Note on Arrangement and Description:

The material originally donated by Welty for this series was initially arranged and described by Suzanne Marrs [The Welty Collection: A Guide to the Eudora Welty Manuscripts and Documents at the Mississippi Department of Archives and History (Jackson and London: University Press of Mississippi), 1988]. Since most of the material in this series has been re-housed for better preservation and access, her descriptions have been essentially retained, with some amendments and rearrangement to clarify the new locations of works within the series. Marrs’ descriptions, with the requisite changes by the archivist, appear below in regular font. The material added to this series from the gift of Welty’s Estate is described by the archivist below in bold font. To facilitate the location of materials by the researcher, page numbers have been added in brackets on the verso of each piece of the series. These numbers appear with the descriptions below, in brackets.

The works in this series are arranged chronologically, according to their order of creation, where known.

"The Waiting Room." ca. 1935. 22 pieces.
Carbon typescript. pages [1]-21 and a preliminary page describing the set; someone, probably Welty, has labeled this "a farce for a Little Theatre" and dated it as 1935; a few handwritten revisions:

Description / Page numbers	Box	Folder
[pp. 1-22]	84	1

What Year Is This?” n.d. [1948-1949]. 101 pieces.
Carbon typescript; 100 pages and a blue folder; sketches from an unpublished revue by Hildegarde Dolson and Eudora Welty; each author wrote her sketches quite independently of the other. Welty’s sketches are as follows:

Description / Page numbers	Box	Folder
Blue folder [of Monica McCall]	84	2
Title page [p. 1]	84	3
Dolson: “What year is this?” (opening song), clean copy [pp. 2-4]	84	3
Dolson: “We Met In a Launderette,” clean copy [p. 5]	84	3
Dolson: “Spots Before Your Eyes,” clean copy [pp. 6-15]	84	3
Welty: “The New York Times,” pages 1-5, clean copy [pp. 16-20]	84	3
Dolson: “Wanna Be Fooled,” clean copy [pp. 21-22]	84	4
Dolson: “See Your Analyst Twice A Year,” clean copy [pp. 23-30]	84	4
Dolson: “One for Sorrow,” clean copy [p. 31]	84	4
Dolson: “Rocket-to-Venus Ballet,” clean copy [pp. 32-34]	84	4
Welty: “Hormones!” pages 1-2, clean copy [pp. 35-36]	84	4
Welty: “Yes, Dear,” pages 1-8, clean copy [pp. 37-44]	84	4
Dolson: “Boy-And-Girl Song before Curtain:” “I’m Asking You,” clean copy [p. 45]	84	5
Welty: “What’s Happened to Waltzes like This? (and Taking the Waters with You),” pages 1-5, clean copy [pp. 46-50]	84	5
Welty: “Fifty-Seventh Street Rag,” pages 1-11, clean copy [pp. 51-61]	84	5
Dolson: “Moonburn,” clean copy [p. 62]	84	5
Welty: “Bye Bye Brevoort,” pages 1-14, clean copy [pp. 63-76]	84	6
Dolson: “All Cats Are Gray,” clean copy [p. 77]	84	6
Welty: “The Feet-Out Blues,” pages 1-4, clean copy [pp. 78-81]	84	6
Welty: “Choo-Choo Boat,” pages 1-3, clean copy [pp. 82-84]	84	7
Dolson: “Beverly Hills Tightens Its Bent [sic],” clean copy [pp. 85-94]	84	7
Dolson: “Hey Satan,” clean copy [p. 95]	84	7
Dolson: “Taking the Perfume Cure,” clean copy [pp. 96-99]	84	7
Dolson: “Finale” (Song: “ A Lovely Mish-Mosh [sic],”) clean copy [p. 100]	84	7

What Year Is This?” n.d. [1948-1949]. 102 pieces.
Carbon typescript with a handwritten notation “#2” on the title page. The typescript consists of 100 pages, and was bound in a blue folder of theatrical agent Monica McCall, and enclosed in a Russell and Volkening, Inc., envelope. Monica McCall represented Dolson and Welty in their attempt to get the revue produced theatrically. (See Series 29b, Box 160, the correspondence of Hildegarde Dolson for information on the writing of this revue; the authors’ decisions on which pieces to include; and the reactions of Monica McCall, Diarmuid Russell, Henry Volkening, and Welty’s friends Frank Lyell and Lehman Engel). The envelope was returned by Russell and Volkening to Eudora Welty in 1985, and is labeled “carbon of What Year is This? a revue by Hildegarde Dolson + Eudora Welty 195-.” While the carbon typescript appears identical to the one above, there are occasional strike-throughs and handwritten corrections in pencil.

Description / Page numbers	Box	Folder
Blue folder and Russell and Volkening, Inc., envelope	85	1
Title page [p. 1]	85	2
Dolson: “What year is this?” (opening song) [pp. 2-4]	85	2
Dolson: “We Met In a Launderette” [p. 5]	85	2
Dolson: “Spots Before Your Eyes” [pp. 6-15]	85	2
Welty: “The New York Times” [pp. 16-20]	85	2
Dolson: “Wanna Be Fooled” [pp. 21-22]	85	3
Dolson: “See Your Analyst Twice A Year” [pp. 23-30]	85	3
Dolson: “One for Sorrow” [p. 31]	85	3
Dolson: “Rocket-to-Venus Ballet” [pp. 32-34]	85	3
Welty: “Hormones!” [pp. 35-36]	85	3
Welty: “Yes, Dear” [pp. 37-44]	85	3
Dolson: “Boy-And-Girl Song before Curtain:” “I’m Asking You” [p. 45]	85	4
Welty: “What’s Happened to Waltzes like This? (and Taking the Waters with You)” [pp. 46-50]	85	4
Welty: “Fifty-Seventh Street Rag” [pp. 51-61]	85	4
Dolson: “Moonburn” [p. 62]	85	4
Welty: “Bye Bye Brevoort” [pp. 63-76]	85	5
Dolson: “All Cats Are Gray” [p. 77]	85	5
Welty: “The Feet-Out Blues” [pp. 78-81]	85	5
Welty: “Choo-Choo Boat” [pp. 82-84]	85	6
Dolson: “Beverly Hills Tightens Its Bent [sic]” [pp. 85-94]	85	6
Dolson: “Hey Satan” [p. 95]	85	6
Dolson: “Taking the Perfume Cure” [pp. 96-99]	85	6
Dolson: “Finale” (Song: “ A Lovely Mish-Mosh [sic]” [p. 100]	85	6

Skits for a revue.” n.d. 68 pieces.
A folder of skits bearing Welty’s notation: “These are mine, and Hildegarde Dolson wrote an equal number. Nobody wanted to do our show.” Versions of most of these skits appear in the carbon typescripts of “What Year Is This?” described above: for the researcher’s convenience, these skits are arranged in the same order. Bracketed page numbers have been assigned to the pieces within each skit. The last three skits were not included in the agents’ versions above.

Description / page numbers	Box	Folder
Folder	330	1
The New York Times.” Carbon typescript marked “copy 4.” There are typescript corrections and handwritten ones in ink. [pp. 1-5]	330	2
Hormones!” Carbon typescript marked “copy 4”; one correction in ink. [pp. 1-2]	330	3
What’s Happened to Waltzes like This? (and Taking the Waters with You)” Carbon typescript marked “copy 4” with corrections in typescript and pencil. [pp. 1-5]	330	4
Bye Bye Brevoort.” Typescript, with one handwritten correction. This short version appears an early one, lacking full stage directions and characters appearing in other versions. [pp. 1-8]	330	5
Bye Bye Brevoort.” Typescript, with handwritten corrections in ink. This version appears closer to that of the agents’ carbons above, with an occasional variation in wording. [pp. 1-17]	330	6
Choo-Choo Boat.” Carbon typescript marked “copy 4.” [pp. 1-3]	330	7
Ballad of Alice Foote MacDougal.” Carbon typescript in verse, with pencil corrections. [pp. 1-2]	330	8
Fares, Please.” Carbon typescript with corrections in pencil and ink. [pp. 1-7]	330	9
Garden Club skit.” Carbon typescript with numerous corrections in pencil and ink, and several adhesive attachments. [pp. 1-18]	330	10

"Bye Bye Brevoort." n.d. 15 pieces.
[Note by Marrs, The Welty Collection…, p. 73: “Bye Bye Brevoort” was eventually performed as part of The Littlest Revue in 1955 in New York City and was performed by the Little Theatre in Jackson in 1958. It was published in a limited edition in 1980.”] Carbontypescript; pages 1-15; handwritten note reads, "copy 4"; this sketch was part of the revue written by Hildegarde Dolson and Welty above.

Description / Page numbers	Box	Folder
[pp. 1-15]	330	11

"Bye Bye Brevoort." n.d. 9 pieces.
Carbon typescript originally found in correspondence of Hildegarde Dolson to Welty (Series 29b). Accompanying the typescript is an envelope from The Phoenix Theatre in New York postmarked March 8, 1956, where "Bye Bye Brevoort" was performed (as part of The Littlest Revue) beginning on May 23, 1956. This is a clean copy of a short version of the skit. It appears to have been written later than the version in Folder 5 above; all characters are present, but set descriptions and full stage directions are still lacking.

Description / Page numbers	Box	Folder
Envelope, [pp. 1-8]	330	12

The Robber Bridegroom.” 1948-49.
Typescript; 85 pages; notes for and scenes from a screenplay; written by John Robinson (who was living in San Francisco and DeLisle, Miss.) and Eudora Welty (who was living in Jackson, Miss.); pages typed in pica seem to have been written by Welty while those typed in elite seem to have been written by Robinson.

Description / Page numbers	Box	Folder
Synopsis of screenplay. n.d. Typescript; pages [1]-22; written by Welty. [pp. 1-22]	331	1
Notes on The Robber Bridegroom. n.d. Carbon typescript; 4 pages; notes on the characters, on using the locations and props symbolically, on the plot, and on plot sequences; written by Welty. [pp. 23-26]	331	2
List of scenes for screenplay. n.d. Typescript; 3 pages; 45 scenes listed on yellow paper; written by Robinson; handwritten revisions by Welty. [pp. 27-29]	331	2
Description of screenplay. n.d. Typescript; 3 pages; written by Robinson; describes action of the proposed film, scene by scene; yellow paper. [pp. 30-32]	331	2
List of scenes. n.d. Ms; 1 page; Welty’s handwritten list. [p. 33]	331	2
Scene 1. n.d. Typescript; pages [1.1]-1.5; written by Welty. [pp. 34-38]	331	3
Scene 2. n.d. Typescript; pages 2.1-2.5; written by Welty. [pp. 39-43]	331	3
Scene 6. [1948?]. Typescript; pages 6.1-6.4; written by Welty; includes her handwritten note to Robinson; a few handwritten revisions; dated Nov. 29. [pp. 44-47]	331	3
Scene 6. n.d. Typescript; pages [6.1]-6.3; another Scene 6; written by Welty; a few handwritten revisions. [pp. 48-50]	331	3
Scene 7. n.d. Typescript; pages [7.1]-7.4; written by Welty; handwritten revisions in Welty’s hand and probably in Robinson’s as well. [pp. 51-54]	331	4
Scene 8. n.d. Typescript; pages [8.1]-8.2; written by Welty; a few handwritten revisions in Welty’s hand and probably in Robinson’s as well. [pp. 55-56]	331	4
Scene 9. n.d. Typescript; pages [9.1]-9.4; written by Welty; a few handwritten revisions by Welty. [pp. 57-60]	331	4
Scene 10. n.d. Typescript; pages [10.1]-10.6; written by Welty; a few handwritten revisions by Welty. [pp. 61-66]	331	4
Scenes 10 and 11. n.d. Carbon typescript; pages [1]-3; written by Robinson; yellow paper. [pp. 67-69]	331	5
Scenes 25 and 26. n.d. Carbon typescript; pages 1-3; written by Robinson; yellow paper. [pp. 70-72]	331	5
Scene 26A. n.d. Typescript; pages [26A.1]-26A.3; written by Welty; a few handwritten revisions. [pp. 73-75]	331	5
Scene 27. n.d. Typescript and carbon typescript; pages [1]-2; page 1 is a carbon, page 2 a ribbon page; written by Robinson. [pp. 76-77]	331	5
Scene 44. n.d. Typescript; pages [1]-4, 44.5-44.8; page 44.5 is a carbon; written by Welty; handwritten notes to Robinson on pages 1 and 5; a few handwritten revisions. [pp. 78-85]	331	5

"The Robber Bridegroom." 1948-49.
Carbon typescript; 62 pages; screenplay written in conjunction with John Robinson; carbons of some items listed above; these pages are probably by Welty herself; a few handwritten revisions.

Description / Page numbers	Box	Folder
Folder	331	6
Synopsis of screenplay. n.d. Carbon typescript; pages [1]-22; a few handwritten revisions. [[. 1-22]	331	7
Scene 1. n.d. Carbon typescript; pages [1.1]-1.5. [pp. 23-27]	331	8
Scene 2. n.d. Carbon typescript; pages 2.1-2.5. [pp. 28-32]	331	8
Scene 6. n.d. Carbon typescript; pages [6.1]-6.3. [pp. 33-35]	331	9
Scene 7. n.d. Carbon typescript; [7.1]-7.4. [pp. 36-39]	331	9
Scene 8. n.d. Carbon typescript; [8.1]-8.2. [pp. 40-41]	331	9
Scene 9. n.d. Carbon typescript; [9.1]-9.4. [pp. 42-45]	331	10
Scene 10. n.d. Carbon typescript; [10.1]-10.6. [pp. 46-51]	331	10
Scene 26-A. n.d. Carbon typescript; pages [26A.1]-26A.3. [pp. 52-54]	331	11
Scene 44. n.d. Carbon typescript; pages [1]-4, 44.5-44.8; page 44.5 is a ribbon page. [pp. 55-62]	331	11

Untitled play concerning the Loch Ness monster. n.d. [ca. 1980s] 8 pieces.

Description / Page numbers	Box	Folder
Notes for play. n.d. Four pages of typescript with handwritten corrections, and Welty’s handwritten notes on fragments of envelopes and the verso of an advertisement, contain dialogue, verses, and song lyrics for a children’s play about the Loch Ness monster and a young “Sherlock”. That it was composed by Welty in the 1980s is suggested by the printed logo on an envelope including the partial date “198_”.	331	12
Poem and notes on Loch Ness monster. n.d. Found separately from the pages above, this page of handwritten notes by Welty includes verses to be spoken by the Loch Ness monster, and refers to some of the same events mentioned in the play scenes above. That the notes are written on a page from a PRM notepad suggests they were composed at least as late as 1984, the date of creation of Public Radio in Mississippi.	331	13

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