Coral Browne by Rose Collis

I'd not heard of Coral Browne but my friend Matt mentioned her and she sounded fascinating, she worked in the theatre around the same time as Beatrix Lehmann so I thought it would be good for my research to borrow a copy of this from the library for background reading. I almost didn't read it but I'm so glad I did.

It starts with a general background of Coral's childhood in Australia. Getting into theatre and then moving to London and working there. All interesting, and then the author mentions she might have had a 5 year relationship with Beatrix!!! I was blown away! Coral had told her step daughter that she'd had a five year relationship with a woman not long after she got to England, and that it was a woman who was likely to be an actress, they lived together, and broke up when the woman wanted to be more public with their relationship. Rose suggested Beatrix and said some very interesting things about her which I'd not yet uncovered. She mentioned her relationship with Henrietta Bingham, which I had suspected but not yet found any evidence of, that the reason her biography hadn't been written yet was because Rosamond had insisted no reference to her sexuality be made. That the performance where Shelaugh and Beatrix met was Igloo at the first year of the Edinburgh festival in 1965. Also it mentioned Beatrix's understudy Mary Morris who had fallen in love with her. It seems highly unlikely that it was Beatrix however, in 1935 she basically left the London stage after her career had been doing exceptionally well and spent a lot of time in Berlin with Isherwood.  Then a couple years later she began her relationship with Viertel. That was taking place when this relationship would have been, also the description said that she was sad that this woman left her for another woman, in 1940, so with that in mind it seems unlikely to have been Bea. Especially if no evidence survived, as she did write to her siblings about the time she spent with Henrietta, so assuming she would have done the same with Coral if they were together.

p. 14 mentions many actresses Bea worked with who were Dames, Edith Evans, Flora Robson, Peggy Ashcroft

p. 34-35 have her working in Australia, so maybe the relationship would have started in 35 rather than ended? They also mention how she was seriously ill and underwent an operation. Similar to what happened to Bea, the author speculates that it could have been an appendectomy, or an ovarion cyst or a miscarriage or botched abortion.

p. 43 Coral had joined a list of of eminent performers - including Jessie Mathews, Jack Buchanan and Beatrix Lehmann (who understudied Tallulah Bankhead in Green hat)- who got their first big break stepping in for a star.

p. 47 In every respect, 1935 was turning out to be something of a watershed year for Coral - including a development in her personal life that wouldn't feature in any cable or press cutting sent back to her parents. It was something she revealed to her step-daughter Victoria Price, more than 50 years and two marriages and what must have felt like several lifetimes later. 'Not long after moving to England, she had a five year relationship with a woman. I got the sense that the woman was also an actress, or at the very least in the theatre. They lived together, or were together for five years, but then this woman, whoever she was, asked Coral to be more public about the relationship. Essentially, Coral chose her career over the woman, and she said ti was the hardest decision she ever had to make. And what hurt the most was that the woman began another relationship not too long after. 153. ...

p. 48 One was Beatrix Lehmann, sister to literary siblings, Rosamond and John Lehmann. Adrian Wright, John Lehmann's biographer said, "In the theatre, such intelligence was too often unwelcome, and Beatrix could be a forbidding and arresting presence. 156 According to Wright, Rosamond had a Queen Victoria like attitude to Beatrix's sexuality, simply believing it did not exist. 157 Christopher Isherwood's biographer, Peter Parker, said the bisexual Peggy lehmann was no great beauty but a certainly striking in appearance. Fiercely left wing, funny, a gifted actress and mimic.... she represented for isherwood woman in acceptable form. 1258 In the 1920s Lehmann had a relationship with Henrietta Bingham, daughter of the American Ambassador to Britain and one time lover of Bloomsbury artist Dora Carrington. One of her secretaries fell in love with her; when the affection was not returned, the woman attempted to kill herself. For the last 15 years of her life, Lehmann had a relationship with fellow actor Shelaugh Fraser, who she met when they appeared together in the play, Igloo at the 1965 Edinburgh Festival. In 1980 Trader Faulkner was approached by John Lehmann to write Beatrix's biography but, after Rosamond vetoed any mention of her sister's sexuality, Faulkner withdrew from the project.
One of those expunged from any sanitised Lehmann biography would have been an equally unorthodox actress who, during her time as Beatrix's understudy, had fallen in love with her. Mary Morris. Born in Fiji in 1915, Morris had two ambitions to be an actress or a painter, preferably both. ..... By 1946 Morris was living in an artist's studio in Notting Hill Gate with Cecilie Krog.

p. 62 mentions Coral as one of the undersigned in Nov 1942 for the letter in the time about performances on Sundays.

p. 68 mentions that she became a regular client of Angust McBean, the top theatrical photographer...

p. 69 mentions McBeans trail and arrest in November 1941 on suspicion of homosexual offences.  trial began in March 1942

p. 160 talks of the killing of sister George, nothing to do with Bea but worth watching.

p 195 mentions that she was cast in a revival of Waltz of the Toreadors, in the same role as Bea.

p 207 mentions that she was friends with Christopher Isherwood.

153 author correspondence
154 author interview
156 157 John's biography
158 Parker's isherwood.

Beatrix's flat in Highgate 1935

In a search to find out where Bea was buried I came across this photo of the interior of her flat in 1935 in Highgate. (Oddly 1935 was when she was mostly abroad.) The website also has several other pictures of the building.  They look rather like ugly modern box apartments. But neat to see all the books.

https://www.architecture.com/image-library/RIBApix/gallery-product/poster/highpoint-one-north-hill-highgate-london-period-furniture-in-miss-beatrix-lehmanns-flat/posterid/RIBA8749.html?tab=print

It turns out many things were written about these flats though. Including this pamphlet at the NAL that includes floor plans and prices. “Highpoint, Highgate” (London : s.n. [1935] (printed by Lund Humphries & Co) : [16] p. : ill., plans ; 23 cm).  NAL pressmark 807.AR.0003.

If Beatrix was renting it explained why she only stayed there 5 years. She moved in late 1935 and had moved out by the end of WWII when she had moved to Kensington and Chelsea.

The rents on the two bedroom flat were £145-175 a year. (This equates to £11,000 a year in modern money which is ridiculously cheap for those flats in that area now but is a significant amount for a mostly out of work actress). The most recent price I saw for a two bedroom was 950,000. A studio going for 400,000 (when originally there were no studios). A price from 2012 lists a 2 bedroom as between 500k and 6000k. The joys of London housing!

Another book mentions that the Woolfes were thinking of moving there as they had indoor plumbing and central heating. There are a lot of articles about the architecture of the flats as they were the first big modern high rise.

Theatre World 1930s

July 1931 Theatre world p. 45
As we go to press
Late night final
The current attraction at the Phoenix is Late night final, a drama of newspaper life, which had a successful run in New York, under the title, Five star final.

August 31 vol. xvi, no. 79
Full 12 page feature on late night final
The newest plays p. 65 Has full page review
Bea listed 3rd
"Here is the stuff that great drama is made of. The play does not pretend to be a literary masterpiece, nor is it a nice play that your aunt from Haslemere will be certain to enjoy. It is bitter, crude, ferocious, unfair and at moments revolting. But it is a play written with passion, with passionate fury, and it is good, after a round of tame comedies, to hear someone who has something important to say and says it with conviction. There is genuine tragedy here, in the spectacle of a family struggling hopelessly against a merciless environment, being pursued, hemmed in and crushed in such inhuman (and therefore all the more terrifying) forces as public opinion and popular press.
It is difficult to single out individual performances from so large a cast, but the charm of the quiet scenes in the play was almost wholly due to Louise Hampton and Eliot Makeham...Francis Sullivan and Beatrix Lehmann, as fellow sensationalists, were supremely good...
(mentions Massey and the complicated stage)
RM has made several gallant attempts to infuse new life into an ailing theatre. More than one of his productions has just failed to commend itself to the wider public. Here at last he deserves to achieve complete success. IT Is as though the lethargic theatre has roused itself and shown what it really can do. Certainly nothing more invigorating could ever be asked for.

p. 71 If I had my way Raymond Massey
Talks about needing to redesign physically theatres, and how he prefers shorter dynamic runs to long ones.

p. 73 The play of the moment
Late Night Final
Description of the story - 12 pages of photos

Fashion on the stage has a special piece on Carol Goodner's outfit in LNF

Sept 31 p. 112
Plays you should see
Late night final
Louis Weitzenkorn's drama of American yellow press methods provides magnificent entertainment for playgoers who appreciate high speed production. Several changes of cast are due to take place in the near future.

Theatre World
April 33, Portrait of Diana Wynyard, mentioning she "will probably return to the London stage later in the year" (WD opened the next month)

June 33 has a mini interview with Diana in which she says a desire to act should be suppressed in the young

p. 296 as we go to press
Wild Decembers
Clemence Dane's play dealing with the Brontes arrived at the Apollo Theatre too late for review for the present issue. Mr Cochran has gathered together a strong cast for Wild Decembers. Diana Wynyard returns from Hollywood triumphs to play the role of Charlotte Bronte and among the other principles are Emlyn Williams as Bramwell Bronte, Marcus Barron as the Rev. Patrick Bronte, Beatrix Lehmann as Emily, Thea Holme as Anne, Ralph Richardson as Arthur Bell Nichols, Austin Trevor as Monsieur Heger, Frances Ross Campbell as Tabby, Angus Imlay as Miss Wooler, and Ethel Wellesley as Ellen Nussey. The producer is Benn W. Levy.


July 1933 Theatre world, p.13
The newest plays
Apollo May 30th Wild Decembers
Although the Bronte piece at the Royalty may have stolen some of the thunder of Wild Decembers, yet Miss Clemence Dane's play is such a delicately wrought and intelligent piece of work that it would have  been a thousand pities had its run terminated at the end of the first week, as had been announced. Fortunately, Miss Wynyard and her fellow players determined that the play should continue, a gallant gesture that deserves the support of every playgoer with a genuine interest in the theatre.
Miss Dane has divided her play into fourteen episodes,...
Charlotte, although she outlives her brother and two sisters, is a difficult character to portray on the stage. Emily's wild nature of mingled ice and fire and Branwell's drunken frenzies provide obvious theatrical material, yet is is essential to the balance of the play that Charlotte should in no way be overshadowed. Miss Wynyard rises nobly to the occasion, so that when death removes Emily, Branwell and Anne from the grim parsonage, the play still retains our undivided attention.
... Ralph Richardson scores and outstanding success in this role, carefully avoiding any attempt to overplay the comedy and investing the man with a curious dignity.
One of the most memorable scenes is that between Emily and Branwell, when, after prophesying her brilliant future he reveals his own literary ambitions which can never be fulfilled owing to his dissolute, shiftless life. Emlyn Williams extracts the utmost effect from this scene by the quietest possible methods.
(p 14) Beatrix Lehmann's Emily is a study of emotional repression admirably carried out...
Contains no photos, though previous editions had photos of the other Bronte play

August 1933 has an article by Flora Robson what is acting.

Sept 33 as we go to press, p. 148 has announcement for the Wandering Jew


August 31 has Late Night Final (need to order)

Nov 33 has interview with Laura Cowie who will be with Bea in mourning

Dec 33 p. 276 has full page photo of Bea and Derrick De Marney in Tudor Wench(j. W. Debenham photographer)
Caption - Princess Elizabeth and the page with whom she is in love, Fernando Aubrey, in The Tudor Wench by Elswyth Thane, which opened at the Alhambra Theatre on November 16th. The page comes to visit her in her bedroom at midnight.

The newest plays, October 1934 p. 161
Eden End
Duchess September 13th
A new Priestly play is a theatrical event of considerable importance. Unlike many novelists who turn their attention to the stage Mr Priestly has shown in dangerous corner and Laburnum grove that he realises the possibilities of a new technique. His method is of the naturalistic school, and while appreciating this, I felt at time, in his latest play that he was bringing naturalism near to dullness.
Eden End it goes without saying is a thoughtful, intelligent play. The construction is compact, the characters are skilfully drawn and instantly recognisable as flesh and blood people. Perhaps it is because they are so real that nothing very much seems to happen, and the play stands in danger of becoming static through the excessive length of the conversations, which consists chiefly of duologues....
The nature of the story permits of only one "full pressure" performance - Ralph Richardson as Charles Appleby. This is just about the best piece of acting we have seen from from Mr Richardson, every gesture, inflexion and expression being perfectly done. ...
Beatrix Lehmann and Alsion Legatt play the two sisters with skill and restraint, Nellie Bowman is the faithful family retainer to the life, while Edward Irwin's study of the quiet, kindly old doctor is a sterling piece of character acting.
(with photo of Bea and Franklyn Bellamy)

Theatre world, Nov 1934
p. 204
Plays you should see
Eden End (Duchess)
This delightful little playhouse has acquired the habit of success, and J.B. Priestley's new play continues the unbroken sequence. The plot revolves around a doctor's family in a Yorkshire village, the period being 1912. Skilful character drawing and polished acting by Ralph Richardson, Beatrix Lehmann, Alison Leggatt, and others.



(Nothing for 1935 or 1936. Bea did very little acting during this time and spend some time in Berlin writing)

Theatre World Feb 1938
Frontispiece portrait
Beatrix Lehmann by Angus McBean
Beatrix Lehmann who has scored one of the outstanding acting triumphs of recent years as Lavinia Mannon in Eugene O'Neill's Mourning becomes Electra. This tremendous drama was presented at the Westminster Theatre for four weeks, but public demand necessitated an extension. It has now been transferred to the New Theatre for an unlimited run.

P. 67 has three more photos from the production by Angus McBean (See his book on how these came to be)
Eugene O'Neill's brilliant play, presented by Anmer Hall at the Westminster for a season of one month, established itself so firmly in the public favour that the run was extended for another month. even then an increasing demand for seats was experienced, so Mourning becomes Electra has now been transferred to the New Theatre for an unlimited run.
These illustrations show some of the leading protagonists in this sombre, compelling tragedy, which forms a parallel to Sophocles Electra set in New England in 1865. Left Laura Cowie as Christine Mannon and Beatrix Lehmann as her daughter Lavinia. (Below left) Christine greets her husband, Brigidier General Ezra Mannon (Mark Dignam) on his return from the civil war, and Christine with her beloved son Orin (Robert Harris).

p. 82 plays you should see,
another photo,
Laurie Cowie and Beatrix Lehmann in Eugene O'Neill's brilliant play, Mourning becomes Electra at the new.

Theatre world, March 1938
p. 109 Has the caricature of Bea and the rest of the MBE cast
These vivid sketches depict the tragic Mannon family in Eugene O'Neill's trilogy Mourning becomes Electra at the New theatre.

p. 130 has the photo of Laura and Bea in Theatre world recommends some plays you should see.

April 1938 lists mourning becomes Electra was withdrawn
\
Theatre world oct 38 has description of the corn is green which Bea was in later but I know nothing about. (photos taken to write up)
Acclaimed by critics and playgoers as one of the most noteable plays in recent years, Emlyn William's The Corn is Green was produced at the Duchess on September 21st, 1938. In normal circumstances it would have continued its London run well into 1940, but provincial playgoers are now given the opportunity to see the play several months earlier than had been anticipated. [nice way to spin the war].

Dec 1938
Has Off with the Motley! Random impressions by Playbill. p. 276
And then a great play with some of the finest acting of the year - Mourning becomes electra. Four hours in all, but it seemed shorter than most of the dreary little teacup comedies which london takes to its bosom. Packed, tense audiences at the Westminster Theatre, playgoers who had come to see and not to be seen, and a bravura perfromance from Beatrix Lehmann as the morbid, introspective duaghter of the accursed family of Mannon. It is hard to pick an outstanding moment when there were so many, but I plump for the final scene, where Lavinia closes the doors of the deserted house with a gesture of tragic finality, as she prepares to spend the rest of her life alonge, in expiation of her sins.

January 1939
Over the footlights,
Mourning becomes electra, Three sister,s golden boy and the corn is green made, perhaps, the sharpest impact.

Reader recollections of 1938. p. 41
For a memory never to be foregotten, a constant comparison to all plays and players, mourning becomes electra and Beatrix Lehmann. For sheer ... Miss M Jones
The intense feeling of dread at the open door of the shrouded sitting room while Orin and Lavinia awaited unknown approaching footesteps ... J.H.T.
My first memory of 1938 is an exisitie Midsummer Night's dream at the old Vic. This was followed by the utterly satisfying close of Mourning becomes electra... stephan W. Bateman.
Mentioned by 3 out of 6 of the letters

p. 63 the corn is green was voted best play of 1938 by theatre world readers

p. 62 the newest  plays,
Shaftesbury, They walk alone, Jan 19th
This is a play about a Cornish maidservant who is a homicidal maniac.

Although it is undoubtedly the best play that has been written about a Cornish maidservant who is a homicidal sex-maniac, that is not to say that it is above reproach with regard to probability and credibility.

Here are some of the points that worried me. How has this baleful werewolf managed to reach the age of thirty without being put away seeing that she must have been dulging her amiable practice seducing young village lads, and strangling them in the floodtide of their ecstasy, for the past twelve years or so?

Why did the respectable Tallents welcome her to their Lincolnshire farmstead without bothering about references? Why couldn’t Bess, the married daughter, communicate her unformed but deep suspicions of Emmy’s true Character? How did Mr Tallent return from London so swiftly on receipt of that telegram, and how did he evade the cordon waiting to enmesh his son’s murderess? And why did Emmy prove so fatally irresistible a lure for the boys? She frightened me so much I should have run miles in the opposite direction, rather than chance an assignation in the barn.

But these queries only occur when the uncanny fascination of the play’s atmosphere in general and Beatrix Lehmann’s acting in particular, is at at an end. While the drama is in progress it provides one of the most scarifying experiences of recent years. Miss Lehmann is positively hair-raising, yet she evokes a queer feeling of pity mingled with one’s loathing for the afflicted creature.

The best moments in the piece are the tense scenes between Emmy and the suspicious Bess. In the latter part, Carol Goodner gives a brilliant performance, of necessity less showy and spectacular than the maniac, but in its way equally vivid.

To sum up, if your nerves are strong, if you have a taste for the grand guignolesque, and if you accept the play for what it is and don’t go delving below the horrific surface you should spend a thoroughly frightening evening.

Feb 1939
p. 89 has more reader reactions mentioning Mourning

Beatrix Lehmann entering her empty and shuttered home at the end of Mourning Becomes Electra… E. Densham

A year of grand team-work. Outstanding memories: the culminating tragedy of Mourning becomes Electra… Rolf King

(3 no mention)

The performances of Beatrix Lehmann in Mourning Becomes Electra, …(Miss) E. J. Punton

January competition results list in voted 5 in the best plays of 1938

April 1939 has photos for they walk alone.
(despite being reviewed was not listed in the plays you should see section either month)

Description of the plot of the Corn is green
To a small Welsh village, in the late 1890s, comes Miss Moffat, a strong-minded, unconventional English schoolmistress who has been left a house by the will of a relative. She is accompanied by her cockney servant, Mrs Watty, formerly addicted to petty larceny but now a pillar of the Salvation army, and Bessie, Mrs Watty's sly and objectionable young daughter.
Realising that the young boys who work in the mines nearby are quite uneducated, Miss MOffat becomes obsessed with the idea of starting a school for them in the barn next to her house, and enlists the help of Miss Ronberry, a village spinster, and Mr Jones, an earnest chapel goer.
Local prejudices stand in her way for a time, and she is on the point of throwing in her hand when an essay written by a young pit boy named Morgan Evans comes to her notice. Recognising beneath the halting phrases the unmistakable touch of genius she fires Morgan with her own enthusiasm and resolves that he shall become her star pupil.
By wheedling the foolish old squire Miss Moffat secures her protege's nomination for a scholarship to Oxford, but her cherished plans seem doomed to failure. For Morgan, resentful of a woman's domination, goes back to his old drinking bouts and becomes entangled with Bessie, who has deliberately laid herself out to entrap him.
Bessie is sent away into service, but returns on the morning of Morgan's examination, to claim him as the father of her expected baby. Miss Moffat buys her silence and Morgan, ignorant of what has happened, sits for the exam. In the last act, the result is being eagerly awaited when Bessie reappears, this time determined to exact her claims. The truth can no longer be hidden from Morgan, who obstinately decides to do the right thing and let his career go hang.
Miss Moffat, after a long struggle succeeds in convincing him of his real duty - to himself and to the world - and so  he says goodbye to the woman who having sacrificed so much for him is now undertaking the upbringing of his child.

In the search for lost loves

Yesterday reading the Carol Browne biography, the author suggested that Bea may have had a five year relationship with Carol 1930-1935. If the relationship ended in 1935 that would explain why Bea worked so little that year and headed over to Germany. The author also confirmed that Bea had a relationship with Henrietta Bingham in the 20s (something I had wondered about since Dec last year). But she didn't say where she got this information. But it turns out that a biography of Henrietta was published just this summer! So I've ordered that. The author also discussed other relationships Bea had with women, but frustratingly none of them had footnotes, so am going to have to contact her to find the references.

Another interesting thing that was mentioned was that in 1980 just after Bea died John asked Trader Faulkner to write a biography of Bea. But Rosamond insisted that *any* reference to her sexuality was left out so the project was dropped.

So many exciting new leads to follow up on.

The Wandering Jew

Beatrix Lehmann was in the production of this in 1933. It's the only time she was in a play with a religious theme. She appeared in the 4th act only, set during the inquisition, playing the character Olalla Quintana, a Harlot (designation from the play's text).

The 4th part of the play is not so much about religion as anti-Semitism. However, Olalla as the reformed prostitute, is a rather simpering woman. She has one scene with the main character when she mentions that she was picked up yesterday and he accuses her of leading them to him, then one short scene giving testimony in court (only a couple lines). She is brought back in and sentenced to death (for what seems to be the crime of hanging out with a Jew). This is followed by a discussion on the growth of Christianity. It ends with the Jew being burned at the stake for the heresy of being a Jew.

Play pictorial

Play pictorial vol. LXX no 415 Feb 1937
Witch of Edmonton
2 photos (including one in her "boy" disguise

Actually appeared after the production had ended

Wild Decembers
Play Pictorial
Plays of the month, no. 376 vol. LXIII
It is necessary to bring one's own knowledge of the Brontes and one's own interest in the to Miss Dane's play, for she had not given to her work the form that might enable it, as a work of art, to stand alone Determined to leave none of the ground altogether unexplored, determined likewise to make a tragic heroine of Charlotte by laying the greatest possible emphasis on the episode of Monsieru Heger, she has given three scenes to Brussels, one to Smith, Elder's publishing office, and no fewer than ten, spanning a period of 13 years, to the parsonanage of Haworth. This is episodic treatment carried to an extreme. its result is that no scene can be more than a note on teh subject... Times
Miss Dane seems to have understood the Brontes intellectually, but emotionally they have escaped her. We are informed, and we believe, that we are in the presence of tragedy, but we do not fee it. There is something cold and detached in the author's manner' and her deliberate avoidance (or so it seems) of theatricality has the unfortunate result of giving the actors very little to work on. To put the case with a phrase, Wild Decembers is a play which I would rather read than see. For Miss Dane can write - Daily Telegraph
Clemence Dane and Diana Wynyard have made Charlotte Bronte into a fascinating and human figure.
The actress has really to act, and not compose a character for the eye alone, It was in achieving this difficult talks that Diana Wynyard's performance was so fine in its sensitiveness and imagination.
She brought tears to the eyes in many a scene and nothing could have been more delicate in its restrained emotion than the scene in which she at first repels the love of Arthur Bell Nichols, her father's curate, whom she laughed at in one of her novels. It was a beautifully acted scenes, not only by Diana Wynyard but by Ralph Richardson as well.
Wild Decembers is a triumph for our modern stage - news chronicle.

no. 391 vol lxv Nov 1934
Eden end by j B Priestley
produced at the duchess theatre, Sept 13th
Photos
Description of the play

List of London plays from Wearing

The London Stage 1920-1929
second edition
Wearing

The way of the world by William Congreve
Lyric Hammersmith 7/2/24-28/6/24 158 performances
1st performed Lincoln's field 5/3/1700
Peggy Elsa Lanchester, Beatril Lehmann
(Bea was 21) Listed after the servants.
Reviews
Era 13/2/24, iil London news 16/2/24, 278-9, 292, nation and athenaenum 16/2/24 700
observer 10/2/24 11; sat review 23/2/24 179-80 Spectator 16/2/24, 242,
stage 14/2/24, Sunday times 10/2/24, Times 8/2/24 8
Comment: Times called this a "rattling, jaunty, jigging almost jazzing revival."and singled
out the performances of Edith Evans and Margaret Yarde. Nation thought
that the production needed to dispose of even more of the traditional business.

The Duenna (musical) by Richard Brinsley Sheridan (lib) and Alfred Reynolds,
Lyric Hammersmith 23/10/24-21/2/25
145 performances
1st performed Covent garden 21/11/1775
Lewis Angela Baddeley/Beatrix Lehmann
Reviews: Era 29/10/24, ill london news 1/11/24 820-21, 8/11/24, 894,
Nation and athenaeum 1/11/24, 185, observer 26/10/ 24, 11; Sat review 8/11/24, 469, Spectator 1/11/24, 637
Stage 30/10/24, 18, Sunday times 26/10/24, 6 Times 24/10/24
Comment The following role was added during the run, Lay Brother Scott Russell. Nation declared that
the production was, "the best entertainment that Mr. Playfair has as yet
offered us at Hammersmith." The opening-night performance was received "With
acclamation"by the audience (Stage).

The Green hat by Michael Arlen (Adapted from his novel)
Adelphi 2/9/25-7/11/25 transferred to Apollo 9/11/25-19/12/25
124 performances
1st performed Garrick, Detroit 29/3/25
Lady's Maid - Beatrix Lehmann (also understudy for Tallulah)
(programme seen at Bristol)
Era 12/9/25 iil london news 12/9/25, 506 508, nation and athenum 12/9/25, 705
observer 6/9/25, sat review 12/9/25, 284-85, stage 10/9/25, 16 sunday times 6/9/25
times 3/9/25, 8
Comment Although the novel had proved somewhat shocking, the stage version did not shock,
and was in fact an irritating disappointment (times)
Nation noted that the were "crudely yawning gaps in the dialogue" and that the
characters had turned into "mere puppets@ the first new york production (Broadhurst 15/9/25) ran for 231 performances.

Scotch Mist by Patrick Hastings
St martin's 26/1/26-3/5/26 117 performances
Mary Tallulah, Betty Beatrix Lehmann
reviews
Era 3/2/26, 1 ill london news 6/2/26, 246 nation and a 6/2/26, 645-46, observer 31/1/26, 11
sat review 30/1/26, 118-9, sunday times  31/1/26, 6 Times 27/1/26, 12
Comment Tallulah Bankhead played a scandalous wife at the centre of a
love triangle and was apparently responsible for the play's success in
the face of mediocre reviews. The first New york production (Klaw 20.9.24) ran for 16 performances.

They knew what they wanted by Sidney Howard
St Martin's 18/5/26-21/8/26
110 performances,
1st performed Garrick, New York 24/11/24
Amy Tallulah
Italian farm hands Beatrix Lehmann
Reviews
Era 26/5/26, 1 ill london new 29/5/26, 956, nation and a 29/5/26, 207
observer 23/5/26, 13, sat review 29/5/26, 647-48, spectator, 5/6/26, 946,
stage 20/5/26, 18 sunday times 23/5/26, 6 times 19/5/26, 14
Comment
The london début of American Glenn Anders who had created his role in the New York
premier. Sat review said that Anders plays Joe "with a hoarse monotone and a subtle
intensity that are devastatingly plausible" This Pulitzer prize winning play ran for
192 performances in new york.

It is expedient by Kathleen Curzon-Herrick
Royalty 14/1/26 1 performance
Miss Carter Beatrix Lehmann
Stage director Edit Martyn
Reviews Era 17/11/26, Observer 21/11/26, 15
Comment Lyceum Club Stage Society

An American tragedy by Patrick Kearney (adaptation of Theodore Dreiser's novel)
Apollo 26/6/27 and 27/6/27 2 performances
1st performed Longacre new york, 11/10/26
Bella Griffiths Beatrix Lehmann
Plot Bes 26 399-400, Bordman/3 298, Bronner Hischack, Kabtachnik 2, Loney 141 Sobel
Reviews Era 29/6/27, observer 3/7/27, 15 stage 30/6/27, 14 sunday times
3/7/26, 6 times 27/6/27, 12
Comment Venturers Society Ltd. Times found the piece was too fragmentary
but nevertheless moving. Stage praised Tom Douglas 's "Sincere and affecting"
performance. The New York production ran for 216 performances.

The Adding Machine by Elmer Rice
Court 9/1/28-4/2/28
32 performances thurs and sat matinee)
(Young man - Laurence Olivier) Judy O'Grady Beatrix Lehmann
Director Barry Jackson (who Bea later worked with for Shakespeare)
Reviews
Era 18/1/28, ill london news 21/1/28, 120, nation and a 21/1/28 598,
observer 15/1/28, 11 Sat review 14/1/28 36-37 Spectator 14/1/28, 42 Stage 12.1.28, 16
Sunday times 15/1/28, 4 Times 10.1.28, 12
Comment The realistic acting clashed with the play's expressionism and Hugh Owen's designs
(sat review) Stage described the piece as a "strange medley of fantasy and
banal realism, with its exasperating display of human puppets jabbering
and guffawing in unison"

Thunder on the left by Richard Pryce (adapted from Christopher Morelye's novel
1925)
Arts Theatre 26/7/28-29/7/28 4 performances
Joyce Clyde Beatrix Lehmann
Reviews era 1/8/28, nation and a 4/8/28, 591, observer 29/7/28, 11
stage 2/8/28, 14 Sunday times 29/7/28, 4 Times 27/7/28, 12
Comment a ten year old boy sees what his life will be like in 20 years time

1930 So fair a satrap Laodice and danae 28/3/30
Lyric Hammersmith
1 mat performance
T G Saville
Beatrix Lehmann
Rosalind Patrick
Peggy calthrop
Doria Paston
Freda Bamford
Sheila McCarthy

Brain Savoy 27/4/30
1 performance
Comment
Times found the piece too full of pseudo scientific jargon about the development of a brain that takes over the world, and also noted that the essentially sympathetic audience grew impatient with the play. Stage echoed the same sentiments about this turgid and long winded piece. For Bernard shaw's favourable comments on the piece, including a comparison with Back to Methuselah see entertainments, times 17/3/30

Late night final 25/6/31-17/10/31
Phoenix
132 performances
Fred Ayer, George Currie, Bennett O'Loghlen, George Dillon, Allen Jenkins, Raymond Masey, Francis Sullivan, Charles Mortimer, Arther Bander, Persy Parsons, Douglas Pack, Alan Keith, Eliot Makehman, John Gordon, George Courtney, William taylor, Molly Johnson, Pamela Henry May, Carol Goodner, Beatrix Lehmann, Louis Hampton, Rosemary Ames, Maude Courtney, Peggy Baulch, ...
Comment The production employed three revolving stages. New statesman said it was an ugly play about the workings of the yellow press that ignored its victims. Times declared the play was in its effects as violednt and in astehic content as worthless as the squalor it attacks. American Rosemary Ames'London Debut. A midnight performance was given on 17/7 in aid of journalistic charities. The new york performance ran for 172 pers.

Overture by Sutton Vane
Little theatre
24/4/33-13/5/33 1st performed everyman 11/4/25
Allan Jeayes, Arthur Pusey, George Thirwell, Hay Petrie, David Horne, Randold Mcleod, John Rea, William FazAN, Earle Grey, Reginald Peldon, Kenneth Howell, Jonathan Field, Elizabeth Maude, Beryl Laverick, Nancy Price, Louise Hampton, Betty Hardy, Edith Sharpe Beatrick Lehmann (Another cockney),
Pres - People's national theatre
reviews observer 30/4/33 Sat review 29/4/33, Stage 27/4/33 Sunday times 30/4/33
Comment  the play presented a group of characters on their way to their birth, fragments of their lives, and their return to death.

Wild Decembers by Clemence Dane
Apollo 26/5/33-8/7/33 50 performances
Marcus Barron, Emlyn Williams, Ralph Richardson, Austin Trevor, Edmund Tottenham, Cyril HOrrocks, Diana Wynward, Bea, Thea Holme, Frances Ross Campbell, Stella Arbenia, Joan Swinstead, Agnes Imlay, Ethel Wellesley, Marriot Watson,
reviews Era 31/5/33, ill London news 10/6/33 New statesmans 3/6/33 10/6/33, Observer, stage, sunday times, times
Comment an episodic biographical play on the Brontes that provided little dept to the characters (times) the play was to be withdrawn on 2/6 but Diana Wynard decided to continue the run under her own management.

The wandering Jew by E Temple Thurston
Princes 26/8/33-18/11/33 102 performances
Matheson Lang, Lennon Cleland, Frank Woolfe, Ernest Bodkin, George Del Lara, George E Bancroft, Hector Abbas, George Skillan, Wilfred WAlter, Hutin Britoon, Margraet damer, Stella Arbenia, Jane wood, Patience Rignold, Beatrix (Olalla Quintana)
era 30/8/33 ill london news 16/9/33 stage times
Comment the play presented four historical phases, from the crucifixion of Christ to the Spanish inquisition, depicting the wandering Jew, Matheson Lang played his roles in the original London production.

The Tudor wench by Elswyth Thane
Alhambra 16/11/33-16/12/33 36 performacnes, first performed a tthe embassy 23/10/33
Derrick De Marney, John Laurie, Herbert Lomas, Frederick Piper, Reginal Beckwith, Cyril hay, Bea, Annie Esmond, Mollie Hartley Milburn, Ruth Wynn OWen,
era 22/11/33 new statesman 25/11/33 stage sunday times times
Comment This play on Elizabeth I's girlhood owed much to the performance of Beatrix Lehmann.

Success story by John Howard Lawson
15/2/3
4-3/3/34 20 performances
Hugh Brooke, Jack Minister, Abraham Sofaer, Esme Percy, Elliot Seabrooke, Stuart Boult, Bea, Merle Tottenham, Jeanne de Casalis, Susan Otto, Thomas Bostock, 
Ill London News 24/2/34 3/3/34 observer, sunday times, times
comment stage said that the play worked better on the smaller Shilling theatre stage. The new york production ran for 121 perf.

Eden end by Priestly duchess 13/9/34-2/2/35 162 perf
John teed, Edward Irwin, Franklyn Bellamy Ralph RIchardson, Nellie Bowman, Alison Leggatt, Bea,
Era 19.9 ill London news 29/9 new statesman 22/9 observer, spectator 21/9 stage sunday times times
Comment Times thought that priestley's fluid unassertive, undeclamatory style was not yet successful in this play about a failed actress returning home. Spectator thought that it was preiestley's best and most valuable play. see also pictorial 65, no. 391 the first new york production ran 24 p.

French as she is learnt by E F Watling
Daly's
23/9/34 1 perf
Edward Chapman Ralph Richardson, Beatrix Lehmann, Margret Yarde,
Produced Bruce Belfage
Review Times 24/9/34,
comment Green Room Rag in aid of various charities.

The witch of Edmonton Thomas Decker
Old vic
8/12/36-2/1/37, 27 performances
Marius Goring, George hayes, Alec Guinness, Ernest Hare, Michael Redgrave, Leonard Sachs, William Devilin, Ian Mackenzie, Hedly Briggs, John Abott, Beatrix Lehmann, Anna Konstam, Eve Robere, Edith Evans, Betty Potter,
Era 16/12/36, new statesman 12/12/36 sunday times times
Comment the attribution of the play solely to Dekker is the progmans. Times thought that the revival was an experiment worth making. but not much more. A supremely good production (New statesman) although stuart Burge listed his performance here as his debut he had appeared in two early productions. See also pictorial 70 no 415 (1937)

First night by Sheila Donisthorpe arts 21/2/37-22/2 3 performances
Edward Irwin, Christopher Quest, Jack Livesey, Derrick Paxton, Felix Irwin, Frith Banbury, Beatrix (Judith Armstrong) Ann Wilton, Nadine March, Margaret Damer, Ethel Coledrige, Phyllis Birkett, Maude Lambert Cobie Court Christine Lindsay,
era 24/2/37 observer stage times
comment a performance scheduled for 23/3 did not take place because Edward Irwin collapsed just before the start of the performance (see times 24/2/37) Irwin died on 25/2 the play was about the rise of a successful female dramatist.

Mourning becomes Electra Eugene O'Neill
Westminster
19/11/37015.1.38 transferred to New 19/1/38-26/3/38 106 performances
John Abbott, William Devlin, Craighall Sherry, John Ford, Reginald Tate, Mark Dignam, Philip Godfrey, Enid Price Hill, Mona Washobourne, Laura Cowie, Bea, Jean Winstanley, Jean Moncrieff,
era 27/11/37, ill london news 27/11/37, new statesman 27/11/37 observer spectator 26/11/37, stage sunday times, times
comment The performance lasted four hours. Among several fine performances Beatrix Lehmann's Lavinia belonged in the "Highest rank" (Times) Mona Washbourne's London debut. The new york production ran 150 per.

No more music rosamond lehmann
Duke of yorks 27/2/38-13/3/38 3 performances
Morland Graham Gordon Mcleod, Jack Hawkins, Benjamin Danso, Mae Haygood, Margaret Rutherford, Margaret Scudamore, Bea, Ruth Taylor, Jane Baxter, prd Bertold,
observers spectator 4/3/38, stage sunday times, times,
comment London International Theatre club, the play was about the indifference of the born dilettante to real life (Times) Spectator suggested that the piece was too witty and well written to be given a regular production.

The human voice Jean Cocteau
Westminster
17.7.38 1 performance
pd berthold
reviews New statesman 23/7/38 stage times
Comment preceded by a eulogy by stephen spender. Diseuse Marianne Oswald also performed several items before and after the playlet.

They walk alone Max catto
Shaftesbury 19/1/39-29/44/39 transf to comedy 1/5/39-3/6/39 156 performances
Beckett Bould, Alastair Macintyre, Jimmy Hanley, Peter Standfast, Rene Ray, Carol Goodner, Bea,
Ill London news 28/1/39
new statesman 26/1/39 observer stage sunday times times
Comment the new york production of this murder drama with music by Benjamin Britten ran for 21 performances.

1940s
Desire under the elms
Eugene O'Neill Wesminster
24/1/40-6/4/40 86 performances
Stephen Murray, Richard George, Woodbridge, Mark Dignam, Beatrix Lehmann, Georgia MacKinnon, Marie Ault,
Ill lond news 10/2/40 new statesman 3/2/40 obs, spectator 2/2/40 Sunday times times

Close quarters by Gilbert Lennox
apollo 31/7/41-23/8/41 28 performances
Karel Stepanek Beatrix Lehmann
New states 9/8/41 observer times

Jam today Denis Waldock and Roger Burford
St Martin's 19.2.42-9/5/42 92 performances
Firth Banbury, Frank Pettingell, John Stuart, Betty Jardine, Olga Lindo, Bea (Ilona Benson) DOreen Percheron,
obs 22/2/42 spectator 27.2.42 stage times

Ghosts ibsen
Norman Ginsbury translation
Duke of Yorks's 25/6/43-28/8/43 74 performances
Harry Herbert, Edward Byrne, John Carol, Elizabeth Hunt, Bea (mrs alving)
New states 10/7/43 obs spectator 2//7/43 stage times

Uncle Harry by Thomas Job
Garric ck 29/3/44-8/7/44 121 perf
Michael Redgrave, Ian Colin, Keith Campbell, Arthur Davis John Garside, Robert Young, Hugh Stewart Lee Fox, Donald FInlay, Ena Burrill, Bea, (lettie) Susan Richards, Rachel Kempson, Grace Debeigh Russell,
New states 8/4/44 29/4/44 Obs spec 7/4/44 stage times sunday times

Uncle Harry
Garrick 7/9/44-17/2/45 188 performances
cast as above

Vicious circle Satre
Trans marjorie Gabain and Joan Swinstead
arts 16/7/46-11/8/46 27 performances
Alec Guiness, Donald Peasance, Bea, Betty Ann Davies,
Dir Alec Cunes
New statesman 27/7/46, obs, stage sunday times times

On the way Helge Krog
Arts 10/10/46-20/10/46 14 perf.
Frederick Richter, Micahel Gwynn, Derek Birch, Roderick Lovell, Micheal Godfrey, Susan Richmond, Dir Alec Cunes, Prod Beatrix Lehmann
Obs 13/10/46 stage 17/10/46 Times 11/10/46

The Rising Son Herman Jeijermans
Arts 16/11/46-1/12/46 23 performances
Bea produced Alec directed
Denis Carey, Robet Cartland, Michael Gwynn, Bernard Bennett, Geoffrey Parkes, John Lindsay,Marjorie Zeidler, Dorothy Gordon, Yvonne Coultette
Obs 10.11.46 stage 14/11/46 times 7.11.46

Fatal curiosity George lillo
Arts 5/12/46-29/12/46 29 perf
Bea producer, Alec directed
Hugh Griffith, Michael Gwynn, Robert Cartland, Julian Randall, Susan Richmond, Rachel Kempson, Peggy Taylor.
Obs 8/12/46, stage 12/12. sunday times 8/12 times 6/12

Richard II
His Majesty's
2/10/47-4/10, 13/10-14/10, 24/10-25/10 9 perf
Robert Harris John Ruddock Michael Golden, Myles Eason, JOhn Harrison, David Oxley, John Warner, Julian Amyes, William Avenell, Joss Ackland, Maxeell Jackson, Donald Sinden, George Cooper, ... Bea (duchess) Joy Parker,
ILN 11/10/47, New states 11/10/47 stage sunday times times

Romeo and Juliet
His Majesty's
6/10-7/10, 11/10, 17/10-18/10 22/10-23/10 11 perf
As stratford cast
Ill london news 11/10/47, new statesman 18/10 obs staege sunday times,
times
Comment Shakespeare memorial theatre co.

Twelfth night, or what you will
His Majesty's
8/10-10/10, 15/10-16/10, 20-10-21/10 10 perf
Julian Amyes, Michael Golden, Leigh Crutchley, John Warner, John Blatchley Paul Scofield, Dudley Jones, Duncan Ross Walter HUdd, Douglas Seale, Laurence Payne, Bea (viola) Helen Burns, Daphne Slater, Gwen Williams,
Ill london 11/10/47, new statesman 18/10 obs stage, sunday times times

No trees in the street Ted Willis
St James
27/7/48-7/8/48 14 performances
Russel Waters, John Stratton, Arthur Lane, harry Herbert, Duncan lamont, Hilda Fenemore, Bea (Jess Gold), Charmian Eyre, Diana Hely-Hutchinson, Prince Littler,
New states 7/8/48, obs, stage, sunday times, times

Shall we join the ladies? J M Barrie
Drury lane, 26/10/48
1 matinee perf.
Mervyn Johns, Ronald Squire, Denys Blakelock, William Douglas Home, James Hayter, Alan Napier, Francis Lister, Valerie Taylor, Beatrix Lehmann (Lady Wraithe) Fabia Drake, Sonia Dressel, Barbara Couper, Celia Johnson Marian Spencer, Joan Swinstead,
times 27/10/48
comment also performed short items & excerpts from other pieces.


The day's mischief Lesley Storm (mabel Cowie)
Duke of Yorks 11/12/51-2/2/52 60 perf
Ian Hunter, Walter Fitzgerald, Muriel Pavlow, Catherine Lacey, Marjorie manning, Bea, Nuna Davey, Barbara Fletcher, Betty Blackler, Mavis Walker, Marianne Davis,
Dir Norman Marshall
ill London news 5/1/52, new states 22/12/51 observ spectator 14/12/51 ssunday times, times
Comment The play examines a schoolgirl's crush on one of her teachers and its ramifications. New Statesman praised virtually every aspect of the play although it attempted to cover too much ground.

The father August Strindberg version by Max Faber
Arts 26/2/53-22/3/53 30 performances
wilfrid Lawson, Oliver Johnston, Paul Stasino, Gerald Harper, Kynaston Reeves, Bea, Nora Nicholson, Dorothy Gordon, dir Alec Clunes
Ill lond news 14/3/53 new statesman 7/3/53 obs spectator 6/3/53 Stage times
Comment Spectator declared Wilfrid Lawson's performance was a masterpiece of its kind. New statesman agreed adding praise for both Beatrix Lehmann and the translation On the production see Trewin, 50.

No sign of the dove Peter Ustinov
Savoy 3/12/53-12/12/53 11 performances
Raymond Huntley, Robin Bailey, David Kossof, Miles malleson, Norman Pierce, Stanley van Beers, Bea, Suzanne Cloutier, Alvys Maben.
Ill London 19/12/53, New states 12/12/53, Obs, plays and plays 1/54 spectator, 11/12/53, Stage, sunday times, times
comment: This reworking of the Noah story let loose the dreaded flood from the gallery on opening night (Times)
The new statesman critic saw the play on the second night and found that the audience was sympathetic and enjoyed the play throughout. Stage noted both audience reactions.

Blood wedding Lorca trans O'connel and Lujan
Arts 3/3/54-28/3/54 31 perf
Nicolas Amer, Alec Mango Linoel Jeffries, Maurice Kaufmann, Tader Faulkner, Bea, Gladys Boot, Gillian Webb, Heather Chasen, Hazel Penwarden, Ruth Dunning, Rosalind Bozall, ...
New states 13/3/54 obs, plays and plays 4/54 spectator 12/3/54, stage, sunday times, times,
comment This translation was published in 1941. Peter Hall's production deals almost entirely successfully with Lorca's impossible requirements (Spectator). New Statesman found the production commendable but not the translation. This production is a brave attempt at the impsottible (Stage) on the production see trewin 53-54

The waltz of the toreadors 0 Jean Anouilh
Arts 24/2/56-25/3/56, trfd to Criteriion 27/3/56-30/11/57 737 performances
Lists two sets of cast members but not how long each was in the play.
ill london news 14/4/56, new statesman 10/3/56, obs, plays and players 4/56 spectator 9/3/56 stage, sunday times.
This translation was broadcast on BBC radio on 11/1/53. On the production which Spectator found intelligent but lacks astringincy, see also Trewin 58, Derek Nimmo's london debut. Performed in NY for 132 p.

The birthday part Harold Pinter
Lyric hammersmith
19/5/58-24/5/58 8 performances
1st perd arts cambridge 28.4.58
Willougby Gray, Richard Pearson, John Slater, John Stratton, Bea, Wendy Hutchinson,
Ill London news 31/5/58, new state 31/5/58, obs, plays and players 7/58 spectator 30/5, stage sunday times times
Comment while times gave up in despair on the puzzling plot, sunday times declared pinter, on the evidence of his work, possesses the most original, disturbing and arresting talent in theatrical london. The play is like a vintage hitchocock trailer which has been, in the immortal tear-stained words of orson welles, edited by a cross eyed janitor with a lawn mower (Spectator). New states said Pinter showed very considerable promise, but thought the play maddeningly elusive. The first NY production ran for 126 perf.

Something unspoken
arts 16.9.58-26/10.57 48 perf (as below for suddenly)
Beryl measor, Beatirx Lehmann
Ill London news 27/9/58, new states 27/9/58, obs, plays and players 11/58, spectator 29/9/58, stage, sunday tiems, times,
comment, were performed under the general title, Garden district. on the production see Trewin, 62

Suddenly last summer (Same)
David Cameron, Philip Bond, Bea, Margo jOnes, Beryl Measor Patricia Neal, Gewn Newlson.
Reviews as above
Times dubbed the play a highbrow thriller whose denouement was somewhat puzzling. Beatrix Lehmann and Patricia neal (making her London debut) gave powerful performances (stage) Spectator discussed in detail the theme of homosexuality in Williams plays and items 240-241 in particular.

Macbeth Old vic
17/12/58 -23/4/59 (see photo for exact dates) 59 performances
derek francis, Jeremy Kempt, Daniel Thorndike, Barrie Ingham, Dennis Chinnery, Michael Horden, Jack May, Edward Harwicke, ...
ill london news 3/1/59, new states 3/1/59, obs 21/12 plays and players 2/59, spectator 2/1/59, stage sunday, times,
Times said that Beatrix Lehmann and Michael Horden appear totally miscast (Spectator agreed) and that the production was as a whole a somewhat hollow and swaggering affair. However,stage declared the entire production, one of the most impressive in years.

The aspern papers Michael redgrave
Queens
12/8/59-2/7/60 370 perf.
Micahel redgrave, Robert Beatry. Bea whole run, Olaf Pooley,  Paulien Jameson, Nancy Nevinson, Flora Robson, Harold Gosling,
Ill London news 29.8/59 new satesman 22/8/59, obs, plays and players 9/59, spect 21/8/59, stage, sun, times,
Fine performances from Redgrave, Lehmann and Robson (Spect) the first NY production 93 perf.

Archives Hub material to view

V&A

THM/319/9/90 - Letter from Roy Dotrice
THM/319/9/178 - Letter from Beatrix Lehmann
Scripts for Peer Gynt originally by Henrik Ibsen
Reference Number(s) GB 71 THM/319/1/37
Dates of Creation 1970-1994
Physical Description 7 folders

Scope and Content
Typed play scripts and revisions, version by Christopher Fry based on original translation by Johan Fillinger. Handwritten annotations by Christopher Fry. First performed on stage in 1970 at the Chichester Festival.

Reference Number(s) GB 71 THM/420/21
Dates of Creation 1973
Physical Description 1 folder
Scope and ContentTyped transcript of Beatrix Lehmann describing her memories of Laurence Olivier. Interview by Ronald Proyer.

35. Letter to Binkie Beaumont from Beatrix Lehmann dated July 24th (no year)
Reference Number(s) GB 71 THM/178/2/2
Dates of Creation 1941-1961
Physical Description 51


Tate Gallery
Photographs of Beatrix Lehmann
This material is held at Tate Gallery Archive GB 70
Reference Number(s) GB 70 TGA 974/6/28
Dates of Creation nd
Physical Description 2 pieces
This material is held at Tate Gallery Archive GB 70
Reference Number(s) GB 70 TGA 200410
Dates of Creation 1882-1990s
Name of Creator John Piper
Language of Material English
Physical Description 105 boxes

University of Manchester (probably not worth noting just employment)
DEA/2/3/23-31 - Copy Letters from Basil Dean
(In folder on Aspern papers)
DEA/2/3/23, Barbara Bolton, 1 item, 1959.
DEA/2/3/24, Peter Daubney, 1 item, 1959.
DEA/2/3/25, Norman Johnson, 1 item, 1959.
DEA/2/3/26, Beatrix Lehmann, 1 item, 1959.
DEA/2/3/27-28, Paul Mayo, 2 items, 1960.
DEA/2/3/29, Mick Orr, 1 item, 1959.
DEA/2/3/30, Michael Redgrave, 1 item, 1959.
DEA/2/3/31, Flora Robson, 1 item, 1959.


Hull archives
This material is held at Hull University Archives
Reference Number(s) ; GB 050 U DAR/x1/2/49
Alt. Ref. Number GB 050 U DAR/2/49
Dates of Creation 1939 - 1965
Physical Description 1 bundle


Manchester
This material is held at The University of Manchester Library
Reference Number(s) GB 133 NCN
Dates of Creation 1899-1987
Name of Creator Nicholson, Norman Cornthwaite, 1914-1987, poet, dramatist, novelist, critic, biographer, topographer.
Language of Material English
Physical Description 16 classes; 1,201 items; 4,455 pieces.
Location Collection available at John Rylands Library, Deansgate.