Actors
Found in 790 Collections and/or Records:
Correspondence, 1988
Klein, Don, April 25, 1988
Mark, Steven (to Martin Licker), June 7, 1988
Wenders, Wim, July 22, 1988
Crane, Joan, July 28, 1988
Crane, Joan, August 2, 1988
Wexler, Haskell, September 30, 1988
Wexler, Haskell, October 21, 1988
“Mom,” November 2, 1988
Bryer, Jackson, November 30, 1988
Daugherty, Pat, December 19, 1988
Correspondence, 1989
Daniels, Barry, January 5, 1989
Berman, Lois, May 17, 1989. Includes “American Dreams” programs
Ford, Richard, August 10, 1989
Sinise, Gary, November 4, 1989
Correspondence, 1982-1998
Topics include the publication of Shepard’s works in magazines and journals as excerpts, as well as in their entirety; correspondence with agent Lois Berman. Aside from general correspondence, this series also includes correspondence from Joseph Chaikin and Barry Daniels and correspondence from Shepard’s son, Jesse, as noted [Restricted]. For Shepard’s 40-year correspondence with Johnny Dark, see the Southwestern Writers Collection 106, The Sam Shepard and Johnny Dark Collection.
Correspondence, 1983-1985
The series for Plays is the largest of Shepard’s works and includes notes, annotated typescripts, playbills, programs, correspondence, sound recordings, rehearsal schedules, reviews, and publicity. This series is notable in that Shepard meticulously identified each annotated draft with the date and place (by city and state) of each revision, and there tend to be multiple drafts of each work represented.
Correspondence, 1985-1992
The series for Plays is the largest of Shepard’s works and includes notes, annotated typescripts, playbills, programs, correspondence, sound recordings, rehearsal schedules, reviews, and publicity. This series is notable in that Shepard meticulously identified each annotated draft with the date and place (by city and state) of each revision, and there tend to be multiple drafts of each work represented.
Correspondence, 1993
The series for Plays is the largest of Shepard’s works and includes notes, annotated typescripts, playbills, programs, correspondence, sound recordings, rehearsal schedules, reviews, and publicity. This series is notable in that Shepard meticulously identified each annotated draft with the date and place (by city and state) of each revision, and there tend to be multiple drafts of each work represented.
Correspondence from 7 Stages director Faye Allen and from lighting designer Ann Millitello regarding the death of a friend named John Dodd, 1991, 1998
The series for Plays is the largest of Shepard’s works and includes notes, annotated typescripts, playbills, programs, correspondence, sound recordings, rehearsal schedules, reviews, and publicity. This series is notable in that Shepard meticulously identified each annotated draft with the date and place (by city and state) of each revision, and there tend to be multiple drafts of each work represented.
Correspondence from Judy Boals, 1996
The series for Plays is the largest of Shepard’s works and includes notes, annotated typescripts, playbills, programs, correspondence, sound recordings, rehearsal schedules, reviews, and publicity. This series is notable in that Shepard meticulously identified each annotated draft with the date and place (by city and state) of each revision, and there tend to be multiple drafts of each work represented.
Correspondence from Peter Kaminsky and Wim Wenders, 1982-1983
Correspondence, includes: program for Minnesota film premiere and program and materials from 1988 Telluride Film Festival, 1988-1989
Correspondence, includes: telegram from Bob Dylan, correspondence with agent Judy Boals, and American Theater magazine regarding publication of Buried Child, 1995-1996
The series for Plays is the largest of Shepard’s works and includes notes, annotated typescripts, playbills, programs, correspondence, sound recordings, rehearsal schedules, reviews, and publicity. This series is notable in that Shepard meticulously identified each annotated draft with the date and place (by city and state) of each revision, and there tend to be multiple drafts of each work represented.
Correspondence including: ICM correspondence regarding contract for film,1991; Grey Larsen regarding music for film, 1988, and article written for Esquire magazine about film, 1988, 1991, undated
Correspondence regarding film rights, 1983-1985
The series for Plays is the largest of Shepard’s works and includes notes, annotated typescripts, playbills, programs, correspondence, sound recordings, rehearsal schedules, reviews, and publicity. This series is notable in that Shepard meticulously identified each annotated draft with the date and place (by city and state) of each revision, and there tend to be multiple drafts of each work represented.
Correspondence regarding reviews, rights to publish excerpts, and foreign editions, 1996-1998
Correspondence regarding Tooth of Crime, including: correspondence from Signature Theater, 2 audiocassettes of T. Bone Burnett music, and contract for Burnett’s musical score
The series for Plays is the largest of Shepard’s works and includes notes, annotated typescripts, playbills, programs, correspondence, sound recordings, rehearsal schedules, reviews, and publicity. This series is notable in that Shepard meticulously identified each annotated draft with the date and place (by city and state) of each revision, and there tend to be multiple drafts of each work represented.
Correspondence with Joseph Chaikin, 1994-1995
The series for Plays is the largest of Shepard’s works and includes notes, annotated typescripts, playbills, programs, correspondence, sound recordings, rehearsal schedules, reviews, and publicity. This series is notable in that Shepard meticulously identified each annotated draft with the date and place (by city and state) of each revision, and there tend to be multiple drafts of each work represented.
Correspondence with Joseph Chaikin regarding The War in Heaven, 1995
The series for Plays is the largest of Shepard’s works and includes notes, annotated typescripts, playbills, programs, correspondence, sound recordings, rehearsal schedules, reviews, and publicity. This series is notable in that Shepard meticulously identified each annotated draft with the date and place (by city and state) of each revision, and there tend to be multiple drafts of each work represented.
