BILL MOOR - AUTOGRAPH LETTER SIGNED 12/21/1985 - HFSID 316145
BILL MOOR The actor extends warm wishes and happy holiday to John Willis, Editor of Theatre World Autograph letter signed: "Bill Moor", in blue ink, 6x9½ open flat, 6x4¾. December 2, 1985. In full: "Dearest John, Thank you for the beautiful big red card and harty little agenda.
Sale Price $180.00
The actor extends warm wishes and happy holiday to John Willis, Editor of Theatre World
Autograph letter signed: "Bill Moor", in blue ink, 6x9½ open flat, 6x4¾. December 2, 1985. In full: "Dearest John, Thank you for the beautiful big red card and harty little agenda. I did note the filled in day as I should be there. I think your awards are wonderful and I'm envious of everyone that is talented and lucky enough to receive one. May you have a marvelous Christmas, John, and a great New Year. My love". Bill Moor (1931-2007) was an American actor born in Toledo, Ohio. As an actor, Moor spent sixty years on the stage and screen, beginning with his debut in a production of My Sister Eileen (1946). Nearly two decades later, Moor made his Broadway debut when he was cast as Reverend Phelps in the 1964 original production of Blues for Mister Charlie. From that point on the already seasoned actor busied himself, appearing in over eighteen Broadway productions (including a starring role in a production of the comedy Heartbreak House during late 1983 and early 1984), and thirty-one on-screen titles including a small part in It Ain't Easy (1972), his well-known role as Gressen in Kramer vs. Kramer (1979), and his last role as the dad in the 2006 short film Snare. John A. Willis (1916-2010), active in Theatre World from the beginning, became its chief editor in 1965, holding that position until 2008. Willis is regarded as one of the foremost theatre and film historians of the 20th century. While producing (and presenting) the annual Theatre World Awards, Willis also served on the nominating committee for the Tony Awards. Theatre World, which received its own Tony for Excellence in Theatre in 2001, continues under chief editor Ben Hodges. Ink notes (unknown hand) on verso. Fine condition.
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