the participants leave themselves free to produce outside the organization, and that I hope we shall work together often in the future. In fact, of the playwrights involved I am the only one who is entirely satisfied with his producer and director, and I would not join such a group if I were thinking of my own productions and my chances of success. They are probably better with you than elsewhere.
If I thought I could go on writing plays with machine-like regularity, I wouldn't make any change at all, but either the theatre is falling to pieces around me or I am falling to pieces inside it. Maybe it's the critics that discourage me, maybe it's the general atmosphere around Broadway, but to write anything at all is like pulling teeth nowadays, because I cannot avoid anticipating the reception it will get. I find this same impediment in other playwrights of the association and a number of us have decided to combine to keep up our spirits, to make, if possible, the center of opinion not so continually adverse. The other playwrights in our association have either been on the point of withdrawing from the theatre altogether or wondering how soon they would be in that frame of mind. If we can talk each other into going on and perhaps help a little with the structure of each other's plays, the theatre as a whole should benefit and individually we'll be better off.
So far I have no play for next year except the one which I am currently writing for the Lunts, the one which started out in France and has moved so far away and changed so completely that you will never recognize it. 3
What I really want to get at is that I hope we won't separate over this reorganization because I shall always want to have you direct all my plays.