Peggy ramsay (12 Ergebnisse)
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Zustand: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.
- Softcover
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- Softcover
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Paperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.
- Softcover
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- Softcover
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- Softcover
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Paperback. Zustand: Brand New. 207 pages. 9.25x6.00x0.75 inches. In Stock.
- Softcover
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- Softcover
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EUR 29,18
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Zustand: New. An inspiring collection of letters written by play agent Peggy Ramsay (1908-1991) to her numerous clients.Über den AutorrnrnColin Chambers, a former journalist and theatre critic, was Literary Manager of the RSCnn(1981-1997), and since .
Weitere BilderVerlag: Nick Hern Books,, London, 1999
- Hardcover
Anbieter: Burwood Books, Wickham Market, Vereinigtes KönigreichBurwood Books
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EUR 47,82
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Hardcover. Zustand: Very Good. Reprint. Hardback. Dust Jacket. First published in 1999. 8vo. pp. [x], 214. Original publisher's white illustrated boards. Glassine dust jacket lettered in red and blue. Initialled (by Callow) postcard loosely inserted depicting Simon Callow wearing red sunglasses with a woman's stockinged leg drap…ed across his chest addressed to John Holmstrom, Geuffordd, Pen-y-Garnedd, Powys SY10 0AT from 7 Agar Grove NW1 9SL dated 17 v 04 and consisting of about 100 handwritten words in which he says 'I knew you from Peggy who always spoke of you vividly.' He continues by saying 'she was impulsively generous' and describes what he received from her on her death, he ends with, 'what she gave me in life is incomputable.' Simon Callow (born 1949) actor, musician, writer and theatre director formed a very close friendship with Peggy Ramsay over a twelve year period. John Holmstrom (1927 Ð 2013) joined the Third Programme in 1951. He wrote a controversial play entitled 'Quaint Honour' which Peggy Ramsay championed. They became close friends and in the 1960s he became a script editor in her agency. He later returned to the BBC. Margaret Francesca 'Peggy' Ramsay (1908 Ð 1991) was an Australian born British highly influential theatrical agent who represented many of the leading dramatists of the 1950s onwards such as Alan Ayckbourn, Eugne Ionesco, J. B. Priestley, Stephen Poliakoff, David Hare and Joe Orton. Very good. 1854592572 Very good.
Weitere BilderLONG AFTER MIDNIGHT
BRADBURY, Ray; illustrated by GUISE, Vincent; HARRIS, Jack; FASOLINO, Teresa; GROTH, John; HEINDEL, Robert; BACON, Peggy; BAKER, Bill; introduction by CAMPBELL, Ramsay
Verlag: Hornsea: PS Publishing. 2010
- Hardcover
- Erstausgabe
- Signiert
Anbieter: LUCIUS BOOKS (ABA, ILAB, PBFA), York, Vereinigtes KönigreichLUCIUS BOOKS (ABA, ILAB, PBFA)
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EUR 143,46
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First edition. Limited edition. Signed by the author. Publisher's original Francisco de Goya illustrated boards with yellow and white titles to the upper board and spine, in dustwrapper and blue cloth slipcase, with yellow titles to the backstrip. Textured endpapers. With 20 black and white illustrations throughout by Vincent Gu…ise, Jack Harris, Teresa Fasolino, John Groth, Robert Heindel, Peggy Bacon, and Bill Baker. A fine copy, the binding square and firm, bright and fresh. The contents are clean throughout and without previous owners' inscriptions or stamps. Complete with the fine original dustwrapper, which is without fading, loss or tears. Not price-clipped (£50.00 to the rear panel). Housed in the structurally-sound slipcase that has just a touch of rubbing to the backstrip. Issued in an edition of 200 copies, from which this example is numbered 113, and signed by Ray Bradbury in black ink on the limitation page. A traycased deluxe edition of 100 copies was also issued, signed by both Ray Bradbury and Ramsay Campbell and included a previously unpublished rewrite of 'I Rocket'. First published in 1976 by Alfred A. Knopf (New York), the first UK edition was released the following year by Hart-Davis, MacGibbon. Nominated for the 1977 World Fantasy Award for 'Best Anthology/Collection'. Best known for his seminal dystopian novel 'Fahrenheit 451' (1953), Bradbury here presents a collection of 23 science fiction short works, including the 1972 Seiun Award-winning short story 'The Blue Bottle' (1950). Several stories featured in this compilation have since been adapted for television, with 'The Messiah' incorporated into the third episode of the 1980 NBC miniseries 'The Martian Chronicles', written by Richard Matheson and directed by Michael Anderson. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers. Signed by Author(s).
Verlag: 29 May and 5 and 12 March and 19 April 1956. All on letterheads of Margaret Ramsay Ltd Play Agent 1955
Anbieter: Richard M. Ford Ltd, London, Vereinigtes KönigreichRichard M. Ford Ltd
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EUR 143,46
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All four items good, on lightly aged paper. Two of the five leaves have small dog-ears to corners. Goodman has done his accounts on the blank reverse of one leaf. An important collection, in which the most important British post-war play agent reveals, in entertaining and increasingly-brusque terms, the criteria by which she jud…ges scripts. Goodman was hailed by Jacques Barzun as 'the greatest living master of true-crime literature', but his first love was, as his obituary in the Daily Telegraph (16 January 2008) states, the theatre. He began his career in 1951, 'working at the Richmond Theatre, first as a stage manager and then as a producer', before finding jobs in the West End. LETTER ONE (29 May 1955): 4to, 2 pp; 8vo, 1 p. A hundred and twenty lines of hurriedly-written text, with autograph additions and corrections. She has read Goodman's play 'Willow Weep For Me', sent to her by Bill Roderick. She begins by outlining her method. 'My clients are so used to the bitter truth about their plays that I am inclined to think that everybody is prepared for it - clearly I must warn you as I don't suppose Bill did! | Away with compliments! If I didnt think you had real talent I wouldnt bother to tell the truth, but simply return you your script with a polite non-commotal [sic] phrase. I will move on to criticism immediately, as its the only thing which will get you produced.' Goodman is 'obviously a writer who writes from within himself - very right and proper, but, as you know, play writing exacts every kind of talent - involvement, subjectivity, objectivity, planning, creation, etc etc.' There follows a detailed critique of Goodman's play, with particular reference to Tennessee Williams's 'Cat on a Hot Tin Roof'. '[.] I must skip saying a hundred thing [sic] because I have no time to write and you havr [sic] no time to read'. She urges him to decide 'what "great truth" you wish to rest your play upon [.] Your bridge-party at the end of act one is very bad technically - why should the husband leave his guests downstairs to follow him up - simply because you wanted the husband in first - you cant do this kind of thing. You must let one of them have a car and be parking it, or any excuse you like - but tax yourself, be ingenious! Really nothing is too good for a play! | My advice to you is to put this play in a bottom drawer and forget it. Managers arent interested in potential talent, they want a play - and you dont want flattery, surely? You want a play on the highest level (not a piddling little try-out, which is all your play could possibly get, and I doubt if that would be possible without influence). [.] Ive no doubt Liverpool has ben [sic] nice because its always something of a miracle when a friend can write at all (or a fellow actor) - but you are undertaking the most difficult form of writing there is - where planning, discipline, creation, objectivity, subjectivity are all mixed up and none of these things can be neglected.' She will be 'coming up to see Stokers musical' and will return his script then. LETTER TWO (5 March 1956): 4to, 1 p. The play he has sent, 'Chopsticks in Waltztime', is 'an improvement, but I expect you know that it isn't good enough for London'. Goodman still seems to have 'dialogue diarrhoea' and should try and 'discipline' himself more, 'or else turn to writing novels [.] You wrote to me about a plot which I thought rather dank - this is one of your failings (all your plots seem a bit dank)! That no doubt is your youth. [.] Don't be depressed. This is only my opinion, and please seek opinions elsewhere before taking mine as gospel.' LETTER THREE (12 March 1956): 4to, 1 p. Explains what she means by 'dank': 'sordid without being exciting - a sort of dreary realism'. 'I'll read your new play with interest, but I hope the title doesn't mean it's about a woman changing into a man or vice versa, because if so you may be sure hat I shall detest it. This kind of social problem is quite unsuited to dramatic treatment - but I hope I'm maligning you and misconstruing the title!' LETTER FOUR (19 April 1956): 4to, 1 p. She has 'taken a long time' over Goodman's play, 'chiefly because the title was so awful I couldn't bring myself to read it!' Suggests he 'try submittinng this to some other agent', as 'it may be that I am too tough on you.' Goodman has talent and the play is 'in some ways rather amusinng, but all those sex jokes are to me not funny but smutty. Try some theatre, or other agent, and see how you fare, and do please let me know how you are getting on.'.
