Encloses a letter of Ray's which he opened by mistake because it was put in his pile of letters. Says he thinks "The Gombeen Man" went well the night before, that there was not a large audience but that it was enthusiastic and well received even after the last curtain, and there were three or four curtains. Says the Times and Telegraph gave good notices, and that Yeats thought the play went well, and that Robinson thought the play was well acted. Says he will send programs.
Extra: Written from the Court Theatre

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

Says he is glad Ray altered the title, and that the play is being performed just as it is written, but a couple of sentences of the opening dialogue between Richard and Myers were cut for length. Says he will make sure Richard speaks the new ending. Says he is sorry to hear of Ray's son's death.
Extra: Written from the Court Theatre, no date given but due to reference of son's death, which was 1 June 1913, so it was written at least a few days after that.

Says various things have put off producing "The Gombeen Man" in Dublin, but that they have it down "for the 11th". Says Yeats has left Dublin but that Ray should send the new version of "The White Feather" to Dublin anyway.
Extra: Back to original Abbey letterhead, written from the Abbey in Dublin.

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

Folded typescript letter to stockholders from the Office of the Secretary of the Denver and Rio Grande Railroad Company dated from New York, May 13, 1912. Inside is a similar typescript letter from the Office of the Chairman of the Board of Directors.

Personal letters from friends, fellow writers, theatre practitioners and members of the public, such as John McGahern, Thomas Kilroy, Gerald Dawe, Madeline McGahern, Eugene McCabe, Leif Seligman, Finnoula Byrne, Katie Donovan, Maireád de Buitleir, Sarah Andrews, Leslie Baldwin, James M. Barry, Sean Branney, Michael D. Higgins, Linda Regan, Markus Legner, Fiona Shaw, Rosalind, Marion Wyatt, Fred Johnston, Steven Griffith, James Harrold, Aifric Hyland, John Lynch, Michael Diskin, Kennys Bookshop, Kerry Waters, Leah Schmidt.

File includes contracts and correspondence between John McGahern and the B.B.C. regarding radio plays and audio versions of works by McGahern. Includes contract for "Swallows" (22 Oct 1971); Fee for radio play based on "The Power of Darkness" by Tolstoy (15 Dec 1971); Payslip for fee to McGahern for extract of "Wheels" (10 Dec 1970); Letter re. audio version of "The Barracks" (21 Sep 1971); contract for 30-minute original audio radio play entitled "Sinclair" (25 Nov 1970); Contract for use of "Swallows" by the B.B.C. as part of its "Review Short Story Series" (11 Dec 1970); Contract to broadcast a 60-minute unnamed original radio play (18 Jan 1971); Letter from Alannah Hensler, Copyright Dept, B.B.C. regarding fee for 60-minute television play of "The Rockingham Shoot" (25 Feb 1986).

TS letters between Boyle and Morris, Director of the National Conference of Bar Examiners, seeking a reference for Hannum upon his application for admittance to the Bar of the District of Columbia Court of Appeals.

Filer of MS and TS letters between Druid Theatre and playwright Geraldine Aron. Letters between Jerome Hynes, Druid; Geraldine Aron; Aron's literary agent, Tony Peake of London Management; Aron's earlier agent Joanna Marston and others concerning production matters. Letters include discussion on securing rights for the 1984 production by Druid of Aron's play "Same Old Moon" and its subsequent "very successful" production, include box-office returns and statement of royalties. Also includes correspondence to Aron concerning an 1986 revival of the play by Druid. General letters between Druid and Aron feature discussion of current plays by Druid, such as "Famine" by Tom Murphy and also work elsewhere by Aron, such as her play "Brenda" and wider comments on her writing and her literary agents.

Later correspondence, fax and letters between Druid (Jane Daly) and Aron, discussing her new work for Druid, two short plays "The Donohue Sisters" and "The Stanley Parkers", 1993. Letters discuss production rights and arrangements.