Christie, Agatha

Three typescript plays, all professional duplicate typescripts produced for Peter Saunders, the theatrical producer, and all with notes on staging and extensive revisions to the text by the director Hubert Gregg: (1) The Hollow: A Play In Three Acts, extensively annotated in blue ink by Gregg and with three pages of cancelled notes in pencil, inscribed on front free endpapers by Saunders to Gregg “the ‘architect of victory’”, 25 December 1952 and also inscribed (“Happy memories”) by Agatha Christie, 90 pages, 4to, [c.1951], blue roan, upper cover nearly detached, title page roughly torn with loss of 30-50mm at right margin; (2) The Unexpected Guest: A Play in Three Acts, blue ink, with notes throughout in pencil, blue ink, and black ink by Gregg, signed on the title page by Christie, each act separately paginated, 172 pages, 4to, [c.1959], in blue paper covers inscribed in pencil (“Uncorrected Copy”), with seven additional leaves loosely inserted at the beginning including a list of rehearsals, a list of actors and parts, and two rough stage plans; (3) Rule of Three: Three Plays by Agatha Christie (The Rats, Afternoon at the Seaside, The Patient), annotated throughout in blue ink by Gregg, the final page incomplete with note (“End to follow”), each play paginated separately, 77 pages, 4to, [c.1961], in a blue folder, with an additional 26 leaves loosely inserted, including typescript revisions to the script (including the end of “The Patient”), notes on auditions, and rehearsal schedules; also with, housed separately, three autograph pages of additional text by Christie for “The Patient”, written on the versos of headed stationery of the Victoria Hotel, Wolverhampton, [c.1961]  

[with:] Seven autograph letters signed ("Agatha Christie", "Agatha Mallowan", "Agatha")and one Christmas card signed, to Hubert Gregg, writing resignedly about poor reviews (“…Still, plays are like race horses, always either amazing or disappointing their Stables…”) and with comments on possible revisions to a play then in production, describing her astonishment at the continuing popularity of The Mousetrap, discussing the development of her last play (Fiddler’s Five), and the ill health of her last years, 19 pages, 8vo, most on headed stationery of Winterbrook House, Wallingford, Berkshire, six with autograph envelopes, postmarked 2 October 1953 to 3 June 1972



[also with:] Luncheon menu for “The Mousetrap” cast, 20 November 1964, signed by Agatha Christie and 21 others; The Mousetrap, Samuel French, 1954, inscribed by the author (“For Hubert with affection and gratitude on our Sixth Birthday from Agatha”); Gregg, Agatha Christie and All That Mousetrap, William Kimber, 1980

Condition is described in the main body of the catalogue, where appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Hubert Gregg (1914-2004) was responsible for directing many of Agatha Christie's thrillers for the stage in the 1950s - a time when she was a major presence in the West End - including seven years directing The Mousetrap. This archive reveals his extensive engagement with Christie's texts in readying them for the stage. Gregg was a performer and presenter of many talents: in addition to directing he was also an actor, a much lover radio presenter, and a songwriter (his credits including "Maybe It's Because I'm a Londoner", which he claimed to have penned in twenty minutes).