Acquisition	Purchases, 1993 (R12976), 1996 (R13607)
	Processed by	Katherine Mosley and Joan Sibley, 1995; Katherine Mosley, 1996

Repository:

Harry Ransom Center, The University of Texas at Austin

	British playwright David Hare was born June 5, 1947, in St. Leonards, Sussex, England, the son of Clifford and Agnes Gilmour Hare. Clifford Hare was a sailor, and when David was five, the family moved to Bexhill-on-Sea, also in Sussex. Hare attended Lancing College and then went on to Jesus College, Cambridge, in order to study with famed Marxist Raymond Williams. After graduating from Cambridge in 1968 with an honors M.A. in English, Hare briefly worked for the film company A. B. Pathé before co-founding the Portable Theatre Company with Tony Bicât. Portable Theatre, a touring experimental theatre group, became a leader in the fringe theatre movement. Hare wrote his first plays for Portable Theatre and served as its director from 1968-71. He also served as literary manager of the Royal Court Theatre from 1969-70 and as its resident dramatist from 1970-71.
	Hare's first major play, Slag (1970), won him the Evening Standard Drama Award for most promising new playwright. Like Slag, The Great Exhibition (1972) viewed the failure of contemporary English society to change or accomplish anything. In 1972, Portable Theatre and its subsidiary, Shoot, declared bankruptcy, and Hare became resident dramatist at Nottingham Playhouse. Brassneck, which Hare wrote with Howard Brenton, was produced there that same year. At about the same time, Hare co-founded the Joint Stock Theatre Group with David Aukin and Max Stafford-Clark, and he served as director there from 1975-80. Knuckle (1974), the first of Hare's plays to be produced in London's West End, received the John Llewellyn Rhys Memorial Award; Hare was the first dramatist to win the award. Hare's first plays had established the primacy of social and political issues in his work, but with Knuckle, he shifted from contemporary satire toward what he calls his “history” plays. Hare's plays usually present a romantic relationship between members of the middle class and use the decline and corruption of the characters' careers, relationships, and idealism to reflect historical events.
	In Fanshen (1975), based on the book by William Hinton, Hare looked at the process of revolution. As a Joint Stock production, Fanshen was a collective effort in which actors collaborated with the writer, improvising and discussing the text at workshops and rehearsals. With Teeth 'n' Smiles (1975), Hare returned to an examination of the state of post-World War II English society, which he sees as dominated by dishonesty and corruption. A collaboration with Nick and Tony Bicât, it was Hare's only play to premiere at the Royal Court Theatre. Plenty, considered Hare's best play, was produced in 1978 and was Hare's first original play at the National Theatre. The play, about a woman who served in the French Resistance during World War II but finds only disillusionment in post-war Britain, shows the inability of people to effect change. A Map of the World (1983) expands to a global perspective and uses the device of a play within a play; by this time, Hare had become more interested in style and form. Pravda (1985), co-written with Howard Brenton, is a scathing attack on the press. In The Secret Rapture, a Margaret Thatcher-like M.P. takes advantage of her sister's goodness, with tragic consequences. A trilogy on institutions, Racing Demon (1990), Murmuring Judges (1991), and Absence of War (1993), looks at religion, the legal system, and political parties. Hare's most recent play, Skylight (1995), is less directly political, focusing on the failed relationship between two former lovers who meet again.
	In addition to directing his own plays, Hare has directed such works as The Pleasure Principle (1973) by Snoo Wilson, The Party (1974) by Trevor Griffiths, Weapons of Happiness (1976) by Howard Brenton, and Devil's Island (1977) by Tony Bicât. Hare also directed a production of King Lear at the National Theatre in 1986, with Anthony Hopkins starring as Lear. Hare became associate director at the National Theatre in 1984 and has also been a member of the council of the English Stage Company.
	Like many British playwrights, Hare has written teleplays for the BBC. Licking Hitler (1978) uses a World War II setting to examine the pervasiveness of lies in English culture. As in other Hare works, in Dreams of Leaving (1980) the main characters' loss of idealism leads to despair and madness. Saigon: The Year of the Cat (1983), directed by Stephen Frears, is about the Vietnam War and again juxtaposes personal lives with historical events. Heading Home is about a woman looking back at choices she made that led to her sense of loneliness.
	Hare has written several screenplays and even founded a film company, Greenpoint Films, in 1982. Among screenplays by Hare are Plenty (1985), Wetherby (1985), Strapless (1989), Paris by Night (1989), and Damage (1992). Wetherby, about repressed passions among members of the middle class, won the Golden Bear award at the Berlin Film Festival.
	Hare married theatrical agent Margaret Mathieson in 1970; they had three children, Joe, Darcy, and Lewis, before divorcing in 1980. Hare married designer Nicole Farhi in December 1992.
	More information about David Hare and his work may be found in his autobiographical Writing Left Handed (London: Faber and Faber, 1991), David Hare by Joan FitzPatrick Dean (Boston: Twayne Publishers, 1990), and The Plays of David Hare by Carol Homden (Cambridge University Press, 1995).

The inventory for the David Hare Papers is a conflation of one finding aid created in 1995 and a preliminary inventory created for a minimally processed addition received in 1996. The 1996 addition was appended to the end of the original finding aid. Because both descriptions began the box numbering with Box 1, the 1996 addition is differentiated by adding the letter "a" to the original box number (e.g., Box 1a, Box 2a, etc.). The inventories were combined in 2025 to comply with a new content management system.

	1993 Acquisition
	The David Hare papers consist of typescript drafts (many with holograph revisions), notes, lists, rehearsal scripts, schedules, production notes, correspondence, theatre programs, a poster, clippings and articles, brochures, resumes, photographs, page proofs, and published texts associated with Hare's plays, teleplays, screenplays, and essays, as well as foreign-language translations of Hare's works; works by other authors; personal correspondence; minutes of meetings; and Hare's English papers from Cambridge University, all ranging in date from 1968 to 1993. The material is organized in six series: Works by Hare (1970-92, nd, 27.5 boxes); Collaborations (1971-87, 1.5 boxes); Directing Activities (1969-86, nd, 1 box); Theatre Group Activities (1965, 1971-88, nd,.5 box); Career and Personal (1968-92, nd, 4 boxes); and Works by Others (1993, nd,.5 box).
	All of David Hare's stage plays, teleplays, and screenplays from the beginning of his career through 1991 are represented in some form and, along with articles, essays, lectures, and some unpublished works, comprise the largest series. Multiple drafts; rehearsal scripts; notes and dialog fragments; rejected scenes; production material, including casting and rehearsal notes, rehearsal calls, schedules, memos, financial information, and programs; foreign language translations by other authors, and versions of published texts are all present. Among Hare's major stage plays are Slag, The Great Exhibition, Knuckle, Fanshen, Teeth 'n' Smiles, Plenty, A Map of the World, The Secret Rapture, Racing Demon,and Murmuring Judges. Noteworthy manuscripts from these works include notes from Fanshen workshops, improvisations, and collaborative rehearsals; Plenty production material, such as expense estimates, schedules, and set design notes and drawings; and rejected scenes, rehearsal notes, and costume, plot, and prop lists from The Secret Rapture. Among unpublished works present are "What Happened to Blake,""Deathsheads," and "The Madman Theory of Deterrence." Hare's best known teleplays include Man above Men, Licking Hitler, Dreams of Leaving, Saigon: Year of the Cat, and Heading Home. Among unproduced teleplays are "The Bloody Workers,""In Your Eye,""It's Good to Know,""Mandrax," and "Shop!" In addition, Hare's screenplays of Damage, Plenty, The Secret Rapture, Strapless, and Wetherby are represented in the collection. Typescripts of Hare's collection of autobiographical essays, Writing Left-Handed, are also included, as are essays, lectures, and reviews by Hare.
	The files also document Hare's involvement with fringe theatres such as the Portable Theatre Co. and Joint Stock Theatre Group, as well as his later associations with the Royal Court Theatre and the Royal National Theatre. Hare was a founder of Portable Theatre, and relating to that venture are materials from the production of England's Ireland, including notes and letters documenting efforts to arrange a tour schedule, and papers relating to the theatre's financial collapse in 1973. Hare also was a founder of the Joint Stock Theatre Group, and its collaborative workshop approach to writing and producing plays can be seen in his Fanshen notebook and notes. In addition, minutes of board meetings, applications for financial assistance, and correspondence from Joint Stock are present. Royal Court Theatre materials include applications for the post of artistic director and related correspondence dating from 1988. Also, notes of English Stage Company council meetings and schedules of Royal Court productions sent to Hare by general manager Graham Cowley may be found with the general correspondence.
	While correspondence is scattered throughout the papers, most of it is gathered in the Career and Personal Series. The correspondence is a strength of the collection, and letters, notes, cards, postcards, and telegrams from friends, relatives, colleagues, actors and actresses, other directors, a variety of theatre companies, and theatrical, political and academic organizations may be found. Topics include business matters, Hare's social and political concerns, and personal matters. Noteworthy correspondents include Hare's agent Margaret "Peggy" Ramsay; his editor Frank Pike at Faber and Faber; his accountants at Midgley, Snelling, and Co.; directors Max Stafford-Clark and William Gaskill; actress Kate Nelligan; and playwrights Trevor Griffiths, John Osborne, and Michael Weller. Some letters are accompanied by clippings, photographs, or brochures. An index of correspondents in the 1993 acquisition is located at the end of this inventory. Most of the correspondence is incoming; the few copies of Hare's letters to other people are indicated in parentheses in the index. Other career and personal materials include theatre programs, a file documenting some of Hare's censorship concerns, and school papers from Cambridge University.
	Hare has been called a political playwright, and his social and political concerns are reflected throughout the collection. For example, Hare served on the Board of Trustees of Jarrow 86 Trust Ltd., which campaigned against high unemployment levels; letters regarding its financial difficulties were sent to Hare by Simon Osborn. Indications of Hare's political leanings are found in the minutes of the June 20 Group, essays on Thatcher and the political right, and correspondence with organizations such as the Joint Council for the Welfare of Immigrants, Justice, the Nicaragua Solidarity Campaign, and the Index of Censorship. A folder Hare labeled "Polemic" contains notes and drafts giving his views on the theatre, actors' agents, television drama, the Arts Council, and other subjects.
	Although Hare's career began as official censorship of plays in Britain ended in 1968, he has always been concerned with the issues of censorship and the power of the press in its choice of what to publish. He regarded the unwillingness of theatres to present England's Ireland as a form of censorship. Bill Webb of The Guardian asked Hare to write an introduction to its Bedside Guardian in 1986, and Hare sent a piece criticizing not only the press in general, but also The Guardian itself; it was not published. A negative review by New York Times critic Frank Rich resulted in the closure of the New York production of The Secret Rapture and generated an argument between Rich and Hare about Rich's power. Hare also exchanged heated correspondence with critic Irving Wardle over A Map of the World. In a "Censorship" folder, Hare filed correspondence with the BBC about its banning Roy Minton's play Scum and Ian McEwen's play Solid Geometry. The "Censorship" file also contains letters from a solicitor analyzing possible libel danger in republishing Hare's "Ah Mischief: The Role of Public Broadcasting" article, originally written for The Guardian, as well as Hare's notes for a debate with Mary Whitehouse about censorship.
	Hare has collaborated on various works with Nick Bicât, Tony Bicât, Howard Brenton, David Edgar, and Snoo Wilson, among others. Notable collaborations represented in the collection include Brassneck and Pravda, both cowritten with Howard Brenton, England's Ireland, which was written with six other playwrights, and The Knife, with Nick Bicât and Tim Rose-Price.
	As a director, Hare has directed not only productions of his own plays, but also plays by Tony Bicât, Howard Brenton, Trevor Griffiths, Christopher Hampton, and Snoo Wilson. Typescripts, correspondence, and production material from these are contained in the collection.
	Within the Works by Others series are two screenplays, Skin Flicker by Howard Brenton and The Serpent's Kiss by Tim Rose-Price, a playscript of Castle of the Sea by Colin Haydn Evans, and The Fever, a performance piece by Wallace Shawn.
	Series I. Works by Hare, 1970-92, nd (27.5 boxes). Hare's stage plays, teleplays, and screenplays are interfiled and arranged alphabetically by title. Hare's autobiographical book, Writing Left-Handed, and separate folders of essays, articles, and lectures kept by Hare are located at the end of the series. For any given work, there may be research material, multiple draft versions (many of which have holograph revisions); typescript notes of dialog fragments, phrases, and lists of script problems; "rejected scenes" or discarded pages; rewrite pages; and production material, including audition and casting material, rehearsal calls, rehearsal, production, and tour schedules, contact lists, expense and budget information, set design notes and drawings, sound and lighting notes, photographs, and correspondence. Translations, published texts, and page proofs are also present. Correspondence about a work may range from production memos through opening night telegrams, notes, and fan letters from colleagues as well as from strangers giving their reactions to the work. Teleplays and screenplays may also have synopses, storyboard material, lists of locations, publicity material, cast and crew lists, one-line schedules, and continuity scripts.
	All of Hare's major plays from the beginning of his career through 1991 are represented. Of particular interest among the manuscripts of Hare's best-known works are a copy of a rehearsal script of Slag, with light, sound, and other cues; notes from workshops, improvisations, and collaborative rehearsals of Fanshen; rewrite pages and production material from Plenty, including expense estimates, schedules, and set design notes and drawings; and The Secret Rapture rejected scenes, rehearsal notes, costume, plot, and prop lists, as well as Hare's second letter to critic Frank Rich regarding his influence in closing the play.
	Among typescripts of Hare's lesser-known and one-act plays, some of which have never been published, are those for his first play, the one-act How Brophy Made Good (1969); the one-act "What Happened to Blake" (1970); his adaptation of Pirendello's The Rules of the Game (1971); the one-act "Deathsheads" (1971); "The Madman Theory of Deterrence" (1983); and the double-bill The Bay at Nice and Wrecked Eggs (1986). Notes and fragments of unfinished plays, as well as typescripts of plays that were never produced, include "The Gift of Money,""Manningham by Winthrop," and a project with Bill Gaskill to adapt Tolstoy's Resurrection for the stage. Unidentified fragments of works are located at the end of the series.
	Hare's teleplays are present in the collection as drafts and a camera script of the unpublished Man above Men (1973); notes, drafts, and production material of Licking Hitler (1978); drafts, lists of script problems, scene locations, lists of voice-overs, and other production material from Dreams of Leaving (1980); drafts and notes for Saigon: Year of the Cat, including notes on meetings with Frank Snepp, author of Decent Interval; and drafts, a rehearsal script, and a production file for Heading Home (1991). Among typescripts of unproduced teleplays are "The Bloody Workers,""In Your Eye,""It's Good to Know,""Mandrax," and "Shop!"
	Drafts, rejected scenes, and a French translation of Hare's screen adaptation of Josephine Hart's Damage (1992) are present. Among Paris by Night (1989) manuscripts are research materials; rejected scenes; and a production file of casting, schedule, crew, location, rewrite, and storyboard material. Other screenplay materials include those of Plenty (1985), The Secret Rapture (1993), and a dialogue and continuity script, production material, and a typescript discussion on making the film Strapless (1989). Hare's first and best-received screenplay, Wetherby (1985), is represented by drafts, rejected scenes, memos, and a press kit. Unproduced screenplays include "The Jugular Vein"; "Somewhere in England," based on the book by Reg Gadney; "Stella"; "Transit of Venus," based on the book by Shirley Hazzard; and "The Unseen Enemy," based on the novel Il Fascistible by Giulio Castelli.
	Drafts of a collection of autobiographical essays, Writing Left-Handed (1991), comprise annotated original and photocopy typescripts and photocopies of printed texts. These are followed by typescripts, corrected proofs, and clippings of essays, lectures, and reviews by Hare.
	Hare's original folder titles have been retained and are indicated by single quotation marks in the folder list, while alternate titles of works are given in brackets. Hare's filing system has been maintained, so that some correspondence regarding a work is housed with that work, while similar letters remain housed with general correspondence in the Career and Personal series. All correspondents from the 1993 acquisition are listed in the Index of Correspondents at the end of this inventory.
	Series II. Collaborations, 1971-87, nd (1.5 boxes),. At various times during his career, David Hare has collaborated with Nick Bicât, Tony Bicât, Howard Brenton, Ken Campbell, Brian Clark, David Edgar, Francis Fuchs, Reg Gadney, Trevor Griffiths, Steven Poliakoff, Tim Rose Price, Hugh Stoddart, and Snoo Wilson. Of these, the best known are two stage plays written with Howard Brenton, Brassneck (1973) and Pravda (1985). Brassneck materials consist of various scripts, a rehearsal notebook, and production material for the teleplay; a German translation; and a copy of the published text in Plays and Players. Among Pravda materials are drafts, photographs of the German production, an adaptation in French and one for radio, and rejected scenes from a proposed screenplay. Notes and correspondence with Reg Gadney accompany a typescript of a proposed screenplay titled "The Crumb Bun." The Portable Theatre project England's Ireland (1972), cowritten with six other playwrights, is represented by typescripts as well as a production folder that is housed with Portable Theatre material and records efforts to schedule a tour of the controversial play. The Knife (1987) was an opera with music written by Nick Bicât and lyrics by Tim Rose Price and starring Mandy Patinkin as a man who undergoes a sex change operation. Many draft versions, along with such production material as rehearsal notes and a comparison to Conundrum, are present. Typescripts of Deeds (1978), written with Brenton, Griffiths, and Campbell, and Inside Out (1968), an adaptation of Franz Kafka's diaries cowritten by Tony Bicât, are present as well. Manuscripts of all collaborations are arranged alphabetically by title.
	Series III. Directing Activities, ca. 1969-86, nd (1 box). In addition to directing his own plays, Hare has directed some of the first productions of plays by his contemporaries. Included in the collection are a typescript of Howard Brenton's Christie in Love (1969); a rehearsal script and production schedule and notes for Tony Bicât's Devil's Island (1977); a typescript, cast list, rehearsal notes, and correspondence relating to Trevor Griffith's The Party (1974); and a typescript and production file for Snoo Wilson's The Pleasure Principle (1973). Holograph notes for a production of The Provoked Wife (1973), and a typescript of Total Eclipse (1981) by Christopher Hampton are also present, as are typescripts, correspondence, production schedules, and a seat availability list for Howard Brenton's Weapons of Happiness (1976). Hare directed a production of King Lear at the National Theatre in 1986, and production material from that show, such as correspondence regarding Anthony Hopkins' performance and other matters, and a typescript interview, are also part of the series.
	Series IV. Theatre Group Activities, 1965, 1971-88, nd (.5 box). Hare is also important in modern British theatre for his involvement with fringe theatres that produced the early works of many contemporary playwrights. From his association with the Portable Theatre Company come a press release, clippings, a program, and correspondence connected with its production of England's Ireland, particularly with attempts to arrange a tour schedule. A folder labeled "The Final Days" contains Portable Theatre's application for financial assistance and related correspondence. Minutes of board meetings, applications for financial assistance, a list of actors, and correspondence from the Joint Stock Theatre Group are present. Applications for the post of Artistic Director at the Royal Court Theatre in 1988 and pertinent correspondence complete the series.
	Series V. Career and Personal, 1968-92, nd (4 boxes). In 1988, Hare, Margaret Drabble, Antonia Fraser, Michael Holroyd, John Mortimer, Harold Pinter, Salman Rushdie, and others met as what came to be called the June 20 Group to discuss ways to reestablish the intellectual basis of the political left. Summary notes on that meeting, along with a cover letter from Pinter to Hare, are present. Hare's "Censorship" file contains letters about his essay "Ah Mischief," along with a copy of that essay, and correspondence with the BBC regarding the teleplays Scum and Solid Geometry. Hare's clipping files consist mainly of articles and reviews pertaining to Blair Brown, The Secret Rapture, its critic Frank Rich, and Writing Left-Handed.
	Hare's chronological arrangement of his correspondence has been maintained, and included are both his personal correspondence and that relating to his work. Noteworthy correspondents include David Aukin; Tony Bicât; Diana Boddington; Nell Campbell; Frances Conroy; Judi Dench; Pennie Downie; David Edgar; Richard Eyre; publisher Frank Pike at Faber and Faber; Reg Gadney; William Gaskill; Jane Greenwood; Trevor Griffiths; Peter Hall and others at the National Theatre; Christopher Hampton; Josephine Hart; agents Margaret “Peggy” Ramsay and Tom Erhardt at Margaret Ramsay Ltd.; Hare's ex-wife, Margaret Matheson; accountants Midgley and Snelling; John Mortimer; Kate Nelligan; John Osborne; Joseph Papp; Patsy Pollock; Charlotte Rampling; Philip Roth; Salman Rushdie; Roshan Seth; Wallace Shawn; Max Stafford-Clark and others from the Royal Court Theatre; Tom Stoppard; Anna Trojanowski; Irving Wardle; Michael Weller; Caroline Wilson; and Snoo Wilson. Some letters are accompanied by clippings, photographs, or brochures. A separate folder of correspondence with William Hinton about Fanshen has been retained. Hare was very close to Peggy Ramsay, and in addition to her letters to him discussing his work and other playwrights, there are condolences he received after her death in 1991 and letters from Simon Callow and solicitors Harbottle & Lewis discussing matters of her estate. Notes that Hare made for her funeral service accompany some of Ramsay's favorite quotations, sent to Hare by Callow. Along with clippings housed separately in the same series, Hare's second letter to Rich, an exchange of letters with Richard Smith of Newsweek, and letters of support from fans, actors, playwrights, and others associated with the theatre document Hare's well-publicized debate with Frank Rich about Rich's power and responsibility as a critic. Hare's rejected essay for The Bedside Guardian criticizing the press accompanies The Guardian editor Bill Webb's letters to Hare. The Guardian did publish an article by Hare discussing theatre critics, and letters he received in response include one from Michael Billington. Filed in the general correspondence, letters from Colin Ludlow and Gordon House of the BBC discuss cutting offensive parts of Knuckle and The Secret Rapture. A complete index of correspondents in 1993 acquisition is located at the end of this inventory.
	Theatre programs and leaflets include those for Hare's own plays Fanshen, Murmuring Judges, and Pravda, as well as Arthur Miller's A View from the Bridge, Peter Gill's Mean Tears, Alan Ayckbourn's A Small Family Business, and Heathcote Williams' The Local Stigmatic. A program from a celebrity cricket match, a booklet on Pebble Mill programs; a souvenir program from the first production at the Lancing Theatre of Lancing College, and a throwaway for the National Theatre's touring production of Hamlet are also present.
	Hare's English papers from Cambridge University date from 1968.
	Series VI. Works by Others, 1993, nd (.5 box). Typescripts of works by other authors, in addition to those directed by Hare, are arranged alphabetically by author. Among them are the screenplays Skin Flicker by Howard Brenton and The Serpent's Kiss by Tim Rose-Price; a playscript, Castle of the Star, by Colin Haydn Evans; and The Fever, a performance piece by actor and playwright Wallace Shawn.
	1996 Acquisition
	This addition to the papers of playwright David Hare contains manuscripts, typescripts, notes, programs, posters, and correspondence. Among the works represented are Hare’s trilogy, Racing Demon, Murmuring Judges, and Absence of War. Also present is material related to Asking Around, The Life of Galileo, Mother Courage and her Children, Plays One, Skylight, and The Young Indiana Jones Chronicles. Correspondence dates from 1993 to 1996.
	The Index of Correspondents at the end of this finding aid lists the names of correspondents from only the 1993 acquisition and not the 1996 acquisition.

Other manuscripts relating to Hare at the HRHRC may be found in the London Review of Books (correspondence 1979-81), James Saunders, and Tom Stoppard collections.

	Correspondents
		Ashcroft, Peggy, Dame
		Aukin, David
		Ayckbourn, Alan, 1939-
		Bachmann, Lawrence P.
		Bicât, Tony
		Boddington, Diana
		Bond, Edward
		Brenton, Howard, 1942-
		Bridges, Alan
		Callow, Simon, 1949-
		Campbell, Nell
		Chruchill, Caryl
		Dench, Judi
		Downie, Penny
		Edgar, David
		Eszterhas, Joe
		Eyre, Richard, 1943-
		Farhi, Nicole
		Frayn, Michael
		Gadney, Reg, 1941-
		Gaskill, William
		Gordon, Heather
		Griffiths, Trevor
		Hall, Peter, Sir, 1930-
		Hampton, Christopher, 1946-
		Hart, Josephine
		Hinton, William
		Howe, Tina
		King, Kimball
		Le Carré, Jone, 1931-
		MacDonald, Sharman
		Matheson, Margaret
		Millar, Kenneth, 1915-
		Mortimer, John Clifford, 1923-
		Nelligan, Kate
		Nichols, Peter, 1927-
		Osborne, John, 1929-
		Papp, Joseph
		Parker, Ellen
		Pike, Frank
		Pinter, Harold, 1930-
		Plater, Alan, 1935-
		Pollock, Patsy
		Rampling, Charlotte
		Ramsay, Margaret
		Rich, Frank
		Rose-Price, Tim
		Roth, Phillip
		Rushdie, Salman
		Seth, Roshan
		Shawn, Wallace
		Smith, Richard M.
		Snepp, Frank
		Spender, Stephen, 1909-
		Stoppard, Tom
		Trojanowski, Anna
		Wardle, Irving, 1929-
		Weller, Michael, 1942-
		Wilson, Caroline
		Wilson, Snoo, 1948-
	Organizations
		British Broadcasting Corporation
		Channel Four (Great Britain)
		Faber and Faber
		Grennpoint Films Ltd.
		The Guardian
		Joint Stock Theatre Group
		Margaret Ramsey Ltd.
		Martonplay
		Midgley, Snelling & Co.
		Miramax Films
		National Theatre (Great Britain)
		New York Shakespeare Festival
		Royal Court Theatre
	Subjects
		Authors, English
		Authors and publishers
		Experimental theater--Great Britain
		Literary agents
		Theater critics
		Theater--Production and direction
	Document Types
		First drafts
		Love letters
		Photographs
		Screenplays
		Scripts
		Theater programs