- physdesc
-
{"format"=>"simple", "value"=>"3.2 linear feet (6 boxes)"}
- unitid
-
{"value"=>"*T-Mss 1962-002", "type"=>"local_call"}
{"value"=>"21316", "type"=>"local_mss"}
- unittitle
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{"value"=>"Olive Reeves-Smith Papers"}
- repository
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{"value"=>"The New York Public Library for the Performing Arts. Billy Rose Theatre Division."}
- prefercite
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{"value"=>"<p>Olive Reeves-Smith Papers, *T-Mss 1962-002, Billy Rose Theatre Division, The New York Public Library for the Performing Arts.</p>"}
- origination
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{"value"=>"Reeves-Smith, Olive, 1894-1972", "type"=>"persname"}
- bioghist
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{"value"=>"<p><span class=\"persname\">Olive Reeves-Smith</span>(1894-1972) was born in Great Britain and received her musical theater training in England. She entered the acting profession over the objections of her parents and adopted the early stage name of \"Olive Branch\" after her debut in <span class=\"title\">The Flood</span> in Bristol, England. Her mother, Ella Strathmore, was on the stage before she married; her godfather was the English comedian James Blakeley. Her father, Harry Reeves-Smith, was a prominent actor who sustained careers on both sides of the Atlantic and was known as a talented matinee idol in his time. After her theatrical beginnings in England, she had a long and full career in America, primarily on the stage, and made her residence in New York City and its environs. She was best known as a character actress. While she played many minor roles, she played opposite George M. Cohan as the lead in his <span class=\"title\">Pigeons and People,</span> had prominent parts in <span class=\"title\">Richard of Bordeaux</span> with Dennis King and <span class=\"title\">The Constant Nymph,</span> and became known as the original <span class=\"title\">Bloomer Girl</span> in the musical of that name. She was in the original cast of <span class=\"title\">My Fair Lady</span> and played more than 2213 performances in the dual roles of Mrs. Hopkins, the raucous cockney, and Lady Boxington in the Ascot scene. Later in her career, she made radio and television appearances in <span class=\"title\">We, The People,</span> <span class=\"title\">Studio I,</span> <span class=\"title\">The Kraft TV Theater,</span> <span class=\"title\">Armstrong Circle Theater,</span> and <span class=\"title\">Death Valley Days.</span> She had two sisters, Alma and Elsie neither of whom pursued theatrical careers, and was married twice to actors, Denman Maley and Harold Irving Fuller (aka Fuller Mellish, Jr.). Her second husband was the scion of a distinguished British stage family. His father, Fuller Mellish, Sr., was a well-known Shakespearean actor in England and America. The famous English star Rose LeClerq was his grandmother.</p> <p>Her circle of friends and colleagues included Julie Andrews, Ralph Bellamy, Mary Boland, Leo G. Carroll, George M. Cohan, Noel Coward (who was a distant relation), George Cukor, Charlotte Greenwood, Moss Hart, Sally Ann Howes, Rex Harrison, Celeste Holm, George S. Kaufman, Ethel Barrymore and her daughter Ethel Colt, Cole Porter, Rosalind Russell, Hassard Short, and May Whitty. Olive Reeves-Smith died at the age of 77 on July 20, 1972 in the Lynwood Nursing Home in New York City. She had no children.</p>"}
- custodhist
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{"value"=>"<p>The Olive Reeves-Smith papers were donated to the Theatre Collection in two separate installments, one in 1962 and the other in 1972. The original donation of two scrapbooks documenting the career of Olive Reeves-Smith's father Harry Reeves-Smith was transferred to the Billy Rose Theatre Division in 1962. Her papers and those of her actor husband, Fuller Mellish, Jr., came after her death in 1972. Correspondence between Olive Reeves-Smith and George Freedley, curator of the Billy Rose Theatre Division at the time, documents her intentions and the placement of a codicil in her will directing both her father's and her papers to the library.</p>"}
- scopecontent
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{"value"=>"<p>The Olive Reeves-Smith Papers span the years 1879 to 1964 and consist of personal papers, writings, correspondence, contracts, photographs, programs, clippings, scrapbooks, and sheet music. Her professional life is represented by the clippings, programs, photographs, and contracts. While the correspondence contains a few business letters, most of it is of a personal nature. Her writings consist primarily of poems, and the sheet music give evidence of her musical writings, both songs and lyrics.</p> <p>The papers also document the careers of her own actor family and that of her second husband. There are numerous clippings on her mother's thespian efforts, as well as those of her sister-in-law <span class=\"persname\">Vera Fuller Mellish</span>. All the materials on her second husband, <span class=\"persname\">Harold Irving Fuller</span> (whose stage name was <span class=\"persname\">Fuller Mellish, Jr.</span>), are collected into one series. A scrapbook of clippings on his career arrived in loose pages. The materials on Fuller Mellish, Jr. which span the years 1905 to 1936 also include numerous photographs from his stage and film career and a small number of personal papers. The materials on her father, <span class=\"persname\">Harry Reeves-Smith</span>, include two printed volumes, <span class=\"title\">Peg O' My Heart</span> by J. Hartley Manners (1913), <span class=\"title\">Captain Jinks of the Horse Marines</span> by Clyde Fitch (1902), and some photographs. These volumes are extra-illustrated with photographs, letters, telegrams, clippings, and even a playbill pasted onto various leaves.</p>"}
{"value"=>"<p class='list-head'>The Olive Reeves-Smith Papers are arranged in nine series:</p>\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/the/21316#c295768'>Series I: Personal Papers</a></div>\n<div class='series-date'>1902-1962</div>\n<div class='series-extent'>.2 linear feet</div>\n<div class='series-description'><p>Consists of biographical materials, poetical writings, song lyrics, the text of her biographical entry in the 1948 edition of <span class=\"title\">World Biography</span>, press releases and a handwritten verse drama by Alexander Frank titled <span class=\"title\">Olive and Tannhauser</span> dedicated to and about Olive Reeves-Smith. The biographical material includes childhood reports from musical school, a seven-page typewritten autobiography with revisions in Olive Reeves-Smith's hand, ticket stubs, and portions of typescripts. Her poetical writings reflect her musings on her native land, Manhattan, the state of humankind, war, unemployment, her relationship with her second husband, and the theater.</p></div></li><li><div class='series-title'><a href='/the/21316#c295774'>Series II: Correspondence</a></div>\n<div class='series-date'>1896-1964</div>\n<div class='series-extent'>.4 linear feet</div>\n<div class='series-description'><p>The correspondence is primarily of a personal nature. The smaller contingent of business letters includes answers to inquiries about parts (e.g., <span class=\"persname\">George S. Kaufman</span>, <span class=\"persname\">Vinton Freedley</span>). There are a few letters regarding auditions and contractual matters and expressions of gratitude for her participation in various events from <span class=\"corpname\">Actors' Equity</span>. Notable correspondents include <span class=\"persname\">Ralph Bellamy</span>, <span class=\"persname\">Leo G. Carroll</span>, <span class=\"persname\">Mary Boland</span>, <span class=\"persname\">George Cukor</span>, <span class=\"persname\">Moss Hart</span>, <span class=\"persname\">Cole Porter</span>, and <span class=\"persname\">Hassard Short</span>. There are a large number of telegrams including some addressed to <span class=\"persname\">Vera Fuller Mellish</span>, and many pieces of ephemeral notes. The latter includes gift and greeting cards, thank you notes, and calling cards.</p></div></li><li><div class='series-title'><a href='/the/21316#c295816'>Series III: Contracts</a></div>\n<div class='series-date'>1914-1956</div>\n<div class='series-extent'>.2 linear feet</div>\n<div class='series-description'><p>The contracts while not comprehensive represent her career from <span class=\"title\">Whiteoaks</span>with Ethel Barrymore, to <span class=\"title\">Easy Virtue</span> with Constance Bennett, various productions of <span class=\"title\">Bloomer Girl</span>, <span class=\"title\">Sabrina Fair</span>, <span class=\"title\">Guys and Dolls</span> and <span class=\"title\">Show Boat.</span> These contracts were all with <span class=\"corpname\">Actors' Equity Association</span>. Her work with <span class=\"corpname\">CBS Television</span> is represented by two contracts. The third division of miscellaneous contracts includes an early engagement under her short-lived stage name of \"Olive Branch,\" some broadcasting work, a part in <span class=\"title\">Edward My Son</span> for George Cukor, and an agreement as an extra player in a television series.</p></div></li><li><div class='series-title'><a href='/the/21316#c295820'>Series IV: Photographs,.</a></div>\n<div class='series-date'>1942 and undated</div>\n<div class='series-extent'>.3 linear feet</div>\n<div class='series-description'><p>The photographs are divided into pictures of family members and miscellaneous personal photographs. The former includes black and white photos of her sister Elsie, her father's boat, her aunt Betty, her cousin Rachel, and her sister Alma's husband, Clifford Bailey-Hick. Photographs of herself, her husband, father, sister-in-law, and production photographs have been removed and added to the Theatre collection's photographic files. A series of autographed photographs have also been removed and integrated into the photographic files.</p></div></li><li><div class='series-title'><a href='/the/21316#c295823'>Series V: Clippings</a></div>\n<div class='series-date'>1879-1962</div>\n<div class='series-extent'>.5 linear feet</div>\n<div class='series-description'><p>Consists primarily of newspaper clippings and reviews of productions in which she appeared. They are divided into folders by decades from the 1920s to the 1960s. A separate folder contains clippings about appearances by family members: her father <span class=\"persname\">Harry Reeves-Smith</span>, her mother <span class=\"persname\">Ella Strathmore</span>, and her sister-in-law <span class=\"persname\">Vera Fuller Mellish</span>.</p></div></li><li><div class='series-title'><a href='/the/21316#c295831'>Series VI: Scrapbooks</a></div>\n<div class='series-date'>1900-1948</div>\n<div class='series-extent'>.4 linear feet</div>\n<div class='series-description'><p>Two of the scrapbooks formed the original donation documenting her father's career; they are published volumes of <span class=\"title\">Captain Jinks of the Horse Marines</span> by Clyde Fitch (1902) and <span class=\"title\">Peg O' My Heart</span> by J. Hartley Manners (1913). Letters, photographs, clippings, and even playbills have been pasted onto the front and back covers and individual leaves. An inner pocket on the back end-leaf of <span class=\"title\">Peg O' My Heart</span> contains photographs, a letter from J. Hartley Manners, a calling card, and miscellaneous clippings. A third scrapbook consists of clippings on Olive Reeves-Smith's early appearances from <span class=\"title\">Buddies</span> to <span class=\"title\">Three Live Ghosts</span>, an autographed playbill, letters, a telegram, and miscellaneous photographs.</p></div></li><li><div class='series-title'><a href='/the/21316#c295835'>Series VII: Sheet Music</a></div>\n<div class='series-date'>1961 and undated</div>\n<div class='series-extent'>.1 linear feet</div>\n<div class='series-description'><p>Consists of songs of which both lyrics and music are by <span class=\"persname\">Olive Reeves-Smith</span>. Some are dedicated; one to <span class=\"persname\">Basil Rathbone</span>, another to <span class=\"persname\">George M. Cohan</span>. All are handwritten, and one is an original. Also included are songs by <span class=\"persname\">R. Fred Kelley</span> and <span class=\"persname\">Raymond Hubbell</span> with the composers' autographs. Includes an unidentified handwritten score with lyrics.</p></div></li><li><div class='series-title'><a href='/the/21316#c295838'>Series VIII: Programs</a></div>\n<div class='series-date'>1919-1961</div>\n<div class='series-extent'>.9 linear feet</div>\n<div class='series-description'><p>Consists of programs for productions in which Olive Reeves-Smith appeared. These have been divided into single-leaf playbills and programs, autographed souvenir programs, and a bound volume of programs from 1931 to 1955. With the exception of the single-leaf playbills, most of the programs are autographed, sometimes by the entire cast and creative personnel. The playbills document her early works from 1919 to the mid 1930s, while the programs constitute a good representation of the range of her career.</p></div></li><li><div class='series-title'><a href='/the/21316#c295842'>Series IX: Fuller Mellish, Jr. Papers</a></div>\n<div class='series-date'>1905-1936</div>\n<div class='series-extent'>.2 linear feet</div>\n<div class='series-description'><p>Consists of contracts, clippings, personal papers, photographs, and programs concerning the life and career of Olive Reeves-Smith's second husband, <span class=\"persname\">Fuller Mellish, Jr.</span> Most of the clippings seemed to have been pages detached from a scrapbook.</p></div></li></ul>\n", "type"=>"arrangement"}
- arrangement
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{"value"=>"<p> <ul> <li>Series I: Personal Papers</li> <li>Series II: Correspondence</li> <li>Series III: Contracts</li> <li>Series IV: Photographs</li> <li>Series V: Clippings</li> <li>Series VI: Scrapbooks</li> <li>Series VII: Sheet Music</li> <li>Series VIII: Programs</li> <li>Series IX: Fuller Mellish, Jr.</li></ul></p>", "supress_display"=>true}
- separatedmaterial
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{"value"=>"<ul> <li> <span class=\"persname\">James Allen</span></li> <li> <span class=\"persname\">Wilton Clary</span></li> <li> <span class=\"persname\">Jack Good</span></li> <li> <span class=\"persname\">Mike Kingsley</span></li> <li> <span class=\"persname\">Martha Mayo</span></li> <li> <span class=\"persname\">Nolagail Manners</span></li> <li> <span class=\"persname\">Oscar Nordstom</span></li> <li> <span class=\"persname\">Molly Pearson</span></li> <li> <span class=\"persname\">Lenora Ulrich</span></li></ul> <ul> <li> <span class=\"persname\">Olive Reeves-Smith</span></li> <li> <span class=\"persname\">Harry Reeves-Smith</span></li> <li> <span class=\"persname\">Charles McNaughton</span></li></ul> <ul> <li> <span class=\"title\">Applause</span></li> <li> <span class=\"title\">Aren't We All</span></li> <li> <span class=\"title\">Black Limelight</span></li> <li> <span class=\"title\">The Firefly</span></li> <li> <span class=\"title\">The Great Waltz</span></li> <li> <span class=\"title\">Richard of Bordeaux</span></li> <li> <span class=\"title\">Sarah and Son</span></li> <li> <span class=\"title\">She Had To Say Yes</span></li> <li> <span class=\"title\">What Price Glory</span></li> <li> <span class=\"title\">Whiteoaks</span></li></ul> <ul> <li> <span class=\"persname\">Olive Reeves-Smith</span> portrait</li></ul> <ul> <li> <span class=\"persname\">Olive Reeves-Smith</span> portrait</li> <li> <span class=\"title\">Pigeons and People</span></li> <li> <span class=\"title\">Present Arms</span></li> <li> <span class=\"title\">What Price Glory</span></li></ul>"}
- processinfo
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{"value"=>"<p>Processed by Constance A. Woo.</p>"}
{"value"=>"<p>Initial processing of the materials took place after the arrival of the first segment in 1962, final processing was completed in 1994.</p>"}
- accessrestrict
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{"value"=>"<p>Photocopying prohibited.</p>"}
- userestrict
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{"value"=>"<p>For permission to publish, contact the Curator, Billy Rose Theatre Division.</p>"}
- unitdate
-
{"value"=>"1879-1964", "type"=>"inclusive", "normal"=>"1879/1964"}
{"value"=>"1920-1961", "type"=>"bulk", "normal"=>"1920/1961"}
- date_inclusive_start
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1879
- date_inclusive_end
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1964
- acqinfo
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{"accession_number"=>"THE MSS 1962-002"}
{"date"=>"1962", "source"=>"Olive Reeves-Smith", "address"=>"See donor file", "method"=>"Gift", "extent"=>"3.2 o", "value"=>"Gift, Olive Reeves-Smith, 1962"}
- abstract
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{"value"=>"The papers of Olive Reeves-Smith consist of correspondence, clippings, personal papers, programs, scrapbooks, sheet music, and photographs. Also included are the papers of Harry Reeves-Smith and those of her actorhusband Fuller Mellish, Jr."}
- keydate
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1879
- date_start
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1879
- date_end
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1964
- date_bulk_start
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1920
- date_bulk_end
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1961