Contains clippings; handwritten design notes; a floor sheet; lists of plays, sketches, and models; programs; set designs; and correspondence, including a letter from Gilmor Brown. Materials are dated 1929-1936; some are undated.
Contains awards and honors, 1951-1959; floor plans, undated and by unidentified architect; a broadside of Shakespeare and Shakespeare-related images, inscribed to Gilmor Brown by Mrs. H.D. Bentley, 1936, in appreciation of the Midsummer Drama Festival; one painting of Gilmor Brown in a kilt, undated, and one cartoon by Ernest Hix and Doug Hayes, 1948, celebrating Gilmor Brown. Also includes a 17th-century theater prop given to Gilmor Brown by Gareth Hughes: Indenture, used as Shylock's bond, 1687, accompanied by a label stating that this was stage property used in many productions of "The Merchant of Venice." Additionally, contains two copies of a banner advertising Pasadena Playhouse and its College of Theatre Arts, 1959; and portraits, including a photograph of Gilmor Brown's father, a photograph of Percy MacKaye inscribed to Brown, a photo depicting Bob Hope and Bing Crosby with a Pasadena Playhouse student, and photos of Elton Howard's portraits of Brown, Shanewise, Freud, and Wells, approximately 1925.
Works include: James, Helen, Shiny Legs (1961); Flavin, Martin, Shucks (script and correspondence, 1949, 1966); Snow White (various scripts, 1954, undated); Brown, Gilmor, A Soul for Mary Jane (typescript, stage sketch, and memo from Pasadena Drama Guild, 1935); Riley, Alice C. D., A Stare Shone and Little New Moon (Samuel French script, inscribed to Gilmor Brown, 1929, undated); Deval, Jacques, Tovaritch (1937); Milne, A. A., The Truth About Blayds (acting edition, Samuel French, 1923); and Hecht, Ben, and MacArthur, Charles, Twentieth Century (after 1932).
Includes articles and clippings; cast, costume, and dressing room lists; correspondence, including a copy and transcription of Eugene O'Neill's letter to Gilmor Brown and correspondence about the production's score, plus a photograph of the composer; programs, correspondence, and clippings concerning the 1928 and 1929 premieres. Also includes and scripts, in the form of sides for various characters and the chorus.
Contains Workshop programs, 1929-1936; and Laboratory Theatre programs 1933 (summer session), 1936-1946. Also includes clippings, Workshop and Laboratory Theatre, 1927-1939; and a scrapbook page with clipping re: Workshop group, 1927. See also Series II, Scrapbook 104, for more materials on the Workshop and Laboratory Theatres.
Includes an invitation to join the Community Playhouse and rules for players, 1917; an undated document, How a Community Play is Made; and a report on the Community Playhouse's 1921-22 season; documentation of the relationship between Actor's Equity and Little Theaters, including Pasadena Community Playhouse, circa 1936-1937; State Theater of California designation, 1937: and the Red Cross's recognition of the Savoy Stock Company and Gilmor Brown, 1917; a photograph of an early board meeting, circa 1925-1929; applications to the Rockefeller Foundation (1947) and a Ford Foundation proposal and reports (1951); a report to the Board on instructional activities, including a school calendar (1946-1948); sales agreements and appraisals of properties (1943-1949); and documentation of various development initiatives (circa 1950-1952).
Contains photographs from productions including The Wedding (1922); Polly with a Past (1922); The Wolves (1928); Julius Caesar (1929); Mary, Mary, Quite Contrary (1929); The Armored Train (1930, undated); Marco Millions (1930); The Blue Bird (Muncie set, 1930; 1937); and Yes is for a Very Young Man (circa 1946). Also contains performance photographs and clippings from The Follies of Pasadena, possibly the Playhouse's first comedy caper (1923-1924, undated) and around 40 unidentified performance and cast photographs, possibly from Mainstage and North Fair Oaks theater, from circa 1927-1936.
