Title: A Significant Correspondence between Mexican Playwright Rodolfo Usigli & American Producer Jean Dalrymple, Regarding Mexican & Spanish Productions of "the Teahouse of the August Moon", Translated Into Spanish by Usigli.
Description: Mexico, Beirut & New York, 1955 through 1959. [1959]. [1959]. - A correspondence between the American producer Jean Dalrymple, co-ordinator of the U.S. Performing Arts Program for the 1958 Brussels World Fair, and Mexican playwright Rodolfo Usigli regarding productions of his Spanish translation of John Patrick's play "The Teahouse of the August Moon". Included are 12 typed letters signed by Rodolfo Usigli, 5 retained copies of Jean Dalrymple's letters as well as 2 signed letters by Usigli's agent Claire Leonard, a signed letter by Mary Mignione regarding the play and 2 programs for performances of the play "La Casa de Te de la Luna de Agosto", including one performed by Mexico's "Teatro de los Insurgentes".
In a two page letter from Mexico dated September 14th, 1955, Usigli apologizes for the delay in replying "Unfortunately, on the 5th I had a call from Guadalajara informing me that my brother was critically ill and on the verge of a fatal operation.." He goes on to state that: "Things at the Insurgentes are going smoothly. Both Corcega and Monterde (Gregovich) have improved their performances after a few remarks.." He then informs Jean that City Hall is opposed to raising the price of admission and addresses Jean's concerns about official ticket scalpers: "Nothing can be done with regard to the 'reventa,' which is authorized by law, except to cancel our contract with the broker." Doing so, he explains, would leave them worse off. He writes about the actress "Lupe Carriles' demands", he says that he's working on "South Pacific" and mentions a young Mexican singer "Betty Fabila" "who might be considered for the role of Nellie.." Signed "Rodolfo" with a postscript penned in ink "Here's a hand to your Shakespeare promotion!". On September 18th, in a letter from Mexico on two sides of a sheet of onion skin paper, Usigli expresses his puzzlement that Rosita "informed me that she had a letter from you to the effect that, starting September 9th, we should discontinue one of the two Friday performances.." though he has not received such information from her (Jean Dalrymple). He requests that Jean let him know if that's the case by telegram as doing so will necessitate changes be made to programs and both radio and print publicity. He goes on to relate the success that the play is having and that the Mexican consul relates that Danton Walker & Michael O'Shea had highly praised the production after seeing it. Signed "Rodolfo" with a postcript about the program penned in another hand. In a 2-page letter dated September 26th, 1955 addressed "Jean, darling" as the previous letters have been, Rodolfo mentions having "reliable and definite information on the Kogan-Quintana matter.." Writing about Rosita Quintana, Rodolfo proclaims that "she is very beautiful but I wouldn't advise you to use her in SOUTH PACIFIC. I don't believe she has a serious musical training, on one hand, and on the other motion picture artists are generally unreliable and invariably ditch the theatre for a film.." He outlines several business matters they should consider and how absorbed he is at the moment translating "South Pacific". Signed "Rodolfo". On October 2nd, he writes in a two-page letter, that "A very good friend of mine, playwright Alejandro Verbitsky, from Argentine, approached me day before yesterday with an idea that sounds quite practical. He suggests that even if you can cover Cuba during the Winter, considering the new political conditions in his country, an endeavour should be made to open the TEAHOUSE in Buenos Aires by the month of March, reversing the order of the tour.." He goes on to discuss details of the tour and business matters. Signed "Rodolfo". On November 19th, Rodolfo, referring to the projected tour of the play states that: "Your idea of hiring American actors sounds very good. I always thought that our cast were a little of [sic] their rocker when they asked for such salaries." Apparently, several of the Mexican actors would prefer making a movie despite the more profitable option of touring with the company. He mentions that Balvan and Junco are willing to travel and that he's heading off to Argentina. In closing, he brings up the possibility of publishing an edition of his Spanish translation of Teahouse on his own "with seven illustrations as planned". Signed "Rodolfo".
Three years later, Jean Dalrymple, now Co-ordinator of the U.S. Performing Arts Program for the 1958 Brussels World's Fair, writes to a Mr. Kramer regarding a production of the play to be staged in Spain. In the retained copy of a letter dated August 17, 1958, she discusses royalties and the importance of giving "Usigli his billing" while expressing her surpriese that the Spanish producers don't want her supervision: "Why not? I'm a bit shocked, since I'm considered something of a master, you know.. or should I say a mistress???"
Writing from Beirut on January 16, 1959, Rodolfo writes to Jean attaching a copy of a letter to his personal friend, the Spanish playwright Jose Lopez Rubio who is the Treasurer of the Sociedad de Autores Espagnoles". He expresses his concerns about finding reviews of a Spanish production of Teahouse upon his return and would like to know about arrangements for royalties. He recommends that Jean should look into a former student of his, Dr. Wayne Wolfe who has translated his play "Another Spring". He concludes by inquiring if Jean has made any plans for "South Pacific yet?" and forwards his "Very best wishes and love from Argentina, the children and myself for you and Pentagon-Phil", referring to Jean Dalrymple's husband Major-General Philip deWitt Ginder. Signed "Rodolfo". The letter to Jose Lopez Rubio, typed on "Legacion de Mexico en Libano" stationery signed in full "Rodolfo Usigli" accompanies his letter to Jean. Jean has attached a note to the top of Rodolfo's letter, asking her assistant to "Please call Claire Leonard, the author's agent, and ask her to send me the play Usigli mentions in his letter.."
In a retained copy of her 2-page letter to Rodolfo dated January 21, 1959, Jean confirms that "'Teahouse,' as usual, was sort of pirated. I had had several YEARS correspondence with an agent .. be he had kept insisting that there had to be a 'Spanish' - not 'Mexican' - adaptor. I told him that according to my contract with John Patrick, YOU only were to adapt the play into the Spanish language.." She goes on to outline the terms that were reached. She comments that, at least, they now have someone who can make sure all is above board: "I'm glad that you have a friend in the Authors' League over there.." She closes with a postscript inquiring about whether Rodolfo knows of the work she did that past Summer for the World's Fair in Brussels. Replying from Beirut on February 4, 1959, Rodolfo exclaims "I can't help but smiling at the fact that Mr. Andres de Kramer had no inkling that my name is quite well-known in Spain.." He sarcastically notes that "Jose Lopez Rubio is the very same charming fellow you met in Hollywood years back", explaining how Noel Coward was forced to extract royalties through the embassy when it came to light that Lopez Rubio's successful Spanish play was simply a Spanish transcription of one of Noel Coward's works. Signed "Rodolfo". In a brief signed letter dated February 12th, the playwright's agent Claire Leonard informs Jean Dalrymple that it will be a few weeks before she can get her Wayne Wolfe's translation of Rodolfo Usigli's play "Another Spring". In a letter typed on "Legacion de Mexico en Libano" letterhead dated February 27th,1959 Rodolfo informs Jean that because the Spanish authors consider him "their 'illustrious' colleague" the Spanish author's society has ordered their representatives to pay his royalty and that he is inquiring whether royalties are still due to John Patrick and Jean. Signed "Rodolfo". Jean expresses her appreciation for Rodolfo's efforts on March 3, 1959 and inquires whether he'd made progress with Argentina & Uruguay. In a brief letter dated April 27, 1959, Jean thanks Rodolfo for the "final check" yet laments that "I've never heard another word about my poor little 1%". Replying on April 13th, Rodolfo apologizes for not writing sooner as he's been hoping to receive news from Lopez Rubio regarding the royalties due her but "Nothing so far, and not a word as yet from Argentina and Uruguay". He regrets that he couldn't meet up with John Patrick in Mexico and expresses how it is too bad he and Jean can't "have that drink together at the Palace Bar --- on you, dear!" He mentions that Wayne Wolf's translation of his play "Otra Primavera" was successfully produced at the Wisconsin State College Theatre and that he's authorized them to "enter the play in the UNESCO Celebration of 1959". Writing from Lebanon, he'd earlier mentioned that "we've had a little noise around here, but the general situation is quiet, problems being now in Baghdad and Cairo" but that "the biggest bomb exploded in the afternoon of the premiere" when a "group of the American Ballet" was there. Signed "Rodolfo". On April 21, Rodolfo informs Jean that he's just "received from Mexico a remittance covering royalties for the closing performances of Teahouse in Madrid". This brief letter is signed in full "Rudolfo Usigli". A brief letter to Jean from Miriam Howell's secretary Mary Mignone acknowledges receipt of her check for the royalties. On September 2nd, 1959 Rodolfo writes in Spanish to his friend "Senor Don Francisto Lizarraga" of the "Sociedad General de Autores Espanoles" reminding him that Jean Dalrymple is due a percentage of the royalties and that Jean should also be kept informed on the status of performances now that the play is touring the provinces. Signed in full "Rodolfo Usigli". A final letter, this one from Rodolfo's agent Claire Leonard, dated September 15, 1959 expresses her disappointment that despite repeated assurances from Jean Dalrymple and Guthrie McClintic's offices promising that they would read Wayne Wolf's translation of Rodolfo Usigli's play "Another Springtime", neither have gotten back to her in nearly four months. She goes so far as to say that "I, for one, have taken both producers off my list for future submissions, and I am sending a copy of this letter, in the hope that they will let one know how the scripts may be secured, or if they have been lost, as they were obviously not impressed with the submissions of a play by a playwright of your standing.." Signed "Claire".
Together with 2 original programs for the Spanish language productions of "La Casa de Te de la Luna de Agosto" . The first is for the Mexican production by the "Teatro de los Insurgentes". This 9-1/4 inch high by 6-3/4 inch wide program is bound in stapled green wrappers. The 26 page program (including the covers) includes brief biographies with portraits of the actors, playwright, and producers including Jean Dalrymple, Rita Allen, Rosita Diaz Gimeno, Antonio Carbajal, Tai Ko, Rodolfo Calvo, Luis Aragon, Alberto Camagho Romero, etc. The program is further illustrated with ads for Pepsi, Land Rover, Air France, as well as local restaurants and businesses. The second program, this one only 4 pages on a folded sheet, is for the 1958-59 continental Spanish production of the play directed by Claudio de la Torre at the Teatro Maria Guerrero. The 10 inch high by 5-7/8 inch wide program's front cover is illustrated with the image of a Geisha serving tea printed in black & white on a red striped cover. Jean Dalrymple, John Patrick and Rodolfo Usigli are all included in the credits. There are minor creases, else very good.
The Mexican playwright Rodolfo Usigli (1905-1979) was referred to as the "playwright of the Mexican Revolution". He found his true vocation after studying music at the National Conservatory of Music and went on to apply for and receive a Rockefeller scholarship to study drama and composition at Yale University. Returning to Mexico he taught at the University and reviewed plays, translating poetry and drama for the Institute of Fine Arts. He established the Midnight Theater and directed dramas and published his controversial book "The Gesticulating Demagogues" in 1937 which addressed the social issues and misuse of power that were ravaging Mexico. His play "El Gesticulator" [The Impostor] was banned by the government, earning the distinction of being the only play ever censored by the Mexican government. Censorship only served to heighten Usigli's reputation. His play "Family Dinner at Home", published in 1942 targeted Mexican social structure. His crime novel "Ensayo de un crimen" [Rehearsal for a Crime] was adapted by Luis Bunuel into his 1955 film "The Criminal Life of Archibaldo de la Cruz". Usigli had also previously collaborated with Bunuel on his masterpiece "Los Olvidados" (released in the U.S. as "The Young and the Damned"). Struggling financially, Usigli joined the diplomatic corps and served for over 20 years in France, Lebanon and Norway. He kept writing throughout, publishing his "Corona" trilogy ("Corona de fuego", "Corona de luz" and "Corona de sombra") while serving as a diplomat. He met and befriended George Bernard Shaw as well as Jean Cocteau, T.S. Eliot, Bruno Traven, Clifford Odets and Elmer Rice among others. Usigli sought to develop a truly Mexican dramatic style and further influenced his native theater by the strong representation of women in his plays. Rosario Castellanos, considered one of Mexico's most important literary voices and Luisa Josefina Hernandez, another strong female voice on the Mexican stage, were Usigli's proteges.
The recipient, Jean Dalrymple (1902-1998) was the dynamic producer and director of theater and light-opera at Manhattan's City Center. Dalrymple began her career in Vaudeville, appearing with James Cagney and Cary Grant in the early 1930s. She was a founding member of the American Theatre Wing, the theatre service organization. She worked over the years as a personal manager for the likes of Leopold Stokowski, Mary Martin, Jose Iturbi, Andre Kostelanetz, Nathan Milstein, and Lily Pons. She began her work at City Center with its founding in 1943, serving as a board member and publicist. Her productions there from the 1940s through the 1960s were a revitalizing influence on the whole New York theatre scene. In 1951, Jean Dalrymple married Major-General Philip deWitt Ginder, commander of the Thunderbirds in Korea. She was a friend to Presidents and entertainment personalities throughout the world. Very good .
Keywords: THEATRE; THEATER; A SIGNIFICANT CORRESPONDENCE BETWEEN MEXICAN PLAYWRIGHT RODOLFO USIGLI; AMERICAN PRODUCER; JEAN DALRYMPLE; TYPED LETTERS SIGNED; AUTOGRAPH; SIGNATURE; ORIGINAL PROGRAM; THE TEAHOUSE OF THE AUGUST MOON; LA CASA DE TE DE LA LUNA DE AGOSTO;
- Book number: 36458
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