Playbill Collectibles : Playbill+laurence Value Guide - Price List

Sold on eBay Jan 24, 2022

Archive Lot 25+ SIGNED Playbills Laurence Olivier, Hepburn, Dietrich autographed

Sold on eBay May 18, 2022

AMERICAN BUFFALO Laurence Fishburne, Darren Criss, Sam Rockwell Signed Playbill

Sold on eBay Jun 22, 2022

AMERICAN BUFFALO Laurence Fishburne, Darren Criss Signed Pride Playbill

Sold on eBay April 15th, 2025

Ethel Merman "HUMPTY DUMPTY" ("Take a Chance") 1932 World Premiere Playbill

I'm currently listing a large number of playbills from out-of-town tryouts prior to the Broadway runs. Many are from early performances when revisions were common and include song titles that were cut before opening in New York. (See cut songs below.) ....... This is a rare September 12th, 1932 "Playgoer" playbill from the Pre-Broadway tryout and WORLD PREMIERE engagement of the B. G. "Buddy" DeSYLVA and LAURENCE SCHWAB musical comedy "HUMPTY DUMPTY" at the Nixon Theatre in Pittsburgh, Pennsylvania. (The production opened September 12th, 1932 and played only five performances in Pittsburgh before closing for revisions. After considerable rewrites, the show returned to the road retitled "TAKE A CHANCE", eventually opening November 26th, 1932 at the Apollo Theatre in New York City and running for 243 performances.) ..... The cast included ETHEL MERMAN, EDDIE FOY, Jr., SID SILVERS, LOU HOLTZ, JUNE KNIGHT, LISA SILBERT, DORIS GRODAY, DOUGLAS WOOD, J. C. NUGENT, WILLIAM LYNN, WALTER ARMIN, HARRY T. SHANNON, OSCAR RAGLAND, SARA JANE, VERNON BIDDLE, TONI CHASE, EDITH SPEARE, O. J. VANASSE, TOM DIAMOND, MARY DAY, BOBBY DAY, THOMAS LADD, JACK ARMSTRONG, BUDD KELHNER, PAUL PEGUE, EDWARD DELRIDGE, NEIL EVANS, CHET BREE and WILLIAM H. STAMM ..... Side note: Humpty-Dumpty was a thinly plotted musical comedy about a theatrical family backing a musical revue concerning great moments in American history featuring a cast that included LOU HOLTZ, SID SILVERS, EDDIE FOY, Jr. and ETHEL MERMAN (in only her third musical). After a disastrous five-performance run in Pittsburgh, Humpty-Dumpty closed for repairs. The sketches were reduced, VINCENT YOUMANS was brought in to beef up the score, and all of the principal cast members, save MERMAN and SILVERS were replaced. The new line-up would feature JACK WHITING and JUNE KNIGHT as the backer and the star (in a romance of course) and JACK HALEY as another comic. Retitled Take a Chance, the show finally opened in November and was a surprise hit ..... CREDITS: Book and Lyrics by LAURENCE SCHWAB and B. G. DeSYLVA; Music by NACIO HERB BROWN and RICHARD WHITING; Sets designed by CLEON THROCKMORTON; Costumes designed by KIVIETTE and CHARLES LeMAIRE; Musical Arrangement for Miss Merman by ROGER EDENS; Choreographed by GEORGIE HALE; Directed by LAURENCE SCHWAB; Produced by LAURENCE SCHWAB and B. G. De SYLVA ..... DETAILS: The sixteen page program measures 5 7/8" X 8 7/8" inches and includes full production credits, cast list, synopsis of scenes, list of musical numbers, promotional text, a photo of ETHEL MERMAN and wonderful vintage advertising ..... CUT SONGS: The list of musical numbers includes "Humpty Dumpty" and "Way Ahead of the Game" which were cut out-of-town ..... CONDITION: With the exception of a light vertical crease, this program is in excellent condition and will make a wonderful addition to the collection of any musical theatre aficionado or historian. This item will be carefully packaged in a protective, carded sleeve and backed by stiff cardboard.

Sold on eBay Oct 27, 2022

AMERICAN BUFFALO Laurence Fishburne, Darren Criss, Sam Rockwell Signed Playbill

Sold on eBay Dec 7, 2022

AMERICAN BUFFALO Laurence Fishburne, Darren Criss, Sam Rockwell Signed Playbill

Sold on eBay Feb 10, 2023

Gertrude Lawrence "PRIVATE LIVES" Noel Coward / Laurence Olivier 1930 London

Sold on eBay December 29th, 2023

ORSON WELLES' Musical "AROUND THE WORLD" Cole Porter 1946 FLOP Flyer

Sold on eBay Aug, 5th 2020

Laurence Olivier * Vivien Leigh Signed Playbill JSA LOA 1952 Caesar Cleopatra

Sold on eBay September 12th, 2024

AMERICAN BUFFALO Laurence Fishburne, Darren Criss, Sam Rockwell Signed Playbill

AMERICAN BUFFALO Laurence Fishburne, Darren Criss, Sam Rockwell Signed Playbill Click images to enlarge Description Here's a delightful find from the extraordinary Broadway revival of American Buffalo. The cover of this Opening Night Playbill has been autographed by the production's three amazing stars - Laurence Fishburne, Darren Criss, and Sam Rockwell. Darren added a doodle of glasses on Sam Rockwell's photo. The cast signed very few items during their run, as the production did not open until the very last week of the spring Red Bucket campaign and closed before the winter fundraising period. The Playbill photographed is the Playbill up for auction so please feel free to use the full size images to check signature placement & condition. The Playbill does have minor flaws that I have tried to highlight in detail images. PLEASE CHECK FULL SIZE IMAGES BEFORE BIDDING. Thank you & happy bidding! Payment PayPal only. Shipping Unless explicitly stated otherwise, all windowcards will be shipped flat. Combined shipping offered for multiple items won during a 7 day period. If you are bidding on additional items please message us so we can arrange delayed payment & combined shipping. Domestic shipping via UPS or USPS Priority (for PO Box addresses). All international shipping via USPS Priority International. International Buyers Please Note: Import duties, taxes, and charges are not included in the item price or shipping cost. These charges are the buyer's responsibility. Please check with your country's customs office to determine what these additional costs will be prior to bidding or buying. Note: It's illegal to falsify customs declarations or mark an item as a "gift" in order to avoid customs fees. Due to the limited (or even one of a kind) nature of our items, we only ship using methods that include tracking information. Terms of Sale Although Broadway Cares has endeavored to catalog and describe all items as accurately as possible, all items are sold "As Is." About Us Broadway Cares/Equity Fights AIDS is one of the nation’s leading industry-based, nonprofit AIDS fundraising and grant-making organizations. By drawing upon the talents, resources, and generosity of the American theatre community, since 1988 Broadway Cares/Equity Fights AIDS has raised more than $285 million for essential services for people with AIDS and other critical illnesses across the United States. Broadway Cares/Equity Fights AIDS is the major supporter of the social service programs at The Actors Fund, including the HIV/AIDS Initiative, the Phyllis Newman Women’s Health Initiative and the Samuel J. Friedman Health Center for the Performing Arts. Broadway Cares also awards annual grants to more than 450 AIDS and family service organizations in all 50 states, providing lifesaving medication, healthy meals, counseling and emergency assistance. Contact Us BC/EFA's office hours are Monday through Thursday 10 AM to 6 PM EST and Friday 10 AM to 3 PM EST. All eBay.com auction related inquiries that are received while our office is closed will be handled the next business day. Pictures sell!Auctiva offers Free Image Hosting and Editing.300+ Listing Templates Auctiva gets you noticed!The complete eBay Selling Solution. Track Page Views WithAuctiva's Counter

Sold on eBay December 5th, 2023

Laurence Olivier (Signed) "NO TIME FOR COMEDY" Katharine Cornell 1939 Playbill

Sold on eBay January 15th, 2025

BOWERY THEATRE EARLY AMERICAN THEATRE RARE LARGE 1874 STAGE BROADSIDE

A rare original large 1874 Bowery Theatre, New York broadside for Macbeth, Metamora, Richard II, and other plays. Dimensions twenty two by eight and a quarter eighths inches. Edgewear, small tears, and archival repairs otherwise good. Shipping discounts for multiple purchases. Inquiries always welcome. Please visit my other eBay items for more early theatre, opera, film and historical autographs, photographs and programs and great actor and actress cabinet photos and CDV's. From Wikipedia: The Bowery Theatre was a playhouse on the Bowery in the Lower East Side of Manhattan, New York City. Although it was founded by rich families to compete with the upscale Park Theatre, the Bowery saw its most successful period under the populist, pro-American management of Thomas Hamblin in the 1830s and 1840s. By the 1850s, the theatre came to cater to immigrant groups such as the Irish, Germans, and Chinese. It burned down four times in 17 years, a fire in 1929 destroying it for good. Although the theatre's name changed several times (Thalia Theatre, Fay's Bowery Theatre, etc.), it was generally referred to as the "Bowery Theatre".By the mid-1820s, wealthy settler families in the new ward that was made fashionable by the opening of Lafayette Street, parallel to the Bowery, wanted easy access to fashionable high-class European drama, then only available at thePark Theatre. Under the leadership of Henry Astor, they formed the New York Association and bought the land where Astor's Bull's Head Tavern stood,[1] facing the neighborhood and occupying the area between Elizabeth, Canal (then called Walker), and Bayard streets.[2] They hired architect Ithiel Town to design the new venue.Some notable investors included Samuel Laurence Gouverneur, son-in-law to President James Monroe, and James Alexander Hamilton, son of Alexander Hamilton.[3]The new playhouse, with its Neoclassical design,[4] was more opulent than the Park, and it seated 3,500 people, making it the biggest theatre in the United States at the time.[5] Frances Trollope compared it to the Park Theatre as "superior in beauty; it is indeed as pretty a theatre as I ever entered, perfect as to size and proportion, elegantly decorated, and the scenery and machinery equal to any in London [6]The Bowery Theatre opened on 22 October 1826 under the name New York Theatre, with the comedy The Road to Ruin, by Thomas Holcroft, under the management of Charles A. Gilfert. New York Mayor Philip Hone spoke at the opening ceremony, imploring the theatre's intended upper-class audience: "It is therefore incumbent upon those whose standing in society enables them to control the opinions and direct the judgment of others, to encourage, by their countenance and support, a well-regulated theatre."[7] Its first few seasons were devoted to ballet, opera, and high drama. The theatre was by this time quite fashionable, and the northward expansion of Manhattan gave the theatre access to a large patronage. The theatre burnt out in 1828, but was rebuilt behind the same facade and reopened under the name Bowery Theatre.[8] Gilfert's understanding of advertising was keen, but in 1829 the owners fired him.Hamblin's tenureThe owners hired Thomas Hamblin and James H. Hackett in August 1830 to manage the theatre. A month later, Hackett left Hamblin in complete control. After the Bowery burned down later that year, Hamblin rebuilt. He then took the theatre in a decidedly different direction for what would be its most innovative and successful period.American theatres stratified in the Jacksonian Era, and the Bowery emerged as the home of American nativists and populist causes, placing it in direct contrast to the Park Theatre's cultivated image of traditional European high culture. This was partially the result of an anti-British theatre riot at the Park; Hamblin renamed the playhouse "theAmerican Theatre, Bowery" in reaction. Hamblin hired unknown American actors and playwrights and allowed them to play for long runs of up to a month. Before 1843, earlyblackface performers such as George Washington Dixon and Thomas D. Rice played there frequently, and acts such as J. B. Booth, Edwin Forrest, Louisa Lane Drew, andFrank Chanfrau also gained renown on the Bowery's stage. George L. Fox and hispantomime became the most popular act at the Bowery until after the Civil War. Bowery productions also debuted or popularized a number of new character types, including the Bowery B'hoy, the Yankee, the Frontiersman, and the blackface Negro.The pro-Americanism of the Bowery's audience came to a head during the Farren Riots of 1834. Farren,[9] the Bowery's British-born stage manager, had reportedly made anti-American comments and fired an American actor. Protesters reacted by attacking the homes, businesses, and churches of abolitionists and blacks in New York City and then storming the theatre on 9 July. Farren apologized for his comments, and George Washington Dixon sang popular songs to quell the rioters.Hamblin defied conventions of theatre as high culture by booking productions that appealed to working-class patrons and by advertising them extensively according to Gilfert's model. Animal acts, blackface minstrel shows, and melodrama enjoyed the most frequent billings, and hybrid forms, such as melodramas about dogs saving their human masters, became unprecedented successes. Spectacular productions with advanced visual effects, including water and fire, featured prominently. Hamblin also innovated by using gas lighting in lieu of candles and kerosene lamps. The Bowery Theatre earned the nickname "The Slaughterhouse" for its low-class offerings, and terms like "Bowery melodrama" and "Bowery actors" were coined to characterize the new type of theatre.[10]In the spring of 1834, Hamblin began buying shares in the theatre from the New York Association; he had enough to control the enterprise completely within 18 months. By the time the Bowery burned again in September 1836, it was the most popular playhouse in New York City,[11] despite steep increases in competition (the Bowery Amphitheatre was right across the street). Visual spectacle had become such an integral part of its appeal that Hamblin claimed $5,000 in wardrobe losses from the fire.[12] Hamblin bought out the remaining shares in the theatre and rented the site to W. E. Dinneford and Thomas Flynn, who rebuilt. When this interim Bowery burned down in February 1838, Hamblin replaced it with a bigger and more opulent structure, which opened in May 1839.Through Hamblin's actions, working-class theatre emerged as a form in its own right, and melodrama became the most popular form of American theatre. Low-class patrons such as Bowery b'hoys and g'hals predominated in the audience. The Spirit of the Times described the Bowery's patrons:“By reasonable computation there were about 300 persons on the stage and wings in fatigue with side arms—a few jolly tars, and a number of 'apple-munching urchins.' The scene was indescribably ludicrous. Booth played [Richard III] in his best style, and was really anxious to make a hit, but the confusion incidental to such a crowd on the stage, occasioned constant and most humorous interruptions. It was every thing or any thing, but a tragedy. In the scene with Lady Anne, a scene so much admired for its address, the gallery spectators amused themselves by throwing pennies and silver pieces on the stage, which occasioned an immense scramble among the boys, and they frequently ran between King Richard and Lady Anne, to snatch a stray copper. In the tent scene, so solemn and so impressive, several curious amateurs went up to the table, took up the crown, poised the heavy sword, and examined all the regalia with great care, while Richard was in agony from the terrible dream; and when the scene changed, discovering the ghosts of King Henry, Lady Anne and children, it was difficult to select them from the crowd who thrust their faces and persons among the Royal shadows.The Battle of Bosworth Field capped the climax—the audience mingled with the soldiers and raced across the stage, to the shouts of the people, the roll of the drums and the bellowing of the trumpets; and when the fight between Richard and Richmond came on, they made a ring round the combattants to see fair play, and kept them at if for nearly a quarter of an hour by "Shrewsberry clock [13]”Some sources even suggest that patrons engaged in sexual behavior in the lobbies and boxes.[14] Understandably, Hamblin was careful to remain in this crowd's good graces. For example, he regularly offered use of the Bowery Theatre for the annual firemen's ball. Only the Chatham Garden Theatre boasted a rowdier audience [15]Profits were harder to come by in the 1840s, as more playhouses sprung up in New York. Hamblin staged more effects-driven melodrama and later increased bookings of circus acts, minstrel shows, and other variety entertainments. The Bowery burned down once more in April 1845.[16] This time, Hamblin had fire insurance, and he rebuilt with an eye toward appealing to a more upscale patronage and to staging more spectacular melodrama. The theatre now seated 4,000 and with a stage 126 feet (38 m) square, secured its place as one of the largest playhouses in the world.[5] The architect and builder of the new theatre was J. M. Trimble.[17] Hamblin left the management to A. W. Jackson, though Jackson and later managers largely upheld Hamblin's emphasis on melodrama and visual splendor. Hamblin died in January 1853, and the theatre remained in his family until 1867.Successful plays of Hamblin's tenure included:The Elephant of Siam and the Fire Fiend by Samuel Beazley, which featured the elephant Mademoiselle D'Jeck and ran for 18 consecutive performances in early 1831 [18]Mazeppa Or, The Wild Horse of Ukraine, which debuted on July 22, 1833 and had 43 consecutive performances, an astounding feat for its time.[18]Nick of the Woods, adapted by Louisa Honor de Medina from the popular novel, debuted in February 1838, and reappeared after a theatre fire in May 1839 starringJoseph Proctor.Putnam, the Iron Son of '76 by Nathaniel Bannister. This play debuted on August 5, 1844 and ran for 78 consecutive performances [19][20]Later managementBy the middle of the 19th century, immigrant groups, notably the Irish, began populating the Bowery neighborhood. They came to form a significant portion of the Bowery's audience, mostly in the low-price gallery section. In order to cater to them, the theatre offered plays by James Pilgrim and other Irish playwrights. Meanwhile, the Bowery emerged as the theatrical center for New York's Lower East Side.Germans Gustav Amberg, Heinrich Conried, and Mathilde Cottrelly converted the Bowery into the Thalia Theatre in 1879, offering primarily German theatre during their ownership. In 1891, Yiddish theatre became the predominant attraction. Italian vaudeville succeeded this, followed by Chinese vaudeville.In 1894, Maria Roda addressed a large rally at the Thalia Theater celebrating Emma Goldman's release from prison. Although Roda spoke in Italian and Goldman understood none of it, she was moved by Roda's charismatic presence. She wrote, "Maria's strange beauty and the music of her speech roused the whole assembly to tensest enthusiasm. Maria proved a veritable ray of sunlight to me." She then pledged to become Maria Roda's "teacher, friend, comrade [21] Fay s Bowery Theatre" burned down on 5 June 1929 under Chinese management and was never rebuilt.

Sold on eBay Jul 23, 2022

Gertrude Lawrence "PRIVATE LIVES" Noel Coward / Laurence Olivier 1930 London

Sold on eBay May, 22nd 2020

HEATHERS Musical Playbill Barrett Weed (MEAN GIRLS) Ryan McCartan (Liv & Maddie)

Sold on eBay Apr, 25th 2020

HEATHERS Musical Playbill Barrett Weed (MEAN GIRLS) Ryan McCartan (Liv & Maddie)

Sold on eBay Jan, 18th 2020

HEATHERS Musical Playbill Barrett Weed (MEAN GIRLS) Ryan McCartan (Liv & Maddie)

Sold on eBay May 9, 2023

AMERICAN BUFFALO Laurence Fishburne, Darren Criss, Sam Rockwell Signed Playbill

Sold on eBay October 14th, 2024

Mary Martin "NICE GOIN" Tom Ewell / Bert Wheeler 1939 FLOP Boston Tryout Program

Sold on eBay October 17th, 2024

Otis Skinner "UNCLE TOM'S CABIN" Queenie Smith / Players 1933 New Haven Program

This is a rare October 20th, 1933 program (playbill) with a related insert from the two-night engagement of "The Players" Twelfth Annual Revival of the G. L. AIKEN and A. E. THOMAS play with music "UNCLE TOM'S CABIN" at the Shubert Theatre in New Haven, Connecticut. (The production opened May 29th, 1933 at New York's Alvin Theatre and played a limited engagement of 24 performances before going on the road.) ..... The play starred QUEENIE SMITH and BETTY LANCASTER as "Topsy" and "Eva" and OTIS SKINNER as "Uncle Tom" and the cast included ELIZABETH RISDON, FRANK WILCOX, ROBERT HUDSON, LYSTER CHAMBERS, GERTRUDE FOWLER, WALTER F. SCOTT, HARRY TYLER, W. B. TAYLOR, JOHN C. KING, REGINA WALLACE, BETTY HANNA, CHARLES LAITE, MARY HORNE MORRISON, DOAN BORUP, EARL MITCHELL, GEORGE CHRISTIE, WESLEY GIVENS, BRANDON EVANS, CHARLES McCARTHY, GEORGE NICHOLAS, THOMAS BLACK, WALTER SUTTOR, JOANNA ROOS, JULIAN JOHNSON, KATE MAYHEW, J. D. SEYMOUR, JONATHAN HOLE, THOMAS REDDY and the HALL JOHNSON OCTET ..... Historic background: Judging from the number of performances and the amount of money taken in at the box office, "UNCLE TOM'S CABIN" is one of the most successful American plays ever written. The dramatization of Harriet Beecher Stowe's anti-slavery novel held the stage for more than half a century. In 1902, fifty years after its original premiere, no fewer than sixteen companies included the piece in their repertoire. C. W. Taylor's dramatization was the first seen in New York at Purdy's National Theatre, opening August 23rd, 1952. A year later the Howard family staged the George L. Aiken version, opening at the same theatre, where it played for three months ..... CREDITS: Book by G. L. AIKEN and A. E. THOMAS based on the novel by HARRIET BEECHER STOWE; Musical Program by EDWARD T. EMERY; Sets designed by DONALD OENSLAGER; Music arranged by HALL JOHNSON; Music compiled and arranged by HENRY H. HAMILTON; Book Staged by JOHN HAYDEN; Produced by LAURENCE RIVERS, INC. by arrangement with THE PLAYERS CLUB ..... DETAILS: The sixteen page program measures 5 3/4" X 9" inches and includes full production credits, cast list, synopsis of scenes, list of musical numbers, promotional text and wonderful vintage advertising, but no cast photos or bios ..... BONUS: Includes a related four page insert promoting the 1927 Universal Pictures silent film "UNCLE TOM'S CABIN" which includes several wonderful illustrations ..... CONDITION: With the exception of light soiling and minor edge wear to the playbill and several small edge tears and light creasing to the insert, this rare set is in excellent condition and will make a wonderful addition to the collection of any theatre aficionado or historian. These items will be carefully packaged in a protective, carded sleeve and backed by stiff cardboard.

Sold on eBay Oct 27, 2022

Playbill Collectibles : Playbill+laurence Price List

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Archive Lot 25+ SIGNED Playbills Laurence Olivier, Hepburn, Dietrich autographed

AMERICAN BUFFALO Laurence Fishburne, Darren Criss, Sam Rockwell Signed Playbill

AMERICAN BUFFALO Laurence Fishburne, Darren Criss Signed Pride Playbill

Ethel Merman "HUMPTY DUMPTY" ("Take a Chance") 1932 World Premiere Playbill

AMERICAN BUFFALO Laurence Fishburne, Darren Criss, Sam Rockwell Signed Playbill

AMERICAN BUFFALO Laurence Fishburne, Darren Criss, Sam Rockwell Signed Playbill

Gertrude Lawrence "PRIVATE LIVES" Noel Coward / Laurence Olivier 1930 London

ORSON WELLES' Musical "AROUND THE WORLD" Cole Porter 1946 FLOP Flyer

Laurence Olivier * Vivien Leigh Signed Playbill JSA LOA 1952 Caesar Cleopatra

AMERICAN BUFFALO Laurence Fishburne, Darren Criss, Sam Rockwell Signed Playbill

Laurence Olivier (Signed) "NO TIME FOR COMEDY" Katharine Cornell 1939 Playbill

BOWERY THEATRE EARLY AMERICAN THEATRE RARE LARGE 1874 STAGE BROADSIDE

Gertrude Lawrence "PRIVATE LIVES" Noel Coward / Laurence Olivier 1930 London

HEATHERS Musical Playbill Barrett Weed (MEAN GIRLS) Ryan McCartan (Liv & Maddie)

HEATHERS Musical Playbill Barrett Weed (MEAN GIRLS) Ryan McCartan (Liv & Maddie)

HEATHERS Musical Playbill Barrett Weed (MEAN GIRLS) Ryan McCartan (Liv & Maddie)

AMERICAN BUFFALO Laurence Fishburne, Darren Criss, Sam Rockwell Signed Playbill

Mary Martin "NICE GOIN" Tom Ewell / Bert Wheeler 1939 FLOP Boston Tryout Program

Otis Skinner "UNCLE TOM'S CABIN" Queenie Smith / Players 1933 New Haven Program

Vivien Leigh "CAESAR and CLEOPATRA" Laurence Olivier / Bernard Shaw 1951 Program

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Archive Lot 25+ SIGNED Playbills Laurence Olivier, Hepburn, Dietrich autographed

AMERICAN BUFFALO Laurence Fishburne, Darren Criss, Sam Rockwell Signed Playbill

AMERICAN BUFFALO Laurence Fishburne, Darren Criss Signed Pride Playbill

Ethel Merman "HUMPTY DUMPTY" ("Take a Chance") 1932 World Premiere Playbill

AMERICAN BUFFALO Laurence Fishburne, Darren Criss, Sam Rockwell Signed Playbill

AMERICAN BUFFALO Laurence Fishburne, Darren Criss, Sam Rockwell Signed Playbill

Gertrude Lawrence "PRIVATE LIVES" Noel Coward / Laurence Olivier 1930 London

ORSON WELLES' Musical "AROUND THE WORLD" Cole Porter 1946 FLOP Flyer

Laurence Olivier * Vivien Leigh Signed Playbill JSA LOA 1952 Caesar Cleopatra

AMERICAN BUFFALO Laurence Fishburne, Darren Criss, Sam Rockwell Signed Playbill

Laurence Olivier (Signed) "NO TIME FOR COMEDY" Katharine Cornell 1939 Playbill

*BOWERY THEATRE EARLY AMERICAN THEATRE RARE LARGE 1874 STAGE BROADSIDE*

Gertrude Lawrence "PRIVATE LIVES" Noel Coward / Laurence Olivier 1930 London

HEATHERS Musical Playbill Barrett Weed (MEAN GIRLS) Ryan McCartan (Liv & Maddie)

HEATHERS Musical Playbill Barrett Weed (MEAN GIRLS) Ryan McCartan (Liv & Maddie)

HEATHERS Musical Playbill Barrett Weed (MEAN GIRLS) Ryan McCartan (Liv & Maddie)

AMERICAN BUFFALO Laurence Fishburne, Darren Criss, Sam Rockwell Signed Playbill

Mary Martin "NICE GOIN" Tom Ewell / Bert Wheeler 1939 FLOP Boston Tryout Program

Otis Skinner "UNCLE TOM'S CABIN" Queenie Smith / Players 1933 New Haven Program

Vivien Leigh "CAESAR and CLEOPATRA" Laurence Olivier / Bernard Shaw 1951 Program

BOWERY THEATRE EARLY AMERICAN THEATRE RARE LARGE 1874 STAGE BROADSIDE