, is due and payable by you to them.
By an agreement, dated 19th March 1971, between yourself of
the one part and our clients of the other part, you agreed to
write for them a book, then entitled "Monasticism" which they agreed
to publish and our clients paid an advance to you on the signing of
the agreement of £750.00.
We are instructed that the book was not in fact, written and that
in spite of all efforts, it was not possible to arrange the sale of
United States rights in the proposed book as contemplated by the
agreement.
That. being the case, much discussion and correspondence followed
between you and your agent on the one part, and our clients on the
other part, to try to find a substitute subject which would be accept-
able for publication but this as you know has not proved possible.
Our client has accordingly, on many occasions asked you for repay-
ment of the advance of £750.00 which is therefore due to them and no
such payment has yet been made. In the circumstances, they have no
alternative but to ask that this sum now be paid to them, or to us on
their behalf within fourteen days from the date of this letter, which
we are sending to your London address with a copy to your agent Mr David
Bolt in London.
Should payment not be made within the period stated, then our Clients
reserve the right to take proceedings, not only for recovery of this amount,
but also for all damage which they have suffered, together with interest
on the amount outstanding for the whole of the period for which this may
lawfully be claimed.
We trust that it would not be necessary to resort to proceedings, and
we look forward to hearing from you.
Yours faithfully,
t 3


Den
huough Aliest 2
amuse
For Eat
Frauce!
de kyfteult
Care
Titshoulesy
SAT
"A Dish of Drunken Shrimps"
(Western Lake, China)
A self-indulgent, gastro-wimp,
Iate a live and drunken shrimp
Fished from the giant Western Lake
And treasured for it's flavours sake.
Plunged living into old rice wine,
He was no enemy ofmine,
As from the white dynastic bowl,
I plucked him out and ate him whole
(may God have mercy on my soul).
No bludgeoned steer or slaughtered goat
But a small creature, so remote,
Dredged from the lake in gleaming shoals
To pleasure Epicurean souls.
Not boiled or stir-fried, steamed or grilled
And too small to be stuffed or filled,
He was a whiskery, doomed crustacean,
consumed with cruelty most Asian.
I'll not forget his tiny eyes,
Looking at me with pained surprise,
As I devoured him with one swallow,
And many more like him to follow.
But retribution iset Thand
For bloated gourmets of the land.
And at the bottom ofthe lake,
His kin, the dragon. lies awake.
Plotting against the human race,
- which only lives to feed it's face.


27710 LE St. MOULIN Georges Motel
France
Poav Mavmce Roudore
duhy 8
Taankyoo for yorv interorting letten
ofohy whuch you addrot cod to tho orhév pantof
Tho Domane. We now NVE at : LE Voultu" whrar
Wusten churchill spent many doys bofont WW2
PONGING Y writtng
You mbet COME and Ivach with
VS if you CBMC thity
Tho taand ir à c Refege lov lcs orscaux
avd auitAals. No KUNTING IS pcimattod (we AME oppatr
The Forotel Drour) Thccxhibt at Vevcailloy iy
to henobt Ariacpally the Jutornotunal Lryve fw the
pritdlimofhoeter I
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Ihoye OnG doy WE uill moot. Ovv muta) Encul
Chalty Fauccit- WE kaus lxcau fov mcny yctur
aud wt de onjy Ais Cricabs Ac-scals 000 uay.
can
the roevant papot Gon
booh- peax to 1aszl with US aut Wiry thon
Tonek you. Lok bvwaul to yuev VISI t
Sixcerely
Tax 37 Y35Y YO
lllleul I - Mamaue


PC Wond
Ctahe NadApe diska)
ORYER PRODUCTS
BloNs TRICS
lnci
boxbou


The Society of Authors
84 Drayton Gardens, London SW10 9SB
Maurice Rowdon
44 Brookwood Road
London
SW18 5BY
2 October. 2003
Dear Mr Rowdon,
I am pleased to inform you that you have been elected to membership of the Society.
Your membership is valid until 31 October 04. I would be grateful if you would return to me
the slip at the bottom of the enclosed rates sheet, with the Direct Debit Mandate if you would
like to use this method of payment (offering a discount) in the future.
In the near future, the Authors' Licensing and Collecting Society (ALCS) will be sending you
some forms to complete and sign. Ifyou don't already belong, we recommend that you do this
in order to facilitate the payment of any copying, broadcasting and recording fees that may be
due to you (for more details see enclosed information sheet or www.alcs.co.uk). As a member
of the Society, you can join the ALCS free of charge.
Also among the enclosed papers is the current copy of The Author. In the winter issue, your
name will appear in the list of new members, unless you let me know otherwise, as: Maurice
Rowdon.
With best wishes
Yours sincerely
borivel
Cmme
Emma Boniwell
Membership Secretary
Email: eboniwell@societyofauthors.org
President Baroness James of Holland Park OBE
Chairman Antony Beevor
email info@societyofauthorsong
General Secretary Mark Le Fanu
website www.societyofauthors.org
The Society of Authors Ltd. is a company registered in England No. 19993 and an independent trade union


KATHY NORRISH SPOTLIGHT
FROM:
MAURICE ROWDON
020 8874. 5361/ Rowdoxy@aol.com
DATE:
three pages only
Further to my e-mail I'm sending the new copy and the corrected proof Thanks for all.
stand by for two more pages


Maurice Rowdon
La Luciole, Chemin des Patins, 84160 Cucuron, France
April 1994
Dear Arthur:
Thank you foryour letter of March 24. You seem to regard our
professional association as a flimsy one but this is the twenty-seventh letter I will
have written to you and it seems pretty solid to me. Your reasoning is based on
the assumption that I would find a world rights offer by a London publisher the
best thing since sliced bread. On the contrary, there would be many things to
think about, among them the highly important one that a loyal agent is worth far
more than an individual contract with a publisher or even fifty.
And where did you get the idea that I wanted to 'control' your submissions?
There is SO much that the average author is unlikely to know about the publishing
scene that 'control' of submissions by an author is simply balmy.
You say that contracts are on the increase especially in 'muddy' situations.
But there is nothing muddy at all in the fact of a London agent dealing with British
and Commonwealth rights and an American agent dealing with American
rights---for the simple reason that this is the usual and accepted and universal
procedure. Otherwise almost every agent in New York and London would be up
to his eyes in mud, and have been there for the last fifty years, since working
associations between London and New York agencies began. I doubt if any of
these agencies are legally bound to each other. The nearest to that is Wm Morris
but this is because they are the same firm in both capitals. Some agencies have
exclusive associations, as you know, others have three or four associates. More
important, any contract drawn up between us would be equally drawn up by a New
York lawyer acting for me, and believe me he would make sure that all the
conditions of mutual freedom at present existing between us were maintained.
This is what lawyers are for. Neitheryou nor I want to go down in a sea of small
legal print. Either you trust me and I trust you or we don't. Irepeat, my
impression is that we are both trustworthy and loyal people.
All the best and much power to
your elbow


BARCLAYS BANK LIMITED
BARCLAYS
Brompton Road Branch
137 Brompton Road, London, SW3 1QF
RM/MKP.
Telephone: 01-584 3621
29th March, 1973.
Dear Mr. Rowdon,
I overlooked mentioning Portslade Productions
Limited to you when you called to see me just recently
and to let you know this account is now £311.01 overdrawn,
and to say we would like to have some funds in to put this
account in order. May I trouble you to kindly deal with
this.
Yours sincerely,
Manager.
R. Moore.
M. S. Rowdon, Esq.,
5, Tamworth Street,
London, S.W.6.
THEC QUEEN'S TO INDUSTRY AWARD
Registered in London, England Reg. No. 48839 Reg. Office: 54 Lombard Street, London, E.C.3


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Reader's report.
TITLE
Steel Canticles
AUTHOR
Maurice Rowdon
TYPE
poems
LENGTH
potentially a book of some 90-100
pages, if properly designed
READER
FOR
DATE
canticle, as of course you know, is a little song--
generally of the religious kind. There is a definite
thread of religion running through these 45 canticles
(most of which are 2-3 pages long, each); but that
thread is more or less a secondary or background-ish
or choric theme. Mr Rowdon has engaged his obviously
active mind, his extensive reading and his undoubted
energies to weave together a most complex number of
themes, subjects, image-motifs, ideas, polemics and
current prejudices.
It's a most impressive sight. In this bit of weaving,
the warp is that love is good, the woof is that war
is bad, and the interconnection is that technology
(represented
Steel) favours war. Make love, not
steel, he may Yo saying. But he resists simplification,
resists it most doggedly. His main characters are two
young products of thes modern society, who seem to have
been overcome by love: through the tracing of their
background enters the poetic survey of the society's
background.
Most impressive, as I say; so too, indeed, is watching
a weaver at work on a large hand ioom. Regrettably, the
activity can seem impressive whether the end-product
is superb or just pedestrian. And Mr Rowdon, for all
his range of imagery and allusion, for all his gifted
ability to juxtapose his bits and pieces, never really
gets his feet off the ground. The language is flat,
lacking voltage; the rhythms seem to have been
posefully sacrificed for a sort of flowing beonotone like
a Presbyterian minister; the glosses that accompany the
main vody of verse (elucidating, commenting, expanding)
often outweigh the poetry, which is also a mistake, and
are if anything even flatter in language than the
verse bits.
In short, an ambitious conception that doesn't come off
because the writer lacks the resources of poetzy to match
the range of his thought and concerns. So---reject,
with mildly regretful encouragement.


SPEECH AND DRAMA
The following colleges and universities offer degrees in Speech and Drama. A Bachelor's
degree in Speech and Drama at an American University provides an area of specialization
amounting to about a third of the four year degree program in these fields. The remain-
ing two thirds of the degree program will consist of prescribed general courses. and
elective: courses chosen by the student.
In some cases Speech and Drama are combined in a single department; in others, they
are separate. Unless otherwise indicated, degrees in both fields are granted. The study
of Speech at an American institution can include 1) public address, 2) group communi-
cations, 3) oral interpretation, and 4) speech education. Additionally, the Speech
Department often offers courses in speech therapy. Universities accredited by the
American Speech and Hearing Association to give-such degrees are indicated by * In
addition to practical courses in acting and stage design and operation, the drama
degree includes courses in dramatic literature, dramatic theory and criticism, and
theatre history.
The degrees granted are shown as follows: D-Doctorate, M-Master's,B-Bachelor's.
ARIZONA:
MB Arizona State University, Tempe, AZ 85281.
MB University of Arizona, Tucson, AZ 85721.
ARKANSAS:
MB University of Arkansas, Fayetteville, AR 72701.
CALIFORNIA:
MB California State College at Fullerton, Fullerton, CA 92631.
MB California State College at Long Beach, Long Beach, CA 90801.
MB California State College at Los Angeles, Los Angeles, CA 90032.
MB Fresno State College, Fresno, CA 93710.
MB Sacramento State College, Sacramento, CA 95819.
MB San Diego State College, San Diego, CA 92115.
MB San Fernando Valley State College, Northridge, CA 91324.
MB San Francisco State College, San Francisco, CA.94132
MB San Jose State College, San Jose, CA 95112.
DMB University of California at Berkeley, Berkeley, CA 94720.
DMB University of California at Los Angeles, Los Angeles, CA 90024.
DMB University of California at Santa Barbara, Santa Barbara, CA 93106.
MB- University of Redlands, Redlands, CA 92373.
DMB * University of Southern California, Los Angeles, CA 90007.
COLORADO:
MB Colorado State College, (Univérsity of Northern Colorado), Greeley, CO 80631.
MB Colorado State University, Fort Collins, CO 80521.
DMB *1 University of Colorado, Boulder, CO 80302.
DMB University of Denver, Denver, CO 80210.
CONNECTICUT:
MB *University of Connecticut, Storrs, CT 06268.
DMB Yale University, New Haven, CT 06520. (Drama only, most postgraduate).
DISTRICT OF COLUMBIA:
MB Catholic University, Washington, D.C. 20017.
FLORIDA:
DMB Florida State University, Tallahassee, FL 32306.
DMB University of Florida, Gainesville, FL 32601.
MB University of Miami, Coral Gables, FL 33124.
GEORGIA:
MB University of Georgia, Athens, GA 30601.
HAWAII:
MB University of Hawaii, Honolulu, HI 96822.
IDAHO:
MB Idaho State University, Pocatello, ID 83201.
ILLINOIS:
MB Illinois State University, Normal, IL 61761.


ILLINOIS, cont.:
MB+: Northern Illinois University, Dekalb, IL 60115.
DMB Northwestern University, Evanston, IL 60201.
DMB *Southern Illinois University, Carbondale, IL 62901.
DMB University of Illinois, Urbana, IL 61801.
MB Western Illinois University, Macomb, IL 61455.
INDIANA:
MB Ball State University, Muncie, IN 47306.
MB Indiana State University, Terre Haute, IN 47809.
DMB Indiana University, Bloomington, IN 47401.
DMB Purdue University, Lafayette, IN 47907.
IOWA:
B Drake University, Des Moines, IA 50311.
B Iowa State University, Ames, IA 50010.
DMB *University of Iowa, Iowa City, IA 52240.
KANSAS:
MB Kansas State Teachers College, Emporia, KS 66801.
MB Kansas State University, Manhattan, KS 66502.
DMB *University of Kansas, Lawrence, KS 66044.
B Wichita State University, Wichita, KS 67208.
KENTUCKY:
MB University of Kentucky, Lexington, KY 40506.
LOUISIANA:
DMB Louisiana State University, Baton Rouge, LA 70803.
MAINE:
MB University of Maine, Orona, ME 04473.
MARYLAND:
DMB University of Maryland, College Park, MD 20742.
MASSACHUSETTS:
MB *Boston University, Boston, MA 02215.
MB Brandeis University, Waltham, MA 02154. (Drama only).
MB Emerson College, Boston, MA 02116.
MB Smith College, Northampton, MA 01060.
DMB Tufts University, Medford, MÀ 02155.
MB University of Massachusetts, Amherst, MA 01002.
MICHIGAN:
MB Central_Michigan University, Mt. Pleasant, MI 48858.
MB Eastern Michigan University, Ypsilanti, MI 48197.
DMB Michigan State University, East Iansing, MI 48823.
DMB University of Michigan, Ann Arbor, MI 48104.
DMB Wayne State University, Detroit, MI 48202.
MB *Western Michigan University, Kalamazoo, MI 49001.
MINNESOTA:
DMB *University of Minnesota, Minneapolis, MN 55455.
MISSISSIPPI:
MB University of Mississippi, University, MS 38677.
MB University of Southern Mississippi, Hattiesburg, MS 39401.
MISSOURI:
MB Central Missouri State College, Warrensburg, MO 64093.
MB Saint Louis University, St. Louis, MO 63103.
B Stephens College, Columbia, MO 65201.
DMB *University of Missouri, Columbia, MO 65201.
MB University of Missouri, Kansas City, MO 64110.
MONTANA:
MB University of Montana, Missoula, MT 59801.
NEBRASKA:
MB University of Nebraska, Lincoln, NE 68508.


NEW JERSEY:
MB Montclair State College, Upper Montclair, NJ 07043.
NEW MEXICO:
MB University of New Mexico, Albuquerque, NM 87106.
NEW YORK: J
MB Adelphi University, Garden City, NY 11530.
City University of New York:
Brooklyn College, Brooklyn, NY 11210.
City College, New York, NY 10031.
Graduate Center, New York, NY 10036.
Queens College, Flushing, NY 11367.
MB Columbia University, New York, NY 10027. (Drama only.)
DMB Cornell University, Ithaca, NY 14850. (Drama only).
MB Hofstra University, Hempstead, NY 11550.
DMB State University of New York at Buffalo, Buffalo, NY 14214.
MB State University of New York College at Geneseo, Geneseo, NY 14454.
MB Syracuse University, Syracuse, NY 13210.
B Vassar College, Poughkeepsie, NY 12601. (Drama only).
NORTH CAROLINA:
MB University of North Carolina, Chapel Hill, NC 27514.
NORTH DAKOTA:
MB North Dakota State University, Fargo, ND 58102.
MB University of North Dakota, Grand Forks, ND 58201.
OHIO:
DMB Bowling Green State University, Bowling Green, OH 43402.
MB *Case Western Reserve University, Cleveland, OH 44106.
B Denison University, Granville, OH 43023.
MB Kent State University, Kent, OH 44242.
MB Miami University, Oxford, OH 45056.
DMB Ohio State University, Columbus, OH 43210.
DMB Ohio University, Athens, OH 45701.
MB University of Akron, Akron, OH 44304.
DB University of Cincinnati, Cincinnati, OH 45221.
OKLAHOMA:
MB Oklahoma State University, Stillwater, OK 74074.
DMB *University of Oklahoma, Norman, OK 73069.
MB University of Tulsa, Tulsa, OK 74104.
OREGON:
MB Portland State University, Portland, OR 97207.
DMB University of Oregon, Eugene, OR 97403.
PENNSYLVANIA:
DMB Carnegie-Mellon University, Pittsburgh;"PA 15213. (Drama.only).
DMB *Pennsylvania State University, University Park, PA 16802.
MB Temple University, Philadelphia, PA 19122.
DMB University of Pittsburgh, Pittsburgh, PA 15213.
SOUTH DAKOTA:
MB University Of South Dakota, Vermillion, SD 57069.
TEXAS:
MB North Texas State University, Denton, TX 76203.
B Southwest Texas State University, San Marcos, TX 78666.
MB Texas Christian University, Fort Worth, TX 76129.
..MB Texas Tech University, Lubbock, TX 79409.
MB Trinity University, San Antonia, TX 78284.
MB University of Houston, Houston, TX 77004.
DMB University of Texas, Austin, TX 78712.


UTAH:
B Brigham Young University, Provo, UT 84601.
MB *Utah State University, Logan, UT 84321.
DMB University of Utah, Salt Lake City, UT 84112.
VIRGINIA:
MB University of Virginia, Charlottesville, VÀ 22903.
B Virginia Commonwealth University, Richmond, VÀ 23220.
WASHINGTON:
MB Central Washington State
College, Ellensburg, WA 98926.
B Eastern Washington State College, Cheney, WA 99004.
DMB University of Washington, Seattle, WA 98105.
MB Washington State University, Pullman, WA 99163.
B Western Washington State College, Bellingham, WA 98225.
WEST VIRGINIA:
MB West Virginia University, Morgantown, WV 26506.
MFN
WISCONSIN:
DMB *University of Wisconsin, Madison, WI 53706.
B University of Wisconsin-Oshkosh, Oshkosh, WI 54901.
MB University of Wisconsin-Stevens Point, Stevens Point, WI 54481.
WYOMING:
MB University of Wyoming, Laramie, WY 82070.
PROFESSIONAL ASSOCIATION: Speech Association of America
Statler Hilton Hotel
New York, New York 10001
Student Adviser's Office
EDC
26 Dover Street
Catalogues
London, WIX 4DX
August/72/500
Monday through Friday, 11 to 5


AUTHORS AGENTS
Bolt
Watson LTD
8 Storey's Gate London SWI
Tel: 01-930 5378/9 Cables: Bandwag London SWI
Directors: David Bolt Sheila Watson
Maurice Rowdon Esq.,
30th April, 1973
5 Tamworth Street,
London, S.W.6.
Dear Maurice,
THE SPANISH TERROR
St. Martin's Press are interested, in a small way,
in the American rights and are writing to Constable to get
a quotation for 2,000 copies excluding royalties.
Once they
have Constable's figures they will be coming back to Ober
with an offer.
I don't suppose there's going to be a lot of
money in it because we. are going to have to refund something
to Putnamts I'm pretty sure.
But St. Martin's do feel very strongly that they want
a new title insisting that in America the SPANISH TERROR means
simply the Inquisition.
Any ideas ?
Yours,
a I 0 L -
DLB/BSH
Although every care is taken of MSS while in our possession we can accept no responsibility for loss or damage thereto


5 TAMWORTH STREET
LONDON, S.W.6.
Bica
May 6th 1973
THE SPANISH TERROR
Dear Ben,
I've just had a fairly lengthy phone conversation
with Eric Roli, who (I imagine you kiow) is one of the
greatest living authorities on economics and the history
of economic thought. He told me he had made a special
suudy of usury when he was a student. He finds that
what I have to say about usury, a d the theologian's
definition of it, the Church's deep opposition to loans
and interest, to be perfectly right. Precisely as
THE SPANISH TERROR describes, Eric says that the break-
ing down of this opposition was a very slow but never-
theless spectacular process, and invoived the heads
of the church.
Yours,
Maurice Rowdon


Myrtou,
Kyrenia District,
Cyprus.
May Day, 1973
My dear Maurice,
Harry Morris was here recently, staying with John
Haylock at the Old Police Station, and he gave me not
only your address, not only a vivid description of your
fascinating play for two people on Mahler, but also an
acute sense of guilt mingled with the flight of time:
that I have done no more than try and telephone about
three times on different occasions when I was in Rome;
in vain. Your name has been constantly evoked: by Khalid
and Karim when I was in Baghdad last year; by Francis King,
whom I saw, also last year, in London; and most curiously
by Dr Margaret Clarke, an elderly research-assistant who
was helping me over a book on Herzl and who, without know-
ing that we knew each other, suddenly began extolling
Perimeter West as one of the great books of our time. I
was, incidentally, most interested that your interest had
fallen on Mahler. As for the last few years I too have
been engrossed in the Vienna of the Habsburg twilight.
motive was to
Baway
Afn
right/write the portrait of
first
verb
machinae
Herzlal
fideal
a lapsus
which I leave!), who struck me
it's
as the most complex and therefore interesting of the men
who made the last century in the Middle East, when I wrote
heptedr
bar
nE9-S
The Temple of Janus, which you probably have not seen,
as Hamish Hamilton hardly advertised it at all. How bad
all our educations were - I left Oxford without knowing
anything of that extraordinary, Alexandrian culture
which revolved round the Burgtheater. I do hope Harry is
right and your play becomes a film because only in that
way am I likely to see it. Did you deplore with me that
film of Death in Venice with Mr Bogarde cast as an
intellectual? Absurd, I thought. The moment of maquillage
should be tragic in its horror; with that particular
actor I found myself saying, Ah, he looks better with
a little slap on : The dying artists should have the
grandeur of Abraham Lincoln or Freud: only then does
the collapse signify.
Have just heard President Nixon all but in tears
for Watergate. If ever we produced The Chair as a film,
we could offer him the part of Simpson.
Do you ever see Rosemary? I have not seen her
this year. Last, she was still beautiful but harassed;
she has become a student again, at the AUB: and you


TAMWORTH STREET
LONDON, S.W.6.
May 5th 1973
MAHLER
Dear Sir George,
You asked my agent David Bolt some time ago if
I'd like to do a book on Mahler. I told him no.
But I'm working with Ken Russell on the film of the
play at the moment, and getting deeper into the sub-
ject every day, and now find myself so taken with
Gustav, so astonished at his achievements and the
failure of even the so-called conoscenti like Joan
Chisell to understand the utter newness of his
roach to the symphony, and the fact that he was o
first real conductor, the first real opera producer
andthe first (also last?) real modern composer, that
I now think (it only happened a couple of minutes ago)
that I would love nothing better than to do a book
on him, It cannot be a life. It must be in the
nature of a story of a revolutionary, tracing the rev-
olution in his music, in his relations with the
orchestras and the Court Opera, not to sey with the
Secession movement as a whole.
A life of Gustav would be very difficult because
remarkably little is known about him. His family
life with Justi is more or less closed to us. I
think we would have almost nothing to say if it wasn't
for Alma, And a life of a man is premature if he
hasn't yet been understood, in the marvellous variety
of his work.
I don't want to write a synopsis but map out my
progress in the course of the summer so that you can
have something to take to an American publisher.
We must sign
now however. All that Loranzo and
Diaghilev gusinenov has got to be buried.
Yours sincerely,
Maurice Rowdon


Constable do Company Limited
Constable Publishers
10 Orange Street
London WC2
Telepbone: O1-930 080117
Telegrams: Dhagoba London WC2
Chairman do Managing Director:
Maurice Rowdon, Esq.,
Benjamin Glazebrook
5 Tamworth Street,
Directors:
London S. W.6.
DF-Grover, Noel Holland
RAA Holt, Miles Huddleston
Paul N Marks
The Hon.J John Jolliffe
Richard Tomkins
Sm Mamicr
THE SPANISH TERROR
This will confirm my understanding of what we agreed yesterday,
viz. that we will go ahead with the typescript as it stands,and get
galleys from the printer, SO that you have a chance of making alterations
without the excessive expense which these involve once the typescript
is in page proof. You will give one set of galleys to the editor you
told me about (Mr Kendal).
We agreed that, in principle, the American offer should be
accepted though David Bolt will not be able to sign a contract with
St.Martin's Press until we have been able to send them a quotation
for bound and wrappered copies. I only hope that we will be able to
keep the price low enough for it to be acceptable to St.Martin's.
I will go ahead and collect up the illustrations suggested in your
list but I am afraid none of these could be in colour, except possibly
a frontispiece.
I hope this covers everything and I am sending a copy of this
letter to David Bolt.
hams fm
per.
P.S. Here as promised is the DIAGHILEV material back.


Bolt 86
Watson LTD AUTHORS' AGENTS
8 Storey's Gate London SWI
Tel: 01-930 5378/9 Cables: Bandwag London S
Directors: David Bolt Sheila Watson
8th May 1973
Maurice Rowdon Esq., 9
5 Tamworth Street,
London SW6.
Dear Maurice,
THE FIRST CHRISTIAN MONKS
We are juggling with ideas a bit - trying to keep them
all in the air at once
and this one is coming down fast.
I thought a letter, because 'phone messages are unreliable
and messy in files!
I think, if we accept the advice of our New York people,
that there is really no chance of a quick commission on that
side; although they do feel the finished book (or a good part
of it) would find a market there. One possibility would be
shifting the book from Maurice TS to, say, Weidenfeld, and
repaying Maurice out of the W&N advance. Which won't, I know,
appeal to you much. However, Maurice is asking for a dis-
cussion now, and we can't blame him for that. Can you and I
have a word?
Yours,
4 ann
DLB/MYS.
Although every care is taken of MSS while in our possession we can accept no responsibility for loss or damage thereto


TAMWORTH STREET
LONDON, S.W.6.
May 8th 1973
Dear Eva,
Tony Godwin wanted me to do a definitive biography
of Diaghilev, and gave me Buckle's NIJINSKY as a sample
(and what was to be the brother-volume to mine). I
didn't like Buckle's book. I find it too much of a
dossier, and it quotes vastly from Romola's Nijinsky,
quite rightly, because the warnth has to come from
somewhere.
Very quickly, because it has to be quick, do you
want to take the project on? If you don't I
drop
the idea altoge ther, as Geozge Weidenfeld has Jazt
asked me to do a book on Mahler.
The top copy of this project is with my agent,
David Bolt, for the States. I'm seeing Serge Lifar
this month--cogld you give me an answer by the 15th,
when I leave?
Love,
Maurice Rowdon
PS I'm awful about moneye


March 1st 1973
LORENZO THE MAGNIFICENT and DIAGHILEV
Dear Christopher Falkus,
The whole matter of this LORENZO book is in such
confusion that I think it would save time and heartache
to go into it all right now. Tony Godwin and I dis-
cussed this book last summer as a quick "bridge' to the
Diaghilev project. I was to use part of the time and
the money made available by LORENZO to further invest-
igate the Diaghilev possibilities, I bad elready con-
tacted Arnold Haskeli and been told that there was noth-
ing new to be told on Diaghilev, though he promised all
help if I needed it. I then went to Cannes to see
Serge Lifar, who was the closest man to Diaghilev, and
the only human being who. really knew him.
ETE loyalty to Diaghilev has been
though it has not won him friends in the sentraoieinooria. ballet
For that matter he was
to Nijinsky toc, and
arranged the removal of ATE remains from this country
to Paris aftera funeral here with twelve people in
attendance!
conclusion after a lot of reading
was that Serge Ltere must be the key to any book on
Diaghilev. He offered me his close cooperation---
after taking great care to discover the quality of my
antentions
the kind of values I had)-on every
detail of usanto book. I found that he did not at ali
agree that there was nothing 'new' to be said on Dia-
ghilev. On the contrary, a number of people including
Coco Chenel have died and. it is now possible to talk
about the personal and intimate matters for the first
time. Richard Buckle did not consult Lifar for his
excellent Nijinsky book which you published. My
Diaghilev book would therefore fili certain gaps left
by that.
I naturally find that working in the theatre both
as as writer and producer I get very close, heartrending-
ly close sometimes, to Diaghilev's. problems. I think
it will be a vivid and most dramatic book.
3EF0


But on your side nothing has happened. My
letters on Diaghilev have not even been acknowledged.
My memo on Lifar created no reaction at all. The
Lifars are running a big
exhibition in
Montecarlo this month which ACATARY had innocently hoped
would be my starting point on the book,
The LORENZO book got, as you remember, a negative
report: part of its error was that it approached my
script as a new contribution to Lornezo knowledge based
on years of work; in fact three months flat were avail-
able for reseerch and writing. I also showed at length
that the report was in most places unreliable. I
pointed out graver errors in the report than the report
was able to show in my book, Yet bed reports stick.
In a letter from Barbara yesterday I am told that in
fact the book needs little workt some regriting but
mostly condensing and eorrecting. In other words
it is the kind of work one always does on a book after
acceptance, Alan Kendall andi polished off my FALL
OF VENICE in a matter of daysa-after acceptance. I
not only rewrote paragraphs but inserted wholly new
material at his request. I am
to hear that Alan
will be working on LOKENZO and I TORTy wish he had been
contacted last November so that the book could have
gone out cn schedule.
But in this case Weidenfeld are asking me to work
on a bock that has not been accepted. This alone would
not worry me, especially as Tony Godwin handed over
£500 of the acceptance fee within minutes of
request.
But what guaractee have I that the remaining Reso on
the acceptance fee will not get involved in the same
delays, not to say publication (with the fee due) as
well? I handed LORENZO in during the first days of
November. Nothing but dithering has taken place
dince; four months have been needed to
to the
of putting the book out to a competent Podttors I point
absolutely no reason to believe that any further work
I do on the book will eliminate the state of dither.
I therefore suggest that you take me seriously as a
professional writer and pay the balance.of the accept-
ance fee.
More important than this, the DIAGHILEV project


is still in abeyance. What conceiwable argument can
there be---unless you are -short of money- for not
going ahead with this magnificent idea? In a month
of Sundays I could not think of a finer publishing
ition. In the theatre I am often with dancers.
ERRIOEE Gilpin choreographed an excerpt in my latest
show. Ram Gopal is working with me on a filmewhe
knew all the nemes of that period personally. There
is a wealth of stuff to be gleaned from that malicious
little ballet world towards which thank God I have the
greatest detachment. Surely there too is the value
of the Diaghilev book---that it doesn't ceme from bight
inside that deeply prejudiced werld?
we may as well clear up another matter too.
Last November or early December Barbara approached me
to find someone to do the LORENZO illustrations.
1 said I would phone Hanna Kiel in Florence---she was
Berenson's assistant and is extraordinarily knowledge-
able as well as thoroughly intolerable. After a few
minutes' talk I realised that her Hessian standards
would stand in the way of her doing a quick job. We
obviously couldn't spend months arguing points of
academy. So I went to one of the most obvious people
for such a job in London---Ien Lennett of Sotheby's.
He carries about a quite encyclopedic knowledge in his
head (he will be carrying it back from Harvard univer-
sity in the middle of March). If you happen to know
Philip wilson you could ask about him yourself. Being
at Sotheby's he is surely well placed to get the trans-
-arencies etc we are efter, He writes picture books
for Hamlyn, and erticles galore for the Connoisseur etc.
He worked on the Times-Sotheby index.
But apparently as have called his professional
credentials into doubt toot He explained to your firm
that naturally he would like a letter offering him the
commission, and an advance to secure a deposit on the
trensparencies. He was promised both (by his own
and got neither. He rang me several times
100091 to ask
I knew when either the letter or the advance
was coming. In the meantime he was paged up and down
Sot theby's almost daily. He was even told---again I
can only quote him---that the advance was 'on the way'.


It never got there. He rang me again and said, 'I'm
only doing this for you. They seem quite impossible
to deal with, especially as I am supposed to be doing
the illustrations for a book that has been' (he thougit.
quite unjustifiably) 'rejected!' Now I hear from
Barbara that he has been dropped, and an agency engagec.
On the grounds that he 'worried' you. But some time
he and I sat down (at
request--I
him to over-
acok the lack of a formal artesgu and VOrLEPt out the trans-
parencies. And they are. aupposed to be on their way to
me. What happens when. they arrive?
with best wishes,
Yours sincerely,
Maurice Rowdon


May 7 1973
LORENZO THE MAGNIFICENT
Dear Barbara,
Thank you for the corrected typescript of
LORENZO.
I shan't be in England after about May 16
and am most probably heavily tied
tntil then.
Until October I shall probably not be in Englend
for more than a handfuil of days at a time. We
could meet if I come over, and I could give you
warning of this some time before. George Weid-
enfeld wrote me that Regnery are accepting deliv-
ery July 1974, and that you are publishing in the
early sumner of that xanmokyear. Is there such
a hurry then on the illustrations?
Yours,
Maurice Rowdene


WARBURG INVESTMENT MANAGEMENT LTD.
DIRECTORS
ST. ALBANS HOUSE,
SIR ERIC ROLL (CHAIRMAN) RARNHEIM
GOLDSMITH STREET,
N.MCANDREW (DEPUTY CHAIRMAN) O.R.R. DE BAER
R.S. C.DONALD
D.P CHUDLEIGH
LONDON, EC2P 2DL
C.SHARP
R.H. GURNEY
F.S.SMITH
R.S. MALNICK
Telephone:
A.R.W.SMITHERS
J. VINTCENT
P. STORMONTH DARLING
A.M. WILLIAMS
Telegrams:
WARBURCO LONDON
International Telex:
2nd April, 1973
Dear Mr. Rowdon,
Irefer to your letter of 30th March.
Ihave today submitted the problem of the guarantee to my colleagues
in the banking department and I will revert to you as soon as possible
with their reaction.
Yours sincerely,
Maurice Rowdon, Esq.,
5 Tamworth Street,
London, S.W.6.
RA/msj
Registered Office: 30,Gresham Street, London, EC2P 2EB. Registered in England No. 951043.


May 9th 1973
Deaz Harry,
I don't want you to show this to Ken. It's
a satire and a laugh, end not his film at all.
But I'd just like you to know about it.
All the best, and I'm watching you two buggers
hard to see if you do a Mahler picture.
Yours ever,
Maurice Rowdon


April 29th 1973
Dear Ben,
Would a snap decision on DIAGHILEV be possible?
I am going to Cannes 15th May to see Lifar and look
at his Diaghilev collection, which he will then sell.
It would be good to have something tied up before
theno
Yours ever,
Maurice Rowdon


Constable dy Company Limited
Constable Publishers
Registered ofice:
I0 Orange Street
London WCH7EG
Telepbone: O1-930 0801/7
Telegrams: Dhagoba London WCH7EG
Registered number:
103767 England
Maurice Rowdon, Esq. 2
5 Tamworth Street,
Chairman do Managing Director:
Benjamin Glazebrook
London S.W.6.
Directors:
Noel Holland
RAA Holt, Miles Huddleston
The Hon. Jobn Jolliffe
Paul N Marks
Richard Tomkins
13 April 1973
Muame
Thanks for your letter. The Diaghilev project sounds interesting.
I do agree with you that Judith Osborne was very slow and anyway
she now has a job with Faber. Are you satisfied with what she has
done? I shall be looking at her handiwork this weekend and will be in
touch with you early next week.
haye
PeL,
copies of their MSJ in order to protect agamst
damage or loss by fire, water,
or from any other cause
date
Constable do Company Limited


11 Perceval Avenue
London N W 3
31 March 1973
Dear Maurice (if I may)
The Spanish Terror
Here is another batch.
The rest will, I hope, follow
tomorrow.
I have just moved to the above address - telephone number
In haste,
Yours sincerely
Snat
Judith Osborne
Maurice Rowdon Esq
5 Tamworth Street
London S W 6


5 Tamworth Street
London
Spril 4th 1971
THE SPANISH TERROR
Dear Ben,
As I said in my phone message to you, I am in
general agreement with you about THE SPANISH TERROR.
I think the book may lack balance between the first
and second halves.
But I don't foresee that we shall need any working
lunch or 'session'. I know Every well what I meant to
write, add except in the case of a few sentences which
have to be pointed up in the normal course of script
revising and proof reading, the book is very much what
I meant it to be. Your difficulty with it has to my
mind arisen from your assuming that when something
looks to you amorphous and badly expressed it is because
my mind is empty and I want to cover up with words.
On the contrary, you have simply failed to understand
it. And my mind is too full, and I have not explained
enough.
I shall show you what I mean by dealing with your
marginal comments, all of which are wide of the mark.
'How can terror be prepared unwittingly?' Of course
it can. Charles had no idea of what he was doing for
his son, though he was thoroughly deliberate about
everything he did. He prepared the Spanish state for
Philip, without knowing that he was preparing a terror-
system. Indeed, his mind, being basically mediaeval,
was incapable of ideas like 'system' or 'régime' in
our sense, since these entered the Christian psychology
only during the second half of the century. You cross
out my '(and he meant to provide)' in the sentence
'Charles provided (and he meant to provide) his son
with a perfect instrument of government' for the si mple
reason that you have not taken the trouble to find out
what I mean by 'unwitting' in the previous sentence.
So you cross out unwitting too.
Your suggestion that my sentence 'the empire and the
Jesuit movement were simply one and the same effort to
stabilise catholic Europe' should read 'they combined to
stabilise catholic Europe' shows a complete misunderstand-
ing of the subject and my book. They did not combine.
They were not even mildly friendly to each other. But
in their nature theyvwere the same thing, they arose from
the same thing---from the catholic crisis. Ànd they
did not actually stabilise catholic Europe as xour
phrase suggests: they were an effort to stabilise it---
both the empire and the Jesuit movement. Both came
into being in order to deal with protestantism. They


would otherwise not have existed. I convey all
this---that is, several true ideas---in one short
phrase. And you come along and substitute one word
which conveys the same number of falsehoods.
you prefer it your way?
When I say that Philip's detachment and devoutness
were 'an ideal image of Spain at that time' you want me
to say 'were a precise reflection of
at that time'.
This is not true. Spain was stewing Spaico corruption.
The court too was corrupt. Philip was not. And
Spaniards did not wish to be corrupt. They carried
the ideal of integrity about with them in their heads.
And their king had to represent this integrity. So he
was 'an ideal image' of Spain, not at all a 'precise
reflection'. Of course you are going to cali my work
amorphous if you read your own amorphous ideas into it!
So again I convey in one short phrase two or three
truths, and you convey in a shorter phrase about the
same number of falsehoods.
You also want me to say that the empire and the
Jesuits wished to root out everything implanted' by
the protestants, whereas I
'everything achieved
by the protestants'. Why? say say 'achieved' by the
protestants because I mean their schools, their town
councils (Zurich etc), their new churches. In other
words, I mean what I say. You can hardly blame me
for failing to say what you mean.
Again, you tell me that to say 'Charles was the
end of mediaeval society' contradicts the earlier
sentence that he was the start of a new society.
Why? If I say that Gray was the last of the classical
poets do I contradict the statement that he was the
first of the romantics? The whole point about Charles
was that he ended one world and brought about another,
that he seemed to belong to the mediaeval world but
was the aubhor of a secular society which his son
inherited. This is the whole theme of the first
chapters of the book. It tells the story, year by
year, of how Charles decided to do things which quite
defiantly had results opposite to those he intended.
Again, when I say, that 'Spain's was the first
successful nationalism' I do not mean'Spain was the
first example of nationalism'. This may be your idea
but it is entirely wrong. Iwould say that France
was the first example of nationalism. Spain's was
the first successful and conscious application of the
idea. This ties in with the whole theory of empire
(a new the ry of empire) which I develop in the book.


Again, you cross out my 'vast' in the sentence
'people's minds could be influenced and intimidated
at a great distance without the deployment of vast
armies'. Why? Should I say simply 'without the
deployment of armies'? But this is untrue. I mean
precisely that Philip deployed armies but that they
were surprisingly small for the power he wielded.
This is why I say 'the power wielded not only (perhaps
least of all) by Spanish armies...but by money and
influence'. Of course you want to cross out - (perhaps
least of all)', because it looks like empty wordage
to you. But i am saying that what at first sight
seems the most important arm of the empire turns out
to be a relatively small factor in the empire's
creation of fear.
The first part of the book is difficult. It
will always be more difficult than the second half
because the ideas are unfamiliar, but once they are
grasped they make the second half full of meaning.
There was one argument, one quarrel round which the
whole of the sixteenth century turned---its politics
and wars and coup d'états. This was about whether
Christ was spiritually present in the bread and the
wine, or actually present in his body, or only sym-
bolised by it, or vaguely present as a witness.
Does all this sound amorphous? It is difficult to
put it in vivid, personal and concrete terms. Yet
all the torture and terror and military occupation
and conspiracy was about that. You can't get round
it by editing sentences. You can't write a book
about the sixteenth century without talking about it---
indeed without making it the centre of the narrative.
My hunch at the moment is that the first part
of the book needs tightening, and the logical sequence
of ideas shown more clearly. I have the advantage
of being able to lose 20,000 words if I want to.
The first part may need telescoping so as to provide
the dramatic steps towards the climax of the narrative
from Chapter 12 on.
I am not fixed on theidea ofthose long chapter
titles. I respect your ability to produce books, and
therefore credit you with having certain clear ideas
behind your objection. The last thing I would want
yo do is to assume that you have
very amorphous
ideas about book production, and there turn round and
tell you that I think you are amorphous!
Yours ever,


Stanley House
Farm Lane
London
April 2nd 1972
Dear Peter,
You may remember me from your Oxford days,
how we met with Patrick Garland. I have a
playscript called ELAINE by Maurice Rowdon which
I am terribly interested in directing wi th Lena
Eichlerowna (whom you may have heard of as 'the
greatest actress alive'--Brecht thought so) in
the title role. She has read the play several
times and will do it at the National theatre in
Warsaw. I am also directing it in Holland this
coming summer in Dutch for Adrian Brine, whom
you will also remember. But we want Lena to
play it here in England, and in English, which
she is perfectly, eminently capable of doing.
I think she might astonish English audiences
with her kind of acting. Rowdom will be going
to warsaw soon to run through the part with her
from the language point of view. We are aiming
at a West End transfer---Toby Rowland knows the
play and he and Rowdon are in constant touch.
Is there any chance at your theatre?
The BBC recently asked Rowdon to write a
teleplay about Polish émigrés in London, part-
ly as a vehicle for me (actor-wise), and he
suggested bringing Lena Eichlerowna over to
play opposite me in a two-hander. The idea of
casting her as Elaine arose from that. I
believe it will be all right with Equity for both
the stage and television because there is no
actress in England, even among the Polish here,
who could conceivably take the part.
I am going to be AWFUL about thissceipt
and ring you up in a week from now!! I do hope
you are well.
Yours,
Vladek Sheybal


Stanley House
Farm Lane
London
April 1st 1971
Dear Stuart,
You may remember we met several years ago
about the time I was a director with Granada.
I have a playscript called ELAINE by Maurice
Rowdon which I am terribly interested in direct-
ing with Lena Eichlerowna (whom you may have
heard of as 'the greatest actress alive'--Brecht
thought so) in the title role. She has read
the play several times and will do it at the
National theatre in warsaw. I am also direct-
ing it in Holland this coming summer in Dutch
for Adrian Brine. But we want Lena to play it
here in England, and in English, which she is
perfectly, eminently capable of doing. I think
she might astonish English audiences with her
kind of acting. Rowdon will be going to Warsaw
soon to run through the part with her from the
language point of view. We are aiming at a West
End transier---Toby Rowland knows the play and
he and Rowdon are in constant touch: it was he
who suggested trying you. Could you read ELAINE
and see if it fits in with your production plans
for this year?
BBC Television recently asked Rowdon to
write a teleplay about Polish émigrés in London,
partly as a vehicle for me (actor-wise), and he
suggested bringing Lena Eichlerowna over to play
opposite me in a two-hander. The idea of casting
her for Elaine arose from that. I believe it
will be all right with Equity for both the stage
and television because there is no actress in
England, even among the Polish here, who could
conceivably take the part.
I woubd have liked to come up to Nottingham
to see you but perhaps it is best to do it this
way.
Yours,
Vladek Sheybal


DAVID HIGHAM ASSOCIATES, Ltd.
DIRECTORS:
Telephone: 01-4 437 7888.
Authors'Agents
DAVID DALL HIGHAM GOLT Managing
Telegrams: HIGHLIT, WESDO,
SHENE WETSON
LONDON.
5-8,1 LOWER JOHN STREET,
HILTON BRUCE HUNTER AMBLER
Cables: HIGHLIT, LONDON-I WI
GOLDEN SQUARE,
JACQUELINE KORN
A.J.CROUCH
LONDON, W1R 3PE.
Accountant & Secretary
Maurice Rowdon Esq.,
22nd February 1971
5 Tamworth Road,
London S W 6,
Dear Maurice Rowdon,
In view of certain arrangements we have thought it necessary to
make to ensure the future progress of the firm, Sheila Watson and David
Bolt have decided to resign from D.H.A. Ltd. and have told us they
intend to set up in authors agency on their own.
They have asked us to consent to their approaching certain authors
with whom they have had dealings here and of whom you are one. While we
have offered no objection to their doing so, I want to make it clear at
once that we very much hope you will wish nonetheless to stay with D.H.A.
Ltd. As Sheila and David recognize, you must be perfectly free to do so.
If you did decide not to remain, then it has been agreed that they
should take with them relevant papers and records, receive all monies
thereafter to become due to you under existing agreemehts or arrangements
and be responsible to you for carrying further all negotiations in progress
or in prospect in whatever field. You would have to notify us within a
month from now and you would have also to notify publishers formally, in
accordance with the agency clause which appears in all your agreements,
and also inform the B.B.C., television and film companies or others
concerned, and when you have done so we should consent to the commission
involved becoming payable to Sheila and David.
At David Higham Associates I shall of course remain actively at the
head of affairs. Hilton Ambler, Bruce Hunter, Jacqueline Korn and Anne
McDermid are the younger, very able executives who under the new arrangements
will take a greater share of responsibility. I know you know all of them
except Anne and they have become increasingly important in the firm in the
last few years, three of theri of course as directors. Bruce Hunter and
Jacqueline Korn have always been closely concerned with the book side;
Jacqueline deals also with the serial and other newspaper and magazine
rights; Hilton Ambler with film, television, radio and stage rights and
Anne McDermid with translation rights. All of these are specialized
separate markets which we believe require an expert's knowledge of conditions
Although every reasonable care is taken of MSS. while in our possession we can accept no responsibility for any loss or damage thereto.


DAVID HIGHAM ASSOCIATES LTD.
CONTINUATION. 2
and buyers. Beyond this, we believe that consolidating the work here
in the hands of, myself apart, younger and enterprising executives
will increase both our efficiency and our ability to act to the best
advantage on behalf of our authors.
Sheila and David have already left the office and accordingly Bruce
Hunter (whom I believe you know) will be taking over for the present what
Davidahas been doing for you and if as we hope you do decide to remain with
us would very much like to act for you permanently.
If anything in what I have said isn't clear to you or there are any
questions you would like to ask please let me know as soon as possible.
Indeed if you would like to discuss your position with me or with Bruce
we should both be delighted to do so.
Yours,
hiy
DH/tf


STATEMENT
TO BE PAID
BRIMFIELD BUILDERS (new extension,
kitchen, lounge, roof, drains,
damp course etc).
MITCHELL (central heating and new
bathroom, plumbing etc).
REID (complete rewiring of the house
and new electrical fittings).
TOUAL.
Re-decoration, wood panelling and
fitted wardrobes not included.
PAYMENTS RECEIVED
November 1970.
December 1970.
March 1971.
TOTAL.
But &500 of this was to be
for furniture. Therefore
Payments received for
structual changes....E1500
Balance due on structural changes.
BALANCE for structural changes after
Council Grant deducted..
Add &500 already received for furniture.
TOTAL SUM INCLUDING SALE PRICE OF HOUSE.


The Council Grant has been approved at 8686, which
will be paid in the form of a cheque from Hammer-
smith Borough Council to 'G.B.FIscher'.
This will be reveived only after the work has been
inspected and approved, on completion.
The redecorating will cost something in the nature
of 8250-8300, bringing the total expenditure for
the house to.
The wood panelling and fitted wardrobes mentioned
on Page 1 are not included in the above costing
because I am treating them as my own expenditure,
in order to keep the total borrowing to £12000.
They of course are a permanent feature of the house,
and cannot be removed.
The value of the house after these structural
alterations will be will be 815000-818000.
This area is scheduled as a residential area,
and the prices of houses are expected to go up
even further. The price of £9100 is said to
be well below present selling prices.


BAVARIA ATELIER GESELLSCHAFT MBH
BAVARIA
Bavaria Atelier Gesellschaft mbH 8 Munchen 90 Postfach 90 02 29
COPRODUKTION
Mister Vladek Sheybal
c/o Maurice Rowdon
Firmensitz:
8022 Geiselgasteig
5 Tamworth Street
Bavaria-Film-Platz' 7
Fernruf 6 49 91
Telex 05 23 254 bavat d
LONDON SW 6
Drahtwort: Bavariaatelier
ENGLAND
Ihre Nachricht vom
Ihre Zeichen
Unsere Abteilung/Zeichen le Durchwahl
Tag
Copr-Wi/Sti
Sehr geehrter Herr Sheybal,
Es tut mir leid, Ihnen mitteilen zu missen, daB wir uns nicht
entschlieBen konnen, uns an Ihrem Projekt "INCURABLE" zu be-
teiligen. Ich habe das Buch noch einmal gelesen und meine Be-
denken sind nicht kleiner geworden. Ich habe das Buch auch
et inigen Kollegen zum Lektorieren gegeben und auch sie teilen
meine Meinung, daB fir einen Feature-Film nicht genigend
Attraktionen in dem Stoff sind.
Ich bedaure wirklich, Ihnen nach unserem so ausfuhrlichen
und freundschaftlichen Gespràch keine bessere Auskunft geben
zu konnen und bin
mit freundlichen GriBen
PV.h
v2 ay
(Dr. Karl Heinz Willschrei)
P.S. Ich schicke Ihnen das Buch mit getrennter Post zurick.
Vorsitzender des Aufsichtsrats: Josef Hermannn Dufhues
Geschaftsfuhrer: Dr. Helmut Jedele, Generaldirektor Walter Pindter Dr. Heinz Savelsberg
Sitz der Gesellschaft: Munchen Handelsregister Munchen: Abt. B/ Band 61/4 4834


5 Tamworth Street
London
March 27th 1971
THE FALL OF VENICE
Dear Norman,
I enclose the letter from the Chamber of
Commerce in Venice. Usigli should be thanked
profusely for all the advocating he did for us,
and for appearing in the film. Of course I
know you would never send him a copy of the film.
He would throw himself in the Grand Canal if he
saw it.
I heard last night that the Telegraph had
described The Fall of Venice as coming out in
April. People say the funniest things. My
agent has told me only a few days before that
it was not on the April schedule.
Yours,
Maurice Rowdon


BBC tv
BRITISH BROADCASTING CORPORATION
TELEVISION CENTRE WOOD LANE LONDON W12
TELEPHONE 01-743 8000 CABLES: BROADCASTS LONDON PS4
TELEGRAMS: BROADCASTS LONDON TELEX
TELEX: 22182
25th March 1971
Maurice Rowdon Esq
5 Tamworth Street
London S W 6
Dear Maurice Rowdon,
"MY HUSBAND, MY HUSBAND"
I am ashamed at the length of time I have had
your script and Polish idea.
A holiday in Israel and the
postal strike both conspired against us. Do please
accept my apologies.
I think your Polish idea is an interesting one
although not what I personally have in mind. I have in
fact just done a play - a comedy by Rhys Adrian -about a
long lost husband reappearing.
It is not similar in any
other way to this. I simply don't feel quite enthusiastic
enough to want to commission MY HUSBAND, MY HUSBAND although
I am sure you know your characters well.
Sorry to sound so negative but if you do ever
write up the play I would like to see it.
Best wishes and thanks for letting me see the
other script.
Yours sincerely
lwos.
(Irene Shubik)
Producer : PLAY FOR TODAY


5 Tamworth Street
London
March 27th 1971
Dear Irene,
I don't blame you for not commissioning me on
a synopsis. I think while a synopsis belongs to
an arts feature it may not do for drama. So much
depends on the spirit of the dialogue.
Vladek is mightily disappointed that he might
not get his play. He is trying to persuade me to
write the piece just the same and I say I will do
this if you and I can have a further talk together,
so that I see better where your reserves to the
synopsis lie.
We are mounting a stageplay of mine with Lena
Eichlerowna in the lead, here, and Vladek directing,
and it would be tremendous for us to have a TV app-
earance for her as well.
Thanks for the trouble you've taken and I do
hope that eventually we might be able to get some-
thing out of this that satisfies both of us.
Yours,
Maurice Rowdon


Stanley House
Farm Lane
London
12th March 1971
INCURABLE
Dear Mr Linnet,
Further to our conversation on the phone
yesterday I am leaving here and now a copy of
this script, and look forward to hearing from
Julia and yourself shortly.
Sincerely,
Maadek Sheybal


G. P. PUTNAM'S SONS
200 MADISON AVENUE NEW YORK, N. Y. 10016
GPPS
January 20, 1971
Mr. Maurice Rowdon
5 Tamworth Street
London SW 6, England
Dear Mr. Rowdon:
I was pleased to hear from you and to discover that THE SPANISH TERROR
will be coming along at the end of next month. Assuming there are no
major problems with the book and that we are in agreement about any
possible revisions, I see no problem whatsoever to your getting the
balance of payment before publication. I shall be away for the last
two weeks of February and hope the manuscript will be on my desk
upon my return.
Sincerely,
Harvey Ginsberg
HG:dk


5 Tamworth Street
London
12th March 1971.
Dear Mr Ginsberg,
I enclose here and now THE SPANISH TERROR.
There are about 120,000 words. List of suggest-
ed illustrations and the bibliography will be
following when I have discussed these with Con-
stables.
With best wishes,
Sincerely,
Maurice Rowdon


BOLT & WATSON LTD
authors' agents
9 Harley Street,
London W1
71 February 1971
bearhamice,
David Higham's letter will explain that Sheila Watson and I are resigning in
order to set up our own independent agency - Bolt & Watson Ltd. On the formal
side I can add only that, as we have each of us been on the board of David Higham
Associates for more than ten years, you will know it is not a decision we have
taken without careful thought; but it is a decision we feel to be in the best interests
of the authors with whom we have had dealings at David Higham Associates Ltd
as well as ourselves.
Our purpose is to keep a smaller, close -knit team, with personal day to day
control over all aspects of our individual authors' work. Magazine and newspaper
rights we shall be looking after ourselves together with volume rights, of which
they so often form an inseparable part. For American rights we expect to
continue to work in close association with Harold Ober of New York as we have
while with DHA Ltd. For certain translation rights we shall have the expert
assistance of Miss Charlotte Wolfers, who before she set up her own firm to
handle foreign book and serial rights headed the translation rights department at
Collins. Sheila will deal direct with German and Italian rights as she used to do.
The only rights which will be actually handled outside our own office are film
and television rights, which will be in the capable hands of Douglas Rae and Michael
Imison of CM A who may well be known to you as one of the very top agencies in this
specialised and competitive field, with many years experience of handling directors
and producers as well as writers. CMA have offices in New York, Los Angeles and
Rome as well as London.
As you know, it is our intention to take with us the present and past files and
contracts of the authors we represent so that there will be complete continuity, and
this has been agreed with the remaining partners of David Higham Associates Ltd.
But it is, of course, entirely dependent upon the author's consent in each case, and
although I am writing this in the hope and expectation that we can count on you,
nevertheless if for any reason you should decide not to come with us, then I will
myself give all possible assistance to whoever at Higham's takes over your work,
to make the change -over as smooth as possible.


Assuming that you do come, don't worry about the paperwork. We will
draw up the necessary letters for, as we say, your approval and signature,
giving formal instructions to DHA; publishers and others where appropriate.
There will, I know, be questions you will want to ask, and I look forward to
hearing from you as soon as possible, by telephone or letter. (My home
number, after office hours, is 01.-589 1217.)
We are at the moment in temporary offices, but as soon as our new offices
are ready for occupation, we plan to have a modest house -warming party, and I
hope very much that yoû will be able to come along. It is an occasion we ourselves
are looking forward to immensely!
Yousi
baris.
bonkr soon?
DLR/LH


5 Tamworth Street
London
March 1lth 1972.
INCURABLE
Dear Mr Medwin,
I wonder if I could interest you in an
original filmscript called INCURABLE by Vladek
Sheybal, on a coproduction basis with a German
company. You will certainly know of Sheybal
as an actor on the big. and small screen, and
perhaps something of him as a director too.
His feature credits are negligible---a short
in Poland (O'Neil's BEFORE BREAKFAST), and he
co-directed with André Wajda GATES TO PARADISE
which was shown at the National Film theatre a
few weeks back. But whatever he touches seems
to create a stir. He was for three years a
producer at Granada, and has many TV productions
behind him, including PAGLIACCI with the BBC.
Michael York is very keen to play the lead
in INCURABLE and will if necessary take a shoe-
string fee with a participating interest. He
will be free in a couple of months.
Jerzy Lipman (KANAL, GENERATION, ASHES AND
DIAMONDS, KNIFE IN THE WATER) will direct the
photography. He has been working in Germany
for the last few months with lavish techincal
possibilities, and has developed new techniques
which he wants to use in INCURABLE.
I shall call you next week if I may, to
hear if you would care to see the script.
Sincerely,
Maurice Rowdon


5 Tamworth Street
London
6th March 1971
THE SPANISH TERROR
Dear Mr Ginsberg,
I enclose a copy of the above, about 120,000
words long.
Illustrations and bibiliography will follow
after I have discussed them with Constablle.
With best wishes,
Yours sincerelly,
Maurice Rowdon


Constable dos Company Limited
Constable Publishers
IO Orange Street
London WC2
Telepbone: O1-930 0801/7
Telegrams: Dhagoba London WC2
Maurice Rowdon,
Chairman ds Managing Director:
Benjamin Glazebrook
5 Tamworth Street,
Directors:
London S.W.6.
Noel Holland
RAA Holt, Miles Huddleston
The Hon. Jobn Jolliffe
Paul N Marks
January 18, 1970
Lea Mamce
ThE SANISU mmun
In principle, we agree to pay to you the rest of the advance on
delivery of your typescript, but we would want to read it first. End
of February delivery sounds fine. Try not to be later if possible =
printing presses get SO bunged up towards the end of the year.
Looking forward to seeing you and your typescript in about six
weeks' time.
lous G6
Beu.


5 Tamworth Street,
22nd February 1971
David Higham Esq.,
David Higham Associates Ltd.,
5-8 Lower John Street, W.1.
Dear Mr Higham,
I am enclosing a letter to fonstable (with copies
to the other publishers concerned) authorising the
transfer of volume rights in my work to Bolt & Watson Ltd.
Of course, as I have told Hilton and Bruce, I shall
be staying with David Higham Associates for television,
film and theatre rights, and this has been with their
agreement.
I shall be seeing Jacqueline very soon to sort out
the question of serial rights.
Yours sincerely,
Maurice Rowdon


5 Tamworth Street,
22nd February 1971
To Whom it May Concern.
Change of Agency
Would you please note that I have asked David Bolt
of Bolt & Watson Ltd to represent me both for future
work and also in respect of agreements (and arrangemente)
negotiated intthe past through David Higham Associates
Ltd and still in effect. I shouàd therefore be grateful
if you would arrange with immediate effect for all future
moneys due to me under such agreements (or arrangements)
to be paid direct to Bolt & Watson Ltd., of 9 Harley
Street, W.1. without deduction of commission.
I understand that my former agents, David Higham
Associates Ltd, have no objection to this, and have
kindly agreed to endorse this letter to that effect.
Yours faithfully,
Maurice Rowdon.
B.J. Glazebrook, Constable & Co.
Weidenfeld & Nicolson Ltd.,
Wm Collins & Sons Ltd.,
Maurice Temple Smith Ltd.
Victor Gollancz Ltd.
Barrie & Jenkins Ltd.


POST
CARD
THE ADDRESS TO BE WRITTEN ON THIS SIDE
V. Sheybal Esq,
Stanley House,
Farm Lane,
London S.W.6.


Telephones:
The
021-643 2471 Box Office
Birmingham
021-643 2472 Offices
Repertory Theatre Ltd.
Station Street
Birmingham 5
7th April 1971
This is to acknowledge receipt of your play
ELAINE by Maurice Rowdon, which we look forward
to reading. As Mr.Dews is not in Birmingham at
the moment we will be in touch as soon as he has
read your play l which won't be for another three/
four weeks I'm afraid.
Buo
RBnd
Sécretayy


UNIVERSITY OF CALIFORNIA, RIVERSIDE
BERKELEY - DAVIS IRVINE - LOS. ANGELES - RIVERSIDE - SAN DIEGO - SAN FRANCISCO
SANTA BARBARA . SANTA CRUZ
COLLEGE OF LETTERS. AND SCIENCE
RIVERSIDE, CALIFORNIA 92502
DEPARTMENT OF POLITICAL SCIENCE
6 November 1970
Dear Mr Rowdon,
I have been reading your delightful Fall of Venice, and though I have not
yet finished it I am moved to write you a note about it, to let you know
my pleasure and appreciation. Venice is so fascinating that it is a real
pleasure to find someone who seems as one does oneself to love it above
all places, and who can so well attempt to pin down the mysterious and
elusive genius loci. Reviewers quoted on the dust jacket compare you
with various people, but I think the justest comparison is with James
Morris's splendid World of Venice. You and he share a lot of merits.
Yet some things connected with possibly rather picayune points of accuracy
bother me. May I dare to mention a couple? On page 34, lines 12-13:
"Compared with the Thirty Years War, the War of the Spanish Succession
in the 1730s was a series of manoeuvres." The dates of the War of the
Spanish Succession are 1701-1714. Do you perhaps mean the War of the
Polish Succession (1733-1735)? I should hardly describe the war which
included Marlborough's victory at Blenheim and his even bloodier victories
at Ramillies and Malplaquet as a series of manoeuvres.
On page 38 you speak of "Angelo Emo's bombardment of Susa, Tunis and
Bizerta in the sixties of the previous century.... V The context, and
indeed the theme of you/whole book, seem to indicate that you must mean
the seventeenth century, i.e. that the bombardment took place in the
1660s. Were there, then, two Venetian attacks on the Barbary pirates?
Your own index gives Emo's dates as 1721-1791, and I seem to remember
that there is a plaque or inscription in the Maritime Museum in Venice
which describes Emo as the "ultimo admiraglio della Republica Veneziana."
There is also--again I speak from memory--an etching or diagram of the
floating monitors mounted with mortars which Emo invented for the purpose
of the attack on the Barbary Pirates' strongholds. I had always supposed
that the attack on the Barbary Pirates was one of the two proofs of the
Serenissima's remarkable vitality even in its last decades. (The other
is the construction of the great murazzi built of Istrian stone, the
seaward defences of the lagoon against the Adriatic.)
I realize also that your bibliography is necesarily brief, but I would
venture to comment on the lack of mention of almost any of the really
excellent writing on Venice that has been done in the last ten to fifteen
years--e.g., James Mossis's book, Tenenti's Piracy and the Decline of
Venice, Hugh Honour;s Companion Guide to Venice, W. J. Bouwsma's Venice
and the Defense of Republican Liberty, and J. C. Davis's Decline of the
Venetian Nobibity as a Ruling Class.
I hope you will not find these pinprocks too tiresome. I send them to you
only because it bothers me that so enjoyable a book should be even in small
things less than perfect.
From one aficionado of Venice to another.
lithud Comfleghumer,


THEATRE
ROYAL
BRISTOL
BS1 4ED
THE BRISTOL OLD VIC COMPANY
General Manager and Licensee
DOUGLAS MORRIS
Director VAL MAY, C.B.E.
Stage Door & Administrative Offices: Bristol 27466
16th April 1971
Vladek Sheybal Esq.,
Stanley House,
Farm Lane,
London, S.W.6.
Dear Mr. Sheybal,
In Mr. May's absence in South America I am writing to thank you
for sending him the script of Maurice Rowdon's play ELAINE which he
will see on his return at the end of the month.
Yours sincerely,
Barbara Fox
Secretary to Val May


THE LISTENER 25 MARCH 1976
The apocalyptic storm was already rag-
ing over the land which used to be Russia,
Alexander Solzhenitsyn
when Western Europe speedily extricated
itself from that terrible war, in its hasteto
forget it and to bring back prosperity,
On the brink of a cataclysm
fashions and the latest dances. Lloyd
George actually said: Forget about
Russia. It's our job to ensure the welfare
of our own society.'
A quarter of a century ago, one of your these losses-the loss of courage and the
In 1914, when the Western democracies.
ministers, Herbert Morrison, somehow or loss. of reason-intersect? This is the pic- needéd help, they were not averse to
other managed to persuade the newspaper, ture which, I found, the West presents appealing to Russia. But, in 1919, those
Pravda, to devote an entire page to his today.
Russian generals who, for three years,
utterances-and without any censorship.
In 1917, a crevasse opened up on the straining Russian resources to the very
My God, how eagerly we rushed to where very edge of. Europe, a yawning gap limit, had fought to save the Marne, the
the paper was displayed-a crowd of con- enticing the world into the abyss. The Somme and Verdun, were refused either
victs with shaven heads, filthy, tattered jac- causes of this crevasse are not hard to find: military aid or even an alliance by their
kets, clumsy prison-camp boots. This was it came about as. the logical result of doc- Western allies. Many a Russian soldier lay a
it! At last, our subterranean kingdom was trines that had been at large in Europe buried in French soil; others. who had gone
about to be pierced with the diamond-bright, for ages, and had enjoyed considerable to Constantinople were charged for their
diamond-hard ray of truth and hope. At success. But the crevasse has something rations, and even had their underwearcon-
last, Soviet censorship, held for 40 years cosmic about it, too, in its unplumbed, un- fiscated in lieu of payment. They were
in the grip of a bulldog's jaws, was to be suspected depths, in its unimaginable then cajoled into returning to Russia only
relaxed. Now he'd make them see the capacity for growing wider and wider, and to be dealt with by the Bolsheviks, or into
truth! Now he'd stand up for us!
swallowing up more and more people.
embarking for Brazil, only to become semi-
But, as we read and read that feeble,
Forty years previously, Dostoevsky had slaves on the coffee plantations. Unseemiy
insipid article, so our hopes subsided slowly predicted that socialism would cost Russia deeds are usually accompanied by highe
with it. These were the superficial words 100 million victims. At the time, it seemed sounding, even brilliant, justifications. In
of someone who had not the slightest idea an improbable figure. Let me recommend 1919, no one said openly: What haveyour
of the savage structure, the pitiless aims of the British press to acquaint its readers sufferings got to do with us?' Instead,
the communist world-and, of course, this with the impartial three-page report of the people said: 6 We have no right to support
was precisely why Pravda SO generously Russian statistician, Professor Ivan Kurga- even the authority of an ally against the a
agreed to print them. We had endured 40 nov. It was published in the West 12 years wishes of the people."
years of hell-and this British minister ago, but, as is so often the case with
(Note, however, that, in 1945, when mil-
could find no word of hope to say to us.
matters of social significance, we only take lions of Soviet citizens had to be handed
The years went by. The decades went cognisance of things that do not run coun- over for despatch to the Gulag. Archipeiago, a
by. In spite of the Iron Curtain, views about ter to our own feelings. From Professor this argument was conveniently twisted:
what was, happening in the West, what Kurganov's analysis, we learn that, if We have no right to
out the wishes
carry
people were thinking about, kept coming Dostoevsky erred, he erred on the side of of these millions,' it was said, - and. to
through to us, thanks mainly to the BBC's understatement. From 1917 to 1959, social- ignore. our obligations towards the authorie G40
Russian broadcasts, even at the time when ism cost the Soviet Union 110 million lives. ties of an allied country.? How easily one's
they were being most vigorously. jammed.
When there is a geological upheaval, con- egoism can be satisfied by a handy
And the more we learned, the more the tinents do not topple into the sea immedi- formula!)
state of your world perplexed us.
ately. The first thing that happens is that
But there were even nobler justifications ds
Human nature is full of riddles and con-- that fatal, initial crevasse has to appear in than these: all the aggressive elements,
tradictions; their very complexity engen- some place or other. For a variety of
ders art-and, by 'art', I mean the search reasons, it so happened that this crevasse
for something more than simple linear for- first opened up in Russia. It might have
mulations, flat solutions, oversimplified been anywhere else. And Russia, which
explanations. One of these riddles is: how people considered a backward country, had
is it that people who have been crushed to leap forward a whole century, overtak-
by the sheer weight of slavery, and cast to ing all the other countries in the world. We
the bottom of the pit can, nevertheless, find endured inhuman experiences, experiences
strength in themselves to rise up and free of which the Western world--and this in-
themselves-first in spirit and then in body; cludes Britain-has no real conception, and
while those who soar unhampered over the which the West is frightened even to think
peaks of freedom suddenly lose the taste about.
of freedom, lose the will to defend it, and,
It is with a strange feeling that those of
hopelessly confused and lost, almost begin a us who come from the Soviet Union look
to crave slavery? Or again: why is it that upon the West of today. It is as though we
societies which have been benumbed for were neither neighbours on the same
half a century by lies they have been forced planet, nor contemporaries-and yet we
to swallow, find, within themselves, a cer- contemplate the West from what will be
tain lucidity of heart and soul, which your futureor look back 70 vears,_tosee
enables them to see things in their true oûr past suddenly repeatingitself
perspective and to perceive the real mean-
In the years which followed the world-
ing of events; whereas societies with access wide upheaval of. 1917, that pragmatic
to. every kind of information suddenly philosophy on which present-day Europe
plunge into lethargy, into a kind of was nourished, with its refusal to take
a kind
mass. blindriess,
of voluntary self- moral decisions, has reached its logical I
deception?
conclusion: since there are no higher
There is a German proverb which runs: spiritual forces above us, and since I-Man :
Mutverloren-alles verloren- When cour- with a capital M-am the crowning glory of 1
age is lost-all is lost.' There is another, the universe, then, should anyone have to
Latin one, according to which loss of reason perish today, let it be someone else, any- I
is the true harbinger of destruction. But body, but not I, not. my precious self, nor
what happens to a society in which both those who are close to me.
For Russians, : the war was a tragic war


THE LISTENER 25 MARCH 1976
all the influential elements in society-and hastily handed over to be murdered. From again,-the British: ambassador is never re-
this was especially the case in Britain- the British Isles alone, 100,000 Soviet citi- called. Bat when five terrorists-who had
admired what they called the unprece- zens were forcibly repatriated, while, on actually committed murdel-were executed
dented progressive experiment taking place the continent, the number was more than a in Madrid, then the British ambassador was
in the USSR', while we were being million. But the most remarkable thing of recalled and the din.reverberated threugh-
strangled by the cancerous tentacles of the all was that your free, independent, incor- out the world. What a hurricane burst forth
Gulag Archipelago, while millions of hard- ruptible press, your famous Times, Guar- from the British Isles! You have to know
working peasants were being sent to die in dian, New Statesman and all the rest of how to protest. It has got to be done with a
Siberia in midwinter. Not very far from them, all wittingly shared in the covering great deal of anger-but only so Jong as it
where you live, in the Ukraine and the up of this crime, and would have kept silent does not run counter to the spirit of the
Kuban, some six million peasants, includ- to this very day had not Professor Epstein age, and presents no danger to the authori-
ing children, old men and women, died from America. so tactlessly started his in- ties of those protesting.
of famine-and this was, in peacetime- vestigations into the fascist techniques
Not a single family driving to an airport
swollen with hunger and writhing in agony. which democracies are capable of employ- can be sure that it won't be gunned down
And not a single Western newspaper
by some fighter' for someone or other's
printed photographs or reports of the
freedom ' No one can be sure that he will
famine-indeed, your great wit, Bernard
get to the end of the street safe and sound.
Shaw, even denied its existence. Famine Twice we helped save the
But terrorists can be sura: publie opinion
in Russia? he said, 'I've never dined sO
Western
guarantees that their lives will be safe, that
well or so. sumptuously as when I crossed freedom of
Europe, and
their cause will be given publicity and that
the Soviet border.' For whole decades,your twice you repaid us by
they will be held in decent confinement--
rulers, your Members of Parliament, your
until such time as other terrorists come and
spokesmen, your journalists, your writers, abandoning us to our slavery'
rescue them. A society for the protection of
your leading thinkers managed not even to
terrorists, indeed. There was such a society
notice the 15-million-strong Gulag Archi-
in Russia before her collapse: we, too, have
pelago. Up to 30 books on the Gulag were fing. Twice we helped save the freedom of trodden this fatal path.
published in Europe before mine, and Western
and twice
us Meanwhile, the, crevasse grows ever
hardly one of them was even noticed.
Europe,
you repaid
wider, spreads even further aeross the
There was, however, one great excep- by abandoning us to our slavery.
globe, shifts into other continents. The most
tion over the last 100 years orso, and that It is clear what you wanted. Once again, populous country in the worid has plunged
was your struggle with Adolf Hitler, when (you wanted to extricate yourself as quickly headlong into it. So, tou, have a dozen
Britain cast overboard the philosophy of as possible from this terrible war; you want- others. So, too, have numerows.defenciess,
pragmatism, or. utilitarianism-the philo- ed to rest, you wanted to prosper. But there tribes-Kurds, Northern Abyssinians, Som-
sophy of recognising any group of gang- was a price to pay. And the noble. philos- alis, Angolans-without the British, with
sters, any puppets, as head of a country so ophy of pragmatism laid down that, once their great tradition of freedom, showing
long as they were in control of its terri- lagain, you should close your eyes to a great the slightest anxiety over such petty mat-
tory. With Hitler, Britain assumed a moral gmany things: to the deportation of whole ters. Even today, you are lulled into think-
stance, and it was this that inspired her to nations to Siberia, to Katyn, to Warsaw- ing that these fine islands of yours will
one of the most heroic acts of resistance in that same country for whose sake the never be in two by thal erevasse, will
in her history. A moral stance, even in war had started; you should forget Estonia, never be spiwvain sky-high. And yet the abyss
politics, always safeguards our spirit; some- Latvia and Lithuania; you should hand over is already there, beneath your yery feet.
times, as we can see, it even protects our six more of your European sisters into Every year, several more countries are
very existence. A moral stance can sud- slavery, and allow a seventh to be cut in seized and taken over as bridgebead't for
denly turn out to be more far-sighted than two; at Nuremberg, you should sit amicably the coming world war, and the whole world
any calculated pragmatism.
side by side with judges who were every bit stands by and does nothing.
Your war with Hitler, however, was not as much murderers as those on trial, and However hidden it may be from the
tragic. in the Aristotelian sense of the word. never let this disturb your British sense of human gaze, however. unexpected for the
Your sacrifices, sufferings and losses were justice. Whenever a new tyranny came into practical mind, there is someiimes a direct
justified; they did not run counter to the existence, however far away-in China, say, link between the evil we cause to others
aims of the war. You defended-and suc- or Laos-Britain was always the first to and the evil which suddenly coufconts us.
cessfully defended-precisely that which recognise it, eagerly pushing aside all com- Pragmatists may explain this link as a chain
you intended to defend. But, for the petitors for the honour.
of natural cause and effect. But those who
peoples of the USSR, the war was a tragic All this required great moral fortitude- are more inclined to a religious view of life
war. We were forced to defend our native and your society was not found lacking. All will immediately perceive a link between
land with all the strength we could muster one had to do was to repeat, again and sin and punishment. It can be seenan the
(and with infinitely greater losses: Kur- again, the magic formula: 'the dawn of a history of every country. The generation of
ganov's figures are indisputable-44 mil- new era' . You whispered it. You shouted it. today has had to pay for the shortcomings
lion), and, in so doing, to: strengthen all the And, when you grew sick of it, and decided of their fathers and grandfathers, who
things that we: most loathed--the power to reaffirm your valour in the eyes of the blocked their ears to the lame daticns of
of our own executioners, our oppression, world and recover your self-respect, then the world, and closed their eyes to its
our destruction and, as we can see today, your country manifested incomparable dar- miseries and disasters.
ultimately your destruction, too. And when ing-against. Iceland, against. Spain,
Your newspapers may be famous for
those millions of Soviet citizens dared to countries which could not even answer you their traditions, yet they print a number of
flee from their oppressors, or even to initi- back.
articles containing analyses and commen-
ate national liberation movements, then
Tank columns in East Berlin, Budapest taries which are shamefully shailow and
our freedom-loving Western allies-and, and Prague declared that they were there shortsighted. What can one say when your
not least among them, you British-trea- 'by the will of the people , but not once did leading Liberal paper compares the eonteme
cherously disarmed them, bound them, and. the British government recall its ambassa- porary development ofthe Russian spirituat
handed them over to the communists to dors in protest from any of these places. In regeneration with pigs trying to fly? This is
be killed: they were sent to the labour South-East Asia, unknown numbers of pri- not just contempt for the spiritual potential 2
camps in the Urals, where they mined soners have been killed, and are still being of my people. It is broader than that. Iti is a
uranium for the atom bombs to be used killed, in secret; yet the British ambassa- kind of fastidious contempt for any kind of
against you yourselves.
dors have not been recalled. Every day in spiritual regeneration, for anytiing which
Nor did you shrink from using the butts the Soviet Union, psychiatrists murder peo- does not stem directly from economies, but
of your rifles on 70-year-olds, those very ple with their hypodermic syringes merely which is based on moral criteria. What an
men who had been Britain's allies in the because they do not think along accepted inglorious end to 400 years of materialism!
First World War, and who were now being lines, or because they believe in God-and The decline of contemporary thought has


THE LISTENER 25 MARCH 1976
been hastened by the misty phantom of Itern world, as we have alrcady called it- just a political crisis, not just a military
socialism. Socialism has created the illusion has experienced the sapping of its strength crisis. And we must not only face up to
of quenching people's thirst for justice: and will to an even greater degree, per- this crisis, but we must stand firm in chis
socialism has lulled their conscience into haps, than any other country. For some great upheaval-an upheaval similar to
thinking that the steamroller which is about 20years, Britain's voice has not been heard that which marked the transition from the
to flatten them is a blessing in disguise, a in our planet; its character has gone, its Middle Ages to the Renaissance. We have
salvation. And socialism, more than any- freshness has faded. And Britain's position become hopelessly enmeshed in our slavish
thing else, has caused public hypocrisy to in the world today is of less significance worship of all that is pleasant, alt that is
thrive; it has enabled Europe to ignore the than that of Rumania, or even Uganda. comfortable, all that is material-we wor-
annihilation of 66 million people on its very British common sense-so lucid, so univer- ship. things, we worship products. Will we
borders.
sally acknowledged-seems to have failed ever succeed in shaking off this burden. in
There is a myth that socialism represents her now. Contemporary society in Britain giving free rein to the spirit that was
a sort of ultra-modern structure, an alter- is living on self-deception and illusions, breathed into us at birth, that spirit that
native to dying capitalism. And yet it ex- both in the world of politics and in the distinguishes us from the animal world?
isted ages and ages before any sort of world of ideas. People build rickety struc-
Radio 3
capitalism. My friend, Academician Igor tures to convince themselves that there is
Shafarevich, has shown, in his extensive no danger, and that its irrevocable advarce
This talk, together with Alexander Sol-
study of socialism, that socialist systems- is nothing more than the establishment of zhenitsyn's Panorama interview with
systems, that is, which are being used la: stable world.
Michael Charlton, will be published as a
boday to lure us to some halcyon future-
Ali of us are standing on the brink of booklet, Warning to the Western World ,
made up the greatest portion of the pre- a great historical cataclysm, a flood that by the Bodley Head and BBC Publications
vious history of mankind-in the ancient swallows up civilisation and changes whole in May. Copies of THE LISTENER of 4 March
East, in China; and were to be repeated, epochs. The present world situation is com- 1976, which contained an édited version of
later, in the bloody experiments of the plicated still more by the fact that several the Panorama interview, are still availe
Reformation. As for socialist doctrines, he hours have struck simultaneously on the able from BBC Publications, 144/152 Rer-
has shown that they emerged far later, but clock of history. We have all got to face mondsey Street, London SE1 3TH, price
have still been with us for over 2,000 up to a crisis-not just a social crisis, not 24p, including postage.
years; and that they originated, not in an
eruption of progressive thought, as people
think nowadays, but as a reaction-Plato's
reaction against Athenian democracy, the The Second Battle of Britain'-
Gnostics' reaction against Christianity-a
reaction against the dynamic world of in- some views from the front
dividualism and a return to the impersonal,
stagnant system of antiquity. Ând if we
follow the explosive sequence of socialist The Money Programme (BBC2) last Friday over of Mr Safer
the
doctrines
prophesying: 'By
and socialist utopias. preached in showed some extracts from a CBS film, time all the costs have been sorted
Thomas
out,
Europei-by
More, Campanella, The Second Battle of Britain, which North Sea oil could become just another
Winstanley, Morelli, Deschamps, Babeuf, American television audiences had seen
as far
Great
Fourier, Marx and dozens of others-we
marginal enterprise
cannot help shuddering as they openly pro- two nights earlier. was made by the CBS Britain is concerned.
claim certain features of that terrible form commentator, Morley Safer, and claimed to
Back on land again, viewers' saw some
of society.
portray two decades of decline in Great Glasgow tenement blocks. * This housing
It is about time we called upon right- Britain that have culminated in a kind of said Mr Safer, built in Glasgow a hundreti
minded socialists, calmly and without
anarchy' : It declared its point of view years ago for workingmen, was the best
pre- about Britain at the start: Labour and in the world, the
all
judice, to read, say, a dozen the major capital have been on strike
each nations.
envy of those. lesser
works of the major prophets of European
against
So not only could Britannia ie a
socialism, and to ask themselves: is this other for decades-one consolidating power the waves, but she could make every Briton
rather than working, the other
live like a
as well.
really that social ideal for which they
preferring
prince
But maybe,"
would be prepared to sacrifice the lives of investment abroad to reinvestment in new continued, venturing on a little philosophy
countless
plant at home. The Government seems in- of
nations
others, and éven to sacrifice their
history,
grow weary when they
own?
capable of any action but more taxation. reach: those heights. Maybe there's a time
Britain is going broke, and it seems beyond clock that runs through a
so that
Socialism
nation,
begins by making all men equal the power or interest of individuals to each new generation, instead of making -
in material matters only (this, of course, help.
a fresh beginning, simply grows older and
requires compulsion: the advocates of all
To shots of run-down factories, the more tired. People still live in these blocks,
brands of socialism agree on this point). nostalgia chorus ran: This was the British and they wait for the state to house them
However, the logical progression towards empire-iron and brass and steam-not elsewhere. And the state is waiting, too-
so-called ideal equality inevitably implies the plumage and the viceroys Well, all for the state has run out of money, and
the use of force. Furthermore, it means that's gone for good. No more empire to it's running out of time, and running out;
that the basic elements of personality- exploit and supply and protect.' What was of confidence, and maybe running out of L
those elements which display too much left, said Mr Safer, against a background friends as welt.'
variety in terms of education, ability, of welfare forms, was a very expensive
The. British 'rock and salvation in the
thought and feeling-must themselves be state at home to doctor and feed and house past had been the class system- knew
levelled
you
out. The English saying, 'My home and pamper, with one Briton in four now exactly where you çame from and where
is my castle ' stands in the way of social- working for the government.
you were going.' But now the upper classes,
ism. And again, there is that attractive-
A London motoreycle dealer was seen thought Mr Safer, were either so rich they
sounding formula, 'socialist democracy', trying to start an average British motor- were indestructible, or else
weret on
which is
they
about. as meaningful as talking cycle It took a very long Lime. Then he the fiddle-not exactly
not
about
cheating,
boiling ice ; for it is precisely demo- started a Japanese motorcycle. Immediate exactly not cheating : The middle class, in eE
cracy that the dragon of socialism is about success. - A market lost for the want of a the middle of the heap was either
to devour. And, as democracy grows weaker starter button,' observed Mr Safer.
nowhere-or had already
emigrated going
and
gone,
weaker, loses more and more ground
Fearsome figures were then reported, to Canada, Australia or the United States;
sin the two continents it partially covers, showing equally the inefficiency of private while for the working class, class
sothe force of
loyalty
tyranny spreads throughout industry. and the unprofitability of nation- had become the only loyalty, and the idea
the globe:
alised industry. Men toiling away on the of British labour willingly given was as
Great Britain-the kernel of the Wes- oil rigs were shown to the dispiriting voice- dead as the British empire. Britain still


ESCI
E an Ripvonm uaorat
20 JEWISH CHRONICLE February 23 1973
Sunday, February 25 at7.30p.m.
Arts 8 Entertainments
CAMDEN VOICES AND VERSES
A costumed Victorian Evening of Music & Verse
'73 Anne MHerwelks Animohtintonse Ryland Davies, Cyril Luckham Problem of a turning worm
SHAW THEATRE, 100 Euston Road, N.W.1
DAVID NATHAN
Tickets £1.50, 1, 60p (reduced price 30p students
Tick ets and broch Monday, February: 26 at 7.30_p.m.
The difficulty facing the worm
However, it
fows easily
SHURA CHERKASSKY piano with ambitions to turn is
ardeinthd there are some highly
no really
effective moments.
Beethoven/Lisz/Racchmaninov
E believes ET happen. onem mention
Woyzeck is a young soldier opp-
this' because it is central to
ressed by poverty and hopeless-
6293 TOWN HALL, Euston Road, N.W.1
Ibsen's A Doll's House and the
ness to virtual non-existence, who
Tickets $1.00 (60p to Camden Library members)
difficulty is not overcome in the
murders his mistress because she
ROYAL FESTIVAL HALL
TUESDAY, FEBRUARY 27 at p.m. Theatre, production" excellent at the though Criterion it is in
He has was an affair with for a drum it. The major. play
SIR
SOLTI conducts
executed
GEORGS BERLIOZ: Dar de Faust
many For other ninety ways. cent of the play
is But based any on social a real case. in
Last concert by the
Nora Helmer per ninny. Although
is nullified eymyt by fact the
she has borne Torvald Helmer
is clearly insane, Long
LONDON PHILHARMONIC
three
NERE
ORCHESTRA
children in eight years of
before he has 'any occasion for
BEFORE INVITED VISITS TO CHINA AND HONG KONG
leheret he patterns hears in voices, th sees way
THEATREE -
toadstools grow and, in one
phrase, is described
CINEMAS
marriage happily accepts her
ERENIME razor." through the world like
position a
a dolla
ABC tty
01 83MOTER
ENTERT
prétty
a cute,
sense he was always
MOPRTE
You
iba
Claire Bloom as Nora
MOPOY MELS
squirrel-everything FAArECe that
and potential murderer irrespective of
show,
NOON
fuy Blakeley Torvald Helmer colao social
acG 368 ET
Euhtale :
cuddly and mindless.
-AD Doll's House"
pressures. Rich madmen
AteVaY (x), Sat. 11 :30: A.30 SEATS OP THE FIN
(a) E she Then, at the confronts end of him the play, with
both also) David kill. Schofield makes
A0OAeIE. 101-229 4149). Retained 2nd - MEZATRE 6930. 52523 a suddenly
Claire
very fine
pressive,
eek, The A
Sat. 2.15. 45, rsun: 3.15, fierce, articulate woman intent
Nora-after.
Thme
wor.luiomn
Maccrade CETANAYE
on abandoning husband, home pathetic
at moments wraith-like
the play
Her
Pice. cir.
its
retamne.
2.35. Loed
is worth
and children pursuit of her of
to all the old
seeing
7815 NHE Andy F A 12.3 2.35. 8.40. s3e 8. own individuality.
tricks ie avert im-
the with which
Ecenda
TRopine
This- transformation" from kitten
disaster are
HELI
Mord
ON' (SSE R5007 to, tiger is caused by a narrowly
she'is unable to
Ken
satire, Is
w 2636 Now forri THEMiOlT
Your
ihod
averted
slight case steely bridge
the two
ner
MANS TBAUCH of feckless, Lonennln forgery
the one between role
the starts Theatre
COSEL on her part- twhich destroys her Ba Ibsen did hary ay off
and
husband's loving paternalism
and
character not order
discloses. to her what
andis
Bkb
has been
logically
LEAE
SuBs. M 8. at
idea.
long
to everyone
it nevertheless captures
Woyzeck, the
Feb. else- that is a monument of revolutionary
essential Theatre Workshop
STEEE
complacency, smugness and died 1837 at HIeRE age 23, is atmosphere with
being at party
Mag selfishness.
some
gole
one those plays
friends.
ODEON LPEAVELS
which are said
Fastealery
2r SE140 2 Sund hday But not without charm in this to have a great infuence though the Tony title Hill's
Colin Blakeley endows him would never
from the
tune
Trane
MORL WONE
8.0 ER many
the least tomnbern of times get pro- fun and put with immense
mdt
MgRLe
being a sense
But
zestl by three
ODEON, St.
LeTTAMEE
pena
Lrectee tohbe
Shaw said the action of the play
his Space Theatre Langton, Toni Palmer Valerie
progs.
cont.
FEaae
Walsh.
isaiy 2.3 ad
located
suburb in
has
ODE
deaturs
Swiss
Europe and Mees makes E changed aeed Mistress of Novices, at
Helmer seem exceptional tohis though by LATeAcE much is Pancarte dilly
concerns
society and time, not typical ofit. tell without
with
Theatre,
tbe
familiarity the
Piésctk
Cane:
Sua
treatment Tushingham) of Bernadette of Lourdes
during her
ARNAL
(Rita
KNOWE
PARAMOUNTEN cicus
in ar
und 3.0.
Father of
timei nunnery
anso
6.55. AWAY PEPTN Mdaccras
the nation
after
rida
seeing her
Virgin
SCRI
CAE MM
SIE
RINCE CHAR ARLES, CioEsan 4437
God, who from Lancashire would believe
Mary and Amene the healing
ate
nust
andis nota
thcan were,
waters.
show S
o, gash ow
magerstmnte
24A ia Muse ate 2 happy,
dance
some of my
She is mercilessly bullied the
light-footed
sot
RLTON o
THE
jealous
CAe
DVENTUREPES
ookaRis
says
the are Scots.
Mother Marie-Therese
dE ho at. 9953240:
MORSORANCS
FEro Genesis," so launches God shakes his white over (Barbara Jefford), believes
SOTI
87 HE
(437 SOUNDER Jacob's Journey, an
pre- Jacob's trickery
was the girl was
but piety
acceptable
EdacaETL
un. 0 Sat. GRLN n
show: lude the
diabolical,
finally
years
for
days
and Amazing
TEEL
Tawatead x) teve
EerkaS
have the woman that
then
pauS
IEOPTREL
BOAUCAVEA
eel od
CONNECTION
Technicolored
the
she inflicted-
COLUM
SHAMUS (x).
rather
Cont:
When
Together they must set for
asks Him
otn CATTADES
MAR
sopetere?t
18E a long stay the
hauled
AAATINC
taicle
name Israel,
Albery
(formerly
to her
before courts-was
PERSY
Tat
CaT he eventually wants
Oxfo
d at
tron
1437 New)
Lane.
ofa divine to
Martin's
being
after him and
plan make
FARYE
Psos.
after from the
called
miserable on
ANCH
UNNERALT
Festival Young
names Tom,
Alee could be reward-
RRET
rday
TEL
Vic
and then to the Round House, Dick or
heaven.
tob
MB Sep. Bo7ae LADX Lr RE
has a
song by
isa harsh doctrine that could
PLhINT Benj
Tre
e orm
RTB
RoYiO 3.30: Andrew Tnyd era (music) TE is all jokey ind inoffensive be used to
all cruelty,
shos
and Tim.
Rice (lyrics)
as enough,
author John flat prose
Fri.
good
the
shas/
Leic, WZRK anything they wrote
Serutces
Almighty omly more matey tode nothing to makeit palatable.
POL
A4O.
BEANEY
AMSA
Top 100L6300 OURCY
Sat. Show P1228: 2h 5496. $33. and Frank Dunlop's
Tevye's in "Fiddler on the Miss Tushingham and Miss Jef-
Nadine Baylis'
Hoe
ford work
infuse some
glow
Idoubt if it would upset anyone drama into te situation, but itis
THEATRES
R Pnaute cast
except the most ultra-Orthodox. an unpleasant evening.
confidence. and attack in it
7.38 HER MAIESTYS, 6606) 7.30 "Jacob" and with
S3R
PeTn
God, Isaac and AT Mahler marred JSWISH
FER
DUCT TION AP
TATE
FARE
been fitted out with dialogue
CHRONICLE
the
Best
Ray Galton and Alan
that a weeks
equally
Simpson,
bad
TAMMERSTEIN Em KMEE LT which pitched in a different key mal I read script of VURNErÉ by production At the and Theatre, my
TAE
ince
Lirctant
ACATR EMRISTIE'S
from songs.
REAES Rowdon, and reported were confirmed. Both actor and
(38 ssming-eivenieg Fear!
THE bVate THE FAIR
By accents Isaac
that while a play for two
actress were
The
as 8. 15. Sats.
and his
charac-
man
9.0. -iORA MAYEAINIELSM
family inhabit Scotland, and-Jacob, ters was' generally very dificultto
reached inner
SACAMTRUR Slimay
SCOMEDS
dte
gracetu VLADER" SAFYBAL
VEAR: after conning his brother Esau out put a over, this play, though it had Doven musician who had his
ORIST
LEE
SeuE ivenning ews,
NEWLO Me RIOUA
USLY - of-both heritage and blessing, com- few "contrivances," ran very Jewishness in order find his
coieoartne
taen
ments: "If he wasn't my brother smoothly, in had great zest, a delight artistic inspiration; the woman
PETER sOOK
9s8rh-OTU ed
wara
I'd never believe he was Jewish." its two
and a feel- failed to reach
the necessary
ing of rapture music hilaration. Ne
the
that
vertheless
CINGS FERHNDTT
enslaved them.
ar THROU
THE
SOLDIERFO &
THE TOWN
added, however, kernel of a moving play remained
SCARKI
234 5051.From,ets at W1 p.m. thati it was a delicate work that in evidence.
COMEPYE "COGTNATOnE 68E 742-
Dally
And
could easily be spoilt by a bad
CHARLES LANDSTONE
TAR ANre
30. raward
Alan yckb
THE
VAUDEVILLE
and veninos
oigae LANE
& Cane 81083 with COASTE iened.
Hul Emu
MAER
HOWFF
"NOWOR
THEATRE-
EVER
"SHOWS
CAFE, 109a
CONÉ YANA IINCA
mpnct.ci
123O, 4h0.33 MICTORIA, YAMACE Wed. Asat 0342323
Regent'sPark Rd.,N.W.1. 01-586 0030
day rcopie
Ni WL
NOW
The Return to London of
ORL
THE
BAYS
ROOXIRS DRORLSLFIGER
DUKE ORS.
Satar (836. 233
THE RECOR LESL Rei COME
5.4 Evenin gs 8.0 -
ARTHA
MOST
ART EXHIBITIONS O
SCHLAMME
MAN IN SaE AB LAUG ING MAN ROBERT
of COWARD'S the Year
Sings Brecht, Weill & Cabaret Songs
- THROUGH Daisz3M
LNOE
FORTUNDO ati ee (836 NOW ANCISA 30 ROYALTY wo5 8004 1Mon.. 9.0 Thu unsy
Colin Hayes, Queen's. Roso Roy
FOR 2 WEEKS ONLY, FEB. 27.
BATEL SatrR&
Aeesite
ear
MARCH
ANCHEER
Nightly (Tues.-Sun.) 9.0
ouhor Y AT HOMT
CALCUTTANES
6 ke St., St.
THRIL YEAR
BEAUTIFUL -Ds Tel KAPMAN GALLERYA Dok
ames's,
Adm. £1 (students & members 75p)
GARRICK 460
from March ST.
ngs
ACA ADENY OF RTS.
- SAOE
MARTINS (836 1443
8.0. ROTAL
Food & Dancing before & after Show
Transter OSLEUTHS O30M Theatre. HAASCORNE AFaL VALENTINE Adionieten 1909
Michacl Bes
es Transfers
The
to each exnisr
AURER PUuR YIANY
POURTAY Marase stn. CAPIAR eatre,
ISORLANE Fr. 6.0, ST.
Soinent
Smash
ler
:8: Baxs
JACEY LEICESTER
LONDN ION FOK
ANRHO EL
SQUARE
Mor
Airror
ANSBT
35p
ONDENY
MAYEENENCE a
HOT
Ma -
play byerian Cle ens
indays
AND BLUE (X) Colour
WENBY
FALCEATORNE
St. me s's es Fair start ext week_at
Plus HUNGRY FOR SEX (X) Colour
"A CWhen MATEMONAES prenx
FAZE 57 MALMPS: daye the y. p.m an
telephoning use outside London Metronolitan area)
day
dallioopen RP:
over


MAHLER at the Arts
6 It happened that a few weeks ago I read the script of MAHLER by
Maurice Rowdon and reported that while a play for two characters was
generally very difficult to put over, this play, though it had a few
46 contrivances," 99 ran very smoothly, had great zest, a delight in its two
characters, and a feeling of rapture for the music that enslaved them.. 4
a moving play .
THE JEWISH CHRONICLE Feb 23
6 Anne Mahler, the daughter of the composer, will not be going to see
MAHLER, the new play about her father by Maurice Rowdon . . - 9
'I know the play,' she said. € Mr. Rowdon sent it to me some time ago
and I sent it back as being beneath discussion. I am scandalised that
anyone should put it on.'i
THE TIMES Jan 31
6 MAHLER covers an infinity of time, during and after the characters'
lives . . .Alma sits and faces death with the screaming of a jungle cat. .
the assurance of the young woman who knows that she is secure socially
and attractive physically Edith Macarthur handles beautifully.
THE STAGE Feb 22
4 Kit Surrey has designed a structure of wood and gauze that takes John
B. Read's evocative lighting well.
As Mahler Vladek Sheybal nicely
understates the 42 year old honeymooner with a book in his hand.'
THE TIMES Feb 15
6 Edith Macarthur is very much all-woman, beautiful to look at, graceful
in stature and good to hear. Vladek Sheybal is cunningly self-effacing as
Mahler, the man who is not of this world but who has to live in it -
I see that Mahler's daughter Anna, having read the script of this play,
described it as inept. It isn't.'
THE EVENING NEWS Feb 15




NG PL7
Rodiu
Sunlas Koblet
Aufnahme des Kuysthistorischen Museuma
Wien I, Burgriug 5
Urheberredailid geschutzt
Renrnduktionsrecit vorhelalion
Ol. Yal. 1106


THE ARTS
THEATRE
6-7 GREAT NEWPORT STREET, W.C.2
Near Leicester Square.
From FEBRUARY 14th
PORTSLADE PRODUCTIONS LTD.
present
VLADEK
EDITH
SHEYBAL
MACARTHUR
MAHLER
Maurice Rowdon
Directed by
Peter Watson
Musical Decor
Visual Decor
Peter Paul Koprowski
Kit Surrey
Seats : £1.50 £l 75p. 50p.
Immediate temporary membership at door 13p.
Only I member per party needed.


Dear Nicholas,
Our first night seems to be almost sold
out but I am worried about the 15th and 16th
which are always difficult nights before a
reaction to the press notices comes. Can
you use your best endeavors to fill the house
for those nights, Thursday and Friday, while
I on my side wili issue a certain amount of
paper. It is especially important for the
second night since there are critics (there
being two press nights) and anyway it is dis-
couraging for the actors. From Saturday
there is a certain amount of booking already,
throughout the initial run.
The atmosphere is tense and fraught,
and yesterday the actress threw her rehearsal
skirt on the floor and shouted fuck all foreign
actors at Vladek. This relieved us all immp
ensely as no one likes to open without one
violent row on a sound bed of tension and
conflict. We shall all be rags for the first-
night party.
Please persuade Trustram Eve whom I met
to have his second wall painted as well.
If possible have a look at the wall they are
doing---the designer and his wife. I shall
try to take Wendy along, in case some publicity
could-accrue from it.
Yours ever,


LORENZO THE MA GNIFICENT
Dear Barbara,
Thank you for your letter of 27l February:
I have written to Christopher Falkus on points I
think must be cleared up before I can answer you.
Writing to him of course infers no slight of you
since the points I raise are not bascially edit-
orial ones.
With best wishes,
Yours ever,
Kaurice Rowdon


"MAHEER"
Dear Sirs,
The above show closed at the Arts theatre
yesterday Saturday 3rd March, and I wonder if
you would kindly arrenge the repayment to us
of the sum of 8300 which we lodged with you
prior to opening.
Yours sincerely,
Maurice Rowdon
Provincial Theatre Council
Gloucester House
19 Charing Cross Road
London


Dear Sir,
Please credit our account with the enclosed
cheque for £106.
Yours sincerely,
Maurice Rowdon


MAHLER
Dear Larzy Dalzell,
I enclose a cheque for £49.25 for Miss
Edith Macarthur's salary w/e 4.3.1973.
Yours sincerely,
Maurice Rowdon


MAHLER
Dear Mr Selinger,
I enclose a cheque for £49.12 for Vladek
Sheybal's" salary w/e 4.3.1973.
Yours sincerely,
Maurice Rowdon


Portslade Productions Ltd.
Directors :
5 TAMWORTH STREET, LONDON, S.W.6
MAURICE ROWDON
NICHOLAS KIMBER
CHRISTOPHE
Dear Pamela Brighton,
Further to our phone conversation I enclose
the play CHRISTOPHE for you to read.
Please give me a call when you've read it.
I hope your show at the Hampstead goes well
and I look forward to seeing it.
Yours,
Maurice Rowdon


LORENZO THE MAGNIFICENT
Dear Tony Godwin,
I enclose a note on this as we arranged. It is
much longer than you asked for but I have great diff-
iculty writing 700 words about anything Italian.
If it is too lengthy for your purposes could you
perhaps cut out what you don't want?
Yours,
Maurice Rowdon


LEON GLUCKMAN (LONDON) LIMITED
LYRIC THEATRE OFFICES 5 ARCHER STREET LONDON W1V 7HE
21st February, 1973
Maurice Rowden, Esq.,
c/o The Arts Theatre,
Great Newport Street,
London W.C.2.
Dear Maurice,
I would have written sooner but I have been very pre-occupied
with the beginning of rehearsals of my own play.
This short note is really just to tell you that I enjoyed
MAHLER very much.
I found it sensitive, interesting, sometimes moving and very
well acted, particularly by Vladek Sheybal. His style is
extraordinary.
I could not help regreting that the play was called MAHLER. In
a way it suggested that one was going to be shown around his
life like a visitor to an art gallery. Somehow this gave a
formal academic flavour to the piece which was partly unavoidable
in any case.
This is a small and petty reservation. I really did enjoy the
evening. I fear that in the concrete jungle outside the Arts
Theatre, the play would be unlikely to survive commercially. I
should have thought though that there must be some mileage in it
certainly in the university towns in America, if not here.
Do let me know what happens to the play.
Once again, sincere congratulations and good luck.
Sincerely,
Klu
Leon Gluckman
DIRECTORS: L. GLUCKMAN M.A. B. M. FOURNIER LL.B. REGISTERED OFFICE: 15 JERMYN ST, LONDON SWIY 6LU. REGISTERED IN ENGLAND NO. 836289


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OUR REF.
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6th April, 1973.
M. Rowdon, Esq.,
5, Tamworth Street,
London S.W.6.
Dear Mr. Rowdon,
Following our talk recently on Value Added
Tax, an application for registration of Portslade
Productions Limited was sent to Customs and Excise
together with a short explanatory letter of the
position.
I enclose photostat of Customs and Excise
reply which I consider satisfactory.
You should be receiving a certificate of
registration from Customs and Excise for the company.
I should be glad if you would let me know when this
has been received.
Yours sincerely,


HM CUSTOMS AND EXCISE
Customs & Excise VAT Office Crown House
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Telephone O1-965 8700
Maw Ellis Warne & Co
Your reference 1486B/MJ/DR
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London WC1R 5AU
Date 5 April 1973
Dear Sirs,
ACKD
Re: VALUE ADDED TAX -
6. APR1
PORTSLADE PRODUCTIONS LTD. PASS TO
Thank you for your letter dated 29th March 1973.
Your clients will, if registered for VAT,be able to
claim all taxable purchases for the promotion of their
business, as an input tax deduction, with the exception
of motor cars and business entertaining. If their
inputs for any particular tax period happens to exceed
their outputs they will, for that period, be treated as
a repaymant trader.
Yours faithfully,
DEREK L. SMITH
t cap


TAMWORTH STREET
LONDON, S.W.6.
THE SPANISH TERROR
Dear Ben,
I enclose my suggestions for illustrations
for THE SPANISH TERRORA Although it would increase
the price I am now convinced that illustrations for
this should be much more lavish. I think that with
colour illustrations of scenes from the Inquisition,
the American voyages, Peru and Mexico, Burgundian
court life etc the book would have twice the appeal.
I also enclose further suggestions for maps, to
be added to the list to be found with the scripts
Yours ever,
Maurice Rowdon
PS I find that the Cooper Birdgeman library, who
as you know are the London egents of Scala, come up
with good suggestions of their own for vivia illus-
trations. I happen to be working with them on another
project. Could we not use them for THE SPANISH
TERROR? I'm sure Harriet Bridgemen could do a good
job.


THE SPANISH TERROR
Extra Maps
MAP showing the estates of Germany in mid 16th century
(see REFORMATION AND SOCIETY by A.G.Dickens
Thames and Hudson)
MAP of Spain and Portugal in 1555 opp page 61 of Sir
Charles Petrie's PHILIP 11.
MAP showing the Netherlands 1579-98 showing the Union
of Utrecht from Merriman's RISE OF THE
SPANISH EMPIRE Vol 4 opp page 494.
MAP of central Portugal 1580-1 from ditto opp page 360.
MAP showing the route of the Armada---see Grosser Historische
Weltatlas (111) Bayerische Schulbuch- Verlag
Munich.


THE SPANISH TERROR
Illustrations
Portraits of FERDINAND OF ARAGON and ISABELLA OF
CASTILE (Windsor Castle)
Titian's portrait of CHARLES V
Elder Cranach's portrait of CHARLES V (Thyssen Coll.
Lugano)
Portrait of Isabel of Portugal (CHARLES V's empress)
by Seisenegger.
Portrait of 'Fugger the rich' and his assistant,
a miniature of 1519
The massacre of St Bartholomew in Paris, August
24 1572 by Framcois Dubois, said to be an
eyewitness.
Portrait of Igantius Loyola.
Titian's portrait of Philip 11 in Naples museum
(Capodimonte)
Titian's Duke of Alva (Palacio de Liria Madrid)
Catherine de' Medici by Francois Clouet (Chantilly )
Philip 11 by Pantoja de la Cruz (Pardo)
Queen Elizabeth of England (Accademia Siena---Alinari)
Portrait of Antonio Perez (?)
Portrait of Don Carlos by Sanchez Coello (Prado Madrid)


5 Tamworth Street
London
17th November 1970
Dear Sir Laurence,
You may remember---but I should be very
surprised if you did---reading a script of mine
called CARMAGNOLA which Caryl Jenner sent you.
Last year I wrote a similar big-stage script
on CHRISTOPHE the negro king of Haiti which Toby
Rowland sent to James Earl Jones in New York, in
the hope of starting the play on Broadway and bring-
ing it to the West End later. James Earl Jones's
agent wrote back that Jones was just signing up to
play Christophe in somebody else's play. This is
apparently coming to the West End next spring, or
perhaps it will start on Broadway.
Now there is no chance of my play being done
on the ordinary stage, and competing with the James
Earl Jones production. But I thought I would ask
you if there was a chance of a production at the
National, even with white actors.
Certainly no dark
actor that I know of in this country could handle
the part. And two Chsritophes in the same capital
at the same time might be interesting to say the
least. The other man's play is at present called
Defiant Island.
wwkn
ins seCndverd -
Toby got me to shape the script intea-better
formy but I would like tosend you the first version me
as both he and I felt that I had plargs overcut it.
It occurred to me to write to you last night while I
was watching you in Late Night Line up.
Yours sincerely,
Maurice Rowdon


The Ai . Gucil helt
A dirirace
the Cillrol,
Richarlsor
Refpan, Secficlol 1
Ashentr,
Greavody barcsn
Devies, Raunies,
Mona
ouhl nol Lee
syules
24 atail stace
d he ymr acto thre
Jriver reyule chance K orine Cud tho
Gen diseelms
the % eui decon acm n
lfr He 'el
taosl burp tu
quic iclel (
Ha dictelily
STing cund nipuel posselits
Ha ma
arel
ase so huc uwk t
chine,
ee swalloued
les filil Hhy
TZu
N elre isplecals kept
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Lo phiee
aul ao gret adin isuedy
& che Ll L grinen tha jrin
L Iy


cg te hocliine
Jo an byti kpuac
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tradk to
Imeslisalion,
apple K bes Ot sr, *
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- lQ
Inngriales deiger nYh cind ta pue Jfu
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hisyiale - Jhe
do winle
erli
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ou -dgn
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urch I Telound
Jer IL
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urto,
Is Pe 7Le nn 2 th feir
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Viaolok Jroy lal
Famomi Prsdedou
Maunce Roodon
VSMR
Reydek Puduchad
Roudak hrodectoc
Reydin Produchod,
*Madek Pudechois Kla
Dekrow Pusduclion
Roodek
Showdok
Srowlal
Showmad
* Nomad Podectoilid.
Maudek Pwdictou Jid.
Syle T buel Pwchibonh
Syues T Jo punoldlat.
* Maudek Assoriater Hd
* Madek Assorialai


Clyto19
THE SPANIS H TERROR
Tem 6 a techugie 9
Cecame Cl
uccefled Horsu
peribls
euegerue
19. Temmr becane accefpledl ce Irecanine Jou - 1
while Le achiil harfsa lam ihey
revived Plilip 51
dht (17 ms
he Cau - Le
pegpte 2 - ke h-o wa a te pan
Pref ju
He prctire -kinp!
Re Spasin Capinnyg in Venice
TL. Gruposd Plot
Phefp IV anal tha docline 1 casrach iu Sah.
Mue Agfemalk udi Plily mi andl Phitys V/
Ye effecv 1 te lem
humen Llc
hecohe .aE - lile
coupelilion i halnel
Tsite +
luielihgod CAlleppoe 3
judes -
luerl and
eulis
h uesull 2 Hhe


Copy
5 Tamworth Street
London
Dear Miss Shubik,
Vladek Sheybal tells me that you talked to him
about a possible project of doing a series of scripts
on immigrant life in London, and that he mentioned
my name. I found working with Vladek very fruitful
when we were filming together earlier this year in
Venice, and later in the summer we discussedi another
script I had in mind for him, a two-hander which might
well interest you for this series. I hope by the
way you will see THE FALL OF VENICE when it goes out
in 'Omnibus' this January as Vladek departs from his
role as what the Sun calls 'Mr Sinister'. I hope
he will get more and more roles where his full powers
are exploited.
I also think a series on immigrant life would
be interesting from the production point of view,
as offering the chance of co-production which is
happening more and more in drama. I was in Munich
last wekk and was amazed at the drama projects in-
volving every country in Europe.
Sincerely,
Maurice Rowdon


ODANTI SCRIPT SERVICES,
41 - 45 BEAK STREET,
LONDON, W.1.
INVOICE NO: 2109
DATE: 19-4-72
Maurie Rewden
5.TamordSt
S-W6
To: Typing and Printing:
Name of Play/ Film: * debongefh the Eart"
No. of copies: 12 No. of pages 4to/ f. scap @
Aprid 60pgen la 24/
To: Binding @ 13p per copy:
TOTAL: 45-96
We wish to inform our clients that we can only extend credit for 21 days.
Please make cheque payable to: "ODANTI SCRIPT SERVICES" and
remit to above address.


DEPARTMENT Or GENERAL STUDIES
Integrat ted A/0 Level Course
A two-year full-time course which, although in no way vocational, may be of interest to
those wishing to become teachers. The course provides sui table qualifications-for-Colleges
of Education and some other Higher Education.
The course consits of a core of Integrat ted subjects - A level English, 0 level Drama,
General Studies and Modern History. In addition there is an opportunity to study 0 or
A level Puppe try, A level Art or 0 level Music.
The core subjects are taught in an integrated way: tha t is, subject boundaries are broken
down, and contents related. Thus the plays from the English set-book list will be taught
as much from a drama viewpoint as a literary one, and set within a general his torical
and social framework.
Students applying for this course should possess at G.C.E. 0 level pass or C.S.E. Grade I
in English (Li tera ture or Language).
Although Drama is part of the core course,st tudents need have no previous experience. Nor
will they be expected to perform before an audience unless they wish to.
I S
BUCkER
STATION
NRS.
GOSTLINS
L - IL
RBYCalin
Lie
QUEEN
E BHILLS
Seil
kft-l
ilI uphict-


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(T. IREBY CAPE LTD.)
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Telegrams : "Espiegill, London, W.C.2."
29th March, 1973.
(KEN CREASEY LTD.)
AND THE SECRETARY
Secretary : K. J. GILLESPIE, F.C.A.
Maurice Rowdon, Esq.,
Portslade Productions Ltd.,
5 Tamworth Street,
Dear Mr. Rowdon,
"Mahler"
Thank you for your letter of 25th March.
The sum of £230
will now be released to E. Babbage & Co. Ltd.
Yours sincerely,
rebe
Secretary.


With Compliments
Could
kindly puda
on the
and
iurte
anclosed sheyus
uturn Mhem to NO,
Thunking you
Hilga Gueum
Theatre Projects Sound Limited 10 Long Acre
London WC2 Telephone 01-836 7877
Studio 11/13 Neals Yard Monmouth Street WC2


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Your Ref.
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Portslade Productions Limit ted,
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London S.W.6.
Dear Sir,
Re: Portslade Productions Limited.
We thank you for your letter of 9th inst. with cheque for £42. 55, for which our
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A copy of the Balance Sheet only is to be sent to us when the first Annual Return
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A. A. C. JACOBSEN, C. ENG. F.I.P.E.
TELEPHONE IVER 546.
NO 15, THE POYNINGS,
LONDON AREA DIAL 490.
IVER, BUCKS, SLO 9DS.
Ref : CMJ /2657/ROW.
1973 April 12th.
Maurice Rowdon Esq.
5, Tamworth Street,
London SW 6.
Dear Maurice,
Further to the meetings with yourself and Mr. Ram Gopal, I have
now carefully checked the possibility of raising funds in the U.K. for the project
we discussed, and find that the situation is different from that which I thought at
the time of our discussion and I have been advised that I will not have any success
at the present time, but that if I care to re-approach my sources in about 12 months'
time, the position may well have altered.
I am told that it will be considerably easier to raise funds in the U.S.A.
or on the Continent with this particular project if it is important to get it under way
during 1973.
Best regards,
Tony Jacobsen.
/ Am HOLOIG GNE SLTOE
PAPERS
Ma Mariy MAd TMG DYUIR SUT


IN THE FACE OF DEATH by Maria Rutkiewicz (now Starewicz).
Madame Starewicz's book is a highly dramatic and harrowing
account of her exploits as a member of the Polish under-
ground in the last war. It begins with her txxining being
parachutted back into occupied Poland from a base in the
Soviet Union: the only woman of the group (incidentally
the kernel of the Polish comminiist party). She describes
her highly dangerous life as the signaller of the group.
Once back in Poland she is responsible for the direct
radio link with the Soviet Union. She describes the
wonderful solidarity between them, and the daily threat
to their lives. One by one they are found and either
shot or captured. She is taken to a concentration camp
(Pawiak) and put in solitary confinement. Only the fact
that she is pregnant saves her. Protected by a humane
Nazi doctor and his Polish assistants she gives birth to
twins. Miraculously she and her children survived. In
1942 the camp broke up and she was freed: the authoress
would be weli advised to give a clearer account of why
the camp broke up than she does in this edition. She
then returned to her underground activities andmarried
the father of her children. He was an important figure
in the resistance movement and was again captured. The
book ends with her visit in 1945 to the concentration
camp where he has been imprisoned, to find that he and
most of the
inmates were killed in an air attack
after OfoiRmAPtTiN liberation. IN THE FACE OF DEATH is a
description of just that---living with death, under sentence
of death, for months on end.
This is an East German edition. The book has been
translated into a number of languages. Madame Starewicz
is the wife of the present Polish ambassador it London.


TAMWORTH STREET
LONDON, S.W.6.
Dear Inge Feltrinelli,
We have several times almost met. I want to talk
yo you about an Italian---to be precise Sicilian---friend
of mine who has been living in Paris for the past fif-
teen or so years. He last week showed me a sheaf of
poems. In all the years I have known him he never
mentioned this secret activity. I find these poems
extrenely difficult---tremendously concentrated, hard
with thought and work, as you would perhaps expect
from a Sicilian. Mario grew up for the first seven
years ofhis life in Tunisia, before going with his
parents to Sicily. His nother was Hungarian. Most
of the poetry is a yearning for the light he remembers
from his first years. The poems are vividly captured
events--pressed together, one potent image in contrast
to the next, and following each other in a staccato way.
I just have a feeling that someone in Italy should know
about this. He may come to Italy soon, on one of his
brief five-yearly visits. If you yourself don't publish
poetry could you put him on to peopie who do? I fear
I know little or nothing about the Italian publishing
world. Could you even write to him? suggest he passes
by Milan, something like that? or just send you his
work? I just have a certain feeling about it. He
is Mario Parrinello, 137 Rue de sèvres, Paris, VIe.
He has two delightful children, one of them, Lorenzo,
aged 12, a very remarkable pienist (due to Mario's
guidance). He will probably answer you,
reanionits no, the poetry is nothing, Meurice exaggerates'.
But I think you might find something remerkable there.
Blessings, aleo from Annette,
Maurice Rowdon


Dear Madame Starewicz,
Annette my wife has read your book with enormous
interest, and tells me it is full of excitement and
atmosphere.
I have taken the liberty of sending this German
copy of your book to my agent, David Bolt of Bolt and
Watson Ltd. He tells me there is a good market
both here and in the States for a book of this kind.
He will be getting in touch with you later, and then
you may decide if you wish him to work on your behalf.
He has been my agent for over ten years, and I would
certainly recommend him. His associate agent in the
States is Harold Ober Aseociates.
Do let me know how you got on with the play,
and perhaps we can meet soon, before we return to
Italj.
Yours sincerely,
Maurice Rowdon


DIAGHILEV
Dear Ben,
I sent THE SPANISH TERROR to you ready for
press yesterday.
Does the enclosed project interest you?
Judith Osborne took an awful long time over
copy editing the Spanish book. Could I recommend
Alan Kendall who is freelancing now, having been
an editor at Weidenfeld's and Hamlyn's? I have
worked wihh him on two books and find he is quick
and easy to get on with, apart from knowing a great
deal. His address is 20 The Cloisters, Windsor
Castle, Berkshire, and his phone number Windsor
My suggestions for illustrations for THE
SPANISH TERROR follow. The suggested maps are
enclosed with the script itself.
Yours ever,
Maurice Rowdon


Bolt 80 Watson LTD AUTHORS AGENTS
8 Storey's Gate London SWI
Tel: 01-930 5378/9 Cables: Bandwag London SWI
Directors: David Bolt Sheila Watson
Maurice Rowdon Esq.,
3rd April, 1973
5 Tamworth Street,
London, S.W.6.
Dear Maurice,
Would you be interested in THE LIFE OF MAHLER
for Weidenfeld?
Perhaps you would like to have a think
and give me a ring.
George saw the play and liked it very much.
Yours,
DLB/BSH
Although every care is taken of MSS while in our possession we can accept no responsibility for loss or damage thereto


"MAHLER"
Dear Ken Russell,
Thank you for your letter of March 9.
Ido feel we should sit down and talk about
this soon. I'm only afraid someone else
may pick up the Gustav-Alma idea.
Yours sincerely,
Maurice Rowdon


G.B.FISCHER GENERAL TRUST
Dear Mr Arnheim,
Further to our telephone conversation today,
I enclose the letter of guarantee from my father
in law Mr G.B.Fischer on behalf of the G.B.Fischer
General Trust for the sum of £400.
The Manager of Barclays Bank at 137 Brompton
Road London S.W.3. tells me that he wili advance
this sum to me for improvements to the above pro-
perty on receipt of a guarantee from yourselves,
in order to obviate the need to hold the deeds etc.
Thanking you for your kind cooperation.
Yours sincerely,
Maurice Rowdon


TAMWORTH STREET
LONDON, s.W.6.
LORENZO and DIAGHILEV
Dear Christopher,
Just to say that Alan Kendall and I completed
the work on LORENZO THE MAGNIFICENT the week before
last, and he tells me that from his point of view
the script is now ready for press.
About Diaghilev, I really am getting so full
of the subject that unless we can come to terms now
I think I ought to ask myy agent to take the prggect
elsewhere. tem-also getting-nentous. that another
publisher wiIl pick the idea-up, itbeing nearly a
geer-sinee-we-started talking aboutitr
Yiur
Nhone tuid ploui
Gud-in LL
bee
moncein)ue.
Cum,


Re: 5 Tamworth Street London S.W.3.
Dear Sirs,
This is to say that we will guarantee the sum
of £400 (Four Hundred Pounds) to be credited to Mr
Maurice Rowdon by Barclays Bank Ltd 137 Brompton
Road London S.W.3. for the purposing of improving
the above property.
lluuu


E. BABBAGE & CO. LTD.
E. BABBAGE D. BABBAGE H. RICHMAN
SCENERY BUILDERS
REGISTERED OFFICE: 3 & 4 CLEMENT's INN, STRAND, W.C.2,
1-5, ANDREW PLACE,
Portslade Productions Ltd,
COWTHORPE ROAD,
5, Tamworth Street,
London. S.W.6
WANDSWORTH ROAD, S.W.8.
Copy to Planned Theatre,
OUR REFERENCE
YOUR REFERENCE
DATE
26th March 1973.
MAHLER.
Dear Sirs,
May we respectfully draw your attention to the outstanding account on the
above named production and our communication of the 28/2/1973.
Your direct instructions to the T.T.A. are required for the release of
your cheque for £230.00 leaving the balance of £I0.00 for the extra's for you to
pay direct.
Trusting that you were happy in all that was supplied we await your reply.
Yours faithfully,
Y lecducs
for E.Babbage & Co.


Portslade Productions Ltd.
Directors :
5 TAMWORTH STREET, LONDON, S.W.6
MAURICE ROWDON
NICHOLAS KIMBER
MAHLER
Dear Liz Keys,
I enclose a cheque for 874.30 in settlement
of the balance due on the designer Kit Surrey's
fee.
Yours sincerely,
Maurice Rowdon


MAHLER
Dear Mr Selinger,
I enclose a cheque for Vladek Sheybal's
salary for the week ending 25.2.1973.
Yours sincerely,
Maurice Rowdon


Dear Nicholas,
You may be interested in a JEWISH CHRONICLE
review that came out yesterday: 'It happened that
a few weeks ago I read the script pf MAHLER by Maurice
Rowdon and reported that while a play for two characters
was generally very difficult to put over, this play
(though it had a few contrivances) ran very smoothiy,
had great zest and a delight in its two characters,
and a feeling of rapturefor the music that enslaved
them. I added, however, that it was a delicate work
that could easily be spéiled by a bad production and
equally bad acting.' He goès on to slam the production
but ends: "Nevertheless the kernel of a moving play
remained in evidence.' This does give us a hook for
quotation, and I shall blow
the various criticisms
(including a recent good one "fot Edith in THE STAGE)
for front of house display tomorrow.
The
deepens every day, epecially
on Vladek' Parfecoande, side. Edith fell just before curtainrise
yesterday evening and the dance had to be cancelled;
they just turned about each other slowly at the very
end ofithe music, as the lights came up, and it looked
far more haunting and effective than the waltz as done
before, which I never liked. The director won't have
this howvere, so I expect we will have Edith hopping
about clumsiiy again by the end of the week. I am
trying to be artful
getting Sally Gilpin to come in
and' rechoreograph thes in this new slow haunting move-
ment.
I haven't, spoken with Ken Russeal yet but will
next week.
Claude Lamorisee and Ram Gopal came in twice last
week to see the show, and approached me as a result to
make a film in India with them. We begin on the script
next week, and our company---should
mature---will
ne involved in some way., I enclose Ehans blurb.
Albert Lamorisse, Claude's husband, was killed you may
remember while filming in Persia from al helipopter about
two years ago.
We are recommended strongly to invest in GREASE.
I enclose a blurb.
Really MAHLER does seem to be making a deep impression.
Yours ever.


MAHLER
Dear Mr Dalzell,
I enclose a cheque for 849.25 in payment of
Miss Edith Macarthur's salary for the week ending
Yours sincerely,
Maurice Rowdon


11 ALDWYCH
DIRECTORS
LONDON, W.C.2.
John
LANNED
H. deLannoy
Chairman & Managing
Telephone 01-836 6268/9
Rory Annesley
Hon. George Borwick
Telegrams LANNOYPLAN
THEATRE
John Roberts
LONDON, W.C.2.
Company registration number 1021021.
Your ref:
Our ref:
Maurice Rowdon, Esq.,
6th March 1973.
Portslade Productions Ltd.,
5 Tamworth Street,
London. S.W.6.
Dear Maurice,
Enclosed herewith is the final account for the show, which as you
will see remains at a cash balance of £3.25. In order to avoid
unnecessary handling of cash I am enclosing at the same time our
account for the final week which now reads: £25. less cash received
£3.25. equalling £21.75. Perhaps you could let me have your cheque
in due course.
We have in the office prompt script, portfolios of music etc., and
when you have a moment perhaps we could meet for a drink or a meal
and you could collect them.
I am sorry that the financial result has been so disappointing
but hope that something may come of it in the long run and that
perhaps Donald may find that he wants to do it in South Africa.
I do hope that when next you have some plans that you will include
us, because I have very much enjoyed getting on your first and
would like to see you do much better in the future.
All good wishes.
Yours sincerely,
John H. deLannoy.


Portslade Productions Limited,
C/o Arts Theatre,
6/7 Great Newport Street
LONDON, W.C.2,
MAHLER
We have pleasure in enclosing details of the current
production at the Arts Theatre.
For a number of performances
over the next few days we are offering educational establishments
E1,00 seats at 50p., and would be grateful if you would return
the enclosed application form should you be interested.
Portslade Productions Ltd,


a LA HLER"
Dear Bill horne,
I enclose a. cheque for 684.20 being the
balance of 875 due to Peter Watson on his dir-
ector's fee and 2% of the box office receipts
at the Arts theatre for this show.
Yours sincerely,
Maurice Rowdon


11 ALDWYCH
LANNED
DIRECTORS
LONDON, W.C.2.
John H. deLannoy
Chairman & Managing
Rory Annesley
Telephone 01-836 6268/9
THEATRE
Hon. George Borwick
Telegrams LANNOYPLAN
John Roberts
LONDON, W.C.2.
nhha.
Your ref:
Our ref:
Deatlamre
Lleses
plentrottan Nohase
reduditei
nil Lecon
ne ftt Nladele ten
el - ne
beperiing Ittalettio
qile neesmebles S
lonedyolertter has
aciyoftte 435 belanee die?
Yorrs


Incorporated in England
Reg. No. 624293
LONDON MANAGEMENT
(LONDON MANAGEMENT & REPRESENTATION LTD)
Reg. Office: : 235/241 REGENT STREET,
LONDON,
TELEPHONE: = O1-734 4192
TELEGRAMS & CABLES:
W1A 2JT
LONDENT, LONDON, W I
21st February 1973
Portslade Productions
5 Tamworth Street
S W 6
INVOICE
MAHLER - KIT SURREY
To the expenses of Mr Surrey for three return rail
fares between York and London at £8.10 each, as
agreed in his contract
PLEASE MAKE CHEQUE PAYABLE TO LONDON MANAGEMENT
CbL
LIZ KEYS
DIRECTORS: KENNETH HALL (CHAIRMAN) MIC AE EL GRAI DE (JOINT MANAGING) WII LLI AM M. H (JOINT MANAGING) DENNIS VAN THAL (JOINT MANAGING)
CYRIL BERLIN, JEA A N OND. NGEL LA HEPBURN. LIZ KEYS. BERNARD LEE. NORMAN MURRAY, PAT SHARD. MICHAEL SUI LLI IAN SECRETARY: DOUGLAS ALLEN
LIC N NSED ANNUALLY BY THE CITY OF WESTMI INSTER


ODANTI SCRIPT SERVICES
41 - 45 Beak Street
London, W.1.
copy.
INVOICE NO. 2498
DATE:
Portslade Prods. Atd
S Tamworth Sheet
Sw 6
To: Typing and Printing:
Name of Play/ Film:
AMahler
No. of copies: 20
No. of pages 4to/fscap. @
bopages d BSP
To: Binding @ 13p per copy:
We wish to inform our clients that we can only extend credit for 21 days.
Please make cheque payable to: "ODANTI SCRIPT SERVICES" and remit
to above address.


ODANTI SCRIPT SERVICES
41 - 45 Beak Street,
London, W.1.
INVOICE NO: 2560
Patalade Rrodindion,
3,Tomall Sheas.
Lada S.6.6.
To: Typing and Printing:
Name of Play/ Film:
Nalla
No. of copies: 20
No. of pages 4to/ fs cap. @
3 Pasgo
a 36p.
To: Binding @ 13p pér copy:
We wish to inform our clients that we can only extend credit for 21 days.
Please make cheque payable to: "ODANTI SCRIPT SERVICES" and remit
to above address.


ODANTI SCRIPT SERVICES
41 - 45 Beak Street
London, W.1.
Tel: 0 -
INVOICE NO. 2S81
DATE:
Portslade Productsong ktd.
5 Tamworth Road
To: Typing and Printing:
Name of Play/ / Film:
Mahler
No. of copies: 20 No. of pages 4to/fscap. @
Repint
pages a30p
To: Binding @
per
13p
copy:
We wish to inform our clients that we can only extend credit for 21 days.
Please make cheque payable to: "ODANTI SCRIPT SERVICES" and remit
to above address.


Odanti Script Services
41 45 BEAK ST: W.1.
Theatre. Film & Television Scripis.
Uffset Litho & Duplicating
Mavnce Rowdon
STATEMENT
Date
Invoice No.
Name of Script
Amount Due
17SY3
2/SO
KINDLY REMIT BY RETURN.


THE UNICORN THEATRE For Young People
Arts Theatre, Great Newport Street,
General Office: 01-240 2076
Box Office: 01-836 3334
Maurice Rowdon Esq.,
5, Tamworth Street,
London SW 6
7th March 1973.
Dear Maurice,
Enclosed is the invoice for the tickets
we ordered but we didn't need which you
agreed to pay
for.
Regards,
Tony.


Wm. Skelton & Son Limited printers
INVOICE No
Waldeck Road, Strand on the Green, London W4 3NU
Skeltons
Date
Caryl Jenner Productions Limited.
28th February, 1973
Our ref.
Your order No.
Letter dated 8.2.73
Goods
Tax
Delivered to: Arts Theatre,
Gt. Newport Street, W.C.2.
28 sets of dated booking tickets -
March 6th to April lst, 1973 Plan "A"
4 sets ditto - undated, unpriced Plan "B"
Date despatched
No. of parcels
Total £27 66 Total
One
By Our Van
Total amount,
goods and tax.


LONDON LIBRARY
14 ST. JAMES'S SQUARE
SWIY 4LG
DATE E 7 MAR 1973
Received
MRoslon
from
Twenty Pounds in payment of Annual Membership Fee
to the London Library due on Novenberisk 1973
STANLEY GILTATA
LIBRARIAN
Pidil
ACCOUNTANT


5R5
M REPP v6


Gas
- TO
S83


Unibond
Elig
Ram
Cahoik Ques
Nabuy


Bolt 80 Watson LTD AUTHORS' AGENTS
8 Storey's Gate London SWI,
Tel: 01-930 5378/9 Cables: Bandwag London SWI
Directors: David Bolt Sheila Watson
Maurice Rowdon Esq.,
16th March, 1973
5 Tamworth Street,
London, S.w.6.
Dear
Mramice,
I am enclosing our cheque for £212.20 made
up as follows. Please let me know immediately if this
does not agree with your records.
Received from:
WEIDENFELD (PUBLISHERS) LTD.
Balance of advance on delivery
LORENZO THE MAGNIFICENT
Less Commission 10%
Purchases
Yours,
DLB/BSH:encl.cheque
Registered number 1002046 London Registered office 9 Harley Street London WI
Although every care is taken of MSS while in our possession we can accept no responsibility for loss or damage thereto




INVOICE
Hainite Rowdo logy
Fall J
Venic %
Less 334 2
Department Accounts Code! Company Approved 8
Origin (Letter & to Charge Checked by
Numbers) (Letters)


INVOICE
WEIDENFELD (Publishers) Ltd
INCORPORATING
GEORGE WEIDENFELD & NICOLSON LTD., ARTHUR BARKER LTD.,
WEIDENFELD & NICOLSON (WORLD UNIVERSITY LIBRARY) PUBLISHING COMPANY LTD.
5, WINSLEY STREET, LONDON, W1N 7AQ Tele: 01-580 7941
To I
Maumc Ronden
5 Taniwonlh St
SWG,
Order No.
Date
Pall 6
NemA
COPI
Terms: Nett
Please make cheques payable to Weidenfeld (Publishers) Ltd.


INVOICE
WEIDENFELD
(Publishers) Ltd
INCORPORATING
GEORGE WEIDENFELD & NICOLSON LTD., ARTHUR BARKER LTD.,
WEIDENFELD & NICOLSON (WORLD UNIVERSITY LIBRARY) PUBLISHING COMPANY LTD.
5, WINSLEY STREET, LONDON, W1N 7AQ Tele: 01-580 7941
To L
ROWDON,Maxrice
Order No.
Date
10 THE PALL OF MENICE/MAURICE ROL
42p N i £4.20 less 33: die(E.40)
COPI
Terms: Nett
Please make cheques payable to Weidenfeld, (Publishers) Ltd.


Theatre Projects Lighting Limited
10 Long Acre, London WC2. Telephone 01 836 7877
Statement
NAME: PORTSLADE PRODICTIONS urolimis 6989 = F12743
ADDRESS: 5, TAM WORTH STREET,
(Sous) alned paid
MAR 1976
LONDON, Sw.6.
DATE
DETAILS
DEBIT
TAX
CREDIT
BALANCE
9 FEB 73
30 CASH
Apg
dud


"MAHLER"
Dear Sirs,
You have teen holding the sum of &230 in
connection with the construction and delivery
thy E. Babbage and Co of the set for the abiove
production at the Arts theatre.
The set was delivered and the contract was
carried out to our satisfation.
Yours sincerely,
Maurice Rowdon


Crebit Jote
Mondon and Gollytoood
Orafalgar 1651
BERMAN
LTD.
Uheatrical and Jilm Costumiers
18 Srhing Street, Teirester Square, Condon, 00.0.2
Portslade Productions Ltd.,
5, Tamworth Street, London, S.W.6.
CREDIT NOTE :
To Credit part of our Invoice
Articles returned early from


THE THEATRICAL TRADERS ASSOCIATION LIMITED
(by Guarantee)
Executive Committee-
TREDERS
M. G.JACKSON(CHAIRMAN)
(A, E. KING a JACKSON LTD.)
STANLEY MOORE
(STAGE DECOR LTO.)
J. O. MCDOUGALL
(J. D. MCDOUGALL LTD.)
CLIMITED
C. T. MATTHEWS
(ALICK JOHNSTONE STUDIOS)
President-
E. BABBAGE (E. BABBAGE a co. LTD.)
SIR BRONSON ALBERY
drUrRV WALLAGE
Vice Presidents-
(BRUNOKL OVEDAY
MRS. D. CAPE
J. R. BRUNSKILL
(T. IREBY CAPELTD.)
A. F. HARRIS
H. G. HOMAN
A. D. J. HOMAN NATHAN
(HARKERS STUDIOS)
R. A. HARRIS
(CHAS. H. FOX LTO.)
B. L, KENDALL
(THEATRE PROJECTS LTD:)
43 CHANDOS PLACE, WC2N 4HT
R. N. (WIG C. MACGREGOR
Telephone : 01-836 5094
CREATIONS LTD.)
K. F. CREASEY
Telegrams : "Espiegill, London, W.C.2."
(KEN CREASEY LTD.)
AND THE SECRETARY
Secretary : K. J. GILLESPIE, F.C.A.
31st January, 1973.
Maurice Rowdon, Esq.,
Portslade Productions Ltd.,
5 Tamworth Street,
London, S.W.6.
Dear Mr. Rowdon,
"MAHLER"
I acknowledge, with thanks, your letter of 27th January enclosing
your Company's cheque for £230 to be held by the Association in connection
with the construction and delivery by E. Babbage & Co. Ltd. of the set for
the above-mentioned production. This sum will not be released to
E. Babbage & Co. Ltd. unless and until you inform me in writing that the
contract has been carried out to your satisfaction.
Yours sincerely,
KS - Zeuorfne 2
- ehe -


Theatre Projects Sound Limited
10 Long Acre, London WC2. Telephone 01 836 7877
Statement
BOUND
NAME:
POersLAbE ROMUCTIONS,
MAR 1973
ADDRESS:: 5, TAMWOR- TH STREET,
Sw.6
DATE
DETAILS
DEBIT
TAX
CREDIT
BALANCE
27 FEB 73
60 CASH


PROVINCIAL THEATRE COUNCIL
GLOUCESTER HOUSE
19 CHARING CROSS ROAD
Telephone
With Compliments


P.887. RC/GEP.
12th March,1973.
Gexald Croasdell Esq, 0.B.E.,
British Actors' Equity Association,
8, Harley Street,
London w.1.
Dear Gerald,
"Mahler"
John Berkeley has approved the return of the deposit
for the above-mentioned production, I therefore enclose a
cheque for £300.00 in favour of Portslade Productions Ltd and
would be grateful if you would please sign it and forward to
Maurice Rowdon in the enclosed stamped addressed envelope.
Yours sincerely,
Reginald Cornish
Deputy Joint Secretary.
C.C. Messrs. John Berkeley, Maurice Rowdon.


Bolt 86 Watson LTD AUTHORS' AGENTS
8 Storey's Gate, London, SWI
Tel: 01-930 5378/9 Cables: Bandwag, London SWI
Directors: David Bolt Sheila Watson
Maurice Rowdon Esq.,
28th February 1973
5 Tamworth Street,
London S.W.6.
Dear Maurice,
Value Added Tax
As you will know, VAT comes into effect from 1st April 1973.
After that date, publishers wiil add VAT to royalties and advances
paid to authors (or their agents) when the authors are taxable
persons, whose incomes from authorship and any other business
interests (other than income derived as an employee) exceed £5,000
per annum.
If your income for the year beginning 1.4.73 is likely to
exceed £5,000, then you should register with your local Customs
and Excise office.
If you are in any doubt, please consult me,
and if necessary your accountant or legal adviser.
If your income is likely to be somewhat less than £5,000, it
may still be in your interests to apply to register.
Doing so
will not be to your financial disadvantage, since it will enable
you to recover all VAT which will be charged to you in the course
of business.
Unregistered authors will be equally liable to pay
VAT, but will have no means of recovering such expenditure.
There
is, however, a good deal of administrative work involved in making
the compulsory returns as a registered person or company, and if
the amount is small you may decide that it does not justify the
trouble.
If you do register, then it is necessary for you to inform us
of your registration number, so that we in turn can notify your
publisher or publishers and claim VAT on your behalf. I should be
grateful, therefore, if you would complete the form below and return
it as soon as possible, whether you register or not.
Please let
me know if you have any queries.
Yours,
DLB/MYS.
Name
*My registration number for VAT is
*I do not intend to register for VAT
(*delete whichever is inapplicable).
Signed
Although every care is taken of MSS while in our possession we can accept no responsibility for loss or damage thereto


CERTIFIFICATE OF INSURANCE
IMPORTANT NOTICE TO POLICYHOLDERS
EMPLOYERS LIABILITY (COMPULSORY INSURANCE) ACT 1969
(A copy or copies of this certificate must be displayed at each place of business
Employers' Liability (Compulsory
at which the policy holder employs persons covered by the policy.)
Insurance) General Regulations 1971
Policy No. 51365199
Your attention is drawn to the
above mentioned Regulations and
particularly to Regulation 6. After
the 1st January 1973, an employer is
1. Name of policy holder Portslade Productions Limited
required to display a copy of the
Certificate of Insurance at each
2. Date of commencement of insurance 15th January 1973
place of business until the date of
expiry of Insurance stated in the
3. Date of expiry of insurance
12th March 1973
Certificate. If the Insurance
Policy to which the certificate
refers is cancelled before the date
We hereby certify that the policy to which this certificate relates is issued in accordance
of expiry,copies of the Certificate
with the requirements of the Employers' Liability (Compulsory Insurance) Act 1969 and
must not be displayed after the date
regulations thereunder.
of cancellation.
The attached Certificate of
Insurance is issued in accordance
with the Regulations. It is not
Signed on behalf of
Eagle Star Insurance Company Limited
the Insurance Policy, and copies of
(Authorised Insurer) it should only be displayed if the
Policy to which it refers is renewed.
(SIGNATURE)
lam
bia


THEATRES
MUTUAL'
COMBINED POLICY FOR
THEATRICAL MANAGEMENTS
Issued by
EAGLE STAR INSURANCE COMPANY LIMITED
HEAD OFFICE
1 THREADNEEDLE STREET LONDON EC2R 8BE
THEATRES MUTUAL' BRANCH
79 PALL MALL LONDON SW1Y 5HE
Whereas the Insured named in the Schedule has by a proposal and/or other particulars which the
Insured has agreed shall be the basis of this contract and shall be held to be incorporated herein applied to
EAGLE STAR INSURANCE COMPANY LIMITED (hereinafter called 'the Company') for an insurance in
the terms hereinafter stated
Now it is agreed that in consideration of the payment by the Insured to the Company of the Premium
the Company will indemnify the Insured in respect of any or all of the contingencies hereinafter mentioned which
occur during the Period of Insurance in the United Kingdom of Great Britain and Northern Ireland including the
Isle of Man and the Channel Islands
In the event of the death of the Insured the Company will in respect of legal liability incurred by the Insured
indemnify the Insured's legal personal representatives in the terms of and subject to the conditions of this Policy
provided that such legal personal representatives shall as though they were the Insured observe fulfil and be subject
to the terms exceptions and conditions of this Policy in SO far as they can apply.
GENERAL EXCEPTIONS
This Policy does not cover:
1. (a) loss or destruction of or damage to any property whatsoever or any loss or expense whatsoever
resulting or arising therefrom or any consequential loss
(b) any legal liability of whatsoever nature
directly or indirectly caused by or contributed to by or arising from:
(i) ionising radiations or contamination by radioactivity from any nuclear fuel or from any
nuclear waste from the combustion of nuclear fuel
(ii) the radioactive, toxic, explosive or other hazardous properties of any explosive nuclear
assembly or nuclear component thereof.
2. any consequence whether direct or indirect of war invasion act of foreign enemy hostilities (whether
war be declared or not) civil war rebellion revolution insurrection or military or usurped power.
Provided always that this Policy shall be subject to the Provisions Exceptions and Conditions hereof
and to any Memoranda endorsed hereon, and that such Conditions and Memoranda SO far as they relate to anything
to be done by the Insured shall be conditions precedent to any liability on the part of the Company under this
Policy.
For and on behalf of the Company
lann
Kyhilta
Chairman.
Countersigned.
Kome TIANG 39T1


The Company hereby agrees:
Section A.-All Risks' Insurance on Properties'
THATI if any of thel Property Insured shall bel lost or damaged within the Limits set forth in the Schedule the Company will make good
to the Insured the amount of such loss or damage by payment or at its option by repair reinstatement or replacement provided that
in no circumstances shall the liability oft the Company exceed the' Total Sum Insured ori in respect of each item the Sum Insured thereon
or thei intrinsic value thereof whichever is the less.
LAUNDERERS' AND CLEANERS' EXTENSION
The Company will indemnify the Insured against loss of or damage to the Property Insured caused by fire while such Property is in the
custody of launderers or cleaners. Provided always that the liability of the Company under this Extension shall not exceed 10% of
the Total Sum Insured.
EXCEPTIONS
This Section of the Policy does not cover:
(a) depreciation or loss or damage arising from wear and tear or occasioned by moth or vermin or any process of heating drying
cleaning dyeing alteration or repair to which the Property Insured is subjected
(b) electrical or mechanical breakdown
(c) loss or damage arising from any act of dishonesty committed or connived at by any person in the employ or service of the
Insured
(d) loss or damage occasioned by or happening through or in consequence of earthquake riots strikes or civil commotion
(e) breakage of china glass marble earthenware or scratching or bruising off furniture household or musical goods unless caused
by accident to the vessel or conveyance in which such property is being carried or by fire or by burglary involving breaking
into or out of premises in which such property is contained
() loss of or damage to Deeds Bonds Coins Money Securities Stamps Stamp Collections Plans Patterns Designs Documents of
Title Contracts or other Documents Business Books Manuscripts or Computer records
(g) damage to musical instruments caused by climatic and/or atmospheric conditions and/or extremes of temperature or the
breakage of strings reeds or drumheads
(h) loss or damage directly occasioned by pressure waves caused by aircraft and other aerial devices travelling at sonic or supersonic
speeds.
Section B. -Employers' Liability
THAT if any person under a contract of service or apprenticeship with the Insured shall sustain bodily injury or disease arising out
of and in the course of his employment by the Insured in connection with the Production the Company will indemnify the Insured
against liability at law for damages and claimant's costs and expenses in respect of such injury or disease.
The Company will in addition pay all costs and
incurred with its written consent including the cost of legal representation
ata Coroner's Inquest or Fatal Inquiry in respect Loyenyces death which may be the subject ofi indemnity under this Section of thel Policy.
PROVIDED that the Company shall not be liable under this Section of thel Policy in respect ofl liability which attaches by virtue of an
agreement (other than a contract to indemnify a Resident Theatre Manager) which would not have attached in the absence of such
agreement.
Section C.-Public Liability
TO indemnify the Insured in respect of all sums which the Insured shall become legally liable to pay damages for:
(a) accidental bodilyi injury to or illness contracted by any person (whether or not death results)
(6) accidental damage to property
arising in connection with the Production.
PROVIDED always that the liability of the Company under this section of the Policy for all damages payable to any one claimant
or any number of claimants in respect of or arising out of any one occurrence or in respect of or arising out of all occurrences of a
series consequent upon or attributable to one source or original cause shall not exceed the sum specified in the Schedule as the Limit
ofl Indemnity but the Company in addition willi indemnify thel Insuredi in respect ofall legal costs and expenses awarded to any claimant
or incurred in the defence of any claim with the written consent oft the Company.
EXCEPTIONS
This section of the Policy does not cover:
1. liability for injury to or illness contracted any person employed under a contract of service or apprenticeship with the
Insured if such injury ori illness arises out Aopar and in the course ofs such employment
2. liability for injury illness loss or damage caused by:
power operated lifts elevators hoists or cranes owned by or hired or lent to the Insured
8 mechanically propelled vehicles and trailers attached thereto owned by or being driven or used by or on behalf of
the Insured
ships boats and aircraft
8 the removal or weakening of or interference with support to buildings structures or land
3. liability for loss of or damaget to property caused the explosion of any boiler vessel pipe or apparatus intended to operate
under steam pressure or any economiser working bx conjunction with such a boiler
4. liability arising by virtue of an agreement (other than an indemnity given to a Resident Theatre Manager) which would not
have attached in the absence of such agreement
5. liability in respect of damage to property (other than the Theatre at which the Production is playing) owned or held in trust
by or in the custody or control of the Insured or any person in the service oft the Insured.
Section D.- -Insurance of Money'
TO indemnify the Insured (subject to any limit of liability expressed in the Schedule) against loss of Money' as defined hereunder
relating to the Production whilst
(a) being carried by the Insured's Travelling Manager or his accredited representative when deputising for him and whilst at] his
temporary residence overnight
(b) atany Theatre at which the Production is appearing or is booked to appear.
PROVIDED always that whenever Money' exceeding a total of £100 is left in an unattended room or office at the Theatre such
Money' shall be secured in locked safe and the key removed from such room or office.
EXCEPTIONS
This Section of the Policy does not cover:
1. loss arising from theft fraud or dishonesty on the part of any person in the employ or service of the Insured not discovered
within 7 working days of the actual occurrence thereof
2. loss during transit by post when the amount of any packet exceeds £5 unless sent by registered post
3. loss due to clerical or accounting errors
4. loss directly occasioned by pressure waves caused by aircraft and other aerial devices travelling at sonic or supersonic speeds.
DEFINITION
For the purpose of this section of the Policy Money' shall mean cash, bank and currency notes, postal orders, money orders, cheques,
national insurance stamps, postage, revenue and holiday-with-pay stamps, national savings stamps, national savings certificates and
luncheon vouchers.


ENDORSEMENTS WHICH ATTACH TO AND ARE DECLARED TO FORM PART OF
POLICY NO. 51365199
OF THE
EAGLE STAR INSURANCE COMPANY LIMITED
EAGLE STAR GROUP
EAGLE STAR INSURANCE COMPANY LIMITED
MIDLA AND ASSURANCE LIMITED
IMPORTANT NOTICE TO POLICY HOLDERS
EMPLOYERS' LIABILITY (COMPULSORY INSURANCE) ACT 1969
EMPLOYERS' LIABILITY (COMPULSORY INSURANCE) GENERAL REGULATIONS 1971
The above mentioned Act and Regulations commence to operate on the Ist January, 1972. The-eertifieate
Asurance-which-insurers- ar à required-te ssue-from-that-dete-is-enelesed-and the attached endorsement has
been issued to ensure that the policy covering your Employers'Liability is an approved policy as required by the
Act and the Regulations. Please make certain that the endorsement is attached to your policy which you may be
required to produce for inspection by an Officer of the Department of Employment.
Memo 1
EAGLE STAR GROUP
EAGLE STAR INSURANCE COMPANY LIMITED
MIDLAND ASSURANCE LIMITED
Endorsement attaching to and forming part of Policy No.51365199.
owitreffect-from-the+972-renewel-dete the indemnity: granted by this policy is deemed to be in accordance
with-the provisions of any law relating to Compulsory. Insurance of Liability to employees in Great Britain,
Northern Ireland, the Isle of Man or the Channel Islands.
But the Insured shall repay to the Company all sums paid by the Company which the Company would not
have been liable to pay but for the provisions of such law.
GL. IO 11/71
Memo 2.
PERSONAL ACCIDENT (Malicious Attack) INSURANCE EXTENSION
Itisa agreed that if any person whilst engaged in the Insured's business (hereinafter called "the Assured") shall sustain accidental bodily
injury by violent external and visibler means arising from malicious attack or assault or attempt thereat by any persons stealing or attempt-
ing to steal "Money" or stamped National Insurance Cards insured by this Policy then the Company will reimburse the Insured in
respect of payment to the Assured or his/her legal personal representative as the case may require of the sum or sums set out in the
Table of Benefits hereunder:
TABLE OF BENEFITS
Ifa accidental bodily injury as defined above shall be the sole and immediate cause of:-
(1) Death within twelve months of the injury
(2) Total loss by physical separation ofal limb orl limbs at or abovet the wrist or ankle and/or thet total and irrecoverable loss
of all sight of an eye or eyes, within twelve months of the injury
(3) Total inability to attend to any occupation or profession which, 100 weeks after thei injury, is proved to thes satisfaction
of the Company to be permanent
(4) Total inability to attend to the usual occupation or business.
The Assured's normal weekly wage or
salary not exceeding £20 per week.
Provided always that:-
(i) The Company shall not be liable under Benefit (4) to pay for a longer period than 100 weeks altogether in respect of any one
injury.
(ii) The Company shall noti in respect of the same injury be liable to pay more than one of the Benefits mentioned in the Table of
Benefits except in the case of Benefit (3) following upon Benefit (4) but in no case shall more than one Benefit be payable in
respect oft thes samep period oft time.
(iii) No Benefit shall be payable until the entire amount thereof has been ascertained and agreed.
Iti isf further agreed that if the Assured as a result of malicious attack or assault or attempt thereat as defined above shall sustain loss
of or damage to clothing or personal effects the Company will indemnify the Insured in respect of payment made to the Assured to
the extent of thel loss or damage so sustained but not exceeding in respect of any one such Assured the sum of £50.


THE SCHEDULE
Policy No.51365199
The Insured:
Portslade Productions Ltd.
Address:
The Production: "Mahler"
Agency:
Branch:
Planned Theatres Ltd.
Theat tres Mu tual
(a) From noon of the 15th day of January
Period of
to noon of the 12th day of March
Insurance
(b) Any subsequent period for which the Company shall have agreed to renew this Policy
First Premium
Bewat-Premium
Renewal Date
Specification of the Property Insured by Section A of this Policy:
Sum Insured
(a) Scenery, Properties, Wardrobe, Furniture, Baskets, Band Parts, Printed matter, Musical
Instruments appertaining to the Production and belonging to the Insured or on hire or
for which the Insured is responsible
(6) Property used in the Production belonging to Artistes
£ Nil
(No one article deemed to be of greater value than £50)
TOTAL SUM INSURED
LIMITS within which
any Store approvedby_the Company,or-wubilot-in-transit
1 the Insurance by
or-sea.
Section A applies
ywhere. r the. United. K: ingd.om
Description of Employees to whom Section B of this Policy applies:
Eatimated and Amount other of earnings Wages,
(a) All employees engaged in connection with the Production other than employees specified
in (b) below
(b) Employees engaged in hazardous acts such as animal turns, acrobatic dancers, flying ballet
and the like
Nil
The indemnity under this Section includes rehearsals and commences on the 15th day of January 19 73
Limit of Indemnity and Special Provisions under Section C of this Policy:
Limit of Indemnity.
Special
Provisions
Limits of Liability under Section D of this Policy:
The maximum liability of the Company for any one loss in respect of:
(a) the Petty Cash Float
(b) Money other than the Petty Cash Float
Policy signed on the 8th day of February
Examined
RMC


CONDITIONS
1. This Policy and the Schedule shall be read together as one contract and any word or expression to which
a specific meaning has been attached in any part of this Policy or of the Schedule shall bear such specific meaning
whenever it may appear.
2. This Policy does not cover any loss damage or liability which is insured by or would but for the existence
of this Policy be insured by any other Policy or Policies except in of any excess beyond the amount paid
under such other Policy or Policies or which would have been incasects thereunder had this insurance not been
effected.
3. Ifat the time of the happening of any loss of or damage to the insured by any Item of Section A
EAGLE STAR
of this Policy the Sum Insured by that item be less than the total value seroprerwin property to which it applies the
Insured shall be considered as being his own insurer for the difference and shall bear a ratable share of the loss or
damage accordingly.
INSURANCE COMPANY LIMITED
4. (a) The Insured shall give immediate notice to the Company of any loss damage injury or illness which
Head Office
might giver rise toaclaim under this Policyanda also tothel Police when there are grounds for suspecting
that a criminal offence has been committed. The Insured shall as soon as thereafter deliver
1 THREADNEEDLE STREET
to the Company a written statement substantiating the claim and shall supply information and
LONDON
Apouvnt
EC2R 8BE
evidence including vouchers and do all such things as may reasonably be required by the Company
including the making of Statutory Declarations as to the truth oft the claim.
(b) The Insured shall forward to the Company forthwith after receipt thereof every written notice or
information as to any oral notice of claim and ofall proceedings relating to any event which might
give rise to a claim under Section B or Cof this Policy.
(c) The Insured shall not incur any by of litigation or otherwise or make any
settlement or admission of liability ASTenest respect AoPaor matter for which the Company may pe'ymont
under Section Bor Cof this Policy withoutthe written authority of the Company who shall be entitled
in all such matters to use the name of the Insured, including the bringing, defending, enforcing or
THEATRES MUTUAL
settling of legal proceedings for the benefit of the Company The Insured shall give all information
and assistance and forward all documents to enable the Company to settle or resist any claim as the
Company may think fit.
COMBINED POLICY FOR
5.. The Company at any time by the payment to the Insured of the maximum sum payable under Section
C ofthis Policy in respect cofa one occurrence, or the balance of such maximum sum should any payments have
THEATRICAL MANAGEMENTS
already been made in respect Enaye claims arising out of the same occurrence, or by the payment aforesaid of the
balance oft the maximum sum payablel hereunder in any one period of Insurance should the same ebe less than either
oft the aforesaid amounts by reason of any payments made in connection with any previous claims together with the
amount of the legal costs (if any) incurred by the Company to the date of such absolve itself from any
further liability whatsoever arising out of or in connection with such occurrence. Tee sum payable in respect
of any claim or claims occurring connection with or arising out of any one source or original cause exceeds the
sum payable under this Policy thn Insured shall pay the excess, and shall also pay such
of the legal
costs payable to any claimant or claimants and/or incurred in the defence of any claim or claims respect of such
bears total
datrericns
occurrence as such excess to the sum payable in respect of such occurrence.
6. The Insured shall exercise reasonable care that only competent employees are employed and shall take
all reasonable steps to prevent accidents and to comply with all statutory or other obligations and regulations
imposed by any authority.
7. The Company may cancel this Policy by sending seven days notice by Registered Post to the Insured at his
last known address and in such event the premium shall be adjusted appropriately for the portion of the period
THEATRES MUTUAL' BRANCH
the Policy has been in force.
8. The Insured shall give notice to the Company of any alteration whereby the risk of loss damage or liability
79 PALL MALL LONDON SW1Y 5HE
is increased and until the Company be advised of such alteration and shall have expressly agreed in writing to
accept liability for such altered risk the Company shall not be liable in respect ofany loss or damage or liability due
altogether or in part to any such alteration or circumstance.
9. Thel First Premium and all Renewal Premiums that may be accepted hereunder are provisional and subject
to adjustment. Within one month from the expiry of this Policy or ofany renewal thereof the Insured shall furnish
For your own protection you are recommended to read
such particulars and information as the Company may require for the purpose of assessing any premium which
may be due to or from the Insured.
your Policy and all its Conditions to ascertain that it is
made out in accordance with your intentions.
10. Ifany differences shall arise ast to the amount to be paid under this Policy (liability being otherwise admitted)
such difference shall be referred to an arbitrator to be appointed by the parties in accordance with the Statutory
provisions in that behalf for the time being in force. Where any difference is this Condition to be referred to
arbitration the making of an award shall be a condition precedent to any right o7a action against the Company.


Mahler at the Arts
Dear Ken Russell,
Vladek told me that you were interested in
filming MAHLER.
Is that so? I think you could
do something fascinating with it--and that it
should be kept simple and a two-hander. About
Alma and Gustav, not a big Gustav Mahler film
but a love story. Do let us meet and talk about
With best wishes,
Yours,
Maurice Rowdon


5 TAMWORTH STREET
LONDON, S.W.6
Mahler at the Arts
Dear Ken Russell,


KEN RUSSELL PRODUCTIONS LIMITED
Telephones:
23 Ladbroke Square XUKYEXXK
London W.11.
IMOXPXKKXIXAME,
LONDONAWX.
9th March, 1973
Maurice Rowdon Esq.
Portslade Productions Ltd
5 Tamworth Street
London S.W.6.
Dear Mr Rowdon,
Thank you for your letter of February 27th.
I am interested in doing a Mahler project and would
like to discuss it with you. As I shall be out of
England for the next two weeks we shall have to
postpone a meeting, but I shall contact you upon my
return.
Yours sincerely,
Pru
Haledind
a KEN RUSSELL
Directors:
H. K. RUSSELL
S.A. RUSSELL


PINKAS BRAUN
TEL. CH-8261 054/8 HEMISHOFEN 5453
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M N Lile
Yourc


Nottingham Playhouse
Wellington Circus
Nottingham NG1 5AF
Administration 44361 Box Office 45671 STD 0602
JV/LES
21st February 1973
Maurice Rowdon,
Portslade Productions Ltd.,
5, Tamworth Street,
Dear Maurice Rowdon,
CHRISTOPHE
Stuart Burge has asked me to return this to you as
I am afraid his commitments would not allow him to under-
take anything for at least a year.
However, many thanks for sending it to him.
Yours sincerely,
Jenni Vaulkhard
Assistant to the Director
Enc.
Theatre Director : STUART BURGE
Administrator: : GEORGE ROWBOTTOM


THE ARTS COUNCIL OF GREAT BRITAIN
IOS Piccadilly, London, WIV OAU
TELEPHONE: 01-629 9495
TELEGRAMS: AMEC, LONDON, W.1
CHAIRMAN: PATRICK GIBSON
SNT/CG
SECRETARY-GENERAL: SIR HUGH WILLATT
15th January 1973
Dear Maurice Rowdon,
A SONG OF THE EARTH has now been read and considered under the New
Drama Scheme but I regret to say that it has not been recommended
for a grant. I am returning the copies herewith.
Yours sincerely,
Sus Vuler
Susan Tyler
Drama Officer
Maurice Rowdon, Esq.,
Portslade Productions Ltd.,
5 Tamworth St.,


WESTMINSTER HOSPITAL
PATRON
Her Majesty The Queen
INCORPORATING
Westminster Hospital SW1
CHAIRMAN
Queen Mary's Hospital Roehampton SW15
The Rt Hon Lord Reigate
St. John's Hospital SW11
Westminster Children's Hospital SW1
HOUSE GOVERNOR AND SECRETARY
Putney Hospital SW15
RI P MacMahon MA FHA
The Gordon Hospital SW1
All Saints' Hospital SE11
CHIEF NURSING OFFICER
Westmoor House SW15
Miss Marjorie W Mudge SRN CMB NA (H) Cert
Telephone 01-828 9811 Ext
From WESTMINSTER HOSPITAL DEAN RYLE STREET, HORSEFERRY ROAD, LONDON, SW1P 2AP
SVM/BVC
Portslade Productions,
c/o Arts Theatre,
Great Newport Street,
London, W.1.
20th February, 1973.
Dear Sirs,
I understand that tickets were made available at the
weekend, Saturday and Sunday, for performances of
"Mahler" at The Arts Theatre of the above address.
May I thank you most sincerely on behalf of the nursing
staff who were able to take advantage of this kind offer.
Yours sincerely,
Cakebreed.
Sarah V. Minter
Principal Nursing Officer.


11 ALDWYCH
LANNED
DIRECTORS
LONDON, W.C.2.
John H. deLannoy
Chairman & Managing
Telephone 01-836 6268/9
Rory Annesley
Hon. George Borwick
Telegrams LANNOYPLAN
THEATRE
John Roberts
LONDON, W.C.2.
Company registration number 1021021.
Your ref:
Our ref:
Portslade Productions Ltd.
16th February 1973.
5 Tamworth Street,
London. S.W.6.
Account No.A/15. 59.
Debtor to Planned Theatre Ltd.,
To four weeks fees from 29th January 1973.
To entertaining ( John Reed, Tony Horder etc)
at dress rehearsal
To carparking, first night.
To Cable to PACT in South Africa.
Total due
Srone
EeEsse
Mtp


"MAHLER"
Dear Larry Dalzell,
I enclose a cheque for Miss Edith
Macarthur's first week at the Arts theatre.
We have calculated this from the day of the
get-in, last Sunday, and not opening night
on February 14th.
Yours sincerely,
Maurice Rowdon


"MAHLER"
Dear Dennis Selinger,
I enclose a cheque for Vladek Sheybal's
first week at the Arts Theatre.
We have calculated this from the day of
the get-in, last Sunday, and not fron the
opening night on Wednesday.
Yours sincerely,
Maurice Rowdon


Incorporated in England
Reg. No. 624293
LONDON MANAGEMENT
(LONDON MANAGEMENT & REPRESENTATION LTD)
Reg. Office. : 235/241 REGENT STREET,
TELEPHONE: : O1-734 4192
LONDON,
TELEGRAMS & CABLES: :
WIA 2JT
LONDENT, LONDON, W I
25th January 1973
Mr John Delannoy
Planned Theatre Limited
11 Aldwych
W C 2
Dear John
KIT SURREY o MAHLER
Many thanks for the letter agreement and I now return
the copy duly signed by Kit Surrey. I look forward to
receiving a cheque for the first half of the fee which should
be made payable to London Management.
Yours sincerely,
his
LIZ KEYS
DIRECTORS: KENNETH HALL (CHAIRMAN) MICHAEL GRADE (JOINT MANAGING) WILLIAM MARSH (JOINT MANAGING) DENNIS VAN THAL (JOINT MANAGING)
CYRIL BERLIN. JEAN DIAMOND. ANGELA HEPBURN. LIZ KEYS. BERNARD LEE. NORMAN MURRAY, PAT SHARD. MICHAEL SULLIVAN SECRETARY: DOUGLAS ALLEN
LICENSED ANNUALLY BY THE CITY OF WESTMINSTER


11 ALDWYCH
DIRECTORS
LONDON, W.C.2.
John H.
LANNED
deLannoy
Chairman & Managing
Telephone 01-836 6268/9
Rory Annesley
Hon. George Borwick
Telegrams LANNOYPLAN
THEATRE
John Roberts
LONDON, W.C.2.
Company Registration Number 1021021( England)
Your ref:
Our ref:
Miss. Liz Keyes,
16th January 1973.
London Management
235 Regent Street
London WIA 2JT.
Dear Liz,
"Mahler" for Portslade Productions Ltd.
of 5, Tamworth Street, London. S.W.6.
This is to confirm ahe arrangement whereby your Client Kit Surrey
will design the above production for Portslade Productions Ltd.,
of 5 Tamworth Street, London. S.W.6. for a fee of £100.00. ( one
hundred pounds) and expenses involved in not more than three
return journeys from York to London. Rehearsals start on Monday
22nd January 1973 at Church House, The Boltons, London.S.W.10.
ànd all must be ready for the get-in and fit-up on Sunday 11th
February 1973 at 5pm at The Arts Theatre. Fees shall be paid
in two equal parts, £50.00. on signing of this letter Agreement
and the balance on the date of the first public performance on
Wednesday 14th February 1973.
In the event of the production being transferred to a West End
theatre, your Client shall have first refusal to re-design at
a new fee to be negotiated.
We will ensure that on programmes and printed material under
the control of the Management that the normal credit # Designed
by Kit Surrey # shall be given.
If the above constitutes your understanding of the agreement
reached between us would you kindly sign and return the enclosed
copy of this letter to the above address.
Yours sincerely,
John H. deLannoy.
For Portslade Productions Atd.
Kir
Agreed and confirmed
Kit "Surrey
Sueey


LARRY DALZELL ASSOCIATES LTD.
14 CLIFFORD STREET
LONDON, W.1
DIRECTORS
LARRY DALZELL
CABLES: DALMAR LONDON-W 1
PATRICIA MARMONT
Maurice Rowden, Esq.,
23rd. January 1973
Portslade Productions Ltd.,
5, Tamworth Street,
London,
Dear Mr. Rowden,
I have pleasure in returning herewith EDITH MACARTHUR'S
signed contract for "Mahler". I look forward to receiving
counterpart from you in due course.
fest wishes,
Cmy mDeyu
LARRY DALZELL
LICENSED ANNUALLY BY THE CITY OF WESTMINSTER


"MAHLER"
Dear Mr Hancock,
Further to our telephone conversa tion two
days ago I have pleasure in enclosing our agree-
ment.
If there are any other deteils about the
production you would like to have please do not
hesitate to get in touch with me.
Yours sincerely,
Maurice Rowdon




"MAHLER"
Dear Mr Dalzell,
I enclose the counterpart of the MAHEER
contract for Edith's signature.
With best wishes,
Yours sincerely,
Maurice Rowdon


Company registration number 1021021.
John Nathan, Esq.,
30th January 1973,
Berman Nathan Ltd.,
143 Drury Lane,
London. W. C. 2.
Dear John,
1 Mahler # For Portslade Productions Ltd.
of 5 Tamworth Street, London. S. W._6.
Confirming our telephone conversation of this morning, would you
please arrange tha t the costumes for Mr. Vladek Sheybal and Miss.
Edith MacArhiur shall be available for collection on Monday 5th
February. These will be required for a period of four weeks and
we understand that in the event of them all being retained, the
hire charge will be a total of £150.00. However, as arranged,we
enclosing Portslade Productions cheque for £100.00. our underst-
anding being that in the event of any costumes being found surplus
to our requirements during the week beginning 5th February we
shall have the right to return these and you will then adjust
the total hire figure and we will forward you a second cheque
for hhe balance due prior to the production opening at the Arts
Theatre on Wednesday 14th February.
Yours sincerely,
John H. deLannoy.
For Portslade Productions Ltd.


11 ALDWYCH
DIRECTORS
LONDON, W.C.2.
John H.
LANNED
deLannoy
Chairman & Managing
Telephone 01-836 6268/9
Rory Annesley
Hon. George Borwick
Telegrams LANNOYPLAN
THEATRE
John Roberts
LONDON, W.C.2.
Company registration number 1021021.
Your ref:
Our ref:
Maurice Rowdon,Esq.,
30th January 1973.
5 Tamworth Street,
London. S.W.6.
Dear Maurice,
Enclosed herewith Alan West's accounts for first: rehearsal week
ending 27th January. I am not quite certain of the situation
over the various contracts and to keep the records straight
could you let me know whether you have Vladek Sheybal,Edith
MacArthur and Katie Coley's signed by them. We are enclosing
Alan West's contract signed by him for your file. If you would
sign the other copy and give it to him. We are also enclosing
the counterpart of Katie Coley's contract for you to sign and
give to her when you receive the other half with her signature.
Also enclosed is a copy signed by Kit Surrey, together with a
letter from his Agent Liz Keys for your records. I presume
you have send the first £50 cheque for this, if not would you
please do so.
Since I spoke to you this morning on the telephone, I have spoken
to John Read of Theatre Projects and he is prepared to reduce his
fee to £125 and will be forwarding a contract for your signature
in the course of a few days. He has also said they will endeavour
to keep their electrical hires down to £30. per week, but if it
is necessary to go any higher he will consult first.
Yours sinçerely,
John H. deLannoy.


"MAHLER"
Dear Mr Watkins,
Further to our conversation yesterday I
enclose a cheque for £66 as a first payment
for the classifieds we arranged between us.
Yours sincerely,
Maurice Rowdon


MAHLER"
Dear John,
I enclose a cheque for Berman and Nathan
as an advance for the costumes we are hiring.
The Arts are sending you a letter about
Vladek's photograph stolen from the foyer,
for the insurance claim.
Yours ever,
Maurice Rowdon


Dear Nicholas,
Herewith a few more throwaways.
Would you please sign the cheque for Oswald
Hickson, this being his fee for consultations
about the legal aspect of the play. I am agree-
ably surprised, thought it wouid be much more.
Would you also sign the cheque to London
Management, they being the agents of Kit Surrey
the designer, this being the first half of his
£100 fee.
And the cheque to me, being the management
salary and &50 expenses.
I spoke to my farmer and he will come in
for eight shares, that is a total of £2000. He
asked for an agreement right away, and this will
go off this evening.
Will let you know my numbers for party over
weekend. Matters rather hectic at the moment.
Eress interest in the play seems to be growing,
on the continent as well---the German Der Spiegel
interviewed me yesterday.
Yours ever,


Portslade Productions Ltd.
Directors :
5 Tamworth Street, London, S.W.6
MAURICE ROWDON
NICHOLAS KIMBER
THE PLAY: Maurice Rowdon's play MAHLER is for two
characters, the world-famous composer Gustav Mahler
(1860-19II) and his wife Alma (1879-1964).
It is
in two acts.
The script switches time and place
frequently, without any halt in the action, and de-
mands tour de force performances from the actor and
actress.
THE THEATRE: The world première of MHALER will be at
the Arts Theatre, Great Newport Street, near Leicest-
er Square, on February T4, St Valentine's Day, at
seven o'clock.
Subsaquent performances will be
starting at 80 o'clock (Saturdays 6.30 pom. and 9 p.m.).
The run will be aofor a minimum period of three weeks,
and a maximum period of four weeks.
THE PLAYERS: Vladek Sheybal, who plays Gustav, has a
face known to millions through his films (THE BOYFRIEND,
WOMEN IN LOVE, PUPPET ON A. CHAIN, THE INNOCENT BYSTANDER).
Of Polish origin, he left Warsaw twelves years ago at
the height of his stage careen: there (he got the Polish
equivalent of the Oscar).
He had rave notices for his
stage performances at the Hampstead Theatre Club, and
has made something like 50 feature and TV films in
this country and the US.
Edith Macarthur, who plays Alma, has appear-
ed with every major Scottish company, and is familiar
to a vast TV. public as Margaret in THE BORDERERS.
Her West End appearances include THE GAZEBO and THE
PRIME OF MISS BRODIE, and for a time she was with the
Royal Shakespeare Company. Her supberh perforamnces
at Nottingham Playhouse in THE DOUGLAS CASE, at the
Glasgow Citizens Theatre in THE ANATOMIST, with Tyrone
Guthrie directing, and recently at the Welsh National
Theatre in LONG DAV'S JOURNEY INTO NIGHT will always
be remembered by those who saw them.
THE DIRECTOR: Peter Watson began directing six years
ago at the Yvonne Arnaud, Guiddford. He then became
associate director at the Welsh National Theatre, his
notable productions there being LONG DAY'S JOURNEY
INTO NIGHT, WOZZECK and Goldoni's LA LOCANDIERA, both
the latter in his own translation. He has directed
Schnitzler's LIEUTENANT GUSTL in a fringe production
in London, and two new plays by Howards Barker at the
Open Space Theatre ('EDWARD---THE FINAL DAYS' and


Portslade Productions Ltd.
Directors :
5 Tamworth Street, London, S.W.6
MAURICE ROWDON
NICHOLAS KIMBER
'ALPHA ALPHA' with Miriam Karlin).
His most recent
show was TOAD OF TOAD HALL at the Jeanetta Cochrane
Theatre.
THE COMPOSER:
Peter Paul Koprowski has composed the
musical décor for MAHLER in such a way that it suggests
Mahler' S themes while being new music of today. Peter
Paul Koprowski left Warsaw three years. with his young
wife, both of them students, and looked for work in
London.
He is now teaching at Toronto University in
Canada, and he prepared the décor for this show in one
of the university workshops.
THE DESIGNER:
Kit Surrey joined the Glasgow Citizens
Theatre after his training at Wimbledon.
Since then
he has designed many shows at the Welsh National
Theatre, including SHE STOOPS TO CONQUER and WOZZECK.
At the Open Air Theatre in Regent's Park he has de-
signed MIDSUMMER NIGHT'S DREAM, MUCH ADO ABOUT NOTHING,
ROMEO AND JULIET and recently LORD BYRON. His other
notable sets include MARY ROSE at the Yvonne Arnaud,
and CATHERINE HOWARDat the Theatre Royal, York.


Dear Nicholas,
Herewith the investment blurb. You miscalculated
the breakeven point through reckoning the rent at a
constant &250 per week. In fact this is '8250 or 30%
of the box office, whichever is greater', so that the
bigger our audiences the more we pay out.
I asked the Arts for a longer option on the theatre
and they have agreed to a further 8 or 9 weeks after the
initial 3-week run. Sp we have a possible 12-week run
which at 85% audiences would yield a profit of over
86000 (which is why I have reverted $o your originab
70% to the investor and 30% to the management). You
might check on my arithmetic. I don't know if it's
etiquette at the Stock Ezchange to mention possible
profit, but if it isn't you could just put something
over that last sentence of the fourth paragraph when
you photostat it.
The new outlay (running costs) after the third week
will be roughly EI200 weekly, including the house rent
and allowing for a rise in salaries for the artists etc.
It could be more if we did a publicity boost.
Please no Anna Mahler in the front row or indeed
anywhere half way up the house. I am keeping her
desire to be in the audience from Vladek, who threatens
to walk offi So anywhere in the front rows especially
on first night she would be fatal.
Perhaps she means to bet
Yours ever,
PS of course a week from now Vladek could be insisting
on having her there. I am only giving you present
feelings, with the director's urgent pleas too.
PPS I took another look at the budget and decided it
was safer not to mention it being possibly &4500 etc.
If we do keep it down we can always plough it back.


"MAHLER"
Dear Sirs,
Thank you for yours (Ref 960/17) of the I5th.
I enclose a cheque for £202.86 and an advert-
ising contract which I have corrected to three weeks.
The Double Crowns and demis are being delivered
this week to Chsiwick.
Yours sincerely,
Maurice Rowdon.


Portslade Productions Ltd.
Directors :
5 Tamworth Street, London, S.W.6
MAURICE ROWDON
NICHOLAS KIMBER
"MAHLER"
Dear Mr Hancock,
We are opening this show at the Arts Theatre near
Leicester Square on February I4, for a limited
season, and I wonder if it would interest you as
an investment.
I enclose a copy of our circular to investors.
You will see that we are offering 20 shares of
&250 each.
I also enclose a photograph of the male lead, and
a leaflet which will give you most of the relevant
information. As you probably know, Vladek Shey-
bals face is known to millions through his films,
and this will no doubt be an added attraction.
Hoping to hear from you,
Yours sincerely,
Maurice Rowdon


Dear Nicholas,
Please sign
I. the cheque for &6 in the big envelope
together with the application form for Theatrical
Employers registration (two copies of THE STAGE
enclosed as proof of public announcement).
2. the one cheque for John de Lannoy.
3. the one cheque for Wendy Moger (her week's
mostly the printing of the press release
expeneee, Durrant's press clipping service.
4. the cash cheque for the stage manager
to pay next week's wages (E30 for himself, 822
for Deputy Stage Manager, &20 assistant airector,
£36 the actor and actress, EIO stamps).
Will you then gather your
end lick
the envelopes and
them into Tietho post. We
are rather latez nep our employer's registrat-
ion so please get it off earliest possible.
Yours ever,


"MAHLER"
Dear Tania,
Herewith two copies of the above.
Comps for the first nigat will be coming
to you separately. I hope all goes well
with you. This play does not always
get home on first reading. Of course
it is understood be tween us that neither
of these copies is for S.Fischer Verlag.
I am more interested in touringthe prod-
uction there than translation for the
moment.
Yours éver,
Maurice Rowdon


"MAHLER"
Dear John,
Herewith a cheque for S50 being your payment
for the two weeks beginning January I5th.
The two cheques, one to Babbage's and the other
to the Theatrical Trader's Association, have gone off
with the same post. The application to Hammersmith
Borough Councii for registration as theatrical employ-
ers goes off tomorrow with copies of advertisements
in THE STAGE.
Yours,
Maurice Rowdon


GUSTAV MAHLER was born of Jewish parentage at Kalischt in
Bohemia on july 7 1860.
1869 Grammar school at Iglau.
1877 University of Vienna. Also attended the Conservatory,
studying piano axibxabckintx under Julius Epstein.
1878 Met Anton Bruckner, a great event in his life.
Studied composition and counterpoint with him.
1883 Chorus master of Italian opera at the Karltheatre.
First visit to Bayreuth to hear Parsifal.
1885 Appointed firector of Conducted at the Royal Opera
House in Prague. The Rins and Tristan. His Beethoven
9th Symphony created enthusiasm.
1886-88 At Stadttheatre in Leipzig under Nikitsch.
Conducted opera in Nikitsch's absence.
1888 Took over Royal Opera House in Budapest, and complete-
ly reorganised it.
189I Appointed conductor at Stadtheatre in Hamburg.
1897 Director of the Royal Opera House in Vienna after
Wilhelm Jahn. Became a Cat
During the next ten
years he wiped out the Royal
debt, showing immense
zeal and
oun
thoroughness ij
1902 Mariied Alma Maria eescaentense daughter of awell-known
Court painter. She was 19 years his junior.
1907 Left Vienna State Opera.
1907, 1908, 19Io visited the United States, conducting
at the Metropalitan Opera House, and with the New York
Philharmonic Society. Returned to Europe in broken health.
Died at the age of 50 on May I8 19II. Gustav Mahler wrote
ten symphonies and 42 songs. Only the first sketches of
the final score for his Ioth Symphony were completed.
1892 Visited England and conducted German opera at Drury
Lane.


"MAHLER"
Dear Sirs,
I enclose a cheque for &II.90 being our
payment for the insurance to cover the above
show.
Yours sincerely,
Maurice Rowdon


"MAHLER"
Dear Sirs,
I enclose a cheque fbr &230 being a part
deposit to you fibr the construction and delivery
by Messrs E.Babbage of the set for the above
show.
Yours sincerely,
Maurice Rowdon


"MAHLER"
Dear Sirs,
I enclose a cheque for &235 as an advance
payment for the construction and delivery to
the Arts Theatre London of the set for the above
show.
Yours sincerely,
Maurice Rowdon


"MAHLER"
Dear Sirs,
I enclose a cheque for 83.15 as our
registration fee on the above show.
Yours sincerely,
Maurice Rowdon


"MAHLER"
Dear Bill,
Thank you for sending me the copy of our
agreement for Peter Watson, and I enclose a
cheque for £75 as the first half of our payment
of the fee of &150.
Yours sincerely,
Maurice Rowdon


PROVINCIAL CONTRACT
Not neçessarily applicable to Road Shows
APPROVED AS FROM 9th MAY, 1966
Esher Standard Contract
forNo. I Tours or No. ISeasons
AT PROVINCIAL AND LONDON SUBURBAN THEATBES
AS APPROVED BY THE PROVINCIAL THEATBE COUNCIL
Agreement made this.. Sixteenth.
day of January...
19.73.... between Portslade. Productions. Ltd.
of 5..Tamworth.. St..London.SW6.
(hereinafter called à the Manager ") of the one part and Alan.West..
of 20.. Rothesay..Avenus,Richmond,Surrey.
(hereinafter called "t the Artist") of the other part.
The regulations set in
land 21 hereto are part hereof as though set forth on
this and shall be Eseunro CnSrtn on parties hereto.
PAReA The Manager hereby engages the Artist to:-
(at-Perform- the part of
MAHLER.
such- parts -as- the Artist may be cast for in
*Delete as
wPeriom (Resident- seasons only-Ori in such other play "as thel Manager may nominate.
necessary.
(elPlay any part- -or parts- the Manager may require.
td-Perform in the "Chorus of.. .
telUnderstudy-ify crequired by the Managerr
(f) Undertake the GRIEP Paslage-Manager/ /AXXI* for the tour or/season at*..Ar.t.s...Thheatre
London.
engagement commence on the date of the first rehearsal.
The
al :
of these
Once
MUST be
deleted lines
Twiee- Nightly- at the option- of the Manager.
initialled by hotd
the ease of Coneert Parties, Resident Revues or Circuses.
parties.
The - be:
rehearsal for the duration of the
The Man-
*Three of these
give ofre
sub-clauses SMUST
provided devant
NaOE
and
for
the
the
pay
by both
salary
hereunder notwithstanding that
for
not run
Humne
play may
parties.
terminated
shall
etmer
pereutentun two
at any inte after the
after
on Saturday,
the
season when such notice may
thereaftertaul the
shall terminated
CONVERSION
two
at any bnte after the
on Saturday,
79T DURATOON TOUR
on the rerit of
SEASON
imer
aVRsT
the Aaene day
performance of
g eme ent
ctouro
stayn Luno
less
and
which voler
is given.
effectif
converts the
ianares an engagement
or season th:
with this
Ler
thereafter
LVE
rehearsal
for definite
period
and
period of..3. .consecutive
that when the
is engaged
converted under (c)
LArtese engagement
MLSLATLE hter
the date taran first TY either party
Cer not
RaE
weeks' prior notice in writing, such
tar ouP
expire
last performance
Saturday.
ona
(a) The tour season shall commence on the.. .14. .day Februaxy1o73or on some
not Forses than two weeks before or one week atteF that date at the discretion of
(b) LE of rehearsal shall commence day to be appointed by the Manager not
prior to toted commencement of the tour or season,
SALARY
The
pay
Artist shall be entitled to in
the
bischctuer
the
tour or
of.f30.. (thirty. .paunds)
for
said
such sums
aua
as are therein
-5 PEPaRIbRE
UNDERSTUDY
erstudy artist
other under Clause
PAYMENTS
weekin
the
E Lby
RITEE E
mnoer lc
shat e
of the
which
given.
aed
shall
a minimum
week under same
artist LthEs a leading
disclosed by
is un
the
the Choriste
not E EE - addition ae to T stated in
that
than one understudy
of the
Hat
respect
the additional payment of £2 shall be
amongst the
Fearrenmal ermalty
as an
other under
1(e) or
CIANES
the 'Chorister
not
per
hopntar
anything
payment for understudy
duties shall
Amcpreued
under
the Chorister
understudy
shallin
six
the
continues
thereafter
understudy
shall continue
for remainder
ent.
tarta
attends rehearsal primarily as a "stand-in" " for a
the
shall pay the
reasonably incurred in consequence Aprtncoels such
when
Complete
1 hereof and subject to Clause 2 the Artist
applicable
to give.
case may be, for salary stated
5 (b) hereof, such
being more than
ACePa
per week.
aT TMEA
TRANSPORT
8. The
shall
transport
Blank_spaces place, MharNey is
Locvaing LRE of
tomar place. sea
medt t
Rgnr
- TEET
liable
fares through
Artist
inall
the or
tay
and the compartment
NETA when a
is reserved.
1a1 tne travel any other way or means
except by
SUB-LETTING
9. The
have right
or sub-let
the services the Artist to
responsible
térms
tes
en Psponsdef tor nt salary Neth E
- Tr
SEde
Artist
sub-let services a Variety Bill at a less
érasueen
than
receives
consent
shall receive
aneranl
NER
NaryEE
ARBITRATION
their
oretine
EspErton
the
with
under or
coea
imandats aere the
shalli lifthe parties
Theatre SEuNeT for hrenecds
mendation.
shall
M BAEPDy
such
be referred
apoimes
accordance
subject provisions a
s E PR
L the
any
thereof
the
force.
by a
theatrical
- Botuon boing the other AGE
trator
the
nominated paitish Actors'
Anesen shall
Equity Association
the
tamti Provided a this clause
Nin any way affeot OT restrict
the right WITNESS party to this Agreement to
Courts
injunction.
the hands of
the
and
LET
VEAAM
MANAGER
yar
ARTIST


SCHEDULE 1
REGULATIONS APPLICABLE TO THIS CONTRACT
REHEARSAL
A. (1) Except provided in
hereof, the Manager shall pay the Artist
PAYMENTS
whose salary under his
does
whois noti in
of a salary
from
Pecars
any
engagement, CBaL
YEek and three weeks of rehearsal and
thereafter the
salary
AnF weekly
mentioned Fcae Clause
(2) Where rehearsals are held in the
of residence the Artist the rehearsal
hereof
instead £7.
held in London
siL FORE L CEtte to CRdEROL in the PatAe place Zae a of PATOL normally IBUAELE in the London
the last Sunday of the
rehearsal
mESt
Edudoareryts EYHONLE 3s. 4d.
for
any other
rehearsal.
costume
ante consist FaT 48 hours
except the
shall be
at the rate of 2s.
part of
broken
A.r rehearsal period Paar
Ehlre paid for at the rate
4d. day (or MEN rate 2T rehearsal
is under
(2) hereof). of
dress
orsuor
given free. The
rehearsal
poencart
deemed begin from
which the
irst called and
mrea
E E
ArIM
Pepotnd
(4) If any rehearsal is extended beyond hour of midnight the Manager shall any
reasonable expenses which the Artist shall incur the providing proper means of transport ior the
return of the Artist to the Artist's home.
(5) During a period of suspension the Artist may only be
to rehearse
if so called, minimum payments for such rehearsals shall called accordance wEz
or A (2)
agrement
hereof.
(6) If the Manager calls the artists to rehearse Sunday any stage management staff called
the Manager in such a case shall be paid one-sixth of ome weekly salary in respect of any such Sun-
ax rehearsal.
REHEARSAL
the first performance,
shall normally be limited io 36 hours in each period
AFTER
of tour weeks Atera 48 hours in each period datrereks weeks in the case of understudy rehearsals).
PRODUCTION
(2) Except when additional
have been required
an emergency cast
replacement, any additional hours shall houey paid for at the rates et carvevuens out in A otosE
also after (3) production The provisions save that relating artists to in rehearsal receipt ofna salaries Sundays of during £50 per the week Peinds less of shall rehearsal be paid Lthale larea
per day for each such Sunday rehearsal after production.
(4) Subject to (1), (2) and (3) above, the Artist shall attend all rehearsals after production
without payment.
Rehearsals
not less than one and a half hours before curtain-up, or a
call by i8e management AOl agmabeerdan
(6) A period of at eleven hours shall elapse after the conclusion of each day's work or
curtain- down during which least Artist may not be called.
SALARIES
C. (1) Subject always be:- Paras. C (4), K (1), K (4), M and N hereof, the minimum weekly salary
during the tour or season 2183
(a) In the case of a Chorister of not more than one ASM. engaged solely as such
under the direction of a andio Manager, £15.
(b) In the case of a Stage Manager, £25, and
(c) In all other cases, £17.
(2) The weekly salary shall cover 8 performances in the case of
12 performances in the case of twice-nightly. Any extra performance shall
rate
weekly
for
LomeleNE
salary
Tpstomarers
arantsetere of_the
each extra once-nightly performance and one-twelfth for each
extra twice-nightly performance.
(3) An Artist receiving salary of more than per may contract for the number
stated Clause : hereof at honeso
salary
always that of
gstorpeen thanc
played deduction dayida
except
daT a and Vaceary Performances required in iaanbdss to those
for
Egr Rarcepi be paid pro rata.
(4) A broken week at the commencement termination
tour or
or reason of
the suspension of any
closing
theatre smertzr with the
conditions ofthis agreement
tor
the
salary per perform-
ance once-nightly and
EE -
weekly
performance
except the
week
of Artists on salaries of £50 per or less in
case payment be at
case
shall
rate of
Aper
atrane daily
one-sixth of the weekly salary.
a play is broadcast in whole
broadcast shall receive such
walledsi
may be agreed
Lompelardins "ebrong Committee and either
British PALCE EaURY Association
Federation but this clause shall apply only
the
L ER
sound broadcasts
during
MET
from loaot-m
normal performance.
EXCLUSIVE
E. Artist
b7 Manager
talent
SERVICES
CELLETENTY
Man maerande Aaurtostares eseticrornee sotorg poseane
the benefit ofauy other
institution, person or persons, without the prior written
permission of the Manager.
PHOTOGRAPH
F. (1) During the
of rehearsal attendance for photograph calls shall be deemed to be
CALLS
attendance for vrins.the_period
(2) After production
shall attend photograph call as required by the Manager
for a period not exceeding onbeA Aotist without Hend-ome.
(3) Manager shall
best
of the Artist
in accordance CTVRLME the
paragraph endevours toen earures yeubatopdet Apkoberebre purpose other raken
publicity for or asuperotbaes play.
BAGGAGE
G. Artist shall allowed to have
cost of
on trains,
boats Tumied other
the ibraeen subject
the
basket
Pounds
Artist
hralne be-
residence. The
shall deemed
OTo
LE -
whether owner's
or otherwise
te purpose
and
rtienni
such transport
party thereto.
taote
RESIDENCE
H. The Artist shall without the
of the
than four miles
from
in which anotwy is appearing, axrtten rusonent provision DaNonery not apply ppuide more. case of a theatre
within hot Sarcendon Postal District.
DRESSING-
J. The
shall accept and occupy the Dressing-room accommodation assigned to him or her by
ROOMS
the Manager LActiten or representative.
ILLNESS
Nal own be apader for default, days or and nights Phtecron shall which Artist doce eacot non-perform- perform by
from
specified in L contract a sum pro rata e number of performances to
played
LUAREE
= L L Aeeez
or performance
thereof from
other than
or 2bdore
at his
emtthere
LVERLOer at
BeLor once report the
Theatre
who may aer
as they MMAE
and the Manager and
abide by their
Artist shall
decision.
(3) Artist
Manager illness ruace
a medical
mearecdomers
such incapacity the
failure
such
the
MEndeN
The Artist
required
examination a
practitioner
Edmer i wtrton, einddar
nominated
the Manager.
of Artist whose
the case
salary £50 week or less,
any performance in ohien the Artist does not
iliness half-salary that
40aY
to totso
Artist. rhe
payment
ETENEs
two consecutive
weeks at the
Artist is still unable Abeto perform,
may terminate the
engagement
further
without
Artist
(5) In the of
week,
of any thocdies CEAANHE as intmetiny
shall
Le engagement on accountof
shall, reason
have been
from performances on anysix days or
a period of three consecu-
weeks, orf from rehearsals prior to production for
days.
word €
(6) The
illness shall include any bodily or mental infirmity.
COSTUMES
L. (1) Except as
(2), the Manager shall
all character special
and
to provide modern Mhellprovides such as could
used
EhemMEen
gondrmecity
cotamer by amih
following:
Nomale TARETE mperedte aeAeeE tha all more inhan four suits nor any female Artist
more than four
£50 week
be required
in the case
ATEe male
sort
suit, and op
of female
aproridoun
more
end under-garments
may
required provided Artists
choristers but choristers
E aybr
atr
Tiestarneale
may jynd
required to provide underwear only.
L L


AMENDMENTS TO ESHER STANDARD CONTRACT FOR NO. 1 TOURS OR NO. 1 SEASONS
OPERATIVE FROM 23rd NOVEMBER 1970
Clause 5(c)
Insert a new sub-Clause reading:-
"5(c) (i) the sum of € per week for the first
weeks of the tour or season
(ii) the sum of €
per week for the
and each subsequent week of the tour
or season".
Insert a marginal note against this sub-Clause reading:-
"Sub-Clause (c) may be used instead of sub-Clause (b) where the salary under (ii)
thereof exceeds £50 (up to 31.12.70) or £100 (from 1.1.71) provided also that in this
latter case the engagement is for at least 4 performance weeks. The number of weeis
to insert in sub-Clause (c)(i) is the number of rehearsal weeks and the weekly salary
to insert is the performance salary less the weekly rehearsal salary. The salary to
insert in sub-Clause (c)(ii) is the full salary for subsequent weeks".
Schedule 1, Paragraph A(1)
Delete in toto and substitute the following:-
"A(1) The Manager shall pay to the Artist for each week of rehearsals the salary
prescribed in Paragraph A(2) hereof".
Schedule 1, Paragraph A(2)
Delete in toto and substitute the following:-
"A(2) The salary payable to the Artist for each of the first 2 weeks and for the
third and each subsequent week respectively of rehearsals is set out in the table below:
Period during which
Weekly Rehearsal Salary
rehearsals take
lst 2 weeks rehearsals
3rd and subsequent weeks
place
reheersals
Experienced. Iner GE noed Experienced Inexperienced
Artists
Artists
Artists
Artists
E18
29.11.71 and thereafter
Provided that:
(i) The Manager shall be entitled to deduct one-sixth of the Artist's reheacsal
salary for each day in respect of which the Artist is not available for rehearsel
by reason of another engagement for which the Manager has given permission
pursuant to Paragraph E hereof.
(ii) For the purpose of this Agreement the expression "Experienced Artists" shail
mean Artists
with such professional qualifications as would
entitle them to obtain Full Membership of Equity and the expression "Inexperisaced
Artists" shall mean all other Artists.
Schedule 1, Paragraph A(3), Lines 2 & 6
Delete "21.3s.4d." where such figures occur (twice) and substitute therefor the wordo
"one-sixth of the weekly salary prescribed in Paragraph A(2) hereof".
Schedule 1, Paragraph A(3), Lines 6 & 7
Delete "(or at the rate of £1 if rehearsal payment is under sub-para. (2) hereof)".
Schedule 1, Paragraph B(3). Line 2
Delete "£2.6s.8d." and substitute therefor the words "one-third of the weekly salary
prencribed in Paragraph A(2) hereof".
Schedule 1, Paragraph C(1)
Delete sub-Paragraphs (a), (b) and (c) in tote and substitute therefor the following:
"in the case of a Stage Manager, &25, and in all other cases, £18".
Schedule 1, Paragraph N(1)(c)(i), Line 8
Delete "28.10s.Od.' and substitute "£9."


Provided that the Manager shall not omit the Artist from more than 12 performances as aforesaid without first reporting his reasons therefor
to the
Theatre Council which shall meet within 72 hours after receipt of such report.
*Insert London' or "Provincial' as appropriate.


(2) An Artist engaged specifically as "a
may be required,
and maintain
costume the
the
Aypeciaikrtis Artists shall supply rupely: wardrobe for
MaPT
va. Uarot LxE approval Serhe Manager, and
to provide modern
costume,
wardrobe required for character' parts PAE production shall be
provided L the
Neere
(3) The Manager shall provide that all clothes and costumes are kept in a reasonable state
of cleanliness and repair and the Artist shall take proper care of costumes provided by the Manager.
(4) Dressers
the
at his expense.
Artist
salary aM
pay and. own Dresser if the
But
opinion mbrme Manager the
part
the tonaon a Dresser necessary.
M EE Erat SM
M. No
the
FORCE
Maae be Dralameanty by
Christmas
Good
ich reason ares of
MAJEURE
national mourning,
lockouts,
any
Ficather
the
egmedtu
aae
production
bookedi received the Manager within eight weeks prior to date
amdece
presentation
the production that theatre.
In the event of an
booked
engagement
ont the tour
by reason of absence
andmn
conduct
breach of Trecheings Artist namedi in Contract
ena theatre, BEN ier.cond shall SETE to
a period
more than two weeks,
ort cancel the tour
liability to any Artist ih in
other thntou such sums as may be 'due upt to the time of
such
suspension or
postponement,
N. (1) The Manager shall be entitled to
the engagement in respect of weeks out subject WEEKS OUT
to the following conditions as to the payment rupend salary -
(a) Payment of salary shall not
the guaranteed period in the case
ofan Artist engaged under Camer aurenand dartiago
(b) Payment
shall not suspended in respect of week after the
or Artist
notice to VrEened the engagement any" accordance with
Manuger
provisions
E L
of an Artist whose
is £50 week
under
Edrms paymento ofa uerz
in L end of
mOTE last week of the
the
SARETEE
sum, sranyn any,
shorter make period) the the Artist's shall accordingly. pay to th In
to making
satoi an HARR the Manager's expense ticket
where
the
shall also
Bc Patey sum BE
Masmertian any AnsdnenL such during Aoey
E engagementi the suspended L tnlay paragraph.
case of Artist
not be
tant Esopera
slerz
at end each
twenty-five
week
REEE -
sum, any, Peceuty the to shorter make EsteeA the Artist's the salary accordingly. pay to
(2) The Manager shall give the Artist as
long notice possible of any week out.
shydE noter irved entitled €100 a to week, one ndynet rehearsed or performed HOLIDAYS
the
sach
Artist's rehearsal
Eonnnel
CEOAL period, ton exclude any period of
suspension Vareany
Any holiday to which the Artist is entitled shall be taken at such time as the
Manager
shall in ABd discretion decide.
of the (3) Where the Manager Artist is entivied pay to to hotdstu a
but salary the hotdsz has at not rate begun provided before the sub- end
paragraph eneesrndoie below.
(4) Payment
of holiday in accordance with
shall
be at the rate of one-sixth Laertrl.petecknt salary or 28 6s. 8d., whichever is aebENneRPL thel lesser, Peacha above
P. If
reason Manager shall
provided Paragraphs M N top produce FAILURE
present for or LhMe the esrrie hergryd rudedin? the Manager andN the Artist
or satisfaction tere CCEE a mRC equivalent to two weeks' salary, except in case of an PRODUCE
Artist engaged under Clause 3
AEE
way herene
ditions Q. the Manager, haviese terminated the torre season season in accordance within three with the
and
TERMINATION OF
termination and cenoTen engage boaPpTerE E or season on the same
and.ca as SEASON TOUR OR
those embodied in
andi if the Artist tousor feel
that such
not
Aremineind new tour season, asReeen
who
E submit
to his Association, may ameyin think fit meIE mOer the
derati
FIN NePPes
vincial Theatre
tion decision the Council and parties
eruee
hereby agree
and
the decision the
accept
oeotd stoment
R. (1) The Artist shall before the first performance in each town enter in the Stage-doorkeeper's
book the Artist's address and shall immediately notify any change thereof.
PROVISIONS GENERAL
(2) All notices referring the tour season
placed the Stage-door
notice board
of notices Yha" said marmit
member Manager
atany
inciees
EoteE - E L
theatre place
Artist
entered in
1OtA0E Stage-d doorkeeper's
address
Artist
herein
corae
as appropriate.
art0
OPt
- FOTATEa nEMrAne
the
of thel
with
the Artist
rtter Htenert rioes povnvet
PIATdR
partedy the
or parts
for
Manager of
parts
thal
entitled to
the from
SRETE
cost
Ahasers
any
payable
L E
NeF
The Artist shall
with the rules of theatre which the
hearsing performing and
the made by ay Manager tw so far as such
rules do
Compew.m
conflict
my-bone
arreE
with E druei Agreement.
part
liable to
into
shall be
sufficient
HLonnP shall be made - this time cortere of
the Artist to
right Any
and examined a medical practitioner at his
NES
own
BSTENATE
expense.
BEE
Artist shall
The
perform the services required of Artist under this
in a
diligent
shall play_the ralcton
and
the
Manager shall
MAtMeeNLyR
F SPARMERONE imemroera amde any words Peréeudrn in the xmal part approved by the
Manager.
raren
AavT
2 1(b), the
SUDest
Phadiercdl
of Artist's name
size
sehodulka
and nature
Manuser
thall
HE EEERR type on
programmes HTEE FE
(8) The Manager
assigning any reason at time and whether the name ofthe
Airtist be advertised or
the acleer
performance or
wh h
performances
Lprectine
the Artist
omission continue
in respect d2
Manag ger
ation to of such
the
Parto
perform whether
and
whe
expressed implied
of Agreement
ther arising out
or otherwise
cease.
Ani
The
not
into
not previously approved
by thel
LadesTE TMAS irtemerst with
consentthe Artist
warrants that
brestaimtre
use such material and is infringing
Artist
the
made in ane of men
WAAT any
remain
EESTOE
Serts
Suemnene
material any
own
Nonte
in sketches and other
GES the
engaged
in other
The
unlicensed
into
metanel
not in
performance
script, and
licensed
arNy or
or breach
shall be
for and on demand
laner
inbler
pay the amount ofa
penalties and costs
incurred
by the Manager.
(10) The Artist declares that
time
ofs
Contract he is under no engagement
other
to any
person, firm company aPan preclude derinr tnbnc fulfilling this Contract.
(11) of This the Contract
Artist written
Manager within ten days
be null
aatroen
ENEE aat nol
the Artist.
- Fae
the
Naral
Armdrert Manager Ea fontoets
ia to to rehearse rehearses, shall the contract attach
be deemed to have been
confrmed
parties.
AmTe
incident (12) The Artist therefrom shall not without make the any written public permission press announcement of the Management, regarding nor this employ engagement or
press agent so.
any
aroda
ent-or
(13) the
the
Artist shall
a reasonable number
graphs, ARNOLS
Fastine CLNMENRPEA returned to supply, Artist in as good a
possible att the
Parnct-phots
engagement.
teE
Should the (14) Xrtate wrrmpleids to aor te bandparts Manager OT AAOTE ATR-SRARLS bandparts shal Amppyerd cost by to bte Artist. Artist.
below (15) Where the
Schedule 1 of
individual Artists
Variety STR în arenea to
salary application figures ACETRTLE of such provisions to an number Act and of persons to the abore Artists any VARIETY ACTS
engaged therein.
(16) This Contract does not apply to supers.


SCHEDULE 2
OPTION CLAUSE
The printed clauses and Acpodioes shall
Forms manf
tbe
ESHER
and
altered
A in
renadE
except to for:-
supplemental
EEEA
provide
Memerandum
name of Artist, place and the
to the within-mentioned Agree-
mOT The performance.
Mdore the
ment whereby it is agreed thatt the
STANDARD
(b) Special stipulations
Artist's position in s.td 2. Subject to such as the
Manager may at any time prior
rathtine.
may
to the posting of the notice
RRTL
Special stipulations
couale aTA
terminating the run of the tour or
CONTRACT
Sods Avatcals are
season give the Artist notice in
= - to exceptional
writing for a further engagement
circumstances.
and such notice shall be deemed
Special
for condi-
to have concluded a Contract for
E contracts. Feralantialationa postponements
as time
the engagement of the Artist at
For No. 1 Tours or No. I
2. If complaint is to the Council
amay
the salary hereinafter mentioned
made,t a
and otherwise upon the same
Seasons
Sae Managers_or an to from to
terms and conditions as are within
Body
The
set forth other than in this option
the are in
clause for the run of a new tour
or being
or season (such run to commence
napulied
for a
later than expiration of
AND LONDON
not
the
AT PROVINCIAL
Council upon such 4. In
weeks from
Browch as
facilitate
the ter-
complaint.
vtisot
mination of the run of the within-
SUBURBAN THEATRES
The Council shall decision
Artists following Rules
mentioned tour or season) at the
and Produe
(Applicable to Plays Musical
EEA
shall right
weekly salary of £.
tions but not necessarily o Boad Shows)
Noer own isure:
of an Arises for
such
VINEN
as its
particular requirements
time
Neither
ading HS -
nor the
Manager
Artist
nor any
Ruer
take
any
E I
4. Rules
being
or the
force the
to MAn
particular
the
Artist
DATED
are
M7 E
Registration of Managers and
BEESA Artists and that
PRODUCTION
RtuRe and Making of Engagements.
with a
Date
of 1. The shall keep a record
anda Nemeret
ARTIST
are
Council, who
referred
with the ea
Wm. llard & Co. Ltd., Exeter B.226. 51
Ccoume
Painaihres
to make
with
engagements in accordance
persons concerned.


Telephone
NORRIS HILL FARM
HEATON MOOR
STOCKPORT
CHESHIRE
SK4 3LN
8th. November 1972.
Mr. M. Rowdon,
Portslade Productions Ltd.,
5 Tamworth Street,
London s.W.6.
Dear Mr. Rowdon,
Thank you for your letter of the 3rd.
November 1972.
On Thursday November 23rd. 1972 I am
coming up to Logdon for the day to attend a meeting
which is to start at 11--30am. and will last until
about 4--30pm.
Would it be convenient to you if I
called to see you before my meeting ?
Yours sincerely,
Hancock
Hary
Harry Hancock.


OSWALD HICKSON, COLLIER & CO.
SOLICITORS
PETER F. CARTER-RUCK
ESSEX HOUSE
JOHN C. GOW
JOHN L. KIRKCONEL
ESSEX STREET
JOHN E. PAYNE
GORDON D. CALDWELL
STRAND
GEOFFREY L. WICKS
ANTHONY J.H. WICKENS
LONDON WC2R 3AQ
PAUL R.DAVIES
TIMOTHY J.L.COX
JULIE A.SCOTT-BAYFIELD
01-836 8333 (IO LINES)
NICHOLAS N.J.SMITH
DAVID A. CRICK
HICKSOLOR LONDON w.C.2
PHILIP J.A.HAWKES
TELEX 22533
ROY A. FURNESS
CELIA M. M.HUNTER
ANDAT
DOROTHY E.F. CLIFFORD
4 RUE D'ANJOU
PARIS VIII (ANJ 1304)
5th December, 1972.
Maurice Rowdon, Esq.,
5 Tamworth Street,
London, S.W.6.
Dear Mr. Rowdon,
"A Song of the Earth"
I assume that you and your backers
have decided to go ahead with the play without
incurring the expense of instructing me to
make a comparative analysis of the two works.
As I have already done a considerable
amount of work on this matter, may I now render
my firm's account?
With kind regards,
Yours sincerely,
John E. Payne


JOHN STEAN (Mus. Dir. Member Equity: MU)
TEL.
103 MORTLAKE ROAD
KEW GARDENS
(SURREY)
TW9 4AA.
HARMONIC'
supply:
DANCE BANDS (A1)
CARIBBEAN (Coloured) "STEEL" BANDS
(authentic)
HAWAIIAN BANDS (with Hula girl)
TRAD BANDS (Dixieland)
BEAT-GROUPS (Pop)
CONTINENTAL ENSEMBLES
(Latin-American & Gipsy Bands in Costumes)
PIANISTS
ACCORDIANISTS
available
PLEASE KEEP FOR REFERENCE : Tip top Players-Reasonable Fee


PORTSLADE PRODUCTIONS LTD. 5, Tamworth Street, London S.W.6.
Bill Horne, Esq.,
8th January 1973.
90, York Street,
London. W. 1.
U MAHLER #0
Dear Bill Horne,
Further to various conversations I am now setting out the agreement
between your client Peter Watson and my Company,Portslade Productions
Ltd. of 5 Tamworth Street, London.S.w.6.
It is agreed that in consideration of a fee of £150.( one hundred
and fifty pounds) to be paid by my Company to you, half on signing
this letter agreement and the second half on the opendng date of
the production at The Arts Theatre on Wednesday 14th February 1973
plus 2% of the gross box office receipts at The Arts Theatre for
the run of the play, your client Peter Watson shall direct ehe
play at present entitled # Mahler 19 for a period of rehearsal
starting on 22nd January 1973 the play to open to the public at
The Arts Theatre on 14th February 1973.
It is further agreed that for the period of rehearsal only my
Company will be: responsible for the payment of £15 per week to
an assistant to Peter Watson of his choice.
In the event of the production being transferred from The Arts
Theatre to a regular West End theatre it is agreed that a further
fee shall be negotiated between us.
If the above constitutes your understanding of the agreement reached
between us would you be good enough to sign and return the enclosed
copy of this letter.
Yours sincerely,
MAURICE ROWDON.
hbe


CM 7
CREATIVE MANAGEMENT ASSOCIATES LTD
22. GRAFTON STREET - LONDON. WIX 3LD
TELEPHONE: 01-499 7971
CABLES: ÇREMANASSO-LONDON WI
Maurice Rowden,Esq.,
23rd January, 1973.
Port Slade Productions Limited,
5, Tamworth Street,
London, S.W.6.
Dear Maurice,
I am returning herewith Vladek Sheybal's contract for
MAHLER, duly signed and initialled.
May I wish you a very great success with the play.
Kind regards,
Yours sincerely,
Patrick Freeman.
MANAGING DIRECTOR DENNIS SELINGER : DIRECTORS: DOUGLAS RAE MAGGIE ABBOTT BUDDY HOWE (USA)
FREDDIE FIELDS (USA) DAVID BEGELMAN (USA) PRESIDENT CMA INTERNATIONAL
LICENSED ANNUALLY BY THE CITY OF WESTMINSTER


8, Chester Close,
Queens Ride,
20th. January, 1973.
Dear Mr.. Rowdon,
Miss Tutin is extremely busy
at the moment and she has therefore
asked me to write and thank you for
your letter, which she is sorry
not to have replied to before now.
She is just about to start
rehearsals for "What Every Woman
Knows" so unfortunately will not be
free to consider "Mahler".
Miss Tutin sends you her very
best wishes for a great success at
the Arts.
Yours sincerely,
Ehme
Secretary


WENDY MOGER
61 EATON SQUARE
LONDON S.W.1
19th January, 1973.
Maurice Rowdon, Esq..
Portslade Productions Ltd.,
5 Tamworth Street,
LONDON. s.W.6.
Dear Maurice,
This will confirm my agreement with Portslade Productions
Limited that I will work on your behalf as the press representative
for "Mahler". I will take care of the following:
Full publicity coverage to the best of my endeavours to
include coverage in the media of newspapers, magazines,
television and radio.
The organisation of press attendance on the first, second
and third nights of the production.
The writing, handling and mailing of all press releases in
relation to the production.
The preparation of biographies and editorial matter for
the programme, if required.
Advising and organising production photographs.
The organisation of press receptions and conferences in
connection with the production as mutually considered
desirable.
My engagement will begin on Monday, January 22nd. The
fee we agreed upon is £40 per week for the first twelve weeks
and then £25 per week for the rest of the run.
contd.


Maurice Rowdon, Esq.
19th January, 1973.
Iundertake not to incur expenses exceeding £5 per week
without prior agreement.
If the above sets out our agreement as you understand it,
would you please sign and return the attached copy of this letter.
Yours sincerely,
ISinay Naer
Wendy Moger
Read and agreed to:
Maurice Rowdon
On Bahalf of Portslade Productions Ltd.