Scope and arrangement
Collection consists of eighteen play scripts and one film script. With the exception of one play which was published in Paris, in French, all plays are unpublished. Titles for three act plays include: "Leedsville," 1951 (carbon copy, with minor corrections); two versions of "The end of the search" (one of the copies lacks the t.p., the date is unknown, and bears handwritten corrections, alterations, and additions. The second copy is dated 1953. Ultimately this play was rewritten as a novel); "A star for Bella," 1956; two copies of "Sounds in the alley," 1964 (the typewritten draft of the play with handwritten corrections, and its final typewritten version); two versions of "God takes the late train," 1964 (carbon copy draft with handwritten alterations, and its final typewritten version); "Not a single blade of grass," 1966 (carbon copy); "The blood of the starches," 1969.|||Titles for two act plays are: "A cross at the edge of the sword," 1968 (carbon copy with handwritten corrections); "An actor in tragi-color," 1982 (carbon copy with handwritten alterations and additions); two versions of "Not a single blade of grass," 1982 and 1983 (a condensation of the full length play, mentioned above); "A lantern for Crispus," 1984 (carbon copy with minor corrections). Titles for one act plays are: "Tue ton prochain comme toi-même," n.d. (the French translation of "The roar of a distant canon," 1967, by Pierre Roudy); "The beginning of the marathon," 1968, and its French translation, "L'autre marathon," by Pierre Roudy, published in 1971, by Magnard, Paris; "The beginning of something," 1968; and three plays, written in 1978, under the leading title "Harlem nocturne": "The wine party," "Killer of the food," and "Not a single blade of grass," (another shorter version of the play mentioned above). Two titles for musicals: three folders of "Harlem in Paree," 1977 (script, lyrics, and scores); "Our side of town," 1982. A film script: "To the bayou winds," 1982. Collection also includes a folder of Harris's correspondence relating to the production of "Not a single blade of grass," and a few theater reviews about its presentation by the 18th Street Playhouse.