Purchase and gifts, 1960-2011.
The collection is open for research.
Use of materials from this collection beyond the
exceptions provided for in the Fair Use and Educational Use clauses of the U.S.
Copyright Law may violate federal law. Permission to publish or reproduce is
required from the copyright holder. Please contact Special Collections
Department, University of Delaware Library,
MSS 112, Tennessee Williams collection, Special Collections, University of Delaware Library, Newark, Delaware.
Partially processed by Timothy Murray and revised by Anita A. Wellner, 1993-2011. Encoded by Lora J. Davis, May 2010.
Tennessee Williams, born Thomas Lanier Williams on March 26, 1911, in Columbus, Mississippi, began his literary career at the age of 16 with the publication of his essay, "Can a Good Wife Be a Good Sport?" in
After graduating in 1929 from University City High School, St. Louis, Missouri, Williams enrolled at the University of Missouri. His first play,
Because of the difficulties of the Depression, Tennessee Williams was forced to take a job at the St. Louis Shoe Company in 1931 and by 1932 left the University. During the years that followed Williams continued to write and in 1935 he won first prize in the St. Louis Writers Guild contest for his story, "Stella for Star." Between 1935 and 1938, when he received his Bachelor of Arts degree from the University of Iowa, over thirty of his poems and short stories were published and several of his plays produced. Some of these early plays included
In 1939 his story, "The Field of Blue Children," was the first published under his newly assumed name, Tennessee Williams. By 1939 Williams had also begun to travel extensively. His destinations included New York, New Orleans, Acapulco, Provincetown, Macon (Georgia), Key West (Florida), and Taos (New Mexico). During his travels Williams worked at odd jobs, including a period as a scriptwriter for Hollywood. He continued to write and had several of his plays produced.
In 1944 the production of his play,
In the following years Tennessee Williams continued to create numerous plays, including
Fifteen of Tennessee Williams's plays or stories were also adapted to film and became classics. Some of the better known films are
In addition to his plays, Williams wrote short stories which were included in the collections
Although Tennessee Williams died on February 25, 1983, his work continues to be widely performed and he is recognized as one of America's foremost playwrights of the twentieth century.
The Tennessee Williams collection, spanning the dates 1939-2011, consists of an extensive collection of correspondence, manuscripts, photographs, printed material, and ephemera related to American playwright Tennessee Williams.
The other half of the collection is supportive material such as photographs of the writer and productions of his plays, programs and playbills from performances of his work, correspondence related to his playscripts, articles about Williams or his work, as well as theatrical and film ephemera.
The Tennessee Williams collection was formed from various acquisitions of Tennessee Williams’s manuscripts, including a large collection that originally belonged to Norman Unger. The University of Delaware Library acquired the Norman Unger collection in 1980, which, in addition to manuscripts, included an extensive number of books by Williams that have been cataloged for Special Collections. Other manuscripts and ephemera have been added to this collection since that time.
The playscripts, screenplays, and manuscripts of short stories, poems, and a novel provide examples of Williams's extensive and continual reworking of his writing. In some cases (e.g.
The collection also has manuscripts of several unpublished Tennessee Williams plays, including
Examples of short stories, novels, poetry, and essays written by Tennessee Williams are available in Series II and III of this collection.
The collection also includes personal and business correspondence from Tennessee Williams to Katherine Hepburn, Paul Bigelow, Norman Unger, Audrey Wood, and the producers of
Series III. Miscellaneous Letters, Manuscripts, and Ephemera includes interviews, articles, books about Tennessee Williams, a copy of his will, a lithograph portrait of Williams, numerous photographs of the playwright and scenes from his plays, an extensive collection of programs and playbills from productions of his plays, posters advertising a variety of Williams's plays, various lobby cards, film campaign books, and other film and theatrical ephemera related to works by Williams. These materials supplement the manuscripts and provide an overall picture of Tennessee Williams and his work.
The collection is arranged into three series: Series I. Dramatic Work, Series II. Fiction, and Series III. Miscellaneous Correspondence, Manuscripts, and Ephemera.
Series I. Dramatic Work is arranged alphabetically into subseries by title of the play. Within each subseries the material is in chronological order.
Series II. Fiction is divided into three subseries: 1.
The miscellaneous material in Series III. is arranged in nine subseries: correspondence, manuscripts, miscellany, photographs, programs and playbills, posters, theatrical and film ephemera, articles and reviews, and binders and fasteners. The arrangement of the material in each of this subseries reflects the nature of material. Many of the subseries are arranged first alphabetically by the title of Williams's work and then in chronological order when more than one item is present for a particular title. The arrangement of each subseries is explained in the subseries note.
Unless otherwise noted, original binders and wrappers have been retained with each manuscript; however, some clips and other fasteners have been removed and housed in Box 5.
MSS 270 Ralph Delauney collection related to Tennessee Williams's
Much of the material housed in this collection was acquired in 1980 as part of the Norman Unger collection, which, in addition to manuscripts, included an extensive number of books by Williams. These books have been cataloged and can be found in our online public access catalog, DELCAT, if you search for the phrase, "Norman Unger collection."
Includes play and film scripts, correspondence relating to specific works, proofs and editorial matter, and miscellaneous materials. Material is arranged alphabetically by title of play into subseries and within subseries chronologically.
The screenplay
Includes a typed note signed from Audrey Wood to Paul Bigelow, inserted pages, and lists of revisions. Original heading "Kazan-Williams film project based on the one acts working title:
Also includes a typed note signed and outline.
Title page is dated "Key West, Florida / February 19, 1952." The notation "not last version / a.w." is penciled onto the top right corner of the title page. Bound into a blue "Liebling-Wood" folder.
Bound into a blue "Liebling-Wood" folder.
Variously titled as
Includes title-page and pages [1]-65. Bound into a blue "Liebling-Wood" folder. Typed on black ribbon with stage directions in red. Autograph notations "Revised Jan 1950" in ink and "not last version" in red pencil on right hand corner of title page.
Includes title-page, pages I-iii, and pages 1-102, paginated by block. Bound into a blue "Liebling-Wood" folder. Typed on black ribbon with stage directions in red.
Includes title-page, list of characters, pages I-ii, and pages 1-115, paginated by act. Bound into a blue "Liebling-Wood" folder.
Paginated by "block." Bound into gray printed wrappers. This version is an acting script used for a 1968 Los Angeles production by the Center Theatre Group at the Mark Taper Forum.
This play was developed in part from Williams's short story "Three Players of a Summer Game," which premiered on March 24, 1955, and was first published by New Directions in 1955. New Directions also published the first copies of the final version in 1975.
Playscript numbered internally by act. Bound into a blue folder, with label from "Anne Meyerson" typing service pasted onto top left corner. Typed on black ribbon with stage directions in red.
Second draft. Written by James Poe. [Los Angeles]: Avon Productions. Bound in blue wrappers. "Temporary Complete" stamped on front cover. Autograph notation "Please return to James Poe" penciled on cover.
Marked "Second draft... from...James Poe." [Los Angeles]: Loew's Incorporated/Avon Productions. With revised and alternate pages added. Bound into blue wrappers. Stamped "Mimeograph file copy," "Vault copy," and "Temporary complete" on front cover.
Written by Richard Brooks. [Los Angeles]: Avon Productions. With numerous revised and added pages, dated variously January 24 through April 9, 1958. Marked "script completed January 28, 1958." Bound into yellow wrappers with blue wrapper bound in and stamped "Composite script," "Vault copy," and "Temporary Complete."
A playscript which collects two short plays by Williams, "Confessional" and "I Can't Imagine Tomorrow.
[New York]: Studio Duplicating Service, Inc. Includes two short plays, "Confessional" and "I Can't Imagine Tomorrow."
This play is related to the short story "Yellow Bird" and is a 1951 rewrite of
New York: New Directions, 1964. 58 printed 12" x 8" sheets. Page proofs for the first edition of the play which was published in this edition with
This unpublished drama bears no relation to the later screenplay
Play is bound into a blue "Liebling-Wood" folder. Written about 1936, and produced in 1937 in St. Louis.
The following scripts relate to the 1960 United Artists film,
Written by Tennessee Williams and Meade Roberts. Pages numbered 1-128 with numerous revised pages added. Portions of the text contain autograph notes and revisions. Title page marked "Final draft June 1, 1959." Bound into blue wrappers.
Printed on legal size sheets. Dated "March 7, 1960" on the front cover sheet. Arranged by reel number and paged internally.
Dated "March 7, 1960" on front cover sheet. Arranged by reel number and paged internally.
Although an early carbon typescript of the play is present in this section, the bulk of the material here relates to the 1950 Warner Brothers film production for which Williams co-authored the screenplay. Included is correspondence between Williams and various Warner Brothers personnel, such as Jack Warner and the film's producer, Jerry Wald. Also present are several versions of the screenplay and contractual material. The play premiered in Chicago on December 26, 1944 and was first published in 1945 by Random House.
Numbered internally by act. A copy of the script used for the original Chicago production of the play.
Williams to producers, Jerry Wald and Charles Feldman. Discusses the script.
Peter Berneis (co-author of screenplay) to Wald. Discusses the script.
Williams to Jerry Wald. Discusses the screenplay and his life in Key West.
Charles Feldman to Jack Warner. Release of the film.
Williams to Warner, Wald, and Feldman. Account of his reaction to the film.
Jack Warner to Williams. Recounts preview screening of the film.
Feldman to Warner. Discusses publicity for the film.
Contract is signed by Tennessee Williams, his agent Audrey Wood who signed for Williams's mother Edwina, and Warner Brothers officials.
Jerry Wald to Williams. Portions of dialogue asking for Williams's comments. Williams's autograph revisions to the dialogue are present.
Williams to Jerry Wald, with attached script revisions. Included with this note are three additional typescript pages containing proposed changes to the script bearing Williams's autograph corrections.
The material in this section includes versions of the screenplay which were prepared subsequent to a meeting in Italy between Tennessee Williams and Irving Rappner, the film's director. Upon receiving the initial film treatment of his screenplay from Warner Brothers, Williams expressed his dissatisfaction very strongly. Rappner traveled to Italy to consult with Williams about changes, and together they revised the screenplay.
Revised version of specific portions of the screenplay.
Appears to be the original draft of the above version. It consists of three typescript sheets containing proposed changes to the script as well as 3 pages of autograph notes. Several different hands are present throughout the text. In addition, the signature of Paul Bowles appears in pencil in the top right hand corner of the first typescript sheet.
Notation "Master copy" appears in pencil on the first page. Consists of changes and revisions to individual scenes. Sections of the script are individually dated and numbered. Date span ranges from November 29–December 14, 1949.
Opening page heading "Warehouse Sequence." Consists of individual sections of the script. Sections are undated and numbered internally.
Changes to a specific scene with two copies of a typed memorandum from Jerry Wald to Irving Rapper concerning the changes.
Extensive group of changes, many bear Williams's autograph revisions.
Includes a cover note by Williams explaining his objectives with this group of changes.
Photocopy of the original shooting script. Bound into yellow wrappers and stamped "Part I. Rev. final" on title page. Accompanying is a one page typescript (mimeo) synopsis of the film prepared by the Warner Brothers story department.
Rewrites and additions of material for the film version. Sent from Rome by Williams and dated August 15, 1949.
Eddie Dowling to "Dear Abel." Dated April 17, 1965. Dowling was the producer of the original Chicago and Broadway productions of
Based on a short story by the same title,
Bound into a black folder stamped "Studio duplicating service." Title page bears the typed note: "First draft of the full-length version, April 1967."
This unpublished play was first produced in 1979.
Includes numerous inserted pages. Bears the author's extensive autograph corrections.
Published in
Bears the author's extensive autograph corrections.
Bears the author's autograph corrections and his typed note signed dated May 1980.
This drama grew out of the short story "Man Bring This Up Road." The first publication was in
Dated October 18, 1962, this synopsis of the play was prepared by Metro-Golden-Mayer Productions for selected distribution to solicit opinion on the feasibility of a film version of the play. Accompanied by a one page memorandum and pink cover sheet stamped "Please regard this as highly confidential."
Revised version of the play, with extensive autograph corrections and numerous inserted pages. Draft is arranged in the order it was received, which appears to be arranged by individual revision, rather than in the narrative order of the play. Initial page contains a prefatory note about the unsuccessful first production of the play which Williams has initialed and dated "T.W. Key West, Feb 1963."
Final revised script, in binder. World Film Services, Ltd.
The play was produced together with
In black duplicating service binder, an unpublished format.
A drama bearing some relation to the short story by the same title. An early version of the play was published in the February 1962 issue of
Includes extensive autograph textual corrections, multiple drafts and revisions of various segments, and numerous inserted pages often containing revised versions of individual scenes.
Draft is arranged in the order it was received. Three folders (32-34) of material are arranged by Act. Folders 35-38 contain individual revisions and other portions of the text which are not arranged in narrative order.
Originally with the manuscript housed in F32-38, the letters include three typed letters signed from Tennessee Williams to the actress Katharine Hepburn in which he attempts to persuade her to play the role of Hannah Jelkes. The three letters are similar in content, and it appears Williams never sent the first two letters but only the final one for which he retained the photocopy which is present here.
Cover sheet dated "June 1960" and marked "Return to Frank Corsaro." Photocopy of the working script used by the director Frank Corsaro for the first New York production of the play.
Production chart, including "time sheet," "focussing charts," and "lighting cues," used in the 1962 Broadway production. This copy sent to Williams's agent, Rosemary Wood, by "JMG," with Wood's accompanying note.
Bound in yellow wrappers bearing the imprint of Metro-Goldwyn-Mayer Inc., Culver City, California. Labeled "Dialogue Cutting Continuity" script. Used for the 1964 M-G-M film production.
Bound in fuchsia printed wrappers. Script for a Los Angeles production but not posthumous.
Drama published in volume 7 of
Manila folder in which the script was originally laid bears the autograph notation "orig...emended & revised version for Miami Enclosed."
Originally published as
Bound into blue "Liebling-Wood" wrappers. The penciled notation "September 1953" appears on the title page.
Bound into blue "Liebling-Wood" wrappers. The penciled notation "corrected July 1954" appears on the title page. The title page also contains a list of "other possible titles" for the play:
Bound into dark blue printed wrappers with the stamp of "Anne Meyerson Typing and Mimeograph Service."
This play is a version of Williams's
Playscript in unpublished state in maroon duplicating service binder.
First published in the December 1960 issue of
Marked "Revised, December, 1959" on title page. Text paginated by act followed by 24 pages of "Addenda: possible inserts and variations." Printed label of MCA, Williams's agency, with "Audrey Wood" and autograph notation "Audrey Wood's personal copy" present on the title page.
First published by New Directions in 1988, this play premiered on stage in Boston on June 18, 1975.
Labeled "Revised--November, 1974" and bears the autograph "#20" written in ink on the title page. Bound in blue printed wrappers of the Studio Duplicating Service, Inc. Also stamp of International Famous Agency.
Occasional autograph corrections in an unidentified hand throughout the text. Bound into red printed wrappers.
First published by New Directions in 1951, this play premiered on stage at the Erlanger Theatre in Chicago on December 29, 1950. For an extensive collection related to
Paged internally by act and bound into blue printed wrappers. Carbon sheets containing revisions interleaved with mimeo sheets; occasional autograph revisions are also present. An additional typescript (carbon) slip has been pasted over a portion of the text (p. 2-1-14) replacing a speech in Act 2. This copy was used for the play's initial tryout in Chicago which premiered December 29, 1950. The name and address of Cheryl Crawford, the play's producer, is reproduced on the lower right hand corner of the title page.
Bound into a green folder and paged internally by act with additional pages laid in. Contains numerous autograph corrections to the text. Title page dated "Fourth draft, New York, October, 1950." Also bears Williams's autograph notation: "My copy of script used during rehearsals and Chicago tryout. Tennessee Williams."
Includes two pages titled "Dynamics of the Play" and 29 pages of rewrites for Part II, Scenes 3 and 4 and Part III, Scenes 2 and 3.
Copy of the film script used for the 1955 Paramount film production. Cover sheet is marked "2nd temporary yellow/May 24, 1954."
Bound into green wrappers with additional typescript and mimeograph pages bearing corrections laid in. Consists of the mimeographed production scripts for
This play is an expansion of Williams's play
Two sheets of legal paper containing Tennessee Williams's autograph notes concerning lighting and staging, apparently made for the initial production of the play which premiered April 2, 1972. Dated in Williams's hand, "1st Audience 3/26/72."
This play was first published in 1947 by New Directions and premiered at the Barrymore Theatre in New York on December 3, 1947.
Consists primarily of film scripts used for the 1951 Warner Brothers production for which Williams wrote the screenplay. Also includes a telegram to Williams announcing the award of a Pulitzer Prize for the original stage production of the play.
Telegram to Williams from Frank D. Fackenthal, President of the Columbia University Board of Trustees, announcing the award of a Pulitzer Prize for the play
Bears extensive autograph notations in an unidentified hand concerning staging, camera set-ups, etc., for individual scenes. Title page marked "draft" and dated "June, 1950."
Mimeographed yellow sheets with extensive autograph textual revisions and notations in Williams's hand. Bound into blue wrappers bearing the typed notation, "Final script (rough copy)."
Photocopy of the original shooting script. Title page dated "8/8/50 Part I. Final." Bound into blue wrappers.
First published by New Directions in 1958,
Clean typescript draft titled "
Bears the author's autograph textual corrections and his autograph note signed at the bottom of the title page.
This play bears some relationship to the short story "The Yellow Bird." The first publication occurred in 1948 by New Directions. The play premiéred at the Gulf Oil Playhouse in Dallas on July 8, 1947. One of the rewrites of this play is titled
Typed on black ribbon with stage directions in red. Marked "B" in red pencil on the title page. Bound into blue "Liebling-Wood" wrappers. Dated on title page "March-1947 (revised)."
Carbon copy of the preceding typescript. Also marked "B" in red pencil on the title page, dated "March-1947 (revised)," and bound into blue "Liebling-Wood" wrappers. This copy bears Williams's autograph corrections and notations to the text.
Bound into blue "Liebling-Wood" wrappers. This copy marked "Prompt copy" on the title page with autograph cue notations throughout the text.
Consists of script revisions for various scenes in the play. Accompanied by an autograph note in an unidentified hand dated "5/17/51."
Revised final white script with blue sheet changes dated 12/19/60 and 12/18/60. Signed by Williams with his Key West address on front cover. For Wallis-Paramount-Hazen.
This play was begun in 1948 as a number of sketches which included
Dated "Spring, 1956" on title page with additional notation "Sketch which developed into
Draft (7 pp.) of a one-act play which bears some relationship to the plays
Script for Act II and Act III. Includes small pencil notations by Wood.
Bound into brown printed wrappers. This copy bears the bookplate of June Havoc on the title page.
Originally dated "October-1958" in typescript, this copy was stamped "Nov 14, 1958" and bears the autograph notation "Dec" on the title page. This copy of the script belonged to the play's stage setting and lighting designer, Jo Mielzner, and bears his signature on the title page and autograph notations throughout the text. Autograph revisions in Williams's hand are also present.
Original mimeographed "Production script" belonging to stage manager, Edward D. Shelton, heavily annotated throughout with production notes and stage directions, laid in black coated wrappers printed in gold. Paul Bowles wrote the music for this theatrical production. Inscribed: "Property of Edward D. Shelton/Martin Beck Theatre/302 West 45th St./New York, NY." The production premiered at the Martin Beck Theatre, March 10, 1959.
Another copy of the script belonging to Jo Mielzner. Contains extensive autograph notes concerning lighting, blocking, music cues, and other stage directions. Also contains lists of cast and production staff, props, and rehearsal schedules. Original binder has been removed and retained with the collection in Box 4, F246.
Script changes with numerous autograph corrections are present. Also included with this material is a one page autograph listing of understudies for the original production and a flyer.
This unpublished play was first produced in January 1976 at the American Conservatory Theatre.
Originally bound into red wrappers, with additional Typescript and typescript (photocopy) pages laid in. Extensive autograph notes and corrections, numerous revised scenes and inserted pages are present throughout the text. Title page is dated "Key West, January, 1974 1st draft."
Typescript (mimeograph) release dialogue script for Francis Ford Coppola's, Fred Cole's, and Edith R. Summer's adaptation to the screen of Williams's play. The movie was directed by Sidney Pollack, produced by John Houseman, and starred Natalie Wood, Charles Bronson, and Robert Redford.
This dialogue was published in the December 1981 issue of
Bound into brown folder with the label of International Creative Management. The script bears Williams's autograph (photocopy) corrections and autograph pencil notes in an unidentified hand.
Written between 1959 and about 1975, three versions of this play were published. The first was published as
Playscript in unpublished state, bound in printed blue binder.
This unpublished drama premiéred at the Tennessee Williams Fine Arts Center of Florida Keys Community College on January 24, 1980.
Bound into a green acetate spiral-bound folder. Title page is marked "Revised September 1969." Additional typed sheet laid in indicating the script is an acting script used for the Spring 1980, premiere production of the play.
Draft of several scenes, apparently from the play of this title. Bears Williams's autograph notes and corrections.
Includes two fragments of plays, one of which is part of a dramatization of Williams's story "The Mattress by the Tomato Patch."
Short fragment or abbreviated draft of a dramatization of Williams's story "The Mattress by the Tomato Patch."
Single page of dialogue, featuring characters Pearl and Nance, with Williams's autograph corrections. Williams's signature appears at the top of the page.
Consists of drafts of Tennessee Williams's fiction, including short stories and a novella.
Includes material relating to both the individual short story, "Hard Candy," as well as to the 1954 New Directions collection published under the same title. Arranged in the order in which they appear in the published collection.
Dated "Rome, August, 1949" on the final page. Bound into a blue "Liebling-Wood" folder.
Dated "Rome, August, 1949" on the final page. Bound into a blue "Liebling-Wood" folder. Duplicate carbon of the above draft.
Dated "Rome, August, 1949 / Key West, March, 1953." Marked "R" in red pencil on the first page. Bound into a blue "Liebling-Wood" folder.
Consists of typescript and typescript (carbon) drafts of the individual stories which were collected in
Marked "First R" in pencil on initial page. Dated "April, 1952" on p. 33. Bound into a blue "Liebling-Wood" folder.
Dated "New Orleans 1951-2" on front cover and "London, New Orleans, 1951-1952" on p. 33. Bound into a blue "Liebling-Wood" folder.
Marked "original" in pencil on the front cover and dated "Manhattan, October, 1949" on p. 21. Bound into a blue "Liebling-Wood" folder.
Dated "Rome, August, 1949" on p. 19. Bound into a blue "Liebling-Wood" folder.
Dated "Paris, July, 1948" on p. 22. Bound into a blue folder marked "Serial Dept./From Curtis Brown, Ltd. / London."
Bound into a blue "Liebling-Wood" folder.
Marked "Not last version" on initial page. Bound into a blue "Liebling-Wood" folder.
Bound into a blue "Liebling-Wood" folder.
Drafts of individual short stories written by Williams. Arranged in alphabetical order by title.
Bound into a blue "Liebling-Wood" folder.
Bound into a blue "Liebling-Wood" folder.
Bears the author's autograph corrections. Appears to be an early draft of the central portion of the story.
Draft includes original ending as well as two drafts of the revised ending which was used for the first published version.
Bound into a blue "Liebling-Wood" folder.
Bound into a blue "Liebling-Wood" folder.
Partial draft with autograph revisions.
Rough draft with the author's extensive autograph corrections.
Bound into a blue "Liebling-Wood" folder.
This novella was first published in 1950 by New Directions. Gavin Lambert wrote a screenplay based on this work which was produced by Warner Brothers and premiered on November 24, 1961.
Original title
Includes letters written by Maureen Stapleton, Laurette Taylor, Tennessee Williams, and Andreas Brown; as well as manuscripts of two poems and an essay by Williams. Also includes photographs of Williams and casts of productions of his plays; programs, playbills, and posters related to productions of his plays; as well as theatrical and film ephemera related to his works. Other items of interest include a copy of Williams's will, an audiotape of sound effects for the first production of
Arranged in alphabetical order by name of sender and chronologically within a group from one individual.
American actress Stapleton is writing to a Mr. Shepherd concerning the production of Williams's
American actress Laurette Taylor to Blanche Knopf.
To Paul Bigelow
To Norman Unger
To Audrey Wood
Items arranged in alphabetical order by title.
Signed by Tennessee Williams with his autograph textual corrections.
Signed by Tennessee Williams with his extensive autograph notes and corrections. This essay on the work of Carson McCullers served as introduction to the second edition of McCuller's novel,
Williams has signed the poem at the bottom of p. 2 and has included an autograph note above the title: "Notes for a poor little poem--Tennessee."
Typing by Williams's Agent's Service. Titles include: "Her Head on the Pillow," "The Island Is Memorable to Us," "Jim Connor Went," "Old Men with Sticks," "The Soft City," "San Sebastiano De Sodoma," "The Goths," "Frere Jacques," "Faitn As Leaf Shadow," "Counsel," "The Eyes," (3 copies), "Death Is High," "Which Is My Little Boy," "The Comforter & The Betrayer," "We Have Not Long To Love," and "The Road."
Consists of a lithograph portrait of Williams, a copy of his will, audio tapes of sound effects for Orpheus Descending, articles about Williams and his work, David Frost's interview with Williams, and a proof of
Contains an article about Williams by Lincoln Barnett.
Williams' article in
Tennessee Williams' review of Bowles'
Photocopy of a story written by Williams and published in
Flyer distributed by the Dylan Thomas Fund Committee, of which Tennessee Williams is listed as a member. See Spec PR 6039 .H52 Z595.
Oliansky's article in
Two reel-to-reel audio tapes of original sound effects for the first production of the play. Recorded at 7 ½ i.p.s., plus a preservation copy for use by researchers.
Broadside, see Spec PS 3545 .I5365 Z552.
Essay by Stephen Semegran, with title page bearing Williams's autograph note to Semegran.
Article by Gerald Burns in the
Issue features cover portrait and feature article devoted to Williams.
Brochure and flyer, see Spec PN 1661 .N47 1962 and Spec PN 1661 .N47 1962b.
Obituary from
Issue 215 contains Williams's story "Grand."
For New Directions edition.
Transcript of television interview with Williams conducted by David Frost for the "David Frost Show." The date "Wednesday, January 21" appears on the cover. Towards the end of the interview Frost and Williams are joined by Jessica Tandy, Maureen Stapleton, and Eli Wallach.
Broadside, see Spec PS 3545 .I5365 Z5938.
For Secker & Warburg edition.
Article by Clive Barnes, see Spec PS 3545 .I5365 Z578 1975.
Copy of book written by David Dalton (New York: Dell, 1975). Tennessee Williams's copy with his autograph notes on the first leaf and the verso of the front wrapper.
Article by William S. Burroughs in
Suppressed dust jacket for book edited by Richard F. Leavitt (New York: Putnam, 1978). Rear cover photographs are reversed.
Article by Dennis Brown in
Photocopy of Tennessee Williams's will, with a two-page codicil and a probate order.
Written by Dakin Williams and Shepherd Mead, (New York: Arbor House, 1983). Photocopied sheets with minor autograph (photocopy) corrections. Accompanied by proof of the dust jacket and publisher's promotional materials.
Brochure and postcard related to event.
Catalog of an exhibition at the University of Delaware Library written by Timothy D. Murray (Newark, Delaware: University of Delaware Library, 1988). Also includes an invitation to the opening of the exhibition and a small poster.
Lithograph portrait of Tennessee Williams. Print is numbered 15/75 and signed by Williams and the artist Everett Raymond Kinstler. See Spec Folio + NE 2312.5 .K54 A78 1975
Program for the 24th annual event.
Two postcards announcing issue no. 11.
Catalog for the Tennessee Williams Centennial Exhibition at the Bookshop in Old New Castle presented by Between the Covers Rare Books in 2011. Lists exhibition items and sale prices.
Arranged alphabetically by title of Williams play to which the photograph is related and followed by photographs of Tennessee Williams.
Two black and white photographs of scenes from the 1988 production of this play at the Walnut Street Theatre in Philadelphia. Also includes a program, subscription flyer, and a description of the photographs.
Black and white photograph of actress Laurette Taylor in the role of Amanda from the original production of
39 black and white (11 ½ x 16) photographs taken during rehearsals of the original 1963 New York production of this play. Included are Williams, Audrey Wood, Paul Bowles (composer), Herbert Machiz, Hermione Baddeley, Mildred Dunnock, and others. Some of the photographs are signed by Herbert Machiz, Warren Young and an unidentified signature.
Black and white photograph of Margaret Leighton and James Olson in the original 1962 production of this work.
Black and white publicity photograph of Hal Wallis, Anna Magnani, and an unidentified woman during the 1955 Paramount Pictures film production.
Two black and white photographs of scenes from the 1951 Warner Brothers film production.
Black and white photograph and color photograph of scenes from the 1966 Paramount Pictures film.
Black and white snapshot of Williams bearing the inscription "To Norman [Unger], fondly Tennessee (Key West)."
Black and white photograph of Williams and the actress, Anna Magnani, aboard the cruise ship Andrea Doria. Williams's autograph note, "L'esprit et le corps," appears on the photo.
Five publicity photographs of Tennessee Williams used by New Directions. Accompanied by a letter from Laurie Callahan, New Directions publicity director.
These programs and playbills are individually foldered and arranged in alphabetical order by title of the production. Where programs for several productions of one play exist, the items are arranged chronologically by date of production.
With clippings enclosed.
With clippings enclosed.
With two ticket stubs
Announcement for the Resident Ensemble Players presentation.
Original production.
Announcement of the Roosevelt Birthday Celebration, with a command performance of
Includes
Program and publicity for the Jean Cocteau Repertory performance
Plus
Pre-Broadway production
Contains an original "Playwright's Preface" by Williams (p. 17) written for this production.
Includes the plays
Inscribed by Williams to Norman [Unger].
Program and publicity for the Jean Cocteau Repertory performance.
With autograph notes in unidentified hand.
Joint production of 4 plays by separate authors under the title
Part of the series "Twelve One-Act Plays in Cycle."
Joint program of theater and dance titled "All in One."
Includes posters related to productions of Tennessee Williams plays and other works. Arranged in alphabetical order by title of play and then chronologically when several items are related to one particular title. All items have been removed to SPEC MSS oversize boxes (32 inches) or SPEC MSS oversize mapcases, with the exception of the five flyers in F219A.
Warner Bros. – Seven Arts, Inc. film based on Tennessee Williams's play, "The Seven Descents of Myrtle."
Lobby Poster for the world premiére of this play at the Spoleto-Quinto Festival Dei Due Mondi.
Poster for 1951 Warner Brothers film. Framed and hanging in Special Collections office. A second copy is removed to mapcase.
Ahmanson Theatre (Los Angeles).
Four posters produced for the literary festivals from 1987 to 1990. The 1988 and 1989 posters have been signed by the artist, George Dureau. Also includes two copies of the flyer for the 1989 festival, flyers for the 1991 and 1994 festivals, and an announcement for the Tennessee Williams Literary Journal (1989).
1989 posters have been signed by the artist, George Dureau. Also includes two copies of the flyer for the 1989 festival, flyers for the 1991 and 1994 festivals, and an announcement for the Tennessee Williams Literary Journal (1989).
Includes exhibitor's campaign books, studio information book, and lobby cards for productions of Williams's plays. Arranged in alphabetical order by title of the play and then in chronological order when more than one item is related to a particular title. All items are removed to SPEC MSS oversize boxes (32 inches), with the exception of material in F226.
Exhibitor's campaign book for the 1960 United Artists film.
Eight lobby cards for the 1960 United Artists film.
Eight lobby cards for the 1950 Warner Brothers film.
Announcement for the University of Delaware Resident Ensemble Players Production of this play in January 2011.
Exhibitor's campaign book for the 1964 MGM film.
Studio information book for the 1961 Warner Brothers film.
Postcard announcement for the University of Delaware Library exhibition "Playwrights, Production and Performance: American Theater in the 20th Century," which features an image of the Beck theatre marquee featuring
Exhibitor's campaign book for the 1951 Warner Brothers film.
Exhibitor's campaign book for the 1959 Columbia Pictures film.
Eight lobby cards for the 1962 Metro-Goldwyn-Mayer film.
Lobby card for the 1966 Paramount Pictures film.
Consists of clippings, tear sheets, and photocopies of articles, a parody, and reviews of works written by Tennessee Williams. Arranged in alphabetical order by title of the work.
See Spec PS 3545 .I5365 B32 1959 for a parody published in
See Spec PS 3545 .I5365 Z54833 1978.
See Spec PS 3545 .I5365 N536 1965 for one article.
See Spec PN 1997 .P462 P46 1962 for one article.
For four articles see Spec PN 1997 .S843 M68 1951, Spec ND 237 .B47 A76 1951, Spec PN 1997 .S843 C86 1952, and Spec PN 1997 .S84 W55 1952.
For two articles see Spec PS 3545 .I5365 E55 1959 and Spec PS 3545 .I5365 S8734 1956.
Removed from manuscripts in the collection.