Guide to the Papers of David Williamson

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MS 7378

National Library of Australia View Catalogue Record

Collection Summary

Creator
Williamson, David, 1942-
Title
Papers of David Williamson
Date Range
1958-2003
Collection Number
MS 7378
Extent
11.8 metres (74 boxes + 1 folio box)
Language of Materials
English
Repository
National Library of Australia
Sponsor
This finding aid was revised and republished with the assistance of the Ray Mathew and Eva Kollsman Trust.

Introduction

Scope and Contents

This is a comprehensive collection which comprises papers relating to Williamson's professional and personal life. The kernel of the collection consists of drafts of plays such as The coming of the stork, The removalists, Don's party, Jugglers three, What if you died tomorrow, The department, A handful of friends, The club, Travelling north, The perfectionist, Sons of Cain, Celluloid heroes, Emerald City, Siren, Top silk, Dead white males, After the ball, Corporate vibes, Face to face, The great man, A conversation, Up for grabs, Soulmates and Birthrights. Scripts for film and television work such as Peterson, Certain women, Gallipoli and The last bastion are also included along with correspondence, photographs, diaries, fan mail, receipt books, juvenilia and memorabilia.

Williamson retained all of his correspondence, both letters addressed to him and copies of his own letters, faxes and emails. Correspondents include his publishers, producers, agents, other writers and actors. They include: Kristin Williamson, Carol Oliver, Tim Curnow, Bob Ellis, Christopher Koch, Michael Blakemore, Ray Barrett, Peter Collins, Hector Crawford, Don Dunstan, Israel Horovitz, Tom and Judy Keneally, Judy Lovell, Pat Lovell, Bruce Spence, Ross Terrill, Jackie Weaver, Peter Weir, Tina Williamson, Lord Willis, Derek Freeman, Robyn Nevin, Peter Carey, Alison Summers, Richard Franklin, Kathy Lette, the Australia Council, the Australian Writers' Guild and the Commonwealth Literary Fund. There are also theatre programs, talks, articles by and about Williamson, theses on Williamson and unsolicited scripts by others.

Conditions Governing Access

Access conditions may apply to this collection, please refer to the collection's catalogue record for further information (http://nla.gov.au/nla.cat-vn1080034).

Conditions Governing Use

Copying and publishing of unpublished manuscript material is subject to copyright restrictions. For such material, written permission to publish must be obtained from the copyright holder(s). Copying of unpublished material for research purposes is permissible 50 years after the death of the creator of the material.

Preferred Citation

Items from this collection should be cited as '[Title or description of manuscript item], Papers of David Williamson, National Library of Australia, MS 7378, [box and file number]'.

Provenance

The papers were donated to the Library by Williamson in 1987 under the Tax Incentives for the Arts Scheme (TIAS). Additions to the collection were made by Williamson in 1989, 1990, 1995 and 2003 under the TIAS or the Cultural Gifts Program.

Arrangement

The papers, received in five consignments between 1987 and 2003, have been sequentially arranged and described using a simple box/folder approach with continuous folder numbering. Within each consignment similar papers have been grouped together, the bulk comprising correspondence, draft plays, speeches and theatre programs.

The first part of this guide (to Box 50) is a revised version of one provided with the collection when it was received in 1987. Some of the items originally listed were not received and, conversely, the collection was found to contain items not mentioned on the original list.

Regarding the 2003 consignment of papers, Williamson stated in an email that he 'simply periodically cleared material from [his] filing cabinet.' Draft play scripts in this consignment have been arranged by play title in rough chronological order by the Library. The correspondence, which was loosely piled inside several boxes by Williamson, has been placed into archival folders in the order in which it was removed from the boxes in an attempt to retain any relationships existing between adjacent papers. In some cases this has resulted in a disruption to the chronological order of the correspondence.

Biographical Note

DateEvent
1985The last bastion (6 part mini-series: co-producer and principal screenwriter)
1987Four minute mile (series)
1988A dangerous life (3 part mini-series)
1999Dog's Head Bay (series)

David Keith Williamson was born in Melbourne on 24 February 1942 and was educated at Bairnsdale and University High Schools, Melbourne University and Monash University (where he graduated in mechanical engineering in 1964). Williamson worked as a Design Engineer for General Motors Holden in 1965 and as a lecturer in engineering and psychology at Swinburne Technical College in 1966-1972, before becoming a fulltime writer.

Williamson was a writer and actor with La Mama Company and the Australian Performing Group in 1970-1972, a member of the Australia Council for the Arts, 1972-1975, Commissioner of the Australian Broadcasting Commission in 1978-1979 and President of the Australian Writers' Guild between 1979-1993.

Williamson was awarded an Order of Australia in 1983 and has received Honorary Doctors of Literature from the University of Sydney and Monash University. He won the George Devine award for The removalists in 1972. He won the AFI award for best screenplay four times and the Australian Writers' Guild award for best script in any media 11 times between 1968 and 2005. Williamson was voted an Australian National Living Treasure in 1997.

Williamson married Carol Cranby in 1965 and Kristin Lofven in 1974. He has two sons and a daughter.

Biographical Reference(s)

Austlit: the Australian Literature Resource, entry for David Williamson, http://www.austlit.edu.au/, 28 May 2008.

Item Descriptions

Class. October 1989 consignment

Subseries. Correspondence, 1958-1986

General correspondence, 1967-1985, and undated (File 1-2)
Letters, 1965, 1972-1980,1983 and undated (File 3-4)
Letters from actors, writers and others, 1972-1986, and undated (File 5-7)
Letters from Michael Blakemore, 1975-1982 (File 8)
Letters from Bob Ellis, 1975, 1977 and undated (File 9)
Personal letters, 1974-1985 and undated (File 10-12)
Family letters, mostly undated (File 13-14)
Letters from Carol Oliver (Williamson), 1980-1986 and undated (File 15)
Letters from Kristin Williamson, undated (File 16)
Fan letters, arranged by production, and miscellaneous (File 17-19)
Telegrams, 1971-1985 and undated (File 20)
Congratulations on Order of Australia, 1983 (File 21-22)
Schoolwork and paintings, c. 1950-1960 (File 23)
Juvenilia. Includes Lett's Schoolboy's diary, 1958 (File 24)
Correspondence, literary agents: Curtis Brown, 1971-1973 (File 25)
Correspondence, literary agents: Curtis Brown, 1974-1979 (File 26)
Correspondence, literary agents: Curtis Brown, 1980-1982 (File 27)
Correspondence with Curtis Brown and other literary agents, 1983 (File 28)
Correspondence with Curtis Brown and other literary agents, 1984-1986 (File 29)
Correspondence, publishers: Currency Press, 1971-1983 (File 30)
Theatre company correspondence, 1970-1986 and undated (File 31-34)
Film, radio, television correspondence, 1972-1986 and undated (File 35-39)
Official letterhead correspondence, 1970-1986 and undated (File 40-43)

Correspondents include the ABC, Australia Council, Australian Writers' Guild, Commonwealth Literary Fund, politicians.

Subseries. School and university, 1960-1986

Correspondence, 1968, 1971-1974 and undated (File 44)
Correspondence, 1975-1980 (File 45)
Correspondence, 1981-1983 (File 46)
Correspondence, 1984-1986 (File 47)
Three large size photographs of Williamson and family, c. 1974-1983 (File 47a)
Album containing early snapshots and cuttings, also many loose, undated photos c. 1955-1961, also one of second wedding, 1974 (File 47b)
Academic records, 1960-1969 (File 48)
Engineering societies, Melbourne and Monash Universities. Various journals (periodicals) and notes (File 49)
Press cuttings, mainly political (File 50)
Early writings and address book (File 51-53)
Roneoed study notes: 'Applied mechanics practical work', John Pitman, 1965; various essays and examinations (File 54-55)

Subseries. Early revue scripts, c. 1970

You've got to get on Jack, Australian Performing Group (AGP) Revue and early drafts Libido film episode (File 56)

Subseries. Stork, c. 1971

(i) La Mama version, heavily revised carbon; (ii) Australian Theatre version, original typescript; (iii) Carbon of same with revisions; (iv) Cyclostyled version, with two copies of film agreement (File 57-60)

Subseries. The removalists, 1971-1973

(i) Manuscript entitled 'Play'; (ii) Original typescript (slight fire damage); (iii) Photocopy with revisions, prompt copy; (iv) Two pages (pink) of manuscript notes for changes; (v) Revised version, original typescript; (vi) Carbon of same, marked 'Second draft, November 1971' (for Currency Press?); (vii) Incomplete photocopy of same (File 61-63)
Bound screen version (part of (ix) below), 1975 (File 64a)
(viii) Original typescript for screenplay, marked 'commenced 1 November 1973', also a three page typed letter (thoughts on first draft) and one page carbon of version of opening sequence; (ix) Four copies of screen version representing three stages of revision (one duplicated); (x) Copies of agreement for film and cast list (File 64-68)

Subseries. Don's Party, 1971-1976

(i) One page manuscript of opening (original beginning?); (ii) Manuscript of play on clipboard (clipboard not retained); (iii) Photocopy of original typescript as submitted to the Australian Performing Group (APG); (iv) Same, dated 3 February 1971 and marked as first draft; (v) Carbon with handwritten revisions with three pages of typed alterations and odd sheets of typescript; (vi) Complete photocopy with MS revisions of revised typed draft, another prompt copy of same; (vii) Photocopy of typed NIDA version; (viii) Royal Court (February 1975) version and copy of agreement (File 69-76)
(ix) Screenplay, typed copy of second version with typed pages of alterations (File 77)
(x) Bound screenplay with handwritten annotations, c. 1971-1976 (File 77a)

Subseries. Jugglers three, c. 1972

(i) Carbon typescript of first version entitled 'Third world blues' (File 78)
(ii) Three typed cast copies and a fourth (no.22) heavily revised in handwriting (File 79-82)
(iii) Paste-up of this typescript in Swinburne exam booklet, described as 'first draft of rewrite' (File 83)

Subseries. Certain women (TV episode), c. 1972

(i) Storyline (loose pages), typed first draft marked June 30, later typed version (loose pages); (ii) Typed version marked 'first draft' (like the one above) (File 84-87)
(iii) Two letters from Tony Morphett, one enclosing a sample storyline, the other containing criticism of Williamson's storyline; (iv) Other material from Morphett, including sample script for The Sullivans. Also sample script for an English TV series (File 88-89)

Subseries. Eliza Fraser (film), 1972-1975

(i) Typescript marked 'rough first draft' and dated January 1972; (ii) Photocopy of same with heavy MS revisions (File 90-91)
(iii) First draft, original typescript (revision of above?), 1974; (iv) Photocopy of another typescript draft, unspecified, with two pages of handwriting; (v) Storyline and assorted broken sequences, June 1975 (File 92)
(vi) Fourth revised draft August 1975, two copies professionally typed (File 94-95)
(vii) Photocopy of shooting script with location sheets (File 96-97)
Typescript of play for BBC, 1975 (File 98)

Subseries. The family man (segment of film Libido), c. 1970

(i) Typescript with MS revisions, titled 'The Boys'; (ii) Manuscript notebook for stage version 'The family man'; (iii) Same, rough revised typescript (File 99)

Subseries. What if you died tomorrow, 1973

(i) Rough author's typescript; (ii) Final typescript with copy of agreement with Old Tote Company; (iii) Same, includes draft of unfinished letter to Gough Whitlam regarding new national anthem, 17 April 1973 (File 100-101)

Subseries. Peterson (film), c. 1975

(i) Swinburne exam booklet with storyline; (ii) Manilla folder entitled 'Film', containing early typescript and carbon; (iii) Final (professional?) typescript (File 102-105)

Subseries. The department, 1973-1974

(i) Manuscript of first draft of play with handwritten notes, dated, December 1973 (File 106)
(ii) Same, carbon, revised in handwriting. (iii) Odd typescript pages (first and second typing?) with some revisions. (iv) Handwritten pages of notes on structure of first draft (File 107)
(v) Folder containing revised first draft dated 6 March 1974, typescript with heavy handwritten revisions, carbon of same with some handwritten revisions. Also handwritten notes (File 108)
(vi) Typescript 'second draft' (ie fourth version from original manuscript), complete 24 March 1974, top copy (File 109)
(vii) Playtext typed for South Australian Theatre Company (File 110)
(viii) Second draft of TV version (author's copy) (File 111-113)
(ix) Same, loose pages, two copies (File 114)
(x) Recording schedule for TV version (File 115-116)
(xi) Final TV script, two copies, one with handwritten revisions (File 117-118)

Subseries. The toy man, c. 1974-1981

(i) Typescript carbon of original screenplay with handwritten revision, July-August 1974 (File 119)
(ii) Revised first draft (photocopy), September, 1975 (File 120)
(iii) Typescript of second draft (photocopy). (iv) Typescript of second draft outline, with handwritten revisions (File 121)
(v) Duplicate of above marked October 1974 (Curtis Brown copy), 1974 (File 122)
(vi) Revised fifth draft, January 1981 (Originally titled 'Partners'), 1981 (File 123)
Two spiral notebooks recording impressions of China (File 123a)

Subseries. The race, 1976

(i) Typescript carbon outline for film (1976). Includes manuscript page of notes for film, with dialogue for A handful of friends on other side (File 124)

Subseries. Burke and Wills, 1976

(i) Manuscript (handwritten) (File 125)
(ii) Typescript top copy of first draft of screenplay with handwritten notes for second draft, 1976. (iii) Carbon of same (File 126)

Subseries. A handful of friends, 1975-1976

(i) Blue notebook containing notes for new play commenced 2 September 1975; (ii) Exercise book, first manuscript draft in biro (File 127)
(iii) Typescript carbon first draft, finished 15 October, 1975 (File 128)
(iv) Two lecture pads containing rough handwritten second draft with sheets from (iii), revised in handwriting, included (File 129)
(v) Second draft typed carbon copy completed 12 November 1975 with some handwritten revisions, 1975 (File 130)
(vi) Photocopy of South Australian Theatre Company playscript. Five copies with handwritten variants and a sheet of final 'Emendations' dated 17 June, 1976 (File 131-135)

Subseries. The club, 1976-1980

(i) Lecture pad headed 'new play' started 25 May 1976, rough draft completed 5 June 1976, manuscript first draft, 1976 (File 136)
(ii) Typed carbon of first draft with revisions and letters to Curnow dated 22 and 23 June 1976 discussing these (File 137)
(iii) Second amended draft with some handwritten pages. Note on cover refers to a third draft(?) (File 138)
(iv) Red folder marked 'Second last draft corrected and used as a basis for typing up final draft' (typescript) (File 139)
(v) Six copies as distributed to theatre companies in 1976 (File 140-145)
(vi) Final typescript as distributed by Curtis Brown marked by Williamson as 'not final draft' (File 146)
(vii) Top copy of typescript with handwritten revisions marked 'last draft finished 1 April 1977' (File 147)
(viii) Copy of 'Players', ie script as it was retyped for US production (File 148)
(ix) Photocopy of ABC radio version adapted by Frank Zeppel (File 149)
(x) Shooting script, February, 1980 (File 150)
(xi) First draft screenplay (File 151)
(xii) Second draft screenplay (File 152)
(xiii) Third draft screenplay, 13 December, 1979 (File 153)

Subseries. Travelling north, 1978

(i) Typed draft of untitled play started October 1978 with Williamson's handwritten note 'No biro draft' as with preceding plays. Also handwritten notes at end (File 154)
(ii) Second typed draft entitled 'Travelling north', with heavy handwritten revisions (File 155)
(iii) Typescript dated 22 December, 1978 with note that approximately ten pages have been corrected and replaced in next typed copy (File 156)
(iv) Ditto, with corrections inserted (File 157)
(v) Ditto, carbon, complete, clean loose sheets (File 158)
(vi) Typescript, marked-up producer's copy (File 159)
(vii) Ditto, clean (File 160)
(viii) Freshly typed version (carbon), with some handwritten revisions; for Currency Press edition(?) (File 161)

[NOT HELD] (ix) Broken run of typescript (top and carbon), heavily revised in handwriting, with two handwritten pages of dialogue at start, 1978

[NOT HELD] (x) Director's (unidentified) notes on play.

Subseries. King Lear, 1978

(i) Photocopy, typescript, 1978 (File 162)
(ii) Different version, later (?) typed, two copies (File 163-164)

Subseries. Break Point, 1977

(i) Typed copy marked 'Original screenplay', with Australian Film Commission letter of rejection and criticism attached, 1977 (File 165)
(ii) Ditto in blue folder (carbon) with letter from Keith Salvat (File 166)

Subseries. Celluloid heroes, 1980

(i) First handwritten draft in lecture pad (File 167)
(ii) First (?) typed draft (File 168)
(iii) Two typed copies with handwritten revisions (File 169-170)
(iv) Revised typed draft, September, 1980 (File 171)
(v) Further typed draft, September 1980, annotated 'as first performance' (File 172)
(vi) Ditto (Nimrod copy). Handwritten note on cover (File 173)
(vii) Ditto, loose sheets (File 174)
(viii) Ditto, bound with note on cover (File 175)

Subseries. Gallipoli, 1977-1980

(i) Handwritten notes in (fat) lecture pad, thoughts on title (File 176)
(ii) Handwritten notes in (thin) lecture pad, some early dialogue and notes at back (File 177)
(iii) Research notes, mainly Williamson's, but also copies of articles on Gallipoli by Gammage et al and letter identifying Kristin as Williamson's researcher (File 178-180)
(iv) Typescript first draft screenplay for South Australian Film Corporation, 1977 (File 181)
(v) Ditto, one typescript, one carbon copy (File 182-183)
(vi) Third typed draft, 1979 (File 184)
(vii) Typescript on yellow paper (revisions to (vi) for (viii)?) (File 185)
(viii) Photocopy of typescript marked 'Final draft, May 1979' (File 186-187)
(ix) Ditto photocopy, 1980 (File 188)
(x) Typescript marked 'Fourth draft, April 1979' (File 189)
(xi) Ditto, 'with alterations', May, 1979 (File 190)
(xii) 'Final draft', May 1979 and two copies (File 191-192)
(xiii) Typescript (and version?) for R and R Films,, 1980 (File 193)
(xiv) Typescript marked 'first draft January 1980', with handwritten revisions (File 194)
(xv) Typed draft with handwritten note 'completed 19 June 1980' (File 195)
(xvi) Two copies of original Peter Weir outline, July 1977; (xvii) Stigwood-Murdoch press kit for film (File 196)

Subseries. The perfectionist, 1981-1983

(i) Manuscript in exercise book marked 'Rough draft' (File 197)
(ii) Fuller handwritten draft in lecture pad (File 198)
(iii) Third rough handwritten draft (File 199)
(iv) Two typed carbons titled 'first draft', with handwritten notes and revisions, 1981 (File 200-201)
(v) Original typescript of second draft with title page and carbon, November-December 1981 (File 202)
(vi) Heavily revised carbons (three sets). Revisions change focus of play from Stuart and Jack to Barbara (File 203-205)
(vii) First draft screenplay, bound typescript, plus pp.25-116 loose [LOOSE PAGES NOT HELD], 1983 (File 206)
(viii) Revised first draft screenplay, 1983 (File 207)
(ix) Second draft screenplay, copy for Pavilion Films, 1983 (File 208)
(x) Third draft screenplay, n.d. (File 209)
Handwritten messages addressed to Williamson from cast and crew of a Sydney Opera House production on large menu card, 1982 (File 209a)

Subseries. The year of living dangerously, 1981

(i) Two copies of screenplay by Alan Sharpe (U.S.) (File 210-211)
(ii) One copy of Weir/Koch screenplay (bound) (File 212)
(iii) Three copies of Sharpe/Weir/Koch screenplay, January 1981 (File 213-215)
(iv) Folder (pink) with Williamson's draft (top copy and carbon) and August 1981 rewrite. Similar beginning to Sharpe script (File 217-219)
(v) Folder (brown) with typed draft, heavily revised in handwriting (File 220)
(vi) Bound copy of Williamson's second draft, August 1981 (File 221)
(vii) Copy of fifth draft with handwritten revisions, January 1982 (File 222)

[NOT HELD] (viii) Photocopy of Koch's comments on Williamson's (presumably) first rewrite of Sharpe/Weir/Koch scripts.

Subseries. Phar Lap, 1980-1983

(i) Preliminary research material compiled by Helen Townsend on 6, 16 and 30 July and 10 August, 1982 (File 223)
(ii) Notebook with storyline drafted in handwriting; (iii) Exercise book with handwritten notes for researcher, from back outline of 'structure' (File 224)
(iv) First draft of screenplay, typed, with 'Phar Lap' as working title and handwritten revisions (File 225)
(v) Retyped, revised 1981-1982 version, bound, with loose handwritten notes inserted (File 226)
(vi) Another copy, with long letter to Sexton inserted [LETTER NOT HELD]. Also loose carbon copy (File 227-228)
(vii) Clipping from Daily Mirror on the horse Phar Lap, 2 April, 1982 (File 229)
(viii) Typed pages 'Williamson's notes on Second Draft', with typed 'Questions for Williamson' preceding (File 229)
(ix) Fourth draft screenplay, two copies, both heavily edited (File 230-231)
(x) Fifth draft with Williamson's changes, plus letter from John Sexton, 24 July 1980 (File 232-233)
(xi) Draft (2) of (final?) script (File 234)
(xii) Tony Morphett: copy of his Quadrant review of film (File 235)
(xiii) Helen Townsend's book based on the film (Landsdowne Press, 1983) (File 235a)

Subseries. Sons of Cain, 1984-1985

(i) Notebook with first attempt at 'State of corruption' abandoned (File 236)
(ii) Rough handwritten first draft of 'State of corruption' (File 237)
(iii) Ditto, second rough draft (File 238)
(iv) Typed, bound draft with handwritten notes, December 1984 (File 239)
(v) Responses to typed draft circulated: (a) Long typed analysis (carbon) deliberately left unsigned by 'Kevin'; (b) Letter from John Sumner, 2 October 1984; (c) Letter from Wayne Harrison, 22 January 1985; letter from Wayne Harrison, 14 January 1985 (File 240)

Subseries. The last bastion, 1970, 1983-1984

(i) Three sets of handwritten notes, two pages, four pages and eight pages respectively; (ii) Typed preliminary treatment for a six hour television mini-series written by Williamson and Enis Whitburn, 2 March 1983 (File 241)
(iii) Outline of the above dated 1984 with Williamson's notes, 1984 (File 242)
(iv) Two copies of second draft, each with corrections, Part 1, May 1983 (File 243-244)
(v) Two copies, one with corrections, one without, of Part 2 (File 245-246)
(vi) Two copies, one with corrections, one without, of Part 3 (File 247-248)
(vii) One set of copies of Parts 1, 2 and 3. Two spiral bound and one loose, May 1983 (File 249-251)
(viii) Working draft: (a) Part 1, two copies (one with handwritten notes), January 1984 (File 252-253)
Working draft: (b) Part 2, two copies (one with handwritten notes) (File 254-255)
Working draft: (c) Part 3, one copy. (File 256)
(ix) Shooting script: (a) Part 1, scenes 1-107 with handwritten notes, February 1984 (File 257)
(ix) Shooting script: (b) Part 3, January 1984 (File 258)
(i) Typewritten copy of article 'The Phoney War of Robert Gordon Menzies', by David Day (?) accompanied by letter from him, 12 September 1983; (ii) Three letters from members of the public expressing interest in the project; (iii) Letter from John Buckley enclosing copy of his article on General Sturdee (File 259)
(iv) Letter from Peter Ryan (MUP),(v) Clipping of review of Peter Charlton, The unnecessary war, in Sydney Morning Herald, 3 September 1983 (File 259)
(vi) Octavo notebook relating to research; and brochures relating to: Franklin D. Roosevelt Library and Museum, New York; US Army Centre of Military History, Washington, DC; Public Record Office, London; and Parliament House, Canberra (File 260)

[NOT HELD] (ix) Two typed pages related to financing

[NOT HELD] (x) Typed sheets of scene breakdowns, locations etc.

[NOT HELD] (xi) Set of photocopies of press articles on film and television industry.

(xii) Copy of Reader's Digest illustrated history of World War II (1970) (File 261a)
(xiii) Eight items of sheet music relating to WWII (File 261)
(xiv) Additional set of May 1983 spiral bound Parts 1-3. Some used for cutting and pasting, some minor handwritten notes on a few pages (File 262-265)
(xv) Unbound sheets of the above; (xvi) Posters advertising the mini-series [NOT HELD] (File 266-269)
(xvii) Advertising material for television series (File 270)
(xviii) Further May 1983 bound copies of Parts 1-3 (File 271-281)

Subseries. Kings in grass castles, 1983

(i) Yellow folder containing Denis Whitburn's (?) outline with Williamson's handwritten notes and carbons (File 282)
(ii) First typed outline for television, Williamson and Whitburn, 1983: two copies, one bound (File 283)

Subseries. Untitled, n.d.

(i) Two copies of untitled first draft screenplay typescript. Country town setting (File 284-285)

Subseries. Waltzing Matilda, 1985

(i) Screenplay by Williamson, 1985 (File 286)
(ii) Professionally retyped version, November 1985 (File 287)

Subseries. Emerald City, 1975, 1985-1986

(i) Exercise book. Toby Bennet play abandoned, the first rough draft of 'The Ingratiator', 13 June 1985 (File 288)
(iii) Professionally typed and bound drafts (File 289-293)
Outlines of unfinished plays, 1975 (File 294)

Subseries. Miscellaneous items, 1963-1986

Household papers, including mortgage papers, house plans, bills, c. 1963-1984 (File 295-297)
Rolled house plans, n.d. (File 297a-b)
Early Williamson, n.d.; [NOT HELD] Early filmwork (Philip Adams) (File 298)
Miscellaneous papers, 1973-1984 (File 299)

Includes medical papers, notes and correspondence.

Assorted articles and clippings not directly associated with Williamson, c. 1970-1984 (File 300-301)
Assorted greeting cards, postcards and brief notes, c. 1973-1986 (File 302-303)
Photographs, c. 1977-1980 (File 304-305)
Miscellaneous items ('Rubbish'), c. 1968-1986 (File 306)

Subseries. Theatre programs, c. 1972-1986

(i) Programs of plays attended by Williamson, includes London, c. 1977-1983 (File 307-308)
(ii) The club, c. 1977-1980 (File 309)
(iii) The removalists, c. 1973-1985 (File 310-311)
(iv) Stork, c. 1974-1979 (File 312)
(v) The department, c. 1973-1984 (File 313-314)
(vi) What if you died tomorrow?, c. 1973-1981 (File 315)
(vii) A handful of friends, c. 1976-1985 (File 316)
(viii) Don's party, c. 1972-1984 (File 317-318)
(ix) The perfectionist, c. 1982-1985 (File 319-320)
(x) Travelling north, c. 1979-1986 (File 321)
(xi) Sons of Cain, c. 1985-1986 (File 322)
(xii) Emerald City,, 1986 (File 323)
(xiii) Petersen; (xiv) Celluloid heroes; (xv) Phar Lap/Year of living dangerously (File 324)
(xvii) The last of the knucklemen (dir.), c. 1975-1983 (File 324)
(xvi) La Mama/MUST (Melbourne University Student Theatre), 1972? (File 325)
(xviii) All my sons (dir.),, 1977 (File 326)
(xix) Jugglers three, , c. 1972-1977 (File 327)

Subseries. Miscellaneous material: talks, theses, unsolicited scripts, c. 1972-1986

(i) Talks and articles by Williamson, c. 1972-1984 (File 328-329)
(ii) Talks and articles about Williamson, c. 1972-1984 (File 330)
(iii) Background material for talks,, c. 1973 (File 331)
(iv) Theses about Williamson, c. 1980-1986 (File 332-333)
(v) Unsolicited scripts and screenplays, not by Williamson, c. 1973-1983 (File 334-342)

Subseries. Rough draft notebooks of plays not completed or produced, and financial papers, c. 1969-1984

Manila folder containing eight examination booklets, manuscript of untitled play identified as being written before The coming of stork, c. 1969 (File 343)
Hang Ten brand A4 lecture pad with motor bike on cover. Rough draft of 'Barnaby Scott'. Abandoned (File 344)
Hang Ten lecture pad with surfboard illustration. Contains 'Tin Legs' treatment for a filmscript. Also has a three page typed synopsis loosely inserted (File 345)
Stripe lecture pad with 'Play Outline' on p.2. According to Williamson this is c. 1981 and has no direct relationship to The perfectionist, c. 1981 (File 346)
Stripe lecture pad with play involving Tony and Marion, precursor of The perfectionist according to Williamson, completed 1 March 1981 (File 347)
Ancol exercise book, green, with heading 'Play' on p.1. Another light green Ancol exercise book, on p.1, heading 'Play outline', c. 1982-1983 (File 348)
Ancol Botany book, orange, headed on p.1 "Very rough draft 'The basic nature of man'", dated towards end of December 1983. (File 349)
Red Newscol exercise book with p.1 heading 'Possible play', dated after, and relating to, Banff Conference according to Williamson, therefore c. 1984. Dialogue with draft of speech or article at back, c. 1984 (File 350)
Stripe lecture pad, green, 'Four minute mile' notes and outlines for possible mini series on John Landy (1984). Red octavo notebook listing plays seen in London in 1980. Kept by Kristin Williamson (File 351)
Hang Ten lecture pad with surf boat illustration. Contains draft of 'Don's next party' ('Don's career' and other titles noted). Finished 15 July 1979 at Birchgrove. (File 352)
Receipts for performance and book royalties (File 353-355)

Subseries. Miscellaneous objects, n.d.

Various unnumbered items loose inside Box 50, including stationery items and measuring implements. (File)

Class. Addition 11 October 1989

Subseries. Siren and Top silk, 1988-1989

Manuscript of Siren (1 volume), 1989 (File 356)
Typescript of Top silk with extensive handwritten corrections, 1988 (File 357)

Class. Addition 20 August 1990

Subseries. General Correspondence, draft speeches and theatre programs, 1979, 1983-1990

Letters and cards received by Williamson arranged into chronological order. Correspondents include Ray Barrett, Peter Collins, Hector Crawford, Don Dunstan, Israel Horovitz, Tom and Judy Keneally, Judy Lovell, Pat Lovell, Bruce Spence, Ross Terrill, Jackie Weaver, Peter Weir, Tina Williamson and Lord Willis. There are also copies of a small number of letters written by Williamson.

Correspondence, 1979, 1983-1985 (File 358)
Correspondence, 1986 (File 359)
Correspondence, 1987 (File 360)
Correspondence, 1987 (File 361)
Correspondence, 1988 (File 362)
Correspondence, 1988 (File 363)
Correspondence, 1989 (File 364)
Correspondence, 1989 (File 365)
Correspondence, 1990 (File 366)
Correspondence, undated (File 367)
Family letters and cards and other personal documents, c. 1986-1990 (File 368)
Fan mail, c. 1986-1990 (File 369)
Correspondence from various publishers, production, theatre and movie companies, publicists and others, 1983-1990 (File 370)
Anthony A. Williams Management Pty Ltd. Correspondence with or about Williamson, 1986-1990 (File 371)
Australian Writers Guild Ltd. Presidents reports, minutes and press releases, 1985-1989 (File 372)
The Currency Press. Royalty statements and correspondence, 1984, 1986-1989 (File 373)
Playbox Theatre Company and other theatre companies, 1986-1990 (File 374)
Charity organisations. Letters of thanks and receipts from charities, 1986-1990 (File 375)
Miscellaneous draft speeches, draft play (untitled) and notes, 1989-1990 (File 376)
Draft speeches, notes, lectures and draft correction reports; transcript of interview between Williamson and Franz Stampfl; and a copy of 'Jak of the bloody hand', 1988-1989 (File 377)
Printed material: theatre programs and fliers for plays, 1984-1990 (File 378)
Printed material: theatre programs, articles, newspaper cuttings, pamphlets, conference agenda and a copy of Hansard, 1988-1990 (File 379)
Printed material: theatre programs and pamphlets, 1984-1989 (File 380)

Class. Addition 29 June 1995

Subseries. General correspondence, notebooks and theatre programs, c. 1985-1995

These folders contain letters, post cards, fan mail, family correspondence and photographs. Also included are rough drafts of four plays in David Williamson's handwriting, 1990-1995.

Correspondence with Alison Summers and Peter Carey, 1990-1995 (File 381)
Family and social correspondence, 1990-1991 (File 381-1-2)
Speeches, 1990-1994 (File 383-1-2)
Family correspondence, fan mail and photographs of David Williamson, 1991-1992 (File 384)
Correspondence, c. 1985-1991 (File 385)
Correspondence, 1990 (File 386-1-2)
Correspondence, January-June 1991 (File 387-1-3)
Correspondence, July-December 1991 (File 388-1-4)
Correspondence, January-June 1992 (File 389-1-2)
Correspondence, June-December 1992 (File 390-1-3)
Correspondence, January-June 1993 (File 391-1-3)
Correspondence, July-December 1993 (File 392-1-3)
Correspondence, January-December 1994 (File 393-1-4)
Correspondence, December 1994-January 1995 (File 394)
Correspondence, February-March 1995 (File 395-1-2)
Correspondence, April 1995 (File 396)
Money and friends, handwritten draft in notebook, 1991 (File 396a)
Brilliant lies, handwritten draft in notebook, 1992 (File 396b)
Sanctuary, handwritten draft in notebook, 1993 (File 396c)
Dead white males, handwritten draft in notebook, 1994? (File 396d)
Social correspondence, 1987, 1991-1994 (File 397)
Social correspondence, 1991-1993 (File 398)
Felix Meagher. Excerpts from The Glugs of Gosh [cassette tape], c.1991 (Item) - Piece NLA.MS-SAV000297
Memobook, ideas for play The perfectionist, and social correspondence, 1992-1995 (File 399)
Theatre programs, 1990-1995 (File 400-1-3)

Class. Addition 14 April 2003

Subseries. General Correspondence, 1995-2002

Letters, post cards, faxes and emails received by Williamson. Correspondents include friends and colleagues, fans, family, agents, theatres and film companies. Correspondents' names are highlighted in the folder descriptions below, the most substantial amounts coming from Derek Freeman, Robyn Nevin, Peter Carey and Alison Summers. David Williamson's own handwritten and typed correspondence is present largely in the form of faxes and emails.

The correspondence received in the 2003 consignment was loosely piled inside several boxes by Williamson. In an attempt to retain possible relationships between adjacent papers, the correspondence has been placed into archival folders in the order in which it was removed from the boxes. In some cases this has resulted in a disruption to the chronological order of the correspondence.

Correspondence with Derek Freeman, c. 1995-1996 (File 401-402)

Includes papers sent to Williamson by Freeman and used by Williamson in the development of his play, Heretic, including notes documenting Freeman's meeting with Margaret Mead in 1964.

Correspondence, 1995-1996 (File 403)
Correspondence, 1995-1997 (File 404)

Correspondents include Derek Freeman, Robyn Nevin, Keith Windschuttle and Ken Tribe. Subjects include plays, Heretic, After the ball and Dead white males, and screenplay 'Mata Hari'.

Correspondence, 1995-1997, 1999 (File 405)

Correspondents include Paul and Annita Keating, Peter Carey and Alison Summers. Subjects include Heretic, 'Mata Hari' and Brilliant lies.

Correspondence, 1995-1997 (File 406)

Correspondents include John McCallum, Robyn Nevin, Carl Vine, Richard Franklin, Harry M. Miller and Kathy Lette. Subjects include Heretic, Dead white males, After the ball, Brilliant lies and Third world blues.

Correspondence, 1995-1996 (File 407)

Correspondents include Derek Freeman. Topics include Dead white males, 'Mata Hari', Sirens , 'Warriors of the rainbow' and Heretic.

Correspondence, 1995-1997 (File 408)

Correspondents include Derek Freeman and Richard Franklin. Topics include Brilliant lies and 'Warriors of the rainbow'.

Correspondence, 1995-1996 (File 409)

Correspondents include Derek Freeman, Martin Wesley-Smith, Peter Corris and Aubrey Mellor. Topics include Dead white males, Heretic and 'Warriors of the rainbow'.

Correspondence, 1996-1997 (File 410-413)

Correspondents include Derek Freeman, Robert Dessaix, John Bell, Robyn Nevin, Max Cullen, Alan Hall, Richard Franklin, Angela Browne, Henri Szeps, Barrie Unsworth, Dr Suzanne Kiernan, Dr Lynette Finch, Jack Hibberd, Alison Summers, Peter Carey, Kathy Lette and Nick Enright. Topics include Heretic, After the ball, Sanctuary, the 1998 Australia Day address, Mabo and Aboriginal land rights, and Don's Party.

Correspondence, 1997-2000 (File 414)

Correspondents include Richard Franklin, Robyn Nevin, David Bradbury and Derek Freeman. Topics include Corporate vibes, Heretic and Sanctuary.

Correspondence, 1998 (File 415)

Correspondents include David Bradbury and Derek Freeman. Topics include Third world blues, After the ball and Sanctuary.

Correspondence, 1996-2000 (File 416)

Correspondents include Derek Freeman. Topics include Money and friends and Heretic.

Correspondence, 1997-1999 (File 417)

Correspondents include Tim Reid, Brian Kiernan, Peter Carey, Paul Griffiths and Keith Windschuttle. Topics include 'Pick ups', the film of Carey's book, Oscar and Lucinda, and 'Dogs Head Bay'.

Correspondence, 1996-1998 (File 418)

Correspondents include McKenzie Wark and Robyn Nevin. Topics include 'Dogs Head Bay' and Dead white males.

Correspondence, 1998 (File 419)

Correspondents include Robyn Nevin, Wayne Harrison and Derek Freeman. Topics include Sanctuary (book of reviews).

Greeting cards, c. 1999 (File 420)
Correspondence, 1999 (File 421)

Correspondents include Michael Pearce, Robyn Nevin, Peter Carey, Bruce Beresford and Michael Rymer. Topics include Travelling north, Carey's book Ned Kelly, The great man and Face to face.

Correspondence, 1998-1999 (File 422-423)

Correspondents include Leo Schofield, Michael Rymer, Alison Summers, Peter Carey, Paul Griffiths, Derek Freeman and Geoff Portman. Topics include Corporate vibes, Face to face, The great man and 'Dogs Head Bay'.

Correspondence, 1998-2000 (File 424)

Correspondents include Bill Kerby, Hal McElroy, Peter Carey and Derek Freeman. Topics include A conversation, On the beach and 'Dogs Head Bay'.

Correspondence, 1999 (File 425-426)

Correspondents include Derek Freeman, David Bradbury, Vincent Serventy, Alison Summers and Michael Pearce. Topics include 'Dogs Head Bay' and Travelling north.

Correspondence, 1999-2000 (File 427)

Correspondents include Robyn Nevin, Peter Carey and James Waites. Topics include The great man and Carey's Ned Kelly.

Correspondence, 1997-2000 (largely 2000) (File 428)

Correspondents include Vincent Serventy, Robyn Nevin, Michael Peretzian, Bryan Brown, Michael Blakemore and Peter Carey. Topics include A conversation, Up for grabs and On the beach.

Correspondence, 1998, 2000-2001 (File 429)

Correspondents include John Bell, Peter Carey, Alison Summer and Arthur Cohn. Topics include After the ball, A conversation and 'The ruined map'.

Correspondence, 2000 (File 430-431)

Correspondents include Derek Freeman, Peter Carey, Alison Summers, Bryan Brown, Michael Peretzian and Debbie Bisno. Topics include Up for grabs, The great man, A conversation, Face to face and 'Henry and Susannah'.

Correspondence, c. 2000 (File 432)

Correspondents include Peter Carey, Alison Summers and Jeffrey Smart.

Correspondence, 2000-2001 (File 433)

Correspondents include Bryan Brown. Topics include 'Henry and Susannah', A conversation, The great man, 'Trail of whales', Third world blues and Up for grabs.

Correspondence, 2001 (File 434-435)

Correspondents include Debbie Bisno, Bryan Brown, Alison Summers, Kathy Lette and Oz Scott. Topics include the death of Derek Freeman, Up for grabs, Soulmates, 'Zero point seven', Face to face, The great man, 'Henry and Susannah' and A conversation.

Correspondence, 1999, 2001 (File 436)

Correspondents include Mark Rosenblatt, Arthur Cohn, Peter Carey and Oz Scott. Topics include Soulmates, Up for grabs, 'Trail of the whale', Charitable intent, A conversation and 'Ruined map'.

Correspondence, 2000-2002 (largely 2002) (File 437)

Correspondents include Kathy Lette, Peter Carey, Neil Russell and Laurence Boswell. Topics largely relate to Madonna's starring role in Up for grabs and various adjustments to the script, but also include Soulmates and 'Lawrence of Arabia'.

Correspondence, 2002 (File 438-439)

Correspondents include Laurence Boswell, Mark Rosenblatt, Kathy Lette, Neil Russell, Peter Carey, Nicholas Hammond, Bryan Brown and James Waites. Topics largely relate to Up for grabs, but also include A conversation, 'Lawrence of Arabia', 'Trail of whales', On the beach, 'Henry and Susannah', Dead white males and The great man.

Subseries. Dead white males, n.d.

Explanatory text, n.d. (File 440)

Subseries. After the ball, 1996-1997

First draft, 9 September 1996 (File 441)
First draft revised, 11 September 1996 (File 442)
Press clippings (bound photocopies) for Queensland Theatre Company production, 1997 (File 443)

Subseries. Face to face, 1998

First draft, June 1998 (File 444)
Revised draft, July 1998 (File 445)

Subseries. Corporate vibes, 1998-1999

Exercise book containing handwritten notes about theme and scenes, n.d. (File 446)
Typescript, 'Queensland Theatre Company copy 1 of 2', April 1998 (File 447)
Revised version 2, June 1998 (File 448)

Includes faxes between Williamson and Wayne Harrison, Sydney Theatre Company.

Revised draft 3 and revised version 4, July-August 1998 (File 449)
Revised version 6, September 1998 (File 450)

Includes notes and ideas on themes related to the play.

Revised version 8, November 1998 (File 451)

Includes a fax dated 1999.

Draft 10, first version and revision (draft 11), January 1999 (File 452)

Subseries. The great man, 1999-2000

Notebook containing notes on characters and scenes, 1999 (File 453)
Synopsis (version 2) and timeline, c. 1999 (File 454)
Second printout with changes throughout, n.d. (File 455)
First rough draft, n.d. (File 456)
First corrected draft and subsequent draft, n.d. (File 457)
Second draft, 17 November 1999 (File 458)
Third and fourth drafts, November-December 1999 (File 459)

Includes a fax from Robyn Nevin.

Eighth draft, January 2000 (File 460)

Subseries. A conversation, 2000-2002

Draft 4, 11 May 2000 (File 461)
Post New York and Baltimore draft (versions 1 and 2), October 2000 (File 462)

Includes an email from Beth Blickers providing feedback (November 2000).

USA version performed in New York, June 2001 (File 463)

Includes papers and emails relating to Williamson's visit to the States and a printout of an Age review of Up for grabs.

Two drafts, 2001-2002 (File 464)

Subseries. Up for grabs, 2000-2002

First and fourth drafts, May-June 2000 (File 465)
Fifth and sixth drafts, August-November 2000 (File 466)
Seventh draft, December 2000 (File 467)

Includes a list of actors with Williamson's comments.

Eighth draft and research material, January 2001 (File 468)
Ninth draft, spiral bound, February 2001 (File 469)

Includes a fax from Sydney Theatre Company containing suggested changes.

Draft 9 (versions 4 and 5), February 2001-March 2002 (File 470)

Includes emails from Director Laurence Boswell and a handwritten transcript of a conversation with him.

Drafts 9 (version 8) and 10, c. Feb 2001-April 2002 (File 471)
Version 12 ('7' - UK version), April 2002 (File 472)
Version 12.5 (UK version), April 2002 (File 473)

Subseries. Charitable intent, 2001

Notebook containing first handwritten draft, including notes on themes and characters, n.d. (File 474)
First draft, corrected, 24 August 2001 (File 475)
First draft, corrected, September 2001 (File 476)
Second draft (version 4), September 2001 (File 477)

Includes research material on bullying.

Subseries. Soulmates, 2001-2002

'Decoding Max' (synopsis) and a printout of a report on Bosnia (1995), c. April 2001 (File 478)
Emails from Robyn Nevin (Sydney Theatre Company) and notes, 2001 (File 479)
Draft 1, May 2001 (File 480)

Includes typed extracts, 'Quotes from Passmore'.

Draft 2, June 2001 (File 481)

Includes emails and research material.

Drafts 3 and 4, December 2001 (File 482)
Draft 6, 17 January 2002 (File 483)
Draft 7, January 2002 (File 484)

Includes email exchanges with Kathy Lette, Catherine Anderson, Beth Blickers and Robyn Nevin.

Draft 8, March 2002 (File 485)

Subseries. Birthrights, 2002-2003

Notebooks containing handwritten notes on theme, storyline, characters and timeline, c. 2002 (File 486)
Emails providing feedback on idea and script, 2002 (File 487)
Email, notes and research material, 2002 (File 488)
First draft ('Baby mine'), 1 May 2002 (File 489)
Draft, n.d., with extensive corrections (File 490)
Fourth draft (two copies, one with corrections), 27 August 2002 (File 491)
Fifth draft, 2002 (File 492)
Draft, 16 September 2002 (File 493)

Includes emails between Williamson and Catherine Anderson discussing characters.

Draft with extensive corrections and notes, January 2003 (File 494)
Draft, February 2003 (File 495)

Includes an email from Tom Gutteridge suggesting changes.

Rehearsal draft, March 2003 (File 496)

Includes a rehearsal report and emails regarding changes to the script.

Subseries. Speeches by Williamson, 1995-1996

Draft speeches and talks, handwritten and typescript speech texts, 1995-1996 (File 497)

Subseries. Theatre programs and fliers, 1995-1998, 2000

Programs, 1995-1998 (File 498)
Programs, fliers, photographs and reviews, 1996-1998, 2000 (File 499)
Programs, fliers and photographs, 1997-1998, 2000 (File 500)

Subseries. Miscellaneous papers, 1996, 1999-2000

Photographs and press cuttings, c. 1996 (File 501)

The photographs are of Williamson, uncaptioned and undated.

Publications, 1999-2000 (File 502)

Australian book review, July 2000, and Proceedings from the 1999 Australasian Drama Studies Association Conference.

Container List

File Box
1-9 1
10-16 2
17-24 3
25-30 4
31-39 5
40-43 6
44-47 7
48-55 8
56-63 9
64a-68 10
69-76 11
77a-83 12
84-91 13
92-98 14
99-105 15
106-113 16
114-118 17
119-126 18
127-132 19
133-141 20
142-150 21
151-158 22
159-166 23
167-175 24
176-183 25
184-189 26
190-196 27
197-202 28
203-209 29
209a Folio Box 1
210-211 29
212-219 30
220-222 31
223-229 32
230-235a 33
236-244 34
245-251 35
252-260 36
261a-266 37
267-273 38
274-279 39
280-287 40
288-294 41
295-297 42
297a-b Folio Box 1
298-301 42
302-306 43
307-316 44
317-327 45
328-333 46
334-342 47
343-351 48
352-355 49
Unnumbered objects 50
356-363 51
364-369 52
370-375 53
376-380 54
381-385 55
386/1-388/4 56
389/1-391/3 57
392/1-394 58
395/1-396d 59
397-400/3 60
401-407 61
408-414 62
415-420 63
421-429 64
430-437 65
438-439 66
440-448 67
449-456 68
457-464 69
465-471 70
472-481 71
482-488 72
489-496 73
497-502 74

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