{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Acting.\u0026f%5Bdate_range%5D%5B%5D=1967","last":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Acting.\u0026f%5Bdate_range%5D%5B%5D=1967\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":3,"first_page?":true,"last_page?":true}},"data":[{"id":"vifgm_LivingStage","type":"collection","attributes":{"title":"Living Stage records","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_LivingStage#abstract_or_scope","type":"document_value","attributes":{"value":"The Living Stage records include pieces related to the traveling theater company, which was founded by Robert Alexander, between 1965 and 2001.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_LivingStage#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_LivingStage","ead_ssi":"vifgm_LivingStage","_root_":"vifgm_LivingStage","_nest_parent_":"vifgm_LivingStage","ead_source_url_ssi":"data/gmu/LivingStage.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/livingstage.html","title_ssm":["Living Stage records"],"title_tesim":["Living Stage records"],"unitdate_ssm":["1965-2001"],"unitdate_inclusive_ssm":["1965-2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0277"],"text":["C0277","Living Stage records","Acting.","People with mental disabilities--Services for--United States.","Performance art--Photographs.","Public schools--Virginia.","Radicalism--United States--History--20th century.","Students--Photographs.","Theater--United States--History--20th century.","Theater--Washington (D.C.)","Playscripts.","Theatre programs.","There are no access restrictions.","The collection is divided into three series, each of which is divided into subseries.","Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56) Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85) Series 3: Audiovisual Materials, 1967-1998 (Boxes 86-106)","The Living Stage Theatre Company began in 1966 as a venture of the Arena Stage and Robert Alexander. Known from 1966-1968 as the Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the DC area after becoming disenchanted with traditional theater's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington DC on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. ","The Living Stage performance style consisted of \"The Jam\", \"The Performance\" and \"The Workshop\"; a three part study that was used at most of their venues. The first part, or \"Jam\", consisted of actors working with their audience to \"rap\", make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. Then the actors moved into the \"performance\" itself. During the performance, the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. ","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic\". "," The organization began its twilight years in the first half of the 1990s as many of its founding and senior members began to take their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.","The Special Collections Research Center does not have the equipment necessary to watch Betacam, U-matic, reel-to-reel film and audio tapes contained in Series 3. Additional time and money may be required to digitize this material for access.","Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016.","The Special Collections and Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company collection Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Arena Stage collection and many other theater collections."," The Living Stage records consist of materials spanning the length of that organization's history from about 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files including financial papers, grant requests and applications, printed pieces, and correspondence and more creative materials including workshop reports and scripts, audiovisual files on reel-to-reel tapes, and photographic materials. ","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage."," Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. ","Series 3: Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Series 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","Folder 1 of 3\n","Folder 2 of 3\n","Folder 3 of 3\n","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","Folder 1 of 3\n","Folder 2 of 3\n","Folder 3 of 3\n","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","","","","","","","","","","","","","","","","","","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","Folder 1 of 3\n","Folder 2 of 3\n","Folder 3 of 3\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 3\n","Folder 2 of 3\n","Folder 3 of 3\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Series 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","Folder 1 of 2\n","Folder 2 of 2\n","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","Folder 1 of 2\n","Folder 2 of 2\n","Folder 1 of 2\n","Folder 2 of 2\n","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Copyright 1978\n","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","Folder 1 of 4\n","Folder 2 of 4\n","Folder 3 of 4\n","Folder 4 of 4\n","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","Series 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s.  Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Large Box\n","","","VO 1 of 2\n","VO 2 of 2\n","","","","","","","Completely Unraveled - Large Box\n","","","","","","","","","","","","","","","","","","","","","","","","","","","Large Box\n","","Franklin Sherman?\n","","","Large Box\n","Large Box\n","","","Continued from October 19, 1977 Tape\n","","","","","","","","","","Loose\n","Color?\n","","","","","","","","","Large Box\n","","","","","","Large Box\n","Large Box\n","","Large Box\n","","Smells like Vinegar\n","Semi-Unraveling\n","","","","","Semi-Unraveling\n","","","","","","Large Box\n","Large Box\n","","","","Large Box\n","","","","","Large Box\n","","","Large Box\n","Large Box\n","","","","","","","","","","","","Large Box\n","","","","","","","","XL Roll\n","","","","","Semi-Unraveling\n","","","","","Large Box\n","","","Semi-Unraveling\n","","Large Box\n","","","","","","","Large Box\n","","","","Semi-Unraveling\n","Tape 3 of 3\n","Tape 1 of 3\n","Tape 2 of 3\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Betamax\n","VHS\n","","Beta Tape 1 of 2\n","Beta Tape 2 of 2\n","VHS\n","U-matic\n","Betamax\n","VHS\n","VHS\n","VHS\n","VHS\n","Betamax\n","Betamax\n","Betamax\n","VHS\n","VHS\n","Betamax\n","VHS\n","VHS\n","Betamax\n","VHS\n","Betamax\n","Betamax\n","VHS\n","VHS\n","Betamax\n","VHS\n","VHS\n","VHS\n","VHS\n","Betamax\n","VHS\n","VHS\n","Betamax\n","Betamax\n","VHS\n","VHS\n","VHS\n","VHS\n","VHS\n","VHS\n","Betamax\n","VHS\n","VHS\n","","VHS\n","VHS\n","VHS\n","Beta Tape 1 of 2\n","Beta Tape 2 of 2\n","Betamax\n","VHS\n","Betamax\n","There are no restrictions on personal use. Permission to publish material from the Living Stage Records must be obtained from Special Collections and Archives, George Mason University Libraries.","The Living Stage records include pieces related to the traveling theater company, which was founded by Robert Alexander, between 1965 and 2001.","George Mason University. Libraries. Special Collections Research Center.","English\n\t\t"],"unitid_tesim":["C0277"],"normalized_title_ssm":["Living Stage records"],"collection_title_tesim":["Living Stage records"],"collection_ssim":["Living Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Living Stage Records must be obtained from Special Collections and Archives, George Mason University Libraries."],"acqinfo_ssim":["Donated by Arena Stage in 2000."],"access_subjects_ssim":["Acting.","People with mental disabilities--Services for--United States.","Performance art--Photographs.","Public schools--Virginia.","Radicalism--United States--History--20th century.","Students--Photographs.","Theater--United States--History--20th century.","Theater--Washington (D.C.)","Playscripts.","Theatre programs."],"access_subjects_ssm":["Acting.","People with mental disabilities--Services for--United States.","Performance art--Photographs.","Public schools--Virginia.","Radicalism--United States--History--20th century.","Students--Photographs.","Theater--United States--History--20th century.","Theater--Washington (D.C.)","Playscripts.","Theatre programs."],"has_online_content_ssim":["false"],"extent_ssm":["48.0 linear feet (106 boxes)"],"extent_tesim":["48.0 linear feet (106 boxes)"],"date_range_isim":[1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into three series, each of which is divided into subseries.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\u003c/item\u003e\n        \u003citem\u003eSeries 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\u003c/item\u003e\n        \u003citem\u003eSeries 3: Audiovisual Materials, 1967-1998 (Boxes 86-106)\u003c/item\u003e\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is divided into three series, each of which is divided into subseries.","Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56) Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85) Series 3: Audiovisual Materials, 1967-1998 (Boxes 86-106)"],"bioghist_html_tesm":["\u003cp\u003eThe Living Stage Theatre Company began in 1966 as a venture of the Arena Stage and Robert Alexander. Known from 1966-1968 as the Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the DC area after becoming disenchanted with traditional theater's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington DC on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. \u003c/p\u003e","\u003cp\u003eThe Living Stage performance style consisted of \"The Jam\", \"The Performance\" and \"The Workshop\"; a three part study that was used at most of their venues. The first part, or \"Jam\", consisted of actors working with their audience to \"rap\", make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. Then the actors moved into the \"performance\" itself. During the performance, the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. \u003c/p\u003e","\u003cp\u003eThe projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic\". \u003c/p\u003e","\u003cp\u003e The organization began its twilight years in the first half of the 1990s as many of its founding and senior members began to take their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Living Stage Theatre Company began in 1966 as a venture of the Arena Stage and Robert Alexander. Known from 1966-1968 as the Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the DC area after becoming disenchanted with traditional theater's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington DC on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. ","The Living Stage performance style consisted of \"The Jam\", \"The Performance\" and \"The Workshop\"; a three part study that was used at most of their venues. The first part, or \"Jam\", consisted of actors working with their audience to \"rap\", make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. Then the actors moved into the \"performance\" itself. During the performance, the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. ","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic\". "," The organization began its twilight years in the first half of the 1990s as many of its founding and senior members began to take their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch Betacam, U-matic, reel-to-reel film and audio tapes contained in Series 3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch Betacam, U-matic, reel-to-reel film and audio tapes contained in Series 3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eLiving Stage Records, C0277, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Living Stage Records, C0277, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections and Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company collection Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Arena Stage collection and many other theater collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections and Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company collection Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Arena Stage collection and many other theater collections."],"scopecontent_html_tesm":["\u003cp\u003e The Living Stage records consist of materials spanning the length of that organization's history from about 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files including financial papers, grant requests and applications, printed pieces, and correspondence and more creative materials including workshop reports and scripts, audiovisual files on reel-to-reel tapes, and photographic materials. \u003c/p\u003e","\u003cp\u003eSeries 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e","\u003cp\u003e Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. \u003c/p\u003e","\u003cp\u003eSeries 3: Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. 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2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. 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Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s.  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2\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eVO 1 of 2\n\u003c/p\u003e","\u003cp\u003eVO 2 of 2\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eCompletely Unraveled - Large Box\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eFranklin Sherman?\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eContinued from October 19, 1977 Tape\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eLoose\n\u003c/p\u003e","\u003cp\u003eColor?\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eSmells like Vinegar\n\u003c/p\u003e","\u003cp\u003eSemi-Unraveling\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eSemi-Unraveling\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eXL Roll\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eSemi-Unraveling\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eSemi-Unraveling\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eLarge Box\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eSemi-Unraveling\n\u003c/p\u003e","\u003cp\u003eTape 3 of 3\n\u003c/p\u003e","\u003cp\u003eTape 1 of 3\n\u003c/p\u003e","\u003cp\u003eTape 2 of 3\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eCassette Tape\n\u003c/p\u003e","\u003cp\u003eBetamax\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eBeta Tape 1 of 2\n\u003c/p\u003e","\u003cp\u003eBeta Tape 2 of 2\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eU-matic\n\u003c/p\u003e","\u003cp\u003eBetamax\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eBetamax\n\u003c/p\u003e","\u003cp\u003eBetamax\n\u003c/p\u003e","\u003cp\u003eBetamax\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eBetamax\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eBetamax\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eBetamax\n\u003c/p\u003e","\u003cp\u003eBetamax\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eBetamax\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eBetamax\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eBetamax\n\u003c/p\u003e","\u003cp\u003eBetamax\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eBetamax\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003e\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eBeta Tape 1 of 2\n\u003c/p\u003e","\u003cp\u003eBeta Tape 2 of 2\n\u003c/p\u003e","\u003cp\u003eBetamax\n\u003c/p\u003e","\u003cp\u003eVHS\n\u003c/p\u003e","\u003cp\u003eBetamax\n\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Content","Scope and Content","Scope and Content"],"scopecontent_tesim":[" The Living Stage records consist of materials spanning the length of that organization's history from about 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files including financial papers, grant requests and applications, printed pieces, and correspondence and more creative materials including workshop reports and scripts, audiovisual files on reel-to-reel tapes, and photographic materials. ","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage."," Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. ","Series 3: Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Series 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","Folder 1 of 3\n","Folder 2 of 3\n","Folder 3 of 3\n","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","Folder 1 of 3\n","Folder 2 of 3\n","Folder 3 of 3\n","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","","","","","","","","","","","","","","","","","","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","Folder 1 of 3\n","Folder 2 of 3\n","Folder 3 of 3\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 3\n","Folder 2 of 3\n","Folder 3 of 3\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Series 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","Folder 1 of 2\n","Folder 2 of 2\n","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","Folder 1 of 2\n","Folder 2 of 2\n","Folder 1 of 2\n","Folder 2 of 2\n","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Copyright 1978\n","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","Folder 1 of 4\n","Folder 2 of 4\n","Folder 3 of 4\n","Folder 4 of 4\n","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","Series 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s.  Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Large Box\n","","","VO 1 of 2\n","VO 2 of 2\n","","","","","","","Completely Unraveled - Large Box\n","","","","","","","","","","","","","","","","","","","","","","","","","","","Large Box\n","","Franklin Sherman?\n","","","Large Box\n","Large Box\n","","","Continued from October 19, 1977 Tape\n","","","","","","","","","","Loose\n","Color?\n","","","","","","","","","Large Box\n","","","","","","Large Box\n","Large Box\n","","Large Box\n","","Smells like Vinegar\n","Semi-Unraveling\n","","","","","Semi-Unraveling\n","","","","","","Large Box\n","Large Box\n","","","","Large Box\n","","","","","Large Box\n","","","Large Box\n","Large Box\n","","","","","","","","","","","","Large Box\n","","","","","","","","XL Roll\n","","","","","Semi-Unraveling\n","","","","","Large Box\n","","","Semi-Unraveling\n","","Large Box\n","","","","","","","Large Box\n","","","","Semi-Unraveling\n","Tape 3 of 3\n","Tape 1 of 3\n","Tape 2 of 3\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Betamax\n","VHS\n","","Beta Tape 1 of 2\n","Beta Tape 2 of 2\n","VHS\n","U-matic\n","Betamax\n","VHS\n","VHS\n","VHS\n","VHS\n","Betamax\n","Betamax\n","Betamax\n","VHS\n","VHS\n","Betamax\n","VHS\n","VHS\n","Betamax\n","VHS\n","Betamax\n","Betamax\n","VHS\n","VHS\n","Betamax\n","VHS\n","VHS\n","VHS\n","VHS\n","Betamax\n","VHS\n","VHS\n","Betamax\n","Betamax\n","VHS\n","VHS\n","VHS\n","VHS\n","VHS\n","VHS\n","Betamax\n","VHS\n","VHS\n","","VHS\n","VHS\n","VHS\n","Beta Tape 1 of 2\n","Beta Tape 2 of 2\n","Betamax\n","VHS\n","Betamax\n"],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Living Stage Records must be obtained from Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Living Stage Records must be obtained from Special Collections and Archives, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref348\" label=\"Abstract\"\u003eThe Living Stage records include pieces related to the traveling theater company, which was founded by Robert Alexander, between 1965 and 2001.\u003c/abstract\u003e"],"abstract_tesim":["The Living Stage records include pieces related to the traveling theater company, which was founded by Robert Alexander, between 1965 and 2001."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center."],"language_ssim":["English\n\t\t"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1502,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T06:15:48.083Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_LivingStage","ead_ssi":"vifgm_LivingStage","_root_":"vifgm_LivingStage","_nest_parent_":"vifgm_LivingStage","ead_source_url_ssi":"data/gmu/LivingStage.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/livingstage.html","title_ssm":["Living Stage records"],"title_tesim":["Living Stage records"],"unitdate_ssm":["1965-2001"],"unitdate_inclusive_ssm":["1965-2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0277"],"text":["C0277","Living Stage records","Acting.","People with mental disabilities--Services for--United States.","Performance art--Photographs.","Public schools--Virginia.","Radicalism--United States--History--20th century.","Students--Photographs.","Theater--United States--History--20th century.","Theater--Washington (D.C.)","Playscripts.","Theatre programs.","There are no access restrictions.","The collection is divided into three series, each of which is divided into subseries.","Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56) Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85) Series 3: Audiovisual Materials, 1967-1998 (Boxes 86-106)","The Living Stage Theatre Company began in 1966 as a venture of the Arena Stage and Robert Alexander. Known from 1966-1968 as the Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the DC area after becoming disenchanted with traditional theater's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington DC on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. ","The Living Stage performance style consisted of \"The Jam\", \"The Performance\" and \"The Workshop\"; a three part study that was used at most of their venues. The first part, or \"Jam\", consisted of actors working with their audience to \"rap\", make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. Then the actors moved into the \"performance\" itself. During the performance, the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. ","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic\". "," The organization began its twilight years in the first half of the 1990s as many of its founding and senior members began to take their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.","The Special Collections Research Center does not have the equipment necessary to watch Betacam, U-matic, reel-to-reel film and audio tapes contained in Series 3. Additional time and money may be required to digitize this material for access.","Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016.","The Special Collections and Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company collection Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Arena Stage collection and many other theater collections."," The Living Stage records consist of materials spanning the length of that organization's history from about 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files including financial papers, grant requests and applications, printed pieces, and correspondence and more creative materials including workshop reports and scripts, audiovisual files on reel-to-reel tapes, and photographic materials. ","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage."," Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. ","Series 3: Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Series 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","Folder 1 of 3\n","Folder 2 of 3\n","Folder 3 of 3\n","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","Folder 1 of 3\n","Folder 2 of 3\n","Folder 3 of 3\n","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","","","","","","","","","","","","","","","","","","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","Folder 1 of 3\n","Folder 2 of 3\n","Folder 3 of 3\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 3\n","Folder 2 of 3\n","Folder 3 of 3\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Series 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","Folder 1 of 2\n","Folder 2 of 2\n","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","Folder 1 of 2\n","Folder 2 of 2\n","Folder 1 of 2\n","Folder 2 of 2\n","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Copyright 1978\n","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","Folder 1 of 4\n","Folder 2 of 4\n","Folder 3 of 4\n","Folder 4 of 4\n","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","Series 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s.  Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Large Box\n","","","VO 1 of 2\n","VO 2 of 2\n","","","","","","","Completely Unraveled - Large Box\n","","","","","","","","","","","","","","","","","","","","","","","","","","","Large Box\n","","Franklin Sherman?\n","","","Large Box\n","Large Box\n","","","Continued from October 19, 1977 Tape\n","","","","","","","","","","Loose\n","Color?\n","","","","","","","","","Large Box\n","","","","","","Large Box\n","Large Box\n","","Large Box\n","","Smells like Vinegar\n","Semi-Unraveling\n","","","","","Semi-Unraveling\n","","","","","","Large Box\n","Large Box\n","","","","Large Box\n","","","","","Large Box\n","","","Large Box\n","Large Box\n","","","","","","","","","","","","Large Box\n","","","","","","","","XL Roll\n","","","","","Semi-Unraveling\n","","","","","Large Box\n","","","Semi-Unraveling\n","","Large Box\n","","","","","","","Large Box\n","","","","Semi-Unraveling\n","Tape 3 of 3\n","Tape 1 of 3\n","Tape 2 of 3\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Betamax\n","VHS\n","","Beta Tape 1 of 2\n","Beta Tape 2 of 2\n","VHS\n","U-matic\n","Betamax\n","VHS\n","VHS\n","VHS\n","VHS\n","Betamax\n","Betamax\n","Betamax\n","VHS\n","VHS\n","Betamax\n","VHS\n","VHS\n","Betamax\n","VHS\n","Betamax\n","Betamax\n","VHS\n","VHS\n","Betamax\n","VHS\n","VHS\n","VHS\n","VHS\n","Betamax\n","VHS\n","VHS\n","Betamax\n","Betamax\n","VHS\n","VHS\n","VHS\n","VHS\n","VHS\n","VHS\n","Betamax\n","VHS\n","VHS\n","","VHS\n","VHS\n","VHS\n","Beta Tape 1 of 2\n","Beta Tape 2 of 2\n","Betamax\n","VHS\n","Betamax\n","There are no restrictions on personal use. Permission to publish material from the Living Stage Records must be obtained from Special Collections and Archives, George Mason University Libraries.","The Living Stage records include pieces related to the traveling theater company, which was founded by Robert Alexander, between 1965 and 2001.","George Mason University. Libraries. Special Collections Research Center.","English\n\t\t"],"unitid_tesim":["C0277"],"normalized_title_ssm":["Living Stage records"],"collection_title_tesim":["Living Stage records"],"collection_ssim":["Living Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Living Stage Records must be obtained from Special Collections and Archives, George Mason University Libraries."],"acqinfo_ssim":["Donated by Arena Stage in 2000."],"access_subjects_ssim":["Acting.","People with mental disabilities--Services for--United States.","Performance art--Photographs.","Public schools--Virginia.","Radicalism--United States--History--20th century.","Students--Photographs.","Theater--United States--History--20th century.","Theater--Washington (D.C.)","Playscripts.","Theatre programs."],"access_subjects_ssm":["Acting.","People with mental disabilities--Services for--United States.","Performance art--Photographs.","Public schools--Virginia.","Radicalism--United States--History--20th century.","Students--Photographs.","Theater--United States--History--20th century.","Theater--Washington (D.C.)","Playscripts.","Theatre programs."],"has_online_content_ssim":["false"],"extent_ssm":["48.0 linear feet (106 boxes)"],"extent_tesim":["48.0 linear feet (106 boxes)"],"date_range_isim":[1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into three series, each of which is divided into subseries.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\u003c/item\u003e\n        \u003citem\u003eSeries 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\u003c/item\u003e\n        \u003citem\u003eSeries 3: Audiovisual Materials, 1967-1998 (Boxes 86-106)\u003c/item\u003e\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is divided into three series, each of which is divided into subseries.","Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56) Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85) Series 3: Audiovisual Materials, 1967-1998 (Boxes 86-106)"],"bioghist_html_tesm":["\u003cp\u003eThe Living Stage Theatre Company began in 1966 as a venture of the Arena Stage and Robert Alexander. Known from 1966-1968 as the Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the DC area after becoming disenchanted with traditional theater's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington DC on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. \u003c/p\u003e","\u003cp\u003eThe Living Stage performance style consisted of \"The Jam\", \"The Performance\" and \"The Workshop\"; a three part study that was used at most of their venues. The first part, or \"Jam\", consisted of actors working with their audience to \"rap\", make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. Then the actors moved into the \"performance\" itself. During the performance, the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. \u003c/p\u003e","\u003cp\u003eThe projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic\". \u003c/p\u003e","\u003cp\u003e The organization began its twilight years in the first half of the 1990s as many of its founding and senior members began to take their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Living Stage Theatre Company began in 1966 as a venture of the Arena Stage and Robert Alexander. Known from 1966-1968 as the Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the DC area after becoming disenchanted with traditional theater's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington DC on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. ","The Living Stage performance style consisted of \"The Jam\", \"The Performance\" and \"The Workshop\"; a three part study that was used at most of their venues. The first part, or \"Jam\", consisted of actors working with their audience to \"rap\", make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. Then the actors moved into the \"performance\" itself. During the performance, the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. ","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic\". "," The organization began its twilight years in the first half of the 1990s as many of its founding and senior members began to take their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch Betacam, U-matic, reel-to-reel film and audio tapes contained in Series 3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch Betacam, U-matic, reel-to-reel film and audio tapes contained in Series 3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eLiving Stage Records, C0277, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Living Stage Records, C0277, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections and Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company collection Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Arena Stage collection and many other theater collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections and Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company collection Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Arena Stage collection and many other theater collections."],"scopecontent_html_tesm":["\u003cp\u003e The Living Stage records consist of materials spanning the length of that organization's history from about 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files including financial papers, grant requests and applications, printed pieces, and correspondence and more creative materials including workshop reports and scripts, audiovisual files on reel-to-reel tapes, and photographic materials. \u003c/p\u003e","\u003cp\u003eSeries 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e","\u003cp\u003e Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. \u003c/p\u003e","\u003cp\u003eSeries 3: Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.\u003c/p\u003e","\u003cp\u003eSeries 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. 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2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play 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Included in the records are administrative files including financial papers, grant requests and applications, printed pieces, and correspondence and more creative materials including workshop reports and scripts, audiovisual files on reel-to-reel tapes, and photographic materials. ","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage."," Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. ","Series 3: Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Series 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","Folder 1 of 3\n","Folder 2 of 3\n","Folder 3 of 3\n","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","Folder 1 of 3\n","Folder 2 of 3\n","Folder 3 of 3\n","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","","","","","","","","","","","","","","","","","","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","Folder 1 of 3\n","Folder 2 of 3\n","Folder 3 of 3\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 3\n","Folder 2 of 3\n","Folder 3 of 3\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Series 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. 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Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s.  Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","","","","","","","","","","","","","","","","","","","","Folder 1 of 2\n","Folder 2 of 2\n","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","","Large Box\n","","","VO 1 of 2\n","VO 2 of 2\n","","","","","","","Completely Unraveled - Large Box\n","","","","","","","","","","","","","","","","","","","","","","","","","","","Large Box\n","","Franklin Sherman?\n","","","Large Box\n","Large Box\n","","","Continued from October 19, 1977 Tape\n","","","","","","","","","","Loose\n","Color?\n","","","","","","","","","Large Box\n","","","","","","Large Box\n","Large Box\n","","Large Box\n","","Smells like Vinegar\n","Semi-Unraveling\n","","","","","Semi-Unraveling\n","","","","","","Large Box\n","Large Box\n","","","","Large Box\n","","","","","Large Box\n","","","Large Box\n","Large Box\n","","","","","","","","","","","","Large Box\n","","","","","","","","XL Roll\n","","","","","Semi-Unraveling\n","","","","","Large Box\n","","","Semi-Unraveling\n","","Large Box\n","","","","","","","Large Box\n","","","","Semi-Unraveling\n","Tape 3 of 3\n","Tape 1 of 3\n","Tape 2 of 3\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Cassette Tape\n","Betamax\n","VHS\n","","Beta Tape 1 of 2\n","Beta Tape 2 of 2\n","VHS\n","U-matic\n","Betamax\n","VHS\n","VHS\n","VHS\n","VHS\n","Betamax\n","Betamax\n","Betamax\n","VHS\n","VHS\n","Betamax\n","VHS\n","VHS\n","Betamax\n","VHS\n","Betamax\n","Betamax\n","VHS\n","VHS\n","Betamax\n","VHS\n","VHS\n","VHS\n","VHS\n","Betamax\n","VHS\n","VHS\n","Betamax\n","Betamax\n","VHS\n","VHS\n","VHS\n","VHS\n","VHS\n","VHS\n","Betamax\n","VHS\n","VHS\n","","VHS\n","VHS\n","VHS\n","Beta Tape 1 of 2\n","Beta Tape 2 of 2\n","Betamax\n","VHS\n","Betamax\n"],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Living Stage Records must be obtained from Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Living Stage Records must be obtained from Special Collections and Archives, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref348\" label=\"Abstract\"\u003eThe Living Stage records include pieces related to the traveling theater company, which was founded by Robert Alexander, between 1965 and 2001.\u003c/abstract\u003e"],"abstract_tesim":["The Living Stage records include pieces related to the traveling theater company, which was founded by Robert Alexander, between 1965 and 2001."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center."],"language_ssim":["English\n\t\t"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1502,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T06:15:48.083Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_LivingStage"}},{"id":"vifgm_musictheatrespokenrecordings","type":"collection","attributes":{"title":"Music, theatre, and spoken word sound recordings collection","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_musictheatrespokenrecordings#creator","type":"document_value","attributes":{"value":"George Mason University. Special Collections and Archives.","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_musictheatrespokenrecordings#abstract_or_scope","type":"document_value","attributes":{"value":"This collection contains LP phonograph albums containing a variety of music, oral history, and musical scores. This box was found unlabeled and might be associated with another collection.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_musictheatrespokenrecordings#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_musictheatrespokenrecordings","ead_ssi":"vifgm_musictheatrespokenrecordings","_root_":"vifgm_musictheatrespokenrecordings","_nest_parent_":"vifgm_musictheatrespokenrecordings","ead_source_url_ssi":"data/gmu/musictheatrespokenrecordings.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/musictheatrespokenrecordings.html","title_ssm":["Music, theatre, and spoken word sound recordings collection"],"title_tesim":["Music, theatre, and spoken word sound recordings collection"],"unitdate_ssm":["1949-1986"],"unitdate_inclusive_ssm":["1949-1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0130"],"text":["C0130","Music, theatre, and spoken word sound recordings collection","Acting.","Folk music--United States","Great Depression","Music--20th century.","Music.","Protest songs--United States ","Live sound recordings.","Sound recordings.","There are no access restrictions.","The collection is not arranged in any specific order.","No information of donor or history is known.","Processed by Kristen Korfitzen in 2012. EAD markup completed by Kristen Korfitzen in 2012.","Special Collections and Archives also holds the Japanese Phonograph collection.","This collection contains 31 LP phonograph albums including music, musical scores, plays, literature recordings, and speech recordings. The albums span a roughly 40 year period being released between 1949 and the late 1980s. Musical albums include: A Tribute to Woodie Guthrie, Pete Seeger's Greatest Hits, Songs of the Depression, and I Will Win: Songs of the Wooblies. Albums of recorded plays feature playwrights such as William Shakespeare and Arthur Miller. The collection also features original cast recordings of musicals Winnie and Brigham!, a musical based on the life of Brigham Young and contains literary recordings of the works of T.S. Elliot, Frederick Douglass and Lorraine Hansberry.","Several of the albums focus on content related to the Great Depression, unions, American labor, and Folk Music.","Preformed by Leonard Pennario.","Roy Berkeley and Tim Woodbridge","The Repertory Theater of Lincoln Center","Lorraine Hansberry","Joe Glazer","Joe Glazer","T.S. Eliot","Recordings may be protected by copyright laws.","This collection contains LP phonograph albums containing a variety of music, oral history, and musical scores. This box was found unlabeled and might be associated with another collection.","George Mason University Special Collections \u0026 Archives","George Mason University. Special Collections and Archives.","English\n\t\t"],"unitid_tesim":["C0130"],"normalized_title_ssm":["Music, theatre, and spoken word sound recordings collection"],"collection_title_tesim":["Music, theatre, and spoken word sound recordings collection"],"collection_ssim":["Music, theatre, and spoken word sound recordings collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. Special Collections and Archives."],"creator_ssim":["George Mason University. Special Collections and Archives."],"creator_corpname_ssim":["George Mason University. Special Collections and Archives."],"creators_ssim":["George Mason University. Special Collections and Archives."],"access_terms_ssm":["Recordings may be protected by copyright laws."],"acqinfo_ssim":["Donor unknown."],"access_subjects_ssim":["Acting.","Folk music--United States","Great Depression","Music--20th century.","Music.","Protest songs--United States ","Live sound recordings.","Sound recordings."],"access_subjects_ssm":["Acting.","Folk music--United States","Great Depression","Music--20th century.","Music.","Protest songs--United States ","Live sound recordings.","Sound recordings."],"has_online_content_ssim":["false"],"extent_ssm":["1.25 linear feet (4 boxes)"],"extent_tesim":["1.25 linear feet (4 boxes)"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThe collection is not arranged in any specific order.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement note"],"arrangement_tesim":["The collection is not arranged in any specific order."],"bioghist_html_tesm":["\u003cp\u003eNo information of donor or history is known.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["No information of donor or history is known."],"prefercite_html_tesm":["\u003cp\u003eMusic, Theatre, and Spoken Word Sound Recordings, C0130, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Music, Theatre, and Spoken Word Sound Recordings, C0130, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Kristen Korfitzen in 2012. EAD markup completed by Kristen Korfitzen in 2012.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Kristen Korfitzen in 2012. EAD markup completed by Kristen Korfitzen in 2012."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds the Japanese Phonograph collection.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Archival Materials note"],"relatedmaterial_tesim":["Special Collections and Archives also holds the Japanese Phonograph collection."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains 31 LP phonograph albums including music, musical scores, plays, literature recordings, and speech recordings. The albums span a roughly 40 year period being released between 1949 and the late 1980s. Musical albums include: A Tribute to Woodie Guthrie, Pete Seeger's Greatest Hits, Songs of the Depression, and I Will Win: Songs of the Wooblies. Albums of recorded plays feature playwrights such as William Shakespeare and Arthur Miller. The collection also features original cast recordings of musicals Winnie and Brigham!, a musical based on the life of Brigham Young and contains literary recordings of the works of T.S. Elliot, Frederick Douglass and Lorraine Hansberry.\u003c/p\u003e","\u003cp\u003eSeveral of the albums focus on content related to the Great Depression, unions, American labor, and Folk Music.\u003c/p\u003e","\u003cp\u003ePreformed by Leonard Pennario.\u003c/p\u003e","\u003cp\u003eRoy Berkeley and Tim Woodbridge\u003c/p\u003e","\u003cp\u003eThe Repertory Theater of Lincoln Center\u003c/p\u003e","\u003cp\u003eLorraine Hansberry\u003c/p\u003e","\u003cp\u003eJoe Glazer\u003c/p\u003e","\u003cp\u003eJoe Glazer\u003c/p\u003e","\u003cp\u003eT.S. Eliot\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note"],"scopecontent_tesim":["This collection contains 31 LP phonograph albums including music, musical scores, plays, literature recordings, and speech recordings. The albums span a roughly 40 year period being released between 1949 and the late 1980s. Musical albums include: A Tribute to Woodie Guthrie, Pete Seeger's Greatest Hits, Songs of the Depression, and I Will Win: Songs of the Wooblies. Albums of recorded plays feature playwrights such as William Shakespeare and Arthur Miller. The collection also features original cast recordings of musicals Winnie and Brigham!, a musical based on the life of Brigham Young and contains literary recordings of the works of T.S. Elliot, Frederick Douglass and Lorraine Hansberry.","Several of the albums focus on content related to the Great Depression, unions, American labor, and Folk Music.","Preformed by Leonard Pennario.","Roy Berkeley and Tim Woodbridge","The Repertory Theater of Lincoln Center","Lorraine Hansberry","Joe Glazer","Joe Glazer","T.S. Eliot"],"userestrict_html_tesm":["\u003cp\u003eRecordings may be protected by copyright laws.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Recordings may be protected by copyright laws."],"abstract_html_tesm":["\u003cabstract id=\"ref43\" label=\"Abstract\"\u003eThis collection contains LP phonograph albums containing a variety of music, oral history, and musical scores. This box was found unlabeled and might be associated with another collection.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains LP phonograph albums containing a variety of music, oral history, and musical scores. This box was found unlabeled and might be associated with another collection."],"names_ssim":["George Mason University Special Collections \u0026 Archives","George Mason University. Special Collections and Archives."],"corpname_ssim":["George Mason University Special Collections \u0026 Archives","George Mason University. Special Collections and Archives."],"language_ssim":["English\n\t\t"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":31,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T06:38:04.306Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_musictheatrespokenrecordings","ead_ssi":"vifgm_musictheatrespokenrecordings","_root_":"vifgm_musictheatrespokenrecordings","_nest_parent_":"vifgm_musictheatrespokenrecordings","ead_source_url_ssi":"data/gmu/musictheatrespokenrecordings.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/musictheatrespokenrecordings.html","title_ssm":["Music, theatre, and spoken word sound recordings collection"],"title_tesim":["Music, theatre, and spoken word sound recordings collection"],"unitdate_ssm":["1949-1986"],"unitdate_inclusive_ssm":["1949-1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0130"],"text":["C0130","Music, theatre, and spoken word sound recordings collection","Acting.","Folk music--United States","Great Depression","Music--20th century.","Music.","Protest songs--United States ","Live sound recordings.","Sound recordings.","There are no access restrictions.","The collection is not arranged in any specific order.","No information of donor or history is known.","Processed by Kristen Korfitzen in 2012. EAD markup completed by Kristen Korfitzen in 2012.","Special Collections and Archives also holds the Japanese Phonograph collection.","This collection contains 31 LP phonograph albums including music, musical scores, plays, literature recordings, and speech recordings. The albums span a roughly 40 year period being released between 1949 and the late 1980s. Musical albums include: A Tribute to Woodie Guthrie, Pete Seeger's Greatest Hits, Songs of the Depression, and I Will Win: Songs of the Wooblies. Albums of recorded plays feature playwrights such as William Shakespeare and Arthur Miller. The collection also features original cast recordings of musicals Winnie and Brigham!, a musical based on the life of Brigham Young and contains literary recordings of the works of T.S. Elliot, Frederick Douglass and Lorraine Hansberry.","Several of the albums focus on content related to the Great Depression, unions, American labor, and Folk Music.","Preformed by Leonard Pennario.","Roy Berkeley and Tim Woodbridge","The Repertory Theater of Lincoln Center","Lorraine Hansberry","Joe Glazer","Joe Glazer","T.S. Eliot","Recordings may be protected by copyright laws.","This collection contains LP phonograph albums containing a variety of music, oral history, and musical scores. This box was found unlabeled and might be associated with another collection.","George Mason University Special Collections \u0026 Archives","George Mason University. Special Collections and Archives.","English\n\t\t"],"unitid_tesim":["C0130"],"normalized_title_ssm":["Music, theatre, and spoken word sound recordings collection"],"collection_title_tesim":["Music, theatre, and spoken word sound recordings collection"],"collection_ssim":["Music, theatre, and spoken word sound recordings collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. Special Collections and Archives."],"creator_ssim":["George Mason University. Special Collections and Archives."],"creator_corpname_ssim":["George Mason University. Special Collections and Archives."],"creators_ssim":["George Mason University. Special Collections and Archives."],"access_terms_ssm":["Recordings may be protected by copyright laws."],"acqinfo_ssim":["Donor unknown."],"access_subjects_ssim":["Acting.","Folk music--United States","Great Depression","Music--20th century.","Music.","Protest songs--United States ","Live sound recordings.","Sound recordings."],"access_subjects_ssm":["Acting.","Folk music--United States","Great Depression","Music--20th century.","Music.","Protest songs--United States ","Live sound recordings.","Sound recordings."],"has_online_content_ssim":["false"],"extent_ssm":["1.25 linear feet (4 boxes)"],"extent_tesim":["1.25 linear feet (4 boxes)"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThe collection is not arranged in any specific order.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement note"],"arrangement_tesim":["The collection is not arranged in any specific order."],"bioghist_html_tesm":["\u003cp\u003eNo information of donor or history is known.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["No information of donor or history is known."],"prefercite_html_tesm":["\u003cp\u003eMusic, Theatre, and Spoken Word Sound Recordings, C0130, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Music, Theatre, and Spoken Word Sound Recordings, C0130, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Kristen Korfitzen in 2012. EAD markup completed by Kristen Korfitzen in 2012.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Kristen Korfitzen in 2012. EAD markup completed by Kristen Korfitzen in 2012."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds the Japanese Phonograph collection.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Archival Materials note"],"relatedmaterial_tesim":["Special Collections and Archives also holds the Japanese Phonograph collection."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains 31 LP phonograph albums including music, musical scores, plays, literature recordings, and speech recordings. The albums span a roughly 40 year period being released between 1949 and the late 1980s. Musical albums include: A Tribute to Woodie Guthrie, Pete Seeger's Greatest Hits, Songs of the Depression, and I Will Win: Songs of the Wooblies. Albums of recorded plays feature playwrights such as William Shakespeare and Arthur Miller. The collection also features original cast recordings of musicals Winnie and Brigham!, a musical based on the life of Brigham Young and contains literary recordings of the works of T.S. Elliot, Frederick Douglass and Lorraine Hansberry.\u003c/p\u003e","\u003cp\u003eSeveral of the albums focus on content related to the Great Depression, unions, American labor, and Folk Music.\u003c/p\u003e","\u003cp\u003ePreformed by Leonard Pennario.\u003c/p\u003e","\u003cp\u003eRoy Berkeley and Tim Woodbridge\u003c/p\u003e","\u003cp\u003eThe Repertory Theater of Lincoln Center\u003c/p\u003e","\u003cp\u003eLorraine Hansberry\u003c/p\u003e","\u003cp\u003eJoe Glazer\u003c/p\u003e","\u003cp\u003eJoe Glazer\u003c/p\u003e","\u003cp\u003eT.S. Eliot\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note"],"scopecontent_tesim":["This collection contains 31 LP phonograph albums including music, musical scores, plays, literature recordings, and speech recordings. The albums span a roughly 40 year period being released between 1949 and the late 1980s. Musical albums include: A Tribute to Woodie Guthrie, Pete Seeger's Greatest Hits, Songs of the Depression, and I Will Win: Songs of the Wooblies. Albums of recorded plays feature playwrights such as William Shakespeare and Arthur Miller. The collection also features original cast recordings of musicals Winnie and Brigham!, a musical based on the life of Brigham Young and contains literary recordings of the works of T.S. Elliot, Frederick Douglass and Lorraine Hansberry.","Several of the albums focus on content related to the Great Depression, unions, American labor, and Folk Music.","Preformed by Leonard Pennario.","Roy Berkeley and Tim Woodbridge","The Repertory Theater of Lincoln Center","Lorraine Hansberry","Joe Glazer","Joe Glazer","T.S. Eliot"],"userestrict_html_tesm":["\u003cp\u003eRecordings may be protected by copyright laws.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Recordings may be protected by copyright laws."],"abstract_html_tesm":["\u003cabstract id=\"ref43\" label=\"Abstract\"\u003eThis collection contains LP phonograph albums containing a variety of music, oral history, and musical scores. This box was found unlabeled and might be associated with another collection.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains LP phonograph albums containing a variety of music, oral history, and musical scores. This box was found unlabeled and might be associated with another collection."],"names_ssim":["George Mason University Special Collections \u0026 Archives","George Mason University. Special Collections and Archives."],"corpname_ssim":["George Mason University Special Collections \u0026 Archives","George Mason University. Special Collections and Archives."],"language_ssim":["English\n\t\t"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":31,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T06:38:04.306Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_musictheatrespokenrecordings"}},{"id":"vifgm_vifgm00021","type":"collection","attributes":{"title":"Works Progress Administration oral histories collection","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_vifgm00021#creator","type":"document_value","attributes":{"value":"George Mason University. Institute on the Federal Theatre Project and New Deal Culture\n","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_vifgm00021#abstract_or_scope","type":"document_value","attributes":{"value":" This compilation describes oral interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project. ","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_vifgm00021#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_vifgm00021","ead_ssi":"vifgm_vifgm00021","_root_":"vifgm_vifgm00021","_nest_parent_":"vifgm_vifgm00021","ead_source_url_ssi":"data/gmu/vifgm00021.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["Works Progress Administration oral histories collection"],"title_tesim":["Works Progress Administration oral histories collection"],"unitdate_ssm":["1961-1984\n"],"unitdate_inclusive_ssm":["1961-1984\n"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0153\n"],"text":["C0153\n","Works Progress Administration oral histories collection","Acting.","Dance--United States.","New Deal, 1933-1939.","Theater--United States.","Collection is open to research.\n","This collection is arranged alphabetically by last name of interviewee.\n"," Artist, NY. Permission to quote over 100 words\n                  required.","The interviews in the WPA Oral Histories Collection were conducted from between 1961 and 1984. The majority of the interviews were done in the 1970s and 1980s by Lorraine Brown and John O'Connor as part of the Institute on the Federal Theatre Project and New Deal Culture.\n","Processed by Special Collections and Archives staff. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009. \n","In 2009, staff discovered that a number of the interviews listed in the finding aid were not actually located in the boxes. Those interview names are still included in alphabetical order in the finding aid, but they are unnumbered signifying that no folder exists.\n","Special Collections and Archives also holds the  .\n","This compilation describes oral interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project.\n","\nThe interviews (transcripts and tapes) are arranged in alphabetical order by the subject's last name. The date of the interview is included along with the type of work or position held by the interviewee during the 1930s, with the location when known. The name of the interviewer(s) follows. In some cases a notation is made indicating that an interview is untaped. If the interview was a joint one, this information is noted. The type of media available (abstract, letter, notes, tape, and/or transcript)is then listed along with the number of pages or minutes of each type. Restrictions that may apply to certain interviews is the last information in an entry.\n","\nList of Abbreviations:\n","\nCCC - Civilian Conservation Corps, FAP - Federal Art Project, FERA - Federal Emergency Relief Administration, FMP - Federal Music Project, FTP - Federal Theatre Project, FWP - Federal Writers Project, GSA - General Services Administration, NYA - National Youth Administration, SECT - Section of Painting and Sculpture, WPA - Works Projects Adminstration\n"," Widow of playwright Hughes Allison, whose work was\n                  produced by FTP."," Stage manager and director with the Negro unit,\n                  NYC FTP."," Costume designer with SF FTP."," Actress who auditioned for Negro Unit, NYC\n                  FTP."," Composer and director, SF FMP."," Technician, marionette artist, and actor with the\n                  Classical unit, NYC FTP."," Conductor, FMP's Virginia Symphony Orchestra and\n                  North Carolina-Virginia Symphony."," Dancer and assistant to Charles Weidman, with NYC\n                  Federal Dance Theatre."," Dancer with the Negro unit, NYC FTP. Closed\n                  pending release."," Administrative director of the NYC FTP."," Administrative director of the NYC FTP."," Dancer with Federal Dance Project, NYC."," Worked with the Radio Division of FTP. This is an\n                  untaped interview."," Stage manager with the Manhattan City Projects,\n                  NYC."," Dancer and actor with NYC FTP units."," Set designer for various NYC FTP productions."," Son-in-law of Hallie Flanagan; writer and critic\n                  of modern drama."," Step-daughter of Hallie Flanagan. Closed pending\n                  release."," Artist, muralist. Unidentified interviewer may\n                  have residual rights to interview."," Actor with Children's Theatre and Living Newspaper\n                  units of NYC FTP."," Writer who worked with the National Play Bureau,\n                  NYC FTP. Restricted during interviewee's\n                  lifetime."," Novelist, film writer, journalist, NYC, LA.\n                  Approval of Sylviane Bessie required."," Costume designer with SF FTP."," Administrator with NYC FTP Radio Division; also\n                  worked as publicist with NYC FTP. This is an untaped\n                  interview."," Composer, musician; wrote Swing It for NYC FTP.\n                  Closed pending release."," Playwright whose play, Battle Hymn, written with\n                  Michael Gold, was produced by various FTP units."," Artist, muralist with NYC FAP. Permission for\n                  publication required."," [see Bolton, Philip.]"," Son of Harold (director and choreographer with NYC\n                  FTP) and Rhoda Rammelkamp Bolton (costume designer,\n                  NYC FTP). This is an untaped interview."," [see Bolton, Philip.]"," Costume designer with NYC FTP."," Director of Play Bureau; in charge of exhibits;\n                  head of Play Reading Bureau within the National\n                  Office of FTP."," Actor with LA FTP. This is an untaped\n                  interview."," Director and actor with Chicago FTP."," Director and actress with Chicago FTP."," Actor with LA FTP."," Director of marionette unit of LA FTP."," Artist with FAP. Permission for publication\n                  required."," Playwright whose work was produced by Seattle FTP;\n                  also a writer with Boston FTP."," Actor with Children's unit of NYC FTP."," Sound technician with Living Newspaper unit of NYC\n                  FTP."," Publicist with NYC FTP."," Artist, muralist with FAP. Closed pending\n                  release."," Playwright whose work, Reward, was produced by the\n                  Tampa FTP. Closed during Fernando Mesa's\n                  lifetime."," Director of Lafayette Theatre's Negro unit of NYC\n                  FTP. This is an untaped interview."," Personnel administrator with NYC and Florida FTP\n                  units."," Artist, administrator with Ohio FAP. Permission\n                  with interviewer required for publication."," Actor, stage manager with Portland, OR FTP. Closed\n                  during interviewee's lifetime."," Playwright whose work was produced by Denver\n                  FTP."," Publicist with Federal Dance Theatre, NYC FTP.\n                  Closed pending release."," Writer and theater critic. Closed pending\n                  release."," Director of marionette units, SF and LA FTP;\n                  costume designer."," Director of marionette units, SF and LA FTP;\n                  costume designer."," Choreographer and dancer with Federal Dance\n                  Project, NYC FTP."," Artist with the Illinois and District of Columbia\n                  FAP. Permission of interviewer required for\n                  publication."," See Schnitzer, Marcella Cisney."," With Children's Theatre unit, NYC FTP."," Theatrical director with Experimental and\n                  Children's units, NYC FTP."," Assistant stage manager with Classical unit, NYC\n                  FTP."," Concertmaster, Illinois Symphony Orchestra."," Director of Play Bureau, NYC FTP."," Director of Play Bureau, NYC FTP. Closed until\n                  completion of dissertation."," District supervisor with SF FTP."," Supervisor of Copyists unit of Philadelphia FMP;\n                  conductor of Philadelphia Orchestra."," Director of Negro unit, Boston FTP. Permission to\n                  quote required."," Director of Negro unit, Boston FTP."," Playwright whose works were produced by various\n                  FTP units."," Actor with NYC FTP."," Actor with Classical unit,NYC FTP."," Playwright whose work, Swamp Mud, was produced in\n                  Birmingham, AL."," WPA administrative assistant and secretary,\n                  Washington, D.C. and NY. Closed pending release."," Sculptor with FAP. Permission of interviewer\n                  required for publication."," Administrative assistant to Ellen Woodward, WPA's\n                  head of Woman's and Professional Division,\n                  Washington, D.C. FTP. This is an untaped\n                  interview."," Actress with Roslyn, NY unit of FTP."," Actress, dancer, playwright, and marionette\n                  manipulator with SF FTP."," Actor and director with Radio Division, NYC\n                  FTP."," Worked with various productions of FTP in\n                  California. Permission of interviewer required for\n                  publication."," Actor with the Roslyn, NY FTP unit."," Writer with Radio Division, NYC FTP."," Finance administrator, WPA arts projects,\n                  Washington, D.C."," Actor with Popular Price Theatre, NYC FTP. Closed\n                  pending release."," Music director with the Negro unit, NYC FTP."," Dancer and choreographer with the dance unit, NYC\n                  FTP."," Dancer with the dance unit, NYC FTP."," Play adapter and choreographer with Classical\n                  unit, NYC FTP."," Assistant to Hallie Flanagan at Smith College;\n                  playwright."," Playwright with Chicago FTP. Permission to quote\n                  over 100 words required."," Assistant stage manager with Negro unit, NYC\n                  FTP."," Worked in Herbert Hoover's and Harry Hopkins's\n                  press offices."," Student of Hallie Flanagan; expert in children's\n                  theater."," Director of Vaudeville unit, Los Angeles, FTP.\n                  Closed pending release."," Set designer with the Roslyn, NY unit of the\n                  FTP."," Actress with the Children's Theatre, NYC FTP."," Set designer with the Los Angeles FTP."," Actress with the Los Angeles FTP."," Musical composer and director with various units,\n                  NYC FMP and FTP."," Musical composer and director with various units,\n                  NYC FMP and FTP."," Director of Negro unit and Children's unit,\n                  Chicago, FTP. Closed pending release."," Director of Southwest Experimental unit, Los\n                  Angeles FTP."," Administrative assistant to Hallie Flanagan,\n                  national office, FTP."," Director, Midwest FTP; administrator for Federal\n                  Arts Projects in Chicago and Washington, D.C."," Lighting designer with the Negro and Classical\n                  units, NYC FTP. Closed pending release."," Brother of Hallie Flanagan. This is an untaped\n                  interview."," Administrator with the National Play Bureau;\n                  playwright, play reader, NYC FTP."," Director of Miami unit, FTP."," Actor with SF FTP"," Actress with the Classical unit, NYC FTP"," Actor with Children's Theatre, NYC FTP"," Writer with Radio Division, Illinois Writers'\n                  Project"," Producer and Theatrical Director, NYC FTP"," Wife of Ralph Freud, theatrical director and actor\n                  with LA FTP"," Wife of Ralph Freud, theatrical director and actor\n                  with LA FTP."," Theatrical director and actor with LA and SF\n                  FTP."," Playwright and technical assistant with the\n                  Detroit FTP."," Composer; accompanist with Dance Project, LA\n                  FTP."," Dancer and assistant to Doris Humphrey with the\n                  Dance Project, NYC FTP."," Actor, NYC FTP."," Writer and Publicist with FWP and the Negro unit,\n                  NYC FTP; play reader with FTP Play Bureau. Closed\n                  pending release."," Dancer with the Dance Project, NYC FTP"," Actor and founder of Chicago Repertory Group,\n                  1933."," Administrator, Bureau of research and Publications\n                  of FTP."," Administrator, Bureau of Research and Publications\n                  of FTP."," Actor with the Chicago FTP."," Dancer with the Chicago FTP."," Actress and dancer with the Vaudeville unit, LA\n                  FTP"," Actor with the LA FTP; director with the Seattle\n                  FTP."," State director of the Illinois FMP."," Publicist with NYC FTP; director, Department of\n                  Information, FTP."," Designer, theater historian; critic."," Theatrical director with the Atlanta, Tampa, and\n                  Chicago units of the FTP."," Theatrical director with the Atlanta, Tampa, and\n                  Chicago units of the FTP."," Playwright, some of whose works were produced by\n                  various FTP units."," Musical director with the LA and SF FTP.\n                  Permission to quote more than 100 words required."," Musical director with the LA and SF FTP.Closed\n                  until 1996; or permission of interviewee."," Art director with the Atlanta FTP."," Staff composer and arranger with FTP."," Stage manager and publicity director with the\n                  Living Newspaper unit, NYC FTP."," Writer and researcher with the Living Newspaper\n                  unit, NYC FTP."," Play reader and playwright with the NYC FTP.\n                  Permission required for commercial use."," Play reader and playwright with the NYC FTP. Closed\n                  pending release."," Muralist with the FAP and SECT in NY and Ohio.\n                  Permission of interviewer required for\n                  publication."," Writer, critic, producer, designer with the NY\n                  theaters i the 1930s."," Producer and administrator with the Negro and\n                  Classical units, NYC FTP."," Participated in the Resettlement\n                  Administration."," Son of Edith Isaacs, editor of Theatre Arts\n                  Magazine; friend of FTP. This is an untaped\n                  interview."," Lighting designer with the LA FTP. This is an\n                  untaped interview."," Theatrical director familiar with the LA and NYC\n                  FTP."," Publicist and promotion officer with the NYC\n                  FTP."," Director of information with the NYC FMP."," Actor with the SF FTP."," Songwriter and composer with the NYC FTP."," Choreographer and dancer with the Dance Project,\n                  LA FTP."," Actress with the San Bernardino/Riverside and LA\n                  FTP."," Stagehand with the NYC FTP.Closed pending\n                  release."," Playwright with the NYC FTP."," Administrative director, Chicago and NYC FTP."," Concertmaster of the Grand Rapids, MI FTP\n                  orchestra."," Stage manager, administrator, theatrical director\n                  with the FTP in NYC, Washington, D.C., and Seattle,\n                  WA."," Stage manager, administrator, theatrical director\n                  with the FTP in NYC, Washington, D.C., and Seattle,\n                  WA."," Playwright whose works were produced by the NYC\n                  FTP. Closed pending release."," Actress with the SF and Oakland FTP. This is an\n                  untaped interview."," Dancer with the Dance Project, NYC FTP."," Actress with the Classical unit, NYC FTP."," Administrator with the National Service Bureau of\n                  the FTP."," Director, National Service Bureau of the FTP."," Director of Bureau of Research and Publication,\n                  NYC FTP.Bound with the 1-4-76 transcript."," Director of Bureau of Research and Publication,\n                  NYC FTP.Bound with the 1-3-76 transcript."," Actress with the Negro unit, NYC FTP. Closed\n                  during interviewee's lifetime."," Puppeteer with the Marionette Project, NYC\n                  FTP.Closed during lifetime."," Publicist with NYC and Chicago FTP. Interview not\n                  to be used for gain or profit without the consent of\n                  the interviewee."," Actor with the several units of the NYC FTP."," Lyricist whose work was featured in the NYC FTP\n                  production of Sing For Your Supper."," Administrator with the New Orleans and Atlanta\n                  FTP.Permission for use required during Mr. Lentz's\n                  lifetime."," Actor with NYC FTP."," Set designer with NYC FTP."," Playwright whose Model Tenements was produced by\n                  the Chicago FTP."," Dancer with the Dance Project, LA FTP."," Teacher and conductor with NYC FMP. Closed during\n                  interviewee's lifetime."," Interviewee's husband, Gerhardt Lindemulder, was a\n                  director with the FTP in Louisiana and Florida."," Vaudeville performer with the FTP."," Dancer with the Children's unit and Dance Project,\n                  NYC FTP.Tape restricted."," Puppet artist with the Marionette unit, NYC\n                  FTP."," Actor with the Living Newspaper unit, NYC FTP."," Costume designer with FTP units in Seattle and\n                  Tacoma, WA.Closed during Mr. Williams's lifetime."," Conductor with the Vermont FMP."," Father of Sidney Lumet, child actor with the\n                  Yiddish unit, NYC FTP."," Administrative director with the Florida FTP."," Actor with the Chicago FTP.Closed during\n                  interviewee's lifetime."," Actor with the Jacksonville and Miami FTP.Closed\n                  during interviewee's lifetime."," Marionette artist with the SF FTP.Quotations must\n                  be accurate."," Playwright whose work was produced by NYC FTP."," Actress with the Classical unit, NYC FTP."," Actor with the Chicago FTP."," Actor with the Atlanta FTP."," Playwright and researcher with the National Play\n                  Bureau of the FTP.Closed during interviewee's\n                  lifetime."," Publicist with the NYC FTP."," Actress and researcher with the LA FTP; researcher\n                  with the Seattle FTP."," Actress and researcher with the LA FTP; researcher\n                  with the Seattle FTP."," Costume designer with the NYC FTP."," Stage manager with the Tampa FTP.Closed during\n                  interviewee's lifetime."," Administrator with the Research Bureau, NYC\n                  FTP.This is an untaped interview."," Staff member with the Educational Division, NYC\n                  FTP."," Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP."," Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP."," Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP."," Member of the Seattle Negro Repertory Theatre in\n                  the 1930s.Closed to any government agency."," Set designer with the NYC FTP."," Worked with the NYC FTP. This is an untaped\n                  interview."," Director with the FTP in the South; later with the\n                  Detroit FTP."," Theatrical director with the Negro unit, NYC\n                  FTP."," Actor, director, writer with the Southwest\n                  Experimental unit of the LA FTP."," Director with the Negro unit, LA FTP."," Dancer with the NYC FTP."," Writer and playwright who submitted work to the\n                  Negro unit, NYC FTP.This is an untaped interview."," Director with the Indiana FTP."," Actor with the Seattle FTP."," Dancer and choreographer with the Chicago FTP."," Dancer with the NYC FTP."," Actor with the Chicago FTP."," Writer with the Southwest Experimental unit of the\n                  LA FTP."," Actress and student of Hallie Flanagan at Vassar\n                  College.This is an untaped interview."," Actor; director with Suitcase Theatre; assistant\n                  director with the Classical unit, NYC FTP."," Director of casting with the Talent Bureau, NYC\n                  FTP.Closed pending release."," Dancer with the NYC FTP."," Director of the Vaudeville productions, LA\n                  FTP."," Actor in Yiddish theater and New York University\n                  repertory groups during the FTP era."," Conductor with the Michigan WPA Symphony\n                  Orchestra."," Actor with the LA and Portland (OR) FTP units.This\n                  is an untaped interview."," With the WPA program in Connecticut; also with the\n                  CCC; founded the Plymouth Playhouse; worked briefly\n                  on the set of Faustus."," Actor with the Children's unit, NYC FTP."," Researcher of the Chinese theater, Research\n                  Department, SF FTP."," Choreographer with the Yiddish unit, NYC\n                  FTP.Closed during interviewee's lifetime."," Radio script writer, Radio Division, NYC FTP.This\n                  is an untaped interview."," Artist, muralist with the FAP in NY, NJ, and\n                  CA.Permission of interviewer required for\n                  publication."," Actress and director with the marionette unit of\n                  the Miami FTP."," Playwright in New York and San Francisco; write\n                  with the FWP."," Administrator and legal counsel for the National\n                  Service Bureau, FTP."," Administrator and legal counsel for the National\n                  Service Bureau, FTP."," Hallie Flanagan's assistant who collected\n                  Flanagan's papers which were donated to the Theatre\n                  Collection, New York Public Library."," Actor with the Cleveland (OH) FTP."," Composer for various productions, NYC FTP."," Writer and director with the Radio Division, NYC\n                  FTP."," Actress with the NYC FTP."," Lyricist who wrote the words for \"Papa's Got a\n                  Job\" for Sing For Your Supper under the pseudonym of\n                  Hector Troy.This is an untaped interview."," Playwright, play reader with the Playwriting\n                  Bureau, NYC FTP.Prior consent required for\n                  publication."," Muralist with the Massachusetts and New York\n                  FAP.Permission of interviewer required for\n                  publication."," Administrator, Playwriting Bureau, FTP.Permission\n                  of interviewee required; copyright conditions."," Playwright in NYC whose works were produced by\n                  FTP.This is an untaped interview."," Actor with the Negro unit, NYC FTP. This is an\n                  untaped interview."," Playwright and director with the Seattle\n                  FTP.Closed during Guy Williams's lifetime."," Director with the Experimental unit, NYC\n                  FTP.Closed pending release."," Administrative assistant with the Negro and\n                  Classical units, NYC FTP."," Actress with the Radio Division, NYC FTP."," Administrator, Delaware FTP; with FTP national\n                  office, Washington, DC; with the San Francisco\n                  World's Fair, 1939."," Administrator, Delaware FTP; with FTP national\n                  office, Washington, DC; with the San Francisco\n                  World's Fair, 1939."," Administrative assistant to Philip Barber, NYC\n                  FTP. Closed during interviewee's lifetime."," Assistant stage manager with the Living Newspaper\n                  unit, NYC FTP."," Administrative assistant to Jasper Deeter, first\n                  director of the Pennsylvania/New Jersey FTP."," Audience member, NYC FTP productions."," Composer, NYC FMP."," Director of the Anglo-Jewish unit, NYC FTP."," Worked with Children's and Vaudeville units, Miami\n                  and Tampa FTP. Closed during Fernando Mesa's\n                  lifetime."," Puppeteer with the Marionette unit, NYC FTP."," Actor with the Classical unit, NYC FTP."," Writer and playwright in NYC at the time of the\n                  FTP. This is an untaped interview."," Actress, NYC FTP."," Actress, NYC FTP."," Publicist, NYC FTP."," Actor with the Chicago, Peoria, and Miami FTP;\n                  worked with sets and costumes in Chicago."," Actor with the Children's and Negro units, NYC\n                  FTP. Closed pending release."," Concertmaster with the FMP Illinois Symphony."," Composer with the NYC FTP; wrote the score for\n                  FTP's Created Equal."," Publicist with the Negro unit, NYC FTP."," Administrative director, NJ FTP; director of\n                  repertory unit, Roslyn, NY FTP. Written permission of\n                  interviewee required for publication."," Playwright in NYC whose work was produced by the\n                  FTP. Permission to quote required by interviewee."," Director, Denver FTP."," Worked with Composers's Forum and Copying Project\n                  of the FMP."," Choreographer, NYC FTP. This is an untaped\n                  interview."," Artist, NY FAP. Permission of interviewer required\n                  for publication."," Songwriter whose works were performed by NYC\n                  FTP."," Administrator with Iowa FTP; assistant to E.C.\n                  Mabie, regional director for the Midwest FTP."," Actor with the Seattle FTP."," Playwright whose work was produced by the FTP."," Composer and arranger with the Vaudeville unit, LA\n                  FTP."," Set designer, LA FTP."," Actor with the Anglo-Jewish unit, NYC FTP. Closed\n                  pending release."," Actor with the New Hampshire FTP. Closed pending\n                  release."," Puppeteer in NYC familiar with the Marionette and\n                  Children's units, NYC FTP."," Playwright in Chicago whose work was produced by\n                  the FTP."," Administrator, director, actor, and playwright\n                  involved with the Seattle and Tacoma FTP, and the Des\n                  Moines FTP."," Stage Manager with the Mercury Theatre, New\n                  York."," Theatrical director with the Classical unit, NYC\n                  FTP. Closed pending release."," Musical director with the Negro and Classical\n                  units, NYC FTP."," Musical director with the Negro and Classical\n                  units. NYC FTP."," Worked with the National Youth Administration and\n                  the WPA in Iowa. Closed pending release."," Administrator, National Play Bureau, NYC FTP."," Worked with the Resettlement Administration."," Actor with the Roslyn, NY FTP."," Dancer with Tamiris's group, Dance Project, NYC\n                  FTP."," Playwright based in Chicago whose works were\n                  produced by the FTP. Permission to quote over 100\n                  words required."," Playwright based in Chicago whose works were\n                  produced by the FTP."," Actress with the Vaudeville unit, LA FTP."," Stage manager, actor, and lighting technician with\n                  the LA FTP."," Stage manager, actor, and lighting technician, LA\n                  FTP."," Administrator, Atlanta FTP."," Lawyer who represented Orson Welles and John\n                  Houseman."," Director with the NYC FTP."," Muralist with the Illinois FAP. Permission needed\n                  to quote over 100 words."," Lighting director and technician with the Chicago\n                  FTP."," Administrator with the Marionette unit of the NYC\n                  FTP."," Puppeteer and lighting designer with the\n                  Marionette unit, NYC FTP."," Theatrical director with the Seattle FTP. Closed\n                  during Mr. Williams's lifetime."," Theatrical director with the Seattle FTP. Closed\n                  during Mr. Williams's lifetime."," Stage manager with the Children's theater, NYC\n                  FTP."," Artist with the Illinois and New York FAP."," Research with the San Francisco Theatre History\n                  project; actor in several SF FTP productions."," Worked with the GSA; recovered many FAP works and\n                  murals.","There are no restrictions.\n"," This compilation describes oral interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project.\n","George Mason University.  Special Collections and Archives.\n","George Mason University. Institute on the Federal Theatre Project and New Deal Culture\n","Federal Art Project.","Federal Music Project (U.S.)","Federal Theatre Project (U.S.)","United States. Works Progress Administration.","English\n"],"unitid_tesim":["C0153\n"],"normalized_title_ssm":["Works Progress Administration oral histories collection"],"collection_title_tesim":["Works Progress Administration oral histories collection"],"collection_ssim":["Works Progress Administration oral histories collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture\n"],"creator_ssim":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture\n"],"creator_corpname_ssim":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture\n"],"creators_ssim":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture\n"],"acqinfo_ssim":["Donated by the Institute on the Federal Theatre Project and New Deal Culture.\n"],"access_subjects_ssim":["Acting.","Dance--United States.","New Deal, 1933-1939.","Theater--United States."],"access_subjects_ssm":["Acting.","Dance--United States.","New Deal, 1933-1939.","Theater--United States."],"has_online_content_ssim":["false"],"extent_ssm":["7 linear feet (11 boxes)"],"extent_tesim":["7 linear feet (11 boxes)"],"date_range_isim":[1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\n\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions\n"],"accessrestrict_tesim":["Collection is open to research.\n"],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged alphabetically by last name of interviewee.\n\u003c/p\u003e","\u003cp\u003e Artist, NY. Permission to quote over 100 words\n                  required.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement\n"],"arrangement_tesim":["This collection is arranged alphabetically by last name of interviewee.\n"," Artist, NY. Permission to quote over 100 words\n                  required."],"bioghist_html_tesm":["\u003cp\u003eThe interviews in the WPA Oral Histories Collection were conducted from between 1961 and 1984. The majority of the interviews were done in the 1970s and 1980s by Lorraine Brown and John O'Connor as part of the Institute on the Federal Theatre Project and New Deal Culture.\n\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information\n"],"bioghist_tesim":["The interviews in the WPA Oral Histories Collection were conducted from between 1961 and 1984. The majority of the interviews were done in the 1970s and 1980s by Lorraine Brown and John O'Connor as part of the Institute on the Federal Theatre Project and New Deal Culture.\n"],"prefercite_html_tesm":["\u003cp\u003eWorks Progress Administration oral histories collection, Collection #C0153, Special Collections and Archives, George Mason University.\n\u003c/p\u003e"],"prefercite_tesim":["Works Progress Administration oral histories collection, Collection #C0153, Special Collections and Archives, George Mason University.\n"],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives staff. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009. \n\u003c/p\u003e","\u003cp\u003eIn 2009, staff discovered that a number of the interviews listed in the finding aid were not actually located in the boxes. Those interview names are still included in alphabetical order in the finding aid, but they are unnumbered signifying that no folder exists.\n\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information\n"],"processinfo_tesim":["Processed by Special Collections and Archives staff. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009. \n","In 2009, staff discovered that a number of the interviews listed in the finding aid were not actually located in the boxes. Those interview names are still included in alphabetical order in the finding aid, but they are unnumbered signifying that no folder exists.\n"],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds the \u003cextptr type=\"simple\" title=\"Federal Theatre Project collection\" show=\"new\" href=\"http://sca.gmu.edu/theater_collections.htm\"\u003e\u003c/extptr\u003e.\n\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material\n"],"relatedmaterial_tesim":["Special Collections and Archives also holds the  .\n"],"scopecontent_html_tesm":["\u003cp\u003eThis compilation describes oral interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project.\n\u003c/p\u003e","\u003cp\u003e\nThe interviews (transcripts and tapes) are arranged in alphabetical order by the subject's last name. The date of the interview is included along with the type of work or position held by the interviewee during the 1930s, with the location when known. The name of the interviewer(s) follows. In some cases a notation is made indicating that an interview is untaped. If the interview was a joint one, this information is noted. The type of media available (abstract, letter, notes, tape, and/or transcript)is then listed along with the number of pages or minutes of each type. Restrictions that may apply to certain interviews is the last information in an entry.\n\u003c/p\u003e","\u003cp\u003e\nList of Abbreviations:\n\u003c/p\u003e","\u003cp\u003e\nCCC - Civilian Conservation Corps, FAP - Federal Art Project, FERA - Federal Emergency Relief Administration, FMP - Federal Music Project, FTP - Federal Theatre Project, FWP - Federal Writers Project, GSA - General Services Administration, NYA - National Youth Administration, SECT - Section of Painting and Sculpture, WPA - Works Projects Adminstration\n\u003c/p\u003e","\u003cp\u003e Widow of playwright Hughes Allison, whose work was\n                  produced by FTP.\u003c/p\u003e","\u003cp\u003e Stage manager and director with the Negro unit,\n                  NYC FTP.\u003c/p\u003e","\u003cp\u003e Costume designer with SF FTP.\u003c/p\u003e","\u003cp\u003e Actress who auditioned for Negro Unit, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Composer and director, SF FMP.\u003c/p\u003e","\u003cp\u003e Technician, marionette artist, and actor with the\n                  Classical unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Conductor, FMP's Virginia Symphony Orchestra and\n                  North Carolina-Virginia Symphony.\u003c/p\u003e","\u003cp\u003e Dancer and assistant to Charles Weidman, with NYC\n                  Federal Dance Theatre.\u003c/p\u003e","\u003cp\u003e Dancer with the Negro unit, NYC FTP. Closed\n                  pending release.\u003c/p\u003e","\u003cp\u003e Administrative director of the NYC FTP.\u003c/p\u003e","\u003cp\u003e Administrative director of the NYC FTP.\u003c/p\u003e","\u003cp\u003e Dancer with Federal Dance Project, NYC.\u003c/p\u003e","\u003cp\u003e Worked with the Radio Division of FTP. This is an\n                  untaped interview.\u003c/p\u003e","\u003cp\u003e Stage manager with the Manhattan City Projects,\n                  NYC.\u003c/p\u003e","\u003cp\u003e Dancer and actor with NYC FTP units.\u003c/p\u003e","\u003cp\u003e Set designer for various NYC FTP productions.\u003c/p\u003e","\u003cp\u003e Son-in-law of Hallie Flanagan; writer and critic\n                  of modern drama.\u003c/p\u003e","\u003cp\u003e Step-daughter of Hallie Flanagan. Closed pending\n                  release.\u003c/p\u003e","\u003cp\u003e Artist, muralist. Unidentified interviewer may\n                  have residual rights to interview.\u003c/p\u003e","\u003cp\u003e Actor with Children's Theatre and Living Newspaper\n                  units of NYC FTP.\u003c/p\u003e","\u003cp\u003e Writer who worked with the National Play Bureau,\n                  NYC FTP. Restricted during interviewee's\n                  lifetime.\u003c/p\u003e","\u003cp\u003e Novelist, film writer, journalist, NYC, LA.\n                  Approval of Sylviane Bessie required.\u003c/p\u003e","\u003cp\u003e Costume designer with SF FTP.\u003c/p\u003e","\u003cp\u003e Administrator with NYC FTP Radio Division; also\n                  worked as publicist with NYC FTP. This is an untaped\n                  interview.\u003c/p\u003e","\u003cp\u003e Composer, musician; wrote Swing It for NYC FTP.\n                  Closed pending release.\u003c/p\u003e","\u003cp\u003e Playwright whose play, Battle Hymn, written with\n                  Michael Gold, was produced by various FTP units.\u003c/p\u003e","\u003cp\u003e Artist, muralist with NYC FAP. Permission for\n                  publication required.\u003c/p\u003e","\u003cp\u003e [see Bolton, Philip.]\u003c/p\u003e","\u003cp\u003e Son of Harold (director and choreographer with NYC\n                  FTP) and Rhoda Rammelkamp Bolton (costume designer,\n                  NYC FTP). This is an untaped interview.\u003c/p\u003e","\u003cp\u003e [see Bolton, Philip.]\u003c/p\u003e","\u003cp\u003e Costume designer with NYC FTP.\u003c/p\u003e","\u003cp\u003e Director of Play Bureau; in charge of exhibits;\n                  head of Play Reading Bureau within the National\n                  Office of FTP.\u003c/p\u003e","\u003cp\u003e Actor with LA FTP. This is an untaped\n                  interview.\u003c/p\u003e","\u003cp\u003e Director and actor with Chicago FTP.\u003c/p\u003e","\u003cp\u003e Director and actress with Chicago FTP.\u003c/p\u003e","\u003cp\u003e Actor with LA FTP.\u003c/p\u003e","\u003cp\u003e Director of marionette unit of LA FTP.\u003c/p\u003e","\u003cp\u003e Artist with FAP. Permission for publication\n                  required.\u003c/p\u003e","\u003cp\u003e Playwright whose work was produced by Seattle FTP;\n                  also a writer with Boston FTP.\u003c/p\u003e","\u003cp\u003e Actor with Children's unit of NYC FTP.\u003c/p\u003e","\u003cp\u003e Sound technician with Living Newspaper unit of NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Publicist with NYC FTP.\u003c/p\u003e","\u003cp\u003e Artist, muralist with FAP. Closed pending\n                  release.\u003c/p\u003e","\u003cp\u003e Playwright whose work, Reward, was produced by the\n                  Tampa FTP. Closed during Fernando Mesa's\n                  lifetime.\u003c/p\u003e","\u003cp\u003e Director of Lafayette Theatre's Negro unit of NYC\n                  FTP. This is an untaped interview.\u003c/p\u003e","\u003cp\u003e Personnel administrator with NYC and Florida FTP\n                  units.\u003c/p\u003e","\u003cp\u003e Artist, administrator with Ohio FAP. Permission\n                  with interviewer required for publication.\u003c/p\u003e","\u003cp\u003e Actor, stage manager with Portland, OR FTP. Closed\n                  during interviewee's lifetime.\u003c/p\u003e","\u003cp\u003e Playwright whose work was produced by Denver\n                  FTP.\u003c/p\u003e","\u003cp\u003e Publicist with Federal Dance Theatre, NYC FTP.\n                  Closed pending release.\u003c/p\u003e","\u003cp\u003e Writer and theater critic. Closed pending\n                  release.\u003c/p\u003e","\u003cp\u003e Director of marionette units, SF and LA FTP;\n                  costume designer.\u003c/p\u003e","\u003cp\u003e Director of marionette units, SF and LA FTP;\n                  costume designer.\u003c/p\u003e","\u003cp\u003e Choreographer and dancer with Federal Dance\n                  Project, NYC FTP.\u003c/p\u003e","\u003cp\u003e Artist with the Illinois and District of Columbia\n                  FAP. Permission of interviewer required for\n                  publication.\u003c/p\u003e","\u003cp\u003e See Schnitzer, Marcella Cisney.\u003c/p\u003e","\u003cp\u003e With Children's Theatre unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Theatrical director with Experimental and\n                  Children's units, NYC FTP.\u003c/p\u003e","\u003cp\u003e Assistant stage manager with Classical unit, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Concertmaster, Illinois Symphony Orchestra.\u003c/p\u003e","\u003cp\u003e Director of Play Bureau, NYC FTP.\u003c/p\u003e","\u003cp\u003e Director of Play Bureau, NYC FTP. Closed until\n                  completion of dissertation.\u003c/p\u003e","\u003cp\u003e District supervisor with SF FTP.\u003c/p\u003e","\u003cp\u003e Supervisor of Copyists unit of Philadelphia FMP;\n                  conductor of Philadelphia Orchestra.\u003c/p\u003e","\u003cp\u003e Director of Negro unit, Boston FTP. Permission to\n                  quote required.\u003c/p\u003e","\u003cp\u003e Director of Negro unit, Boston FTP.\u003c/p\u003e","\u003cp\u003e Playwright whose works were produced by various\n                  FTP units.\u003c/p\u003e","\u003cp\u003e Actor with NYC FTP.\u003c/p\u003e","\u003cp\u003e Actor with Classical unit,NYC FTP.\u003c/p\u003e","\u003cp\u003e Playwright whose work, Swamp Mud, was produced in\n                  Birmingham, AL.\u003c/p\u003e","\u003cp\u003e WPA administrative assistant and secretary,\n                  Washington, D.C. and NY. Closed pending release.\u003c/p\u003e","\u003cp\u003e Sculptor with FAP. Permission of interviewer\n                  required for publication.\u003c/p\u003e","\u003cp\u003e Administrative assistant to Ellen Woodward, WPA's\n                  head of Woman's and Professional Division,\n                  Washington, D.C. FTP. This is an untaped\n                  interview.\u003c/p\u003e","\u003cp\u003e Actress with Roslyn, NY unit of FTP.\u003c/p\u003e","\u003cp\u003e Actress, dancer, playwright, and marionette\n                  manipulator with SF FTP.\u003c/p\u003e","\u003cp\u003e Actor and director with Radio Division, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Worked with various productions of FTP in\n                  California. Permission of interviewer required for\n                  publication.\u003c/p\u003e","\u003cp\u003e Actor with the Roslyn, NY FTP unit.\u003c/p\u003e","\u003cp\u003e Writer with Radio Division, NYC FTP.\u003c/p\u003e","\u003cp\u003e Finance administrator, WPA arts projects,\n                  Washington, D.C.\u003c/p\u003e","\u003cp\u003e Actor with Popular Price Theatre, NYC FTP. Closed\n                  pending release.\u003c/p\u003e","\u003cp\u003e Music director with the Negro unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Dancer and choreographer with the dance unit, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Dancer with the dance unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Play adapter and choreographer with Classical\n                  unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Assistant to Hallie Flanagan at Smith College;\n                  playwright.\u003c/p\u003e","\u003cp\u003e Playwright with Chicago FTP. Permission to quote\n                  over 100 words required.\u003c/p\u003e","\u003cp\u003e Assistant stage manager with Negro unit, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Worked in Herbert Hoover's and Harry Hopkins's\n                  press offices.\u003c/p\u003e","\u003cp\u003e Student of Hallie Flanagan; expert in children's\n                  theater.\u003c/p\u003e","\u003cp\u003e Director of Vaudeville unit, Los Angeles, FTP.\n                  Closed pending release.\u003c/p\u003e","\u003cp\u003e Set designer with the Roslyn, NY unit of the\n                  FTP.\u003c/p\u003e","\u003cp\u003e Actress with the Children's Theatre, NYC FTP.\u003c/p\u003e","\u003cp\u003e Set designer with the Los Angeles FTP.\u003c/p\u003e","\u003cp\u003e Actress with the Los Angeles FTP.\u003c/p\u003e","\u003cp\u003e Musical composer and director with various units,\n                  NYC FMP and FTP.\u003c/p\u003e","\u003cp\u003e Musical composer and director with various units,\n                  NYC FMP and FTP.\u003c/p\u003e","\u003cp\u003e Director of Negro unit and Children's unit,\n                  Chicago, FTP. Closed pending release.\u003c/p\u003e","\u003cp\u003e Director of Southwest Experimental unit, Los\n                  Angeles FTP.\u003c/p\u003e","\u003cp\u003e Administrative assistant to Hallie Flanagan,\n                  national office, FTP.\u003c/p\u003e","\u003cp\u003e Director, Midwest FTP; administrator for Federal\n                  Arts Projects in Chicago and Washington, D.C.\u003c/p\u003e","\u003cp\u003e Lighting designer with the Negro and Classical\n                  units, NYC FTP. Closed pending release.\u003c/p\u003e","\u003cp\u003e Brother of Hallie Flanagan. This is an untaped\n                  interview.\u003c/p\u003e","\u003cp\u003e Administrator with the National Play Bureau;\n                  playwright, play reader, NYC FTP.\u003c/p\u003e","\u003cp\u003e Director of Miami unit, FTP.\u003c/p\u003e","\u003cp\u003e Actor with SF FTP\u003c/p\u003e","\u003cp\u003e Actress with the Classical unit, NYC FTP\u003c/p\u003e","\u003cp\u003e Actor with Children's Theatre, NYC FTP\u003c/p\u003e","\u003cp\u003e Writer with Radio Division, Illinois Writers'\n                  Project\u003c/p\u003e","\u003cp\u003e Producer and Theatrical Director, NYC FTP\u003c/p\u003e","\u003cp\u003e Wife of Ralph Freud, theatrical director and actor\n                  with LA FTP\u003c/p\u003e","\u003cp\u003e Wife of Ralph Freud, theatrical director and actor\n                  with LA FTP.\u003c/p\u003e","\u003cp\u003e Theatrical director and actor with LA and SF\n                  FTP.\u003c/p\u003e","\u003cp\u003e Playwright and technical assistant with the\n                  Detroit FTP.\u003c/p\u003e","\u003cp\u003e Composer; accompanist with Dance Project, LA\n                  FTP.\u003c/p\u003e","\u003cp\u003e Dancer and assistant to Doris Humphrey with the\n                  Dance Project, NYC FTP.\u003c/p\u003e","\u003cp\u003e Actor, NYC FTP.\u003c/p\u003e","\u003cp\u003e Writer and Publicist with FWP and the Negro unit,\n                  NYC FTP; play reader with FTP Play Bureau. Closed\n                  pending release.\u003c/p\u003e","\u003cp\u003e Dancer with the Dance Project, NYC FTP\u003c/p\u003e","\u003cp\u003e Actor and founder of Chicago Repertory Group,\n                  1933.\u003c/p\u003e","\u003cp\u003e Administrator, Bureau of research and Publications\n                  of FTP.\u003c/p\u003e","\u003cp\u003e Administrator, Bureau of Research and Publications\n                  of FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Chicago FTP.\u003c/p\u003e","\u003cp\u003e Dancer with the Chicago FTP.\u003c/p\u003e","\u003cp\u003e Actress and dancer with the Vaudeville unit, LA\n                  FTP\u003c/p\u003e","\u003cp\u003e Actor with the LA FTP; director with the Seattle\n                  FTP.\u003c/p\u003e","\u003cp\u003e State director of the Illinois FMP.\u003c/p\u003e","\u003cp\u003e Publicist with NYC FTP; director, Department of\n                  Information, FTP.\u003c/p\u003e","\u003cp\u003e Designer, theater historian; critic.\u003c/p\u003e","\u003cp\u003e Theatrical director with the Atlanta, Tampa, and\n                  Chicago units of the FTP.\u003c/p\u003e","\u003cp\u003e Theatrical director with the Atlanta, Tampa, and\n                  Chicago units of the FTP.\u003c/p\u003e","\u003cp\u003e Playwright, some of whose works were produced by\n                  various FTP units.\u003c/p\u003e","\u003cp\u003e Musical director with the LA and SF FTP.\n                  Permission to quote more than 100 words required.\u003c/p\u003e","\u003cp\u003e Musical director with the LA and SF FTP.Closed\n                  until 1996; or permission of interviewee.\u003c/p\u003e","\u003cp\u003e Art director with the Atlanta FTP.\u003c/p\u003e","\u003cp\u003e Staff composer and arranger with FTP.\u003c/p\u003e","\u003cp\u003e Stage manager and publicity director with the\n                  Living Newspaper unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Writer and researcher with the Living Newspaper\n                  unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Play reader and playwright with the NYC FTP.\n                  Permission required for commercial use.\u003c/p\u003e","\u003cp\u003e Play reader and playwright with the NYC FTP. Closed\n                  pending release.\u003c/p\u003e","\u003cp\u003e Muralist with the FAP and SECT in NY and Ohio.\n                  Permission of interviewer required for\n                  publication.\u003c/p\u003e","\u003cp\u003e Writer, critic, producer, designer with the NY\n                  theaters i the 1930s.\u003c/p\u003e","\u003cp\u003e Producer and administrator with the Negro and\n                  Classical units, NYC FTP.\u003c/p\u003e","\u003cp\u003e Participated in the Resettlement\n                  Administration.\u003c/p\u003e","\u003cp\u003e Son of Edith Isaacs, editor of Theatre Arts\n                  Magazine; friend of FTP. This is an untaped\n                  interview.\u003c/p\u003e","\u003cp\u003e Lighting designer with the LA FTP. This is an\n                  untaped interview.\u003c/p\u003e","\u003cp\u003e Theatrical director familiar with the LA and NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Publicist and promotion officer with the NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Director of information with the NYC FMP.\u003c/p\u003e","\u003cp\u003e Actor with the SF FTP.\u003c/p\u003e","\u003cp\u003e Songwriter and composer with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Choreographer and dancer with the Dance Project,\n                  LA FTP.\u003c/p\u003e","\u003cp\u003e Actress with the San Bernardino/Riverside and LA\n                  FTP.\u003c/p\u003e","\u003cp\u003e Stagehand with the NYC FTP.Closed pending\n                  release.\u003c/p\u003e","\u003cp\u003e Playwright with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Administrative director, Chicago and NYC FTP.\u003c/p\u003e","\u003cp\u003e Concertmaster of the Grand Rapids, MI FTP\n                  orchestra.\u003c/p\u003e","\u003cp\u003e Stage manager, administrator, theatrical director\n                  with the FTP in NYC, Washington, D.C., and Seattle,\n                  WA.\u003c/p\u003e","\u003cp\u003e Stage manager, administrator, theatrical director\n                  with the FTP in NYC, Washington, D.C., and Seattle,\n                  WA.\u003c/p\u003e","\u003cp\u003e Playwright whose works were produced by the NYC\n                  FTP. Closed pending release.\u003c/p\u003e","\u003cp\u003e Actress with the SF and Oakland FTP. This is an\n                  untaped interview.\u003c/p\u003e","\u003cp\u003e Dancer with the Dance Project, NYC FTP.\u003c/p\u003e","\u003cp\u003e Actress with the Classical unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Administrator with the National Service Bureau of\n                  the FTP.\u003c/p\u003e","\u003cp\u003e Director, National Service Bureau of the FTP.\u003c/p\u003e","\u003cp\u003e Director of Bureau of Research and Publication,\n                  NYC FTP.Bound with the 1-4-76 transcript.\u003c/p\u003e","\u003cp\u003e Director of Bureau of Research and Publication,\n                  NYC FTP.Bound with the 1-3-76 transcript.\u003c/p\u003e","\u003cp\u003e Actress with the Negro unit, NYC FTP. Closed\n                  during interviewee's lifetime.\u003c/p\u003e","\u003cp\u003e Puppeteer with the Marionette Project, NYC\n                  FTP.Closed during lifetime.\u003c/p\u003e","\u003cp\u003e Publicist with NYC and Chicago FTP. Interview not\n                  to be used for gain or profit without the consent of\n                  the interviewee.\u003c/p\u003e","\u003cp\u003e Actor with the several units of the NYC FTP.\u003c/p\u003e","\u003cp\u003e Lyricist whose work was featured in the NYC FTP\n                  production of Sing For Your Supper.\u003c/p\u003e","\u003cp\u003e Administrator with the New Orleans and Atlanta\n                  FTP.Permission for use required during Mr. Lentz's\n                  lifetime.\u003c/p\u003e","\u003cp\u003e Actor with NYC FTP.\u003c/p\u003e","\u003cp\u003e Set designer with NYC FTP.\u003c/p\u003e","\u003cp\u003e Playwright whose Model Tenements was produced by\n                  the Chicago FTP.\u003c/p\u003e","\u003cp\u003e Dancer with the Dance Project, LA FTP.\u003c/p\u003e","\u003cp\u003e Teacher and conductor with NYC FMP. Closed during\n                  interviewee's lifetime.\u003c/p\u003e","\u003cp\u003e Interviewee's husband, Gerhardt Lindemulder, was a\n                  director with the FTP in Louisiana and Florida.\u003c/p\u003e","\u003cp\u003e Vaudeville performer with the FTP.\u003c/p\u003e","\u003cp\u003e Dancer with the Children's unit and Dance Project,\n                  NYC FTP.Tape restricted.\u003c/p\u003e","\u003cp\u003e Puppet artist with the Marionette unit, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Living Newspaper unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Costume designer with FTP units in Seattle and\n                  Tacoma, WA.Closed during Mr. Williams's lifetime.\u003c/p\u003e","\u003cp\u003e Conductor with the Vermont FMP.\u003c/p\u003e","\u003cp\u003e Father of Sidney Lumet, child actor with the\n                  Yiddish unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Administrative director with the Florida FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Chicago FTP.Closed during\n                  interviewee's lifetime.\u003c/p\u003e","\u003cp\u003e Actor with the Jacksonville and Miami FTP.Closed\n                  during interviewee's lifetime.\u003c/p\u003e","\u003cp\u003e Marionette artist with the SF FTP.Quotations must\n                  be accurate.\u003c/p\u003e","\u003cp\u003e Playwright whose work was produced by NYC FTP.\u003c/p\u003e","\u003cp\u003e Actress with the Classical unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Chicago FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Atlanta FTP.\u003c/p\u003e","\u003cp\u003e Playwright and researcher with the National Play\n                  Bureau of the FTP.Closed during interviewee's\n                  lifetime.\u003c/p\u003e","\u003cp\u003e Publicist with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Actress and researcher with the LA FTP; researcher\n                  with the Seattle FTP.\u003c/p\u003e","\u003cp\u003e Actress and researcher with the LA FTP; researcher\n                  with the Seattle FTP.\u003c/p\u003e","\u003cp\u003e Costume designer with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Stage manager with the Tampa FTP.Closed during\n                  interviewee's lifetime.\u003c/p\u003e","\u003cp\u003e Administrator with the Research Bureau, NYC\n                  FTP.This is an untaped interview.\u003c/p\u003e","\u003cp\u003e Staff member with the Educational Division, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP.\u003c/p\u003e","\u003cp\u003e Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP.\u003c/p\u003e","\u003cp\u003e Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP.\u003c/p\u003e","\u003cp\u003e Member of the Seattle Negro Repertory Theatre in\n                  the 1930s.Closed to any government agency.\u003c/p\u003e","\u003cp\u003e Set designer with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Worked with the NYC FTP. This is an untaped\n                  interview.\u003c/p\u003e","\u003cp\u003e Director with the FTP in the South; later with the\n                  Detroit FTP.\u003c/p\u003e","\u003cp\u003e Theatrical director with the Negro unit, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Actor, director, writer with the Southwest\n                  Experimental unit of the LA FTP.\u003c/p\u003e","\u003cp\u003e Director with the Negro unit, LA FTP.\u003c/p\u003e","\u003cp\u003e Dancer with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Writer and playwright who submitted work to the\n                  Negro unit, NYC FTP.This is an untaped interview.\u003c/p\u003e","\u003cp\u003e Director with the Indiana FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Seattle FTP.\u003c/p\u003e","\u003cp\u003e Dancer and choreographer with the Chicago FTP.\u003c/p\u003e","\u003cp\u003e Dancer with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Chicago FTP.\u003c/p\u003e","\u003cp\u003e Writer with the Southwest Experimental unit of the\n                  LA FTP.\u003c/p\u003e","\u003cp\u003e Actress and student of Hallie Flanagan at Vassar\n                  College.This is an untaped interview.\u003c/p\u003e","\u003cp\u003e Actor; director with Suitcase Theatre; assistant\n                  director with the Classical unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Director of casting with the Talent Bureau, NYC\n                  FTP.Closed pending release.\u003c/p\u003e","\u003cp\u003e Dancer with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Director of the Vaudeville productions, LA\n                  FTP.\u003c/p\u003e","\u003cp\u003e Actor in Yiddish theater and New York University\n                  repertory groups during the FTP era.\u003c/p\u003e","\u003cp\u003e Conductor with the Michigan WPA Symphony\n                  Orchestra.\u003c/p\u003e","\u003cp\u003e Actor with the LA and Portland (OR) FTP units.This\n                  is an untaped interview.\u003c/p\u003e","\u003cp\u003e With the WPA program in Connecticut; also with the\n                  CCC; founded the Plymouth Playhouse; worked briefly\n                  on the set of Faustus.\u003c/p\u003e","\u003cp\u003e Actor with the Children's unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Researcher of the Chinese theater, Research\n                  Department, SF FTP.\u003c/p\u003e","\u003cp\u003e Choreographer with the Yiddish unit, NYC\n                  FTP.Closed during interviewee's lifetime.\u003c/p\u003e","\u003cp\u003e Radio script writer, Radio Division, NYC FTP.This\n                  is an untaped interview.\u003c/p\u003e","\u003cp\u003e Artist, muralist with the FAP in NY, NJ, and\n                  CA.Permission of interviewer required for\n                  publication.\u003c/p\u003e","\u003cp\u003e Actress and director with the marionette unit of\n                  the Miami FTP.\u003c/p\u003e","\u003cp\u003e Playwright in New York and San Francisco; write\n                  with the FWP.\u003c/p\u003e","\u003cp\u003e Administrator and legal counsel for the National\n                  Service Bureau, FTP.\u003c/p\u003e","\u003cp\u003e Administrator and legal counsel for the National\n                  Service Bureau, FTP.\u003c/p\u003e","\u003cp\u003e Hallie Flanagan's assistant who collected\n                  Flanagan's papers which were donated to the Theatre\n                  Collection, New York Public Library.\u003c/p\u003e","\u003cp\u003e Actor with the Cleveland (OH) FTP.\u003c/p\u003e","\u003cp\u003e Composer for various productions, NYC FTP.\u003c/p\u003e","\u003cp\u003e Writer and director with the Radio Division, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Actress with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Lyricist who wrote the words for \"Papa's Got a\n                  Job\" for Sing For Your Supper under the pseudonym of\n                  Hector Troy.This is an untaped interview.\u003c/p\u003e","\u003cp\u003e Playwright, play reader with the Playwriting\n                  Bureau, NYC FTP.Prior consent required for\n                  publication.\u003c/p\u003e","\u003cp\u003e Muralist with the Massachusetts and New York\n                  FAP.Permission of interviewer required for\n                  publication.\u003c/p\u003e","\u003cp\u003e Administrator, Playwriting Bureau, FTP.Permission\n                  of interviewee required; copyright conditions.\u003c/p\u003e","\u003cp\u003e Playwright in NYC whose works were produced by\n                  FTP.This is an untaped interview.\u003c/p\u003e","\u003cp\u003e Actor with the Negro unit, NYC FTP. This is an\n                  untaped interview.\u003c/p\u003e","\u003cp\u003e Playwright and director with the Seattle\n                  FTP.Closed during Guy Williams's lifetime.\u003c/p\u003e","\u003cp\u003e Director with the Experimental unit, NYC\n                  FTP.Closed pending release.\u003c/p\u003e","\u003cp\u003e Administrative assistant with the Negro and\n                  Classical units, NYC FTP.\u003c/p\u003e","\u003cp\u003e Actress with the Radio Division, NYC FTP.\u003c/p\u003e","\u003cp\u003e Administrator, Delaware FTP; with FTP national\n                  office, Washington, DC; with the San Francisco\n                  World's Fair, 1939.\u003c/p\u003e","\u003cp\u003e Administrator, Delaware FTP; with FTP national\n                  office, Washington, DC; with the San Francisco\n                  World's Fair, 1939.\u003c/p\u003e","\u003cp\u003e Administrative assistant to Philip Barber, NYC\n                  FTP. Closed during interviewee's lifetime.\u003c/p\u003e","\u003cp\u003e Assistant stage manager with the Living Newspaper\n                  unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Administrative assistant to Jasper Deeter, first\n                  director of the Pennsylvania/New Jersey FTP.\u003c/p\u003e","\u003cp\u003e Audience member, NYC FTP productions.\u003c/p\u003e","\u003cp\u003e Composer, NYC FMP.\u003c/p\u003e","\u003cp\u003e Director of the Anglo-Jewish unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Worked with Children's and Vaudeville units, Miami\n                  and Tampa FTP. Closed during Fernando Mesa's\n                  lifetime.\u003c/p\u003e","\u003cp\u003e Puppeteer with the Marionette unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Classical unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Writer and playwright in NYC at the time of the\n                  FTP. This is an untaped interview.\u003c/p\u003e","\u003cp\u003e Actress, NYC FTP.\u003c/p\u003e","\u003cp\u003e Actress, NYC FTP.\u003c/p\u003e","\u003cp\u003e Publicist, NYC FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Chicago, Peoria, and Miami FTP;\n                  worked with sets and costumes in Chicago.\u003c/p\u003e","\u003cp\u003e Actor with the Children's and Negro units, NYC\n                  FTP. Closed pending release.\u003c/p\u003e","\u003cp\u003e Concertmaster with the FMP Illinois Symphony.\u003c/p\u003e","\u003cp\u003e Composer with the NYC FTP; wrote the score for\n                  FTP's Created Equal.\u003c/p\u003e","\u003cp\u003e Publicist with the Negro unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Administrative director, NJ FTP; director of\n                  repertory unit, Roslyn, NY FTP. Written permission of\n                  interviewee required for publication.\u003c/p\u003e","\u003cp\u003e Playwright in NYC whose work was produced by the\n                  FTP. Permission to quote required by interviewee.\u003c/p\u003e","\u003cp\u003e Director, Denver FTP.\u003c/p\u003e","\u003cp\u003e Worked with Composers's Forum and Copying Project\n                  of the FMP.\u003c/p\u003e","\u003cp\u003e Choreographer, NYC FTP. This is an untaped\n                  interview.\u003c/p\u003e","\u003cp\u003e Artist, NY FAP. Permission of interviewer required\n                  for publication.\u003c/p\u003e","\u003cp\u003e Songwriter whose works were performed by NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Administrator with Iowa FTP; assistant to E.C.\n                  Mabie, regional director for the Midwest FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Seattle FTP.\u003c/p\u003e","\u003cp\u003e Playwright whose work was produced by the FTP.\u003c/p\u003e","\u003cp\u003e Composer and arranger with the Vaudeville unit, LA\n                  FTP.\u003c/p\u003e","\u003cp\u003e Set designer, LA FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Anglo-Jewish unit, NYC FTP. Closed\n                  pending release.\u003c/p\u003e","\u003cp\u003e Actor with the New Hampshire FTP. Closed pending\n                  release.\u003c/p\u003e","\u003cp\u003e Puppeteer in NYC familiar with the Marionette and\n                  Children's units, NYC FTP.\u003c/p\u003e","\u003cp\u003e Playwright in Chicago whose work was produced by\n                  the FTP.\u003c/p\u003e","\u003cp\u003e Administrator, director, actor, and playwright\n                  involved with the Seattle and Tacoma FTP, and the Des\n                  Moines FTP.\u003c/p\u003e","\u003cp\u003e Stage Manager with the Mercury Theatre, New\n                  York.\u003c/p\u003e","\u003cp\u003e Theatrical director with the Classical unit, NYC\n                  FTP. Closed pending release.\u003c/p\u003e","\u003cp\u003e Musical director with the Negro and Classical\n                  units, NYC FTP.\u003c/p\u003e","\u003cp\u003e Musical director with the Negro and Classical\n                  units. NYC FTP.\u003c/p\u003e","\u003cp\u003e Worked with the National Youth Administration and\n                  the WPA in Iowa. Closed pending release.\u003c/p\u003e","\u003cp\u003e Administrator, National Play Bureau, NYC FTP.\u003c/p\u003e","\u003cp\u003e Worked with the Resettlement Administration.\u003c/p\u003e","\u003cp\u003e Actor with the Roslyn, NY FTP.\u003c/p\u003e","\u003cp\u003e Dancer with Tamiris's group, Dance Project, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Playwright based in Chicago whose works were\n                  produced by the FTP. Permission to quote over 100\n                  words required.\u003c/p\u003e","\u003cp\u003e Playwright based in Chicago whose works were\n                  produced by the FTP.\u003c/p\u003e","\u003cp\u003e Actress with the Vaudeville unit, LA FTP.\u003c/p\u003e","\u003cp\u003e Stage manager, actor, and lighting technician with\n                  the LA FTP.\u003c/p\u003e","\u003cp\u003e Stage manager, actor, and lighting technician, LA\n                  FTP.\u003c/p\u003e","\u003cp\u003e Administrator, Atlanta FTP.\u003c/p\u003e","\u003cp\u003e Lawyer who represented Orson Welles and John\n                  Houseman.\u003c/p\u003e","\u003cp\u003e Director with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Muralist with the Illinois FAP. Permission needed\n                  to quote over 100 words.\u003c/p\u003e","\u003cp\u003e Lighting director and technician with the Chicago\n                  FTP.\u003c/p\u003e","\u003cp\u003e Administrator with the Marionette unit of the NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Puppeteer and lighting designer with the\n                  Marionette unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Theatrical director with the Seattle FTP. Closed\n                  during Mr. Williams's lifetime.\u003c/p\u003e","\u003cp\u003e Theatrical director with the Seattle FTP. Closed\n                  during Mr. Williams's lifetime.\u003c/p\u003e","\u003cp\u003e Stage manager with the Children's theater, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Artist with the Illinois and New York FAP.\u003c/p\u003e","\u003cp\u003e Research with the San Francisco Theatre History\n                  project; actor in several SF FTP productions.\u003c/p\u003e","\u003cp\u003e Worked with the GSA; recovered many FAP works and\n                  murals.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content\n"],"scopecontent_tesim":["This compilation describes oral interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project.\n","\nThe interviews (transcripts and tapes) are arranged in alphabetical order by the subject's last name. The date of the interview is included along with the type of work or position held by the interviewee during the 1930s, with the location when known. The name of the interviewer(s) follows. In some cases a notation is made indicating that an interview is untaped. If the interview was a joint one, this information is noted. The type of media available (abstract, letter, notes, tape, and/or transcript)is then listed along with the number of pages or minutes of each type. Restrictions that may apply to certain interviews is the last information in an entry.\n","\nList of Abbreviations:\n","\nCCC - Civilian Conservation Corps, FAP - Federal Art Project, FERA - Federal Emergency Relief Administration, FMP - Federal Music Project, FTP - Federal Theatre Project, FWP - Federal Writers Project, GSA - General Services Administration, NYA - National Youth Administration, SECT - Section of Painting and Sculpture, WPA - Works Projects Adminstration\n"," Widow of playwright Hughes Allison, whose work was\n                  produced by FTP."," Stage manager and director with the Negro unit,\n                  NYC FTP."," Costume designer with SF FTP."," Actress who auditioned for Negro Unit, NYC\n                  FTP."," Composer and director, SF FMP."," Technician, marionette artist, and actor with the\n                  Classical unit, NYC FTP."," Conductor, FMP's Virginia Symphony Orchestra and\n                  North Carolina-Virginia Symphony."," Dancer and assistant to Charles Weidman, with NYC\n                  Federal Dance Theatre."," Dancer with the Negro unit, NYC FTP. Closed\n                  pending release."," Administrative director of the NYC FTP."," Administrative director of the NYC FTP."," Dancer with Federal Dance Project, NYC."," Worked with the Radio Division of FTP. This is an\n                  untaped interview."," Stage manager with the Manhattan City Projects,\n                  NYC."," Dancer and actor with NYC FTP units."," Set designer for various NYC FTP productions."," Son-in-law of Hallie Flanagan; writer and critic\n                  of modern drama."," Step-daughter of Hallie Flanagan. Closed pending\n                  release."," Artist, muralist. Unidentified interviewer may\n                  have residual rights to interview."," Actor with Children's Theatre and Living Newspaper\n                  units of NYC FTP."," Writer who worked with the National Play Bureau,\n                  NYC FTP. Restricted during interviewee's\n                  lifetime."," Novelist, film writer, journalist, NYC, LA.\n                  Approval of Sylviane Bessie required."," Costume designer with SF FTP."," Administrator with NYC FTP Radio Division; also\n                  worked as publicist with NYC FTP. This is an untaped\n                  interview."," Composer, musician; wrote Swing It for NYC FTP.\n                  Closed pending release."," Playwright whose play, Battle Hymn, written with\n                  Michael Gold, was produced by various FTP units."," Artist, muralist with NYC FAP. Permission for\n                  publication required."," [see Bolton, Philip.]"," Son of Harold (director and choreographer with NYC\n                  FTP) and Rhoda Rammelkamp Bolton (costume designer,\n                  NYC FTP). This is an untaped interview."," [see Bolton, Philip.]"," Costume designer with NYC FTP."," Director of Play Bureau; in charge of exhibits;\n                  head of Play Reading Bureau within the National\n                  Office of FTP."," Actor with LA FTP. This is an untaped\n                  interview."," Director and actor with Chicago FTP."," Director and actress with Chicago FTP."," Actor with LA FTP."," Director of marionette unit of LA FTP."," Artist with FAP. Permission for publication\n                  required."," Playwright whose work was produced by Seattle FTP;\n                  also a writer with Boston FTP."," Actor with Children's unit of NYC FTP."," Sound technician with Living Newspaper unit of NYC\n                  FTP."," Publicist with NYC FTP."," Artist, muralist with FAP. Closed pending\n                  release."," Playwright whose work, Reward, was produced by the\n                  Tampa FTP. Closed during Fernando Mesa's\n                  lifetime."," Director of Lafayette Theatre's Negro unit of NYC\n                  FTP. This is an untaped interview."," Personnel administrator with NYC and Florida FTP\n                  units."," Artist, administrator with Ohio FAP. Permission\n                  with interviewer required for publication."," Actor, stage manager with Portland, OR FTP. Closed\n                  during interviewee's lifetime."," Playwright whose work was produced by Denver\n                  FTP."," Publicist with Federal Dance Theatre, NYC FTP.\n                  Closed pending release."," Writer and theater critic. Closed pending\n                  release."," Director of marionette units, SF and LA FTP;\n                  costume designer."," Director of marionette units, SF and LA FTP;\n                  costume designer."," Choreographer and dancer with Federal Dance\n                  Project, NYC FTP."," Artist with the Illinois and District of Columbia\n                  FAP. Permission of interviewer required for\n                  publication."," See Schnitzer, Marcella Cisney."," With Children's Theatre unit, NYC FTP."," Theatrical director with Experimental and\n                  Children's units, NYC FTP."," Assistant stage manager with Classical unit, NYC\n                  FTP."," Concertmaster, Illinois Symphony Orchestra."," Director of Play Bureau, NYC FTP."," Director of Play Bureau, NYC FTP. Closed until\n                  completion of dissertation."," District supervisor with SF FTP."," Supervisor of Copyists unit of Philadelphia FMP;\n                  conductor of Philadelphia Orchestra."," Director of Negro unit, Boston FTP. Permission to\n                  quote required."," Director of Negro unit, Boston FTP."," Playwright whose works were produced by various\n                  FTP units."," Actor with NYC FTP."," Actor with Classical unit,NYC FTP."," Playwright whose work, Swamp Mud, was produced in\n                  Birmingham, AL."," WPA administrative assistant and secretary,\n                  Washington, D.C. and NY. Closed pending release."," Sculptor with FAP. Permission of interviewer\n                  required for publication."," Administrative assistant to Ellen Woodward, WPA's\n                  head of Woman's and Professional Division,\n                  Washington, D.C. FTP. This is an untaped\n                  interview."," Actress with Roslyn, NY unit of FTP."," Actress, dancer, playwright, and marionette\n                  manipulator with SF FTP."," Actor and director with Radio Division, NYC\n                  FTP."," Worked with various productions of FTP in\n                  California. Permission of interviewer required for\n                  publication."," Actor with the Roslyn, NY FTP unit."," Writer with Radio Division, NYC FTP."," Finance administrator, WPA arts projects,\n                  Washington, D.C."," Actor with Popular Price Theatre, NYC FTP. Closed\n                  pending release."," Music director with the Negro unit, NYC FTP."," Dancer and choreographer with the dance unit, NYC\n                  FTP."," Dancer with the dance unit, NYC FTP."," Play adapter and choreographer with Classical\n                  unit, NYC FTP."," Assistant to Hallie Flanagan at Smith College;\n                  playwright."," Playwright with Chicago FTP. Permission to quote\n                  over 100 words required."," Assistant stage manager with Negro unit, NYC\n                  FTP."," Worked in Herbert Hoover's and Harry Hopkins's\n                  press offices."," Student of Hallie Flanagan; expert in children's\n                  theater."," Director of Vaudeville unit, Los Angeles, FTP.\n                  Closed pending release."," Set designer with the Roslyn, NY unit of the\n                  FTP."," Actress with the Children's Theatre, NYC FTP."," Set designer with the Los Angeles FTP."," Actress with the Los Angeles FTP."," Musical composer and director with various units,\n                  NYC FMP and FTP."," Musical composer and director with various units,\n                  NYC FMP and FTP."," Director of Negro unit and Children's unit,\n                  Chicago, FTP. Closed pending release."," Director of Southwest Experimental unit, Los\n                  Angeles FTP."," Administrative assistant to Hallie Flanagan,\n                  national office, FTP."," Director, Midwest FTP; administrator for Federal\n                  Arts Projects in Chicago and Washington, D.C."," Lighting designer with the Negro and Classical\n                  units, NYC FTP. Closed pending release."," Brother of Hallie Flanagan. This is an untaped\n                  interview."," Administrator with the National Play Bureau;\n                  playwright, play reader, NYC FTP."," Director of Miami unit, FTP."," Actor with SF FTP"," Actress with the Classical unit, NYC FTP"," Actor with Children's Theatre, NYC FTP"," Writer with Radio Division, Illinois Writers'\n                  Project"," Producer and Theatrical Director, NYC FTP"," Wife of Ralph Freud, theatrical director and actor\n                  with LA FTP"," Wife of Ralph Freud, theatrical director and actor\n                  with LA FTP."," Theatrical director and actor with LA and SF\n                  FTP."," Playwright and technical assistant with the\n                  Detroit FTP."," Composer; accompanist with Dance Project, LA\n                  FTP."," Dancer and assistant to Doris Humphrey with the\n                  Dance Project, NYC FTP."," Actor, NYC FTP."," Writer and Publicist with FWP and the Negro unit,\n                  NYC FTP; play reader with FTP Play Bureau. Closed\n                  pending release."," Dancer with the Dance Project, NYC FTP"," Actor and founder of Chicago Repertory Group,\n                  1933."," Administrator, Bureau of research and Publications\n                  of FTP."," Administrator, Bureau of Research and Publications\n                  of FTP."," Actor with the Chicago FTP."," Dancer with the Chicago FTP."," Actress and dancer with the Vaudeville unit, LA\n                  FTP"," Actor with the LA FTP; director with the Seattle\n                  FTP."," State director of the Illinois FMP."," Publicist with NYC FTP; director, Department of\n                  Information, FTP."," Designer, theater historian; critic."," Theatrical director with the Atlanta, Tampa, and\n                  Chicago units of the FTP."," Theatrical director with the Atlanta, Tampa, and\n                  Chicago units of the FTP."," Playwright, some of whose works were produced by\n                  various FTP units."," Musical director with the LA and SF FTP.\n                  Permission to quote more than 100 words required."," Musical director with the LA and SF FTP.Closed\n                  until 1996; or permission of interviewee."," Art director with the Atlanta FTP."," Staff composer and arranger with FTP."," Stage manager and publicity director with the\n                  Living Newspaper unit, NYC FTP."," Writer and researcher with the Living Newspaper\n                  unit, NYC FTP."," Play reader and playwright with the NYC FTP.\n                  Permission required for commercial use."," Play reader and playwright with the NYC FTP. Closed\n                  pending release."," Muralist with the FAP and SECT in NY and Ohio.\n                  Permission of interviewer required for\n                  publication."," Writer, critic, producer, designer with the NY\n                  theaters i the 1930s."," Producer and administrator with the Negro and\n                  Classical units, NYC FTP."," Participated in the Resettlement\n                  Administration."," Son of Edith Isaacs, editor of Theatre Arts\n                  Magazine; friend of FTP. This is an untaped\n                  interview."," Lighting designer with the LA FTP. This is an\n                  untaped interview."," Theatrical director familiar with the LA and NYC\n                  FTP."," Publicist and promotion officer with the NYC\n                  FTP."," Director of information with the NYC FMP."," Actor with the SF FTP."," Songwriter and composer with the NYC FTP."," Choreographer and dancer with the Dance Project,\n                  LA FTP."," Actress with the San Bernardino/Riverside and LA\n                  FTP."," Stagehand with the NYC FTP.Closed pending\n                  release."," Playwright with the NYC FTP."," Administrative director, Chicago and NYC FTP."," Concertmaster of the Grand Rapids, MI FTP\n                  orchestra."," Stage manager, administrator, theatrical director\n                  with the FTP in NYC, Washington, D.C., and Seattle,\n                  WA."," Stage manager, administrator, theatrical director\n                  with the FTP in NYC, Washington, D.C., and Seattle,\n                  WA."," Playwright whose works were produced by the NYC\n                  FTP. Closed pending release."," Actress with the SF and Oakland FTP. This is an\n                  untaped interview."," Dancer with the Dance Project, NYC FTP."," Actress with the Classical unit, NYC FTP."," Administrator with the National Service Bureau of\n                  the FTP."," Director, National Service Bureau of the FTP."," Director of Bureau of Research and Publication,\n                  NYC FTP.Bound with the 1-4-76 transcript."," Director of Bureau of Research and Publication,\n                  NYC FTP.Bound with the 1-3-76 transcript."," Actress with the Negro unit, NYC FTP. Closed\n                  during interviewee's lifetime."," Puppeteer with the Marionette Project, NYC\n                  FTP.Closed during lifetime."," Publicist with NYC and Chicago FTP. Interview not\n                  to be used for gain or profit without the consent of\n                  the interviewee."," Actor with the several units of the NYC FTP."," Lyricist whose work was featured in the NYC FTP\n                  production of Sing For Your Supper."," Administrator with the New Orleans and Atlanta\n                  FTP.Permission for use required during Mr. Lentz's\n                  lifetime."," Actor with NYC FTP."," Set designer with NYC FTP."," Playwright whose Model Tenements was produced by\n                  the Chicago FTP."," Dancer with the Dance Project, LA FTP."," Teacher and conductor with NYC FMP. Closed during\n                  interviewee's lifetime."," Interviewee's husband, Gerhardt Lindemulder, was a\n                  director with the FTP in Louisiana and Florida."," Vaudeville performer with the FTP."," Dancer with the Children's unit and Dance Project,\n                  NYC FTP.Tape restricted."," Puppet artist with the Marionette unit, NYC\n                  FTP."," Actor with the Living Newspaper unit, NYC FTP."," Costume designer with FTP units in Seattle and\n                  Tacoma, WA.Closed during Mr. Williams's lifetime."," Conductor with the Vermont FMP."," Father of Sidney Lumet, child actor with the\n                  Yiddish unit, NYC FTP."," Administrative director with the Florida FTP."," Actor with the Chicago FTP.Closed during\n                  interviewee's lifetime."," Actor with the Jacksonville and Miami FTP.Closed\n                  during interviewee's lifetime."," Marionette artist with the SF FTP.Quotations must\n                  be accurate."," Playwright whose work was produced by NYC FTP."," Actress with the Classical unit, NYC FTP."," Actor with the Chicago FTP."," Actor with the Atlanta FTP."," Playwright and researcher with the National Play\n                  Bureau of the FTP.Closed during interviewee's\n                  lifetime."," Publicist with the NYC FTP."," Actress and researcher with the LA FTP; researcher\n                  with the Seattle FTP."," Actress and researcher with the LA FTP; researcher\n                  with the Seattle FTP."," Costume designer with the NYC FTP."," Stage manager with the Tampa FTP.Closed during\n                  interviewee's lifetime."," Administrator with the Research Bureau, NYC\n                  FTP.This is an untaped interview."," Staff member with the Educational Division, NYC\n                  FTP."," Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP."," Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP."," Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP."," Member of the Seattle Negro Repertory Theatre in\n                  the 1930s.Closed to any government agency."," Set designer with the NYC FTP."," Worked with the NYC FTP. This is an untaped\n                  interview."," Director with the FTP in the South; later with the\n                  Detroit FTP."," Theatrical director with the Negro unit, NYC\n                  FTP."," Actor, director, writer with the Southwest\n                  Experimental unit of the LA FTP."," Director with the Negro unit, LA FTP."," Dancer with the NYC FTP."," Writer and playwright who submitted work to the\n                  Negro unit, NYC FTP.This is an untaped interview."," Director with the Indiana FTP."," Actor with the Seattle FTP."," Dancer and choreographer with the Chicago FTP."," Dancer with the NYC FTP."," Actor with the Chicago FTP."," Writer with the Southwest Experimental unit of the\n                  LA FTP."," Actress and student of Hallie Flanagan at Vassar\n                  College.This is an untaped interview."," Actor; director with Suitcase Theatre; assistant\n                  director with the Classical unit, NYC FTP."," Director of casting with the Talent Bureau, NYC\n                  FTP.Closed pending release."," Dancer with the NYC FTP."," Director of the Vaudeville productions, LA\n                  FTP."," Actor in Yiddish theater and New York University\n                  repertory groups during the FTP era."," Conductor with the Michigan WPA Symphony\n                  Orchestra."," Actor with the LA and Portland (OR) FTP units.This\n                  is an untaped interview."," With the WPA program in Connecticut; also with the\n                  CCC; founded the Plymouth Playhouse; worked briefly\n                  on the set of Faustus."," Actor with the Children's unit, NYC FTP."," Researcher of the Chinese theater, Research\n                  Department, SF FTP."," Choreographer with the Yiddish unit, NYC\n                  FTP.Closed during interviewee's lifetime."," Radio script writer, Radio Division, NYC FTP.This\n                  is an untaped interview."," Artist, muralist with the FAP in NY, NJ, and\n                  CA.Permission of interviewer required for\n                  publication."," Actress and director with the marionette unit of\n                  the Miami FTP."," Playwright in New York and San Francisco; write\n                  with the FWP."," Administrator and legal counsel for the National\n                  Service Bureau, FTP."," Administrator and legal counsel for the National\n                  Service Bureau, FTP."," Hallie Flanagan's assistant who collected\n                  Flanagan's papers which were donated to the Theatre\n                  Collection, New York Public Library."," Actor with the Cleveland (OH) FTP."," Composer for various productions, NYC FTP."," Writer and director with the Radio Division, NYC\n                  FTP."," Actress with the NYC FTP."," Lyricist who wrote the words for \"Papa's Got a\n                  Job\" for Sing For Your Supper under the pseudonym of\n                  Hector Troy.This is an untaped interview."," Playwright, play reader with the Playwriting\n                  Bureau, NYC FTP.Prior consent required for\n                  publication."," Muralist with the Massachusetts and New York\n                  FAP.Permission of interviewer required for\n                  publication."," Administrator, Playwriting Bureau, FTP.Permission\n                  of interviewee required; copyright conditions."," Playwright in NYC whose works were produced by\n                  FTP.This is an untaped interview."," Actor with the Negro unit, NYC FTP. This is an\n                  untaped interview."," Playwright and director with the Seattle\n                  FTP.Closed during Guy Williams's lifetime."," Director with the Experimental unit, NYC\n                  FTP.Closed pending release."," Administrative assistant with the Negro and\n                  Classical units, NYC FTP."," Actress with the Radio Division, NYC FTP."," Administrator, Delaware FTP; with FTP national\n                  office, Washington, DC; with the San Francisco\n                  World's Fair, 1939."," Administrator, Delaware FTP; with FTP national\n                  office, Washington, DC; with the San Francisco\n                  World's Fair, 1939."," Administrative assistant to Philip Barber, NYC\n                  FTP. Closed during interviewee's lifetime."," Assistant stage manager with the Living Newspaper\n                  unit, NYC FTP."," Administrative assistant to Jasper Deeter, first\n                  director of the Pennsylvania/New Jersey FTP."," Audience member, NYC FTP productions."," Composer, NYC FMP."," Director of the Anglo-Jewish unit, NYC FTP."," Worked with Children's and Vaudeville units, Miami\n                  and Tampa FTP. Closed during Fernando Mesa's\n                  lifetime."," Puppeteer with the Marionette unit, NYC FTP."," Actor with the Classical unit, NYC FTP."," Writer and playwright in NYC at the time of the\n                  FTP. This is an untaped interview."," Actress, NYC FTP."," Actress, NYC FTP."," Publicist, NYC FTP."," Actor with the Chicago, Peoria, and Miami FTP;\n                  worked with sets and costumes in Chicago."," Actor with the Children's and Negro units, NYC\n                  FTP. Closed pending release."," Concertmaster with the FMP Illinois Symphony."," Composer with the NYC FTP; wrote the score for\n                  FTP's Created Equal."," Publicist with the Negro unit, NYC FTP."," Administrative director, NJ FTP; director of\n                  repertory unit, Roslyn, NY FTP. Written permission of\n                  interviewee required for publication."," Playwright in NYC whose work was produced by the\n                  FTP. Permission to quote required by interviewee."," Director, Denver FTP."," Worked with Composers's Forum and Copying Project\n                  of the FMP."," Choreographer, NYC FTP. This is an untaped\n                  interview."," Artist, NY FAP. Permission of interviewer required\n                  for publication."," Songwriter whose works were performed by NYC\n                  FTP."," Administrator with Iowa FTP; assistant to E.C.\n                  Mabie, regional director for the Midwest FTP."," Actor with the Seattle FTP."," Playwright whose work was produced by the FTP."," Composer and arranger with the Vaudeville unit, LA\n                  FTP."," Set designer, LA FTP."," Actor with the Anglo-Jewish unit, NYC FTP. Closed\n                  pending release."," Actor with the New Hampshire FTP. Closed pending\n                  release."," Puppeteer in NYC familiar with the Marionette and\n                  Children's units, NYC FTP."," Playwright in Chicago whose work was produced by\n                  the FTP."," Administrator, director, actor, and playwright\n                  involved with the Seattle and Tacoma FTP, and the Des\n                  Moines FTP."," Stage Manager with the Mercury Theatre, New\n                  York."," Theatrical director with the Classical unit, NYC\n                  FTP. Closed pending release."," Musical director with the Negro and Classical\n                  units, NYC FTP."," Musical director with the Negro and Classical\n                  units. NYC FTP."," Worked with the National Youth Administration and\n                  the WPA in Iowa. Closed pending release."," Administrator, National Play Bureau, NYC FTP."," Worked with the Resettlement Administration."," Actor with the Roslyn, NY FTP."," Dancer with Tamiris's group, Dance Project, NYC\n                  FTP."," Playwright based in Chicago whose works were\n                  produced by the FTP. Permission to quote over 100\n                  words required."," Playwright based in Chicago whose works were\n                  produced by the FTP."," Actress with the Vaudeville unit, LA FTP."," Stage manager, actor, and lighting technician with\n                  the LA FTP."," Stage manager, actor, and lighting technician, LA\n                  FTP."," Administrator, Atlanta FTP."," Lawyer who represented Orson Welles and John\n                  Houseman."," Director with the NYC FTP."," Muralist with the Illinois FAP. Permission needed\n                  to quote over 100 words."," Lighting director and technician with the Chicago\n                  FTP."," Administrator with the Marionette unit of the NYC\n                  FTP."," Puppeteer and lighting designer with the\n                  Marionette unit, NYC FTP."," Theatrical director with the Seattle FTP. Closed\n                  during Mr. Williams's lifetime."," Theatrical director with the Seattle FTP. Closed\n                  during Mr. Williams's lifetime."," Stage manager with the Children's theater, NYC\n                  FTP."," Artist with the Illinois and New York FAP."," Research with the San Francisco Theatre History\n                  project; actor in several SF FTP productions."," Worked with the GSA; recovered many FAP works and\n                  murals."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions\n"],"userestrict_tesim":["There are no restrictions.\n"],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003e This compilation describes oral interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project.\n\u003c/abstract\u003e"],"abstract_tesim":[" This compilation describes oral interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project.\n"],"names_ssim":["George Mason University.  Special Collections and Archives.\n","George Mason University. Institute on the Federal Theatre Project and New Deal Culture\n","Federal Art Project.","Federal Music Project (U.S.)","Federal Theatre Project (U.S.)","United States. Works Progress Administration."],"corpname_ssim":["George Mason University.  Special Collections and Archives.\n","George Mason University. Institute on the Federal Theatre Project and New Deal Culture\n","Federal Art Project.","Federal Music Project (U.S.)","Federal Theatre Project (U.S.)","United States. Works Progress Administration."],"language_ssim":["English\n"],"total_component_count_is":319,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T06:45:26.642Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_vifgm00021","ead_ssi":"vifgm_vifgm00021","_root_":"vifgm_vifgm00021","_nest_parent_":"vifgm_vifgm00021","ead_source_url_ssi":"data/gmu/vifgm00021.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["Works Progress Administration oral histories collection"],"title_tesim":["Works Progress Administration oral histories collection"],"unitdate_ssm":["1961-1984\n"],"unitdate_inclusive_ssm":["1961-1984\n"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0153\n"],"text":["C0153\n","Works Progress Administration oral histories collection","Acting.","Dance--United States.","New Deal, 1933-1939.","Theater--United States.","Collection is open to research.\n","This collection is arranged alphabetically by last name of interviewee.\n"," Artist, NY. Permission to quote over 100 words\n                  required.","The interviews in the WPA Oral Histories Collection were conducted from between 1961 and 1984. The majority of the interviews were done in the 1970s and 1980s by Lorraine Brown and John O'Connor as part of the Institute on the Federal Theatre Project and New Deal Culture.\n","Processed by Special Collections and Archives staff. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009. \n","In 2009, staff discovered that a number of the interviews listed in the finding aid were not actually located in the boxes. Those interview names are still included in alphabetical order in the finding aid, but they are unnumbered signifying that no folder exists.\n","Special Collections and Archives also holds the  .\n","This compilation describes oral interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project.\n","\nThe interviews (transcripts and tapes) are arranged in alphabetical order by the subject's last name. The date of the interview is included along with the type of work or position held by the interviewee during the 1930s, with the location when known. The name of the interviewer(s) follows. In some cases a notation is made indicating that an interview is untaped. If the interview was a joint one, this information is noted. The type of media available (abstract, letter, notes, tape, and/or transcript)is then listed along with the number of pages or minutes of each type. Restrictions that may apply to certain interviews is the last information in an entry.\n","\nList of Abbreviations:\n","\nCCC - Civilian Conservation Corps, FAP - Federal Art Project, FERA - Federal Emergency Relief Administration, FMP - Federal Music Project, FTP - Federal Theatre Project, FWP - Federal Writers Project, GSA - General Services Administration, NYA - National Youth Administration, SECT - Section of Painting and Sculpture, WPA - Works Projects Adminstration\n"," Widow of playwright Hughes Allison, whose work was\n                  produced by FTP."," Stage manager and director with the Negro unit,\n                  NYC FTP."," Costume designer with SF FTP."," Actress who auditioned for Negro Unit, NYC\n                  FTP."," Composer and director, SF FMP."," Technician, marionette artist, and actor with the\n                  Classical unit, NYC FTP."," Conductor, FMP's Virginia Symphony Orchestra and\n                  North Carolina-Virginia Symphony."," Dancer and assistant to Charles Weidman, with NYC\n                  Federal Dance Theatre."," Dancer with the Negro unit, NYC FTP. Closed\n                  pending release."," Administrative director of the NYC FTP."," Administrative director of the NYC FTP."," Dancer with Federal Dance Project, NYC."," Worked with the Radio Division of FTP. This is an\n                  untaped interview."," Stage manager with the Manhattan City Projects,\n                  NYC."," Dancer and actor with NYC FTP units."," Set designer for various NYC FTP productions."," Son-in-law of Hallie Flanagan; writer and critic\n                  of modern drama."," Step-daughter of Hallie Flanagan. Closed pending\n                  release."," Artist, muralist. Unidentified interviewer may\n                  have residual rights to interview."," Actor with Children's Theatre and Living Newspaper\n                  units of NYC FTP."," Writer who worked with the National Play Bureau,\n                  NYC FTP. Restricted during interviewee's\n                  lifetime."," Novelist, film writer, journalist, NYC, LA.\n                  Approval of Sylviane Bessie required."," Costume designer with SF FTP."," Administrator with NYC FTP Radio Division; also\n                  worked as publicist with NYC FTP. This is an untaped\n                  interview."," Composer, musician; wrote Swing It for NYC FTP.\n                  Closed pending release."," Playwright whose play, Battle Hymn, written with\n                  Michael Gold, was produced by various FTP units."," Artist, muralist with NYC FAP. Permission for\n                  publication required."," [see Bolton, Philip.]"," Son of Harold (director and choreographer with NYC\n                  FTP) and Rhoda Rammelkamp Bolton (costume designer,\n                  NYC FTP). This is an untaped interview."," [see Bolton, Philip.]"," Costume designer with NYC FTP."," Director of Play Bureau; in charge of exhibits;\n                  head of Play Reading Bureau within the National\n                  Office of FTP."," Actor with LA FTP. This is an untaped\n                  interview."," Director and actor with Chicago FTP."," Director and actress with Chicago FTP."," Actor with LA FTP."," Director of marionette unit of LA FTP."," Artist with FAP. Permission for publication\n                  required."," Playwright whose work was produced by Seattle FTP;\n                  also a writer with Boston FTP."," Actor with Children's unit of NYC FTP."," Sound technician with Living Newspaper unit of NYC\n                  FTP."," Publicist with NYC FTP."," Artist, muralist with FAP. Closed pending\n                  release."," Playwright whose work, Reward, was produced by the\n                  Tampa FTP. Closed during Fernando Mesa's\n                  lifetime."," Director of Lafayette Theatre's Negro unit of NYC\n                  FTP. This is an untaped interview."," Personnel administrator with NYC and Florida FTP\n                  units."," Artist, administrator with Ohio FAP. Permission\n                  with interviewer required for publication."," Actor, stage manager with Portland, OR FTP. Closed\n                  during interviewee's lifetime."," Playwright whose work was produced by Denver\n                  FTP."," Publicist with Federal Dance Theatre, NYC FTP.\n                  Closed pending release."," Writer and theater critic. Closed pending\n                  release."," Director of marionette units, SF and LA FTP;\n                  costume designer."," Director of marionette units, SF and LA FTP;\n                  costume designer."," Choreographer and dancer with Federal Dance\n                  Project, NYC FTP."," Artist with the Illinois and District of Columbia\n                  FAP. Permission of interviewer required for\n                  publication."," See Schnitzer, Marcella Cisney."," With Children's Theatre unit, NYC FTP."," Theatrical director with Experimental and\n                  Children's units, NYC FTP."," Assistant stage manager with Classical unit, NYC\n                  FTP."," Concertmaster, Illinois Symphony Orchestra."," Director of Play Bureau, NYC FTP."," Director of Play Bureau, NYC FTP. Closed until\n                  completion of dissertation."," District supervisor with SF FTP."," Supervisor of Copyists unit of Philadelphia FMP;\n                  conductor of Philadelphia Orchestra."," Director of Negro unit, Boston FTP. Permission to\n                  quote required."," Director of Negro unit, Boston FTP."," Playwright whose works were produced by various\n                  FTP units."," Actor with NYC FTP."," Actor with Classical unit,NYC FTP."," Playwright whose work, Swamp Mud, was produced in\n                  Birmingham, AL."," WPA administrative assistant and secretary,\n                  Washington, D.C. and NY. Closed pending release."," Sculptor with FAP. Permission of interviewer\n                  required for publication."," Administrative assistant to Ellen Woodward, WPA's\n                  head of Woman's and Professional Division,\n                  Washington, D.C. FTP. This is an untaped\n                  interview."," Actress with Roslyn, NY unit of FTP."," Actress, dancer, playwright, and marionette\n                  manipulator with SF FTP."," Actor and director with Radio Division, NYC\n                  FTP."," Worked with various productions of FTP in\n                  California. Permission of interviewer required for\n                  publication."," Actor with the Roslyn, NY FTP unit."," Writer with Radio Division, NYC FTP."," Finance administrator, WPA arts projects,\n                  Washington, D.C."," Actor with Popular Price Theatre, NYC FTP. Closed\n                  pending release."," Music director with the Negro unit, NYC FTP."," Dancer and choreographer with the dance unit, NYC\n                  FTP."," Dancer with the dance unit, NYC FTP."," Play adapter and choreographer with Classical\n                  unit, NYC FTP."," Assistant to Hallie Flanagan at Smith College;\n                  playwright."," Playwright with Chicago FTP. Permission to quote\n                  over 100 words required."," Assistant stage manager with Negro unit, NYC\n                  FTP."," Worked in Herbert Hoover's and Harry Hopkins's\n                  press offices."," Student of Hallie Flanagan; expert in children's\n                  theater."," Director of Vaudeville unit, Los Angeles, FTP.\n                  Closed pending release."," Set designer with the Roslyn, NY unit of the\n                  FTP."," Actress with the Children's Theatre, NYC FTP."," Set designer with the Los Angeles FTP."," Actress with the Los Angeles FTP."," Musical composer and director with various units,\n                  NYC FMP and FTP."," Musical composer and director with various units,\n                  NYC FMP and FTP."," Director of Negro unit and Children's unit,\n                  Chicago, FTP. Closed pending release."," Director of Southwest Experimental unit, Los\n                  Angeles FTP."," Administrative assistant to Hallie Flanagan,\n                  national office, FTP."," Director, Midwest FTP; administrator for Federal\n                  Arts Projects in Chicago and Washington, D.C."," Lighting designer with the Negro and Classical\n                  units, NYC FTP. Closed pending release."," Brother of Hallie Flanagan. This is an untaped\n                  interview."," Administrator with the National Play Bureau;\n                  playwright, play reader, NYC FTP."," Director of Miami unit, FTP."," Actor with SF FTP"," Actress with the Classical unit, NYC FTP"," Actor with Children's Theatre, NYC FTP"," Writer with Radio Division, Illinois Writers'\n                  Project"," Producer and Theatrical Director, NYC FTP"," Wife of Ralph Freud, theatrical director and actor\n                  with LA FTP"," Wife of Ralph Freud, theatrical director and actor\n                  with LA FTP."," Theatrical director and actor with LA and SF\n                  FTP."," Playwright and technical assistant with the\n                  Detroit FTP."," Composer; accompanist with Dance Project, LA\n                  FTP."," Dancer and assistant to Doris Humphrey with the\n                  Dance Project, NYC FTP."," Actor, NYC FTP."," Writer and Publicist with FWP and the Negro unit,\n                  NYC FTP; play reader with FTP Play Bureau. Closed\n                  pending release."," Dancer with the Dance Project, NYC FTP"," Actor and founder of Chicago Repertory Group,\n                  1933."," Administrator, Bureau of research and Publications\n                  of FTP."," Administrator, Bureau of Research and Publications\n                  of FTP."," Actor with the Chicago FTP."," Dancer with the Chicago FTP."," Actress and dancer with the Vaudeville unit, LA\n                  FTP"," Actor with the LA FTP; director with the Seattle\n                  FTP."," State director of the Illinois FMP."," Publicist with NYC FTP; director, Department of\n                  Information, FTP."," Designer, theater historian; critic."," Theatrical director with the Atlanta, Tampa, and\n                  Chicago units of the FTP."," Theatrical director with the Atlanta, Tampa, and\n                  Chicago units of the FTP."," Playwright, some of whose works were produced by\n                  various FTP units."," Musical director with the LA and SF FTP.\n                  Permission to quote more than 100 words required."," Musical director with the LA and SF FTP.Closed\n                  until 1996; or permission of interviewee."," Art director with the Atlanta FTP."," Staff composer and arranger with FTP."," Stage manager and publicity director with the\n                  Living Newspaper unit, NYC FTP."," Writer and researcher with the Living Newspaper\n                  unit, NYC FTP."," Play reader and playwright with the NYC FTP.\n                  Permission required for commercial use."," Play reader and playwright with the NYC FTP. Closed\n                  pending release."," Muralist with the FAP and SECT in NY and Ohio.\n                  Permission of interviewer required for\n                  publication."," Writer, critic, producer, designer with the NY\n                  theaters i the 1930s."," Producer and administrator with the Negro and\n                  Classical units, NYC FTP."," Participated in the Resettlement\n                  Administration."," Son of Edith Isaacs, editor of Theatre Arts\n                  Magazine; friend of FTP. This is an untaped\n                  interview."," Lighting designer with the LA FTP. This is an\n                  untaped interview."," Theatrical director familiar with the LA and NYC\n                  FTP."," Publicist and promotion officer with the NYC\n                  FTP."," Director of information with the NYC FMP."," Actor with the SF FTP."," Songwriter and composer with the NYC FTP."," Choreographer and dancer with the Dance Project,\n                  LA FTP."," Actress with the San Bernardino/Riverside and LA\n                  FTP."," Stagehand with the NYC FTP.Closed pending\n                  release."," Playwright with the NYC FTP."," Administrative director, Chicago and NYC FTP."," Concertmaster of the Grand Rapids, MI FTP\n                  orchestra."," Stage manager, administrator, theatrical director\n                  with the FTP in NYC, Washington, D.C., and Seattle,\n                  WA."," Stage manager, administrator, theatrical director\n                  with the FTP in NYC, Washington, D.C., and Seattle,\n                  WA."," Playwright whose works were produced by the NYC\n                  FTP. Closed pending release."," Actress with the SF and Oakland FTP. This is an\n                  untaped interview."," Dancer with the Dance Project, NYC FTP."," Actress with the Classical unit, NYC FTP."," Administrator with the National Service Bureau of\n                  the FTP."," Director, National Service Bureau of the FTP."," Director of Bureau of Research and Publication,\n                  NYC FTP.Bound with the 1-4-76 transcript."," Director of Bureau of Research and Publication,\n                  NYC FTP.Bound with the 1-3-76 transcript."," Actress with the Negro unit, NYC FTP. Closed\n                  during interviewee's lifetime."," Puppeteer with the Marionette Project, NYC\n                  FTP.Closed during lifetime."," Publicist with NYC and Chicago FTP. Interview not\n                  to be used for gain or profit without the consent of\n                  the interviewee."," Actor with the several units of the NYC FTP."," Lyricist whose work was featured in the NYC FTP\n                  production of Sing For Your Supper."," Administrator with the New Orleans and Atlanta\n                  FTP.Permission for use required during Mr. Lentz's\n                  lifetime."," Actor with NYC FTP."," Set designer with NYC FTP."," Playwright whose Model Tenements was produced by\n                  the Chicago FTP."," Dancer with the Dance Project, LA FTP."," Teacher and conductor with NYC FMP. Closed during\n                  interviewee's lifetime."," Interviewee's husband, Gerhardt Lindemulder, was a\n                  director with the FTP in Louisiana and Florida."," Vaudeville performer with the FTP."," Dancer with the Children's unit and Dance Project,\n                  NYC FTP.Tape restricted."," Puppet artist with the Marionette unit, NYC\n                  FTP."," Actor with the Living Newspaper unit, NYC FTP."," Costume designer with FTP units in Seattle and\n                  Tacoma, WA.Closed during Mr. Williams's lifetime."," Conductor with the Vermont FMP."," Father of Sidney Lumet, child actor with the\n                  Yiddish unit, NYC FTP."," Administrative director with the Florida FTP."," Actor with the Chicago FTP.Closed during\n                  interviewee's lifetime."," Actor with the Jacksonville and Miami FTP.Closed\n                  during interviewee's lifetime."," Marionette artist with the SF FTP.Quotations must\n                  be accurate."," Playwright whose work was produced by NYC FTP."," Actress with the Classical unit, NYC FTP."," Actor with the Chicago FTP."," Actor with the Atlanta FTP."," Playwright and researcher with the National Play\n                  Bureau of the FTP.Closed during interviewee's\n                  lifetime."," Publicist with the NYC FTP."," Actress and researcher with the LA FTP; researcher\n                  with the Seattle FTP."," Actress and researcher with the LA FTP; researcher\n                  with the Seattle FTP."," Costume designer with the NYC FTP."," Stage manager with the Tampa FTP.Closed during\n                  interviewee's lifetime."," Administrator with the Research Bureau, NYC\n                  FTP.This is an untaped interview."," Staff member with the Educational Division, NYC\n                  FTP."," Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP."," Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP."," Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP."," Member of the Seattle Negro Repertory Theatre in\n                  the 1930s.Closed to any government agency."," Set designer with the NYC FTP."," Worked with the NYC FTP. This is an untaped\n                  interview."," Director with the FTP in the South; later with the\n                  Detroit FTP."," Theatrical director with the Negro unit, NYC\n                  FTP."," Actor, director, writer with the Southwest\n                  Experimental unit of the LA FTP."," Director with the Negro unit, LA FTP."," Dancer with the NYC FTP."," Writer and playwright who submitted work to the\n                  Negro unit, NYC FTP.This is an untaped interview."," Director with the Indiana FTP."," Actor with the Seattle FTP."," Dancer and choreographer with the Chicago FTP."," Dancer with the NYC FTP."," Actor with the Chicago FTP."," Writer with the Southwest Experimental unit of the\n                  LA FTP."," Actress and student of Hallie Flanagan at Vassar\n                  College.This is an untaped interview."," Actor; director with Suitcase Theatre; assistant\n                  director with the Classical unit, NYC FTP."," Director of casting with the Talent Bureau, NYC\n                  FTP.Closed pending release."," Dancer with the NYC FTP."," Director of the Vaudeville productions, LA\n                  FTP."," Actor in Yiddish theater and New York University\n                  repertory groups during the FTP era."," Conductor with the Michigan WPA Symphony\n                  Orchestra."," Actor with the LA and Portland (OR) FTP units.This\n                  is an untaped interview."," With the WPA program in Connecticut; also with the\n                  CCC; founded the Plymouth Playhouse; worked briefly\n                  on the set of Faustus."," Actor with the Children's unit, NYC FTP."," Researcher of the Chinese theater, Research\n                  Department, SF FTP."," Choreographer with the Yiddish unit, NYC\n                  FTP.Closed during interviewee's lifetime."," Radio script writer, Radio Division, NYC FTP.This\n                  is an untaped interview."," Artist, muralist with the FAP in NY, NJ, and\n                  CA.Permission of interviewer required for\n                  publication."," Actress and director with the marionette unit of\n                  the Miami FTP."," Playwright in New York and San Francisco; write\n                  with the FWP."," Administrator and legal counsel for the National\n                  Service Bureau, FTP."," Administrator and legal counsel for the National\n                  Service Bureau, FTP."," Hallie Flanagan's assistant who collected\n                  Flanagan's papers which were donated to the Theatre\n                  Collection, New York Public Library."," Actor with the Cleveland (OH) FTP."," Composer for various productions, NYC FTP."," Writer and director with the Radio Division, NYC\n                  FTP."," Actress with the NYC FTP."," Lyricist who wrote the words for \"Papa's Got a\n                  Job\" for Sing For Your Supper under the pseudonym of\n                  Hector Troy.This is an untaped interview."," Playwright, play reader with the Playwriting\n                  Bureau, NYC FTP.Prior consent required for\n                  publication."," Muralist with the Massachusetts and New York\n                  FAP.Permission of interviewer required for\n                  publication."," Administrator, Playwriting Bureau, FTP.Permission\n                  of interviewee required; copyright conditions."," Playwright in NYC whose works were produced by\n                  FTP.This is an untaped interview."," Actor with the Negro unit, NYC FTP. This is an\n                  untaped interview."," Playwright and director with the Seattle\n                  FTP.Closed during Guy Williams's lifetime."," Director with the Experimental unit, NYC\n                  FTP.Closed pending release."," Administrative assistant with the Negro and\n                  Classical units, NYC FTP."," Actress with the Radio Division, NYC FTP."," Administrator, Delaware FTP; with FTP national\n                  office, Washington, DC; with the San Francisco\n                  World's Fair, 1939."," Administrator, Delaware FTP; with FTP national\n                  office, Washington, DC; with the San Francisco\n                  World's Fair, 1939."," Administrative assistant to Philip Barber, NYC\n                  FTP. Closed during interviewee's lifetime."," Assistant stage manager with the Living Newspaper\n                  unit, NYC FTP."," Administrative assistant to Jasper Deeter, first\n                  director of the Pennsylvania/New Jersey FTP."," Audience member, NYC FTP productions."," Composer, NYC FMP."," Director of the Anglo-Jewish unit, NYC FTP."," Worked with Children's and Vaudeville units, Miami\n                  and Tampa FTP. Closed during Fernando Mesa's\n                  lifetime."," Puppeteer with the Marionette unit, NYC FTP."," Actor with the Classical unit, NYC FTP."," Writer and playwright in NYC at the time of the\n                  FTP. This is an untaped interview."," Actress, NYC FTP."," Actress, NYC FTP."," Publicist, NYC FTP."," Actor with the Chicago, Peoria, and Miami FTP;\n                  worked with sets and costumes in Chicago."," Actor with the Children's and Negro units, NYC\n                  FTP. Closed pending release."," Concertmaster with the FMP Illinois Symphony."," Composer with the NYC FTP; wrote the score for\n                  FTP's Created Equal."," Publicist with the Negro unit, NYC FTP."," Administrative director, NJ FTP; director of\n                  repertory unit, Roslyn, NY FTP. Written permission of\n                  interviewee required for publication."," Playwright in NYC whose work was produced by the\n                  FTP. Permission to quote required by interviewee."," Director, Denver FTP."," Worked with Composers's Forum and Copying Project\n                  of the FMP."," Choreographer, NYC FTP. This is an untaped\n                  interview."," Artist, NY FAP. Permission of interviewer required\n                  for publication."," Songwriter whose works were performed by NYC\n                  FTP."," Administrator with Iowa FTP; assistant to E.C.\n                  Mabie, regional director for the Midwest FTP."," Actor with the Seattle FTP."," Playwright whose work was produced by the FTP."," Composer and arranger with the Vaudeville unit, LA\n                  FTP."," Set designer, LA FTP."," Actor with the Anglo-Jewish unit, NYC FTP. Closed\n                  pending release."," Actor with the New Hampshire FTP. Closed pending\n                  release."," Puppeteer in NYC familiar with the Marionette and\n                  Children's units, NYC FTP."," Playwright in Chicago whose work was produced by\n                  the FTP."," Administrator, director, actor, and playwright\n                  involved with the Seattle and Tacoma FTP, and the Des\n                  Moines FTP."," Stage Manager with the Mercury Theatre, New\n                  York."," Theatrical director with the Classical unit, NYC\n                  FTP. Closed pending release."," Musical director with the Negro and Classical\n                  units, NYC FTP."," Musical director with the Negro and Classical\n                  units. NYC FTP."," Worked with the National Youth Administration and\n                  the WPA in Iowa. Closed pending release."," Administrator, National Play Bureau, NYC FTP."," Worked with the Resettlement Administration."," Actor with the Roslyn, NY FTP."," Dancer with Tamiris's group, Dance Project, NYC\n                  FTP."," Playwright based in Chicago whose works were\n                  produced by the FTP. Permission to quote over 100\n                  words required."," Playwright based in Chicago whose works were\n                  produced by the FTP."," Actress with the Vaudeville unit, LA FTP."," Stage manager, actor, and lighting technician with\n                  the LA FTP."," Stage manager, actor, and lighting technician, LA\n                  FTP."," Administrator, Atlanta FTP."," Lawyer who represented Orson Welles and John\n                  Houseman."," Director with the NYC FTP."," Muralist with the Illinois FAP. Permission needed\n                  to quote over 100 words."," Lighting director and technician with the Chicago\n                  FTP."," Administrator with the Marionette unit of the NYC\n                  FTP."," Puppeteer and lighting designer with the\n                  Marionette unit, NYC FTP."," Theatrical director with the Seattle FTP. Closed\n                  during Mr. Williams's lifetime."," Theatrical director with the Seattle FTP. Closed\n                  during Mr. Williams's lifetime."," Stage manager with the Children's theater, NYC\n                  FTP."," Artist with the Illinois and New York FAP."," Research with the San Francisco Theatre History\n                  project; actor in several SF FTP productions."," Worked with the GSA; recovered many FAP works and\n                  murals.","There are no restrictions.\n"," This compilation describes oral interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project.\n","George Mason University.  Special Collections and Archives.\n","George Mason University. Institute on the Federal Theatre Project and New Deal Culture\n","Federal Art Project.","Federal Music Project (U.S.)","Federal Theatre Project (U.S.)","United States. Works Progress Administration.","English\n"],"unitid_tesim":["C0153\n"],"normalized_title_ssm":["Works Progress Administration oral histories collection"],"collection_title_tesim":["Works Progress Administration oral histories collection"],"collection_ssim":["Works Progress Administration oral histories collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture\n"],"creator_ssim":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture\n"],"creator_corpname_ssim":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture\n"],"creators_ssim":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture\n"],"acqinfo_ssim":["Donated by the Institute on the Federal Theatre Project and New Deal Culture.\n"],"access_subjects_ssim":["Acting.","Dance--United States.","New Deal, 1933-1939.","Theater--United States."],"access_subjects_ssm":["Acting.","Dance--United States.","New Deal, 1933-1939.","Theater--United States."],"has_online_content_ssim":["false"],"extent_ssm":["7 linear feet (11 boxes)"],"extent_tesim":["7 linear feet (11 boxes)"],"date_range_isim":[1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\n\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions\n"],"accessrestrict_tesim":["Collection is open to research.\n"],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged alphabetically by last name of interviewee.\n\u003c/p\u003e","\u003cp\u003e Artist, NY. Permission to quote over 100 words\n                  required.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement\n"],"arrangement_tesim":["This collection is arranged alphabetically by last name of interviewee.\n"," Artist, NY. Permission to quote over 100 words\n                  required."],"bioghist_html_tesm":["\u003cp\u003eThe interviews in the WPA Oral Histories Collection were conducted from between 1961 and 1984. The majority of the interviews were done in the 1970s and 1980s by Lorraine Brown and John O'Connor as part of the Institute on the Federal Theatre Project and New Deal Culture.\n\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information\n"],"bioghist_tesim":["The interviews in the WPA Oral Histories Collection were conducted from between 1961 and 1984. The majority of the interviews were done in the 1970s and 1980s by Lorraine Brown and John O'Connor as part of the Institute on the Federal Theatre Project and New Deal Culture.\n"],"prefercite_html_tesm":["\u003cp\u003eWorks Progress Administration oral histories collection, Collection #C0153, Special Collections and Archives, George Mason University.\n\u003c/p\u003e"],"prefercite_tesim":["Works Progress Administration oral histories collection, Collection #C0153, Special Collections and Archives, George Mason University.\n"],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives staff. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009. \n\u003c/p\u003e","\u003cp\u003eIn 2009, staff discovered that a number of the interviews listed in the finding aid were not actually located in the boxes. Those interview names are still included in alphabetical order in the finding aid, but they are unnumbered signifying that no folder exists.\n\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information\n"],"processinfo_tesim":["Processed by Special Collections and Archives staff. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009. \n","In 2009, staff discovered that a number of the interviews listed in the finding aid were not actually located in the boxes. Those interview names are still included in alphabetical order in the finding aid, but they are unnumbered signifying that no folder exists.\n"],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds the \u003cextptr type=\"simple\" title=\"Federal Theatre Project collection\" show=\"new\" href=\"http://sca.gmu.edu/theater_collections.htm\"\u003e\u003c/extptr\u003e.\n\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material\n"],"relatedmaterial_tesim":["Special Collections and Archives also holds the  .\n"],"scopecontent_html_tesm":["\u003cp\u003eThis compilation describes oral interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project.\n\u003c/p\u003e","\u003cp\u003e\nThe interviews (transcripts and tapes) are arranged in alphabetical order by the subject's last name. The date of the interview is included along with the type of work or position held by the interviewee during the 1930s, with the location when known. The name of the interviewer(s) follows. In some cases a notation is made indicating that an interview is untaped. If the interview was a joint one, this information is noted. The type of media available (abstract, letter, notes, tape, and/or transcript)is then listed along with the number of pages or minutes of each type. Restrictions that may apply to certain interviews is the last information in an entry.\n\u003c/p\u003e","\u003cp\u003e\nList of Abbreviations:\n\u003c/p\u003e","\u003cp\u003e\nCCC - Civilian Conservation Corps, FAP - Federal Art Project, FERA - Federal Emergency Relief Administration, FMP - Federal Music Project, FTP - Federal Theatre Project, FWP - Federal Writers Project, GSA - General Services Administration, NYA - National Youth Administration, SECT - Section of Painting and Sculpture, WPA - Works Projects Adminstration\n\u003c/p\u003e","\u003cp\u003e Widow of playwright Hughes Allison, whose work was\n                  produced by FTP.\u003c/p\u003e","\u003cp\u003e Stage manager and director with the Negro unit,\n                  NYC FTP.\u003c/p\u003e","\u003cp\u003e Costume designer with SF FTP.\u003c/p\u003e","\u003cp\u003e Actress who auditioned for Negro Unit, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Composer and director, SF FMP.\u003c/p\u003e","\u003cp\u003e Technician, marionette artist, and actor with the\n                  Classical unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Conductor, FMP's Virginia Symphony Orchestra and\n                  North Carolina-Virginia Symphony.\u003c/p\u003e","\u003cp\u003e Dancer and assistant to Charles Weidman, with NYC\n                  Federal Dance Theatre.\u003c/p\u003e","\u003cp\u003e Dancer with the Negro unit, NYC FTP. Closed\n                  pending release.\u003c/p\u003e","\u003cp\u003e Administrative director of the NYC FTP.\u003c/p\u003e","\u003cp\u003e Administrative director of the NYC FTP.\u003c/p\u003e","\u003cp\u003e Dancer with Federal Dance Project, NYC.\u003c/p\u003e","\u003cp\u003e Worked with the Radio Division of FTP. This is an\n                  untaped interview.\u003c/p\u003e","\u003cp\u003e Stage manager with the Manhattan City Projects,\n                  NYC.\u003c/p\u003e","\u003cp\u003e Dancer and actor with NYC FTP units.\u003c/p\u003e","\u003cp\u003e Set designer for various NYC FTP productions.\u003c/p\u003e","\u003cp\u003e Son-in-law of Hallie Flanagan; writer and critic\n                  of modern drama.\u003c/p\u003e","\u003cp\u003e Step-daughter of Hallie Flanagan. Closed pending\n                  release.\u003c/p\u003e","\u003cp\u003e Artist, muralist. Unidentified interviewer may\n                  have residual rights to interview.\u003c/p\u003e","\u003cp\u003e Actor with Children's Theatre and Living Newspaper\n                  units of NYC FTP.\u003c/p\u003e","\u003cp\u003e Writer who worked with the National Play Bureau,\n                  NYC FTP. Restricted during interviewee's\n                  lifetime.\u003c/p\u003e","\u003cp\u003e Novelist, film writer, journalist, NYC, LA.\n                  Approval of Sylviane Bessie required.\u003c/p\u003e","\u003cp\u003e Costume designer with SF FTP.\u003c/p\u003e","\u003cp\u003e Administrator with NYC FTP Radio Division; also\n                  worked as publicist with NYC FTP. This is an untaped\n                  interview.\u003c/p\u003e","\u003cp\u003e Composer, musician; wrote Swing It for NYC FTP.\n                  Closed pending release.\u003c/p\u003e","\u003cp\u003e Playwright whose play, Battle Hymn, written with\n                  Michael Gold, was produced by various FTP units.\u003c/p\u003e","\u003cp\u003e Artist, muralist with NYC FAP. Permission for\n                  publication required.\u003c/p\u003e","\u003cp\u003e [see Bolton, Philip.]\u003c/p\u003e","\u003cp\u003e Son of Harold (director and choreographer with NYC\n                  FTP) and Rhoda Rammelkamp Bolton (costume designer,\n                  NYC FTP). This is an untaped interview.\u003c/p\u003e","\u003cp\u003e [see Bolton, Philip.]\u003c/p\u003e","\u003cp\u003e Costume designer with NYC FTP.\u003c/p\u003e","\u003cp\u003e Director of Play Bureau; in charge of exhibits;\n                  head of Play Reading Bureau within the National\n                  Office of FTP.\u003c/p\u003e","\u003cp\u003e Actor with LA FTP. This is an untaped\n                  interview.\u003c/p\u003e","\u003cp\u003e Director and actor with Chicago FTP.\u003c/p\u003e","\u003cp\u003e Director and actress with Chicago FTP.\u003c/p\u003e","\u003cp\u003e Actor with LA FTP.\u003c/p\u003e","\u003cp\u003e Director of marionette unit of LA FTP.\u003c/p\u003e","\u003cp\u003e Artist with FAP. Permission for publication\n                  required.\u003c/p\u003e","\u003cp\u003e Playwright whose work was produced by Seattle FTP;\n                  also a writer with Boston FTP.\u003c/p\u003e","\u003cp\u003e Actor with Children's unit of NYC FTP.\u003c/p\u003e","\u003cp\u003e Sound technician with Living Newspaper unit of NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Publicist with NYC FTP.\u003c/p\u003e","\u003cp\u003e Artist, muralist with FAP. Closed pending\n                  release.\u003c/p\u003e","\u003cp\u003e Playwright whose work, Reward, was produced by the\n                  Tampa FTP. Closed during Fernando Mesa's\n                  lifetime.\u003c/p\u003e","\u003cp\u003e Director of Lafayette Theatre's Negro unit of NYC\n                  FTP. This is an untaped interview.\u003c/p\u003e","\u003cp\u003e Personnel administrator with NYC and Florida FTP\n                  units.\u003c/p\u003e","\u003cp\u003e Artist, administrator with Ohio FAP. Permission\n                  with interviewer required for publication.\u003c/p\u003e","\u003cp\u003e Actor, stage manager with Portland, OR FTP. Closed\n                  during interviewee's lifetime.\u003c/p\u003e","\u003cp\u003e Playwright whose work was produced by Denver\n                  FTP.\u003c/p\u003e","\u003cp\u003e Publicist with Federal Dance Theatre, NYC FTP.\n                  Closed pending release.\u003c/p\u003e","\u003cp\u003e Writer and theater critic. Closed pending\n                  release.\u003c/p\u003e","\u003cp\u003e Director of marionette units, SF and LA FTP;\n                  costume designer.\u003c/p\u003e","\u003cp\u003e Director of marionette units, SF and LA FTP;\n                  costume designer.\u003c/p\u003e","\u003cp\u003e Choreographer and dancer with Federal Dance\n                  Project, NYC FTP.\u003c/p\u003e","\u003cp\u003e Artist with the Illinois and District of Columbia\n                  FAP. Permission of interviewer required for\n                  publication.\u003c/p\u003e","\u003cp\u003e See Schnitzer, Marcella Cisney.\u003c/p\u003e","\u003cp\u003e With Children's Theatre unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Theatrical director with Experimental and\n                  Children's units, NYC FTP.\u003c/p\u003e","\u003cp\u003e Assistant stage manager with Classical unit, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Concertmaster, Illinois Symphony Orchestra.\u003c/p\u003e","\u003cp\u003e Director of Play Bureau, NYC FTP.\u003c/p\u003e","\u003cp\u003e Director of Play Bureau, NYC FTP. Closed until\n                  completion of dissertation.\u003c/p\u003e","\u003cp\u003e District supervisor with SF FTP.\u003c/p\u003e","\u003cp\u003e Supervisor of Copyists unit of Philadelphia FMP;\n                  conductor of Philadelphia Orchestra.\u003c/p\u003e","\u003cp\u003e Director of Negro unit, Boston FTP. Permission to\n                  quote required.\u003c/p\u003e","\u003cp\u003e Director of Negro unit, Boston FTP.\u003c/p\u003e","\u003cp\u003e Playwright whose works were produced by various\n                  FTP units.\u003c/p\u003e","\u003cp\u003e Actor with NYC FTP.\u003c/p\u003e","\u003cp\u003e Actor with Classical unit,NYC FTP.\u003c/p\u003e","\u003cp\u003e Playwright whose work, Swamp Mud, was produced in\n                  Birmingham, AL.\u003c/p\u003e","\u003cp\u003e WPA administrative assistant and secretary,\n                  Washington, D.C. and NY. Closed pending release.\u003c/p\u003e","\u003cp\u003e Sculptor with FAP. Permission of interviewer\n                  required for publication.\u003c/p\u003e","\u003cp\u003e Administrative assistant to Ellen Woodward, WPA's\n                  head of Woman's and Professional Division,\n                  Washington, D.C. FTP. This is an untaped\n                  interview.\u003c/p\u003e","\u003cp\u003e Actress with Roslyn, NY unit of FTP.\u003c/p\u003e","\u003cp\u003e Actress, dancer, playwright, and marionette\n                  manipulator with SF FTP.\u003c/p\u003e","\u003cp\u003e Actor and director with Radio Division, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Worked with various productions of FTP in\n                  California. Permission of interviewer required for\n                  publication.\u003c/p\u003e","\u003cp\u003e Actor with the Roslyn, NY FTP unit.\u003c/p\u003e","\u003cp\u003e Writer with Radio Division, NYC FTP.\u003c/p\u003e","\u003cp\u003e Finance administrator, WPA arts projects,\n                  Washington, D.C.\u003c/p\u003e","\u003cp\u003e Actor with Popular Price Theatre, NYC FTP. Closed\n                  pending release.\u003c/p\u003e","\u003cp\u003e Music director with the Negro unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Dancer and choreographer with the dance unit, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Dancer with the dance unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Play adapter and choreographer with Classical\n                  unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Assistant to Hallie Flanagan at Smith College;\n                  playwright.\u003c/p\u003e","\u003cp\u003e Playwright with Chicago FTP. Permission to quote\n                  over 100 words required.\u003c/p\u003e","\u003cp\u003e Assistant stage manager with Negro unit, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Worked in Herbert Hoover's and Harry Hopkins's\n                  press offices.\u003c/p\u003e","\u003cp\u003e Student of Hallie Flanagan; expert in children's\n                  theater.\u003c/p\u003e","\u003cp\u003e Director of Vaudeville unit, Los Angeles, FTP.\n                  Closed pending release.\u003c/p\u003e","\u003cp\u003e Set designer with the Roslyn, NY unit of the\n                  FTP.\u003c/p\u003e","\u003cp\u003e Actress with the Children's Theatre, NYC FTP.\u003c/p\u003e","\u003cp\u003e Set designer with the Los Angeles FTP.\u003c/p\u003e","\u003cp\u003e Actress with the Los Angeles FTP.\u003c/p\u003e","\u003cp\u003e Musical composer and director with various units,\n                  NYC FMP and FTP.\u003c/p\u003e","\u003cp\u003e Musical composer and director with various units,\n                  NYC FMP and FTP.\u003c/p\u003e","\u003cp\u003e Director of Negro unit and Children's unit,\n                  Chicago, FTP. Closed pending release.\u003c/p\u003e","\u003cp\u003e Director of Southwest Experimental unit, Los\n                  Angeles FTP.\u003c/p\u003e","\u003cp\u003e Administrative assistant to Hallie Flanagan,\n                  national office, FTP.\u003c/p\u003e","\u003cp\u003e Director, Midwest FTP; administrator for Federal\n                  Arts Projects in Chicago and Washington, D.C.\u003c/p\u003e","\u003cp\u003e Lighting designer with the Negro and Classical\n                  units, NYC FTP. Closed pending release.\u003c/p\u003e","\u003cp\u003e Brother of Hallie Flanagan. This is an untaped\n                  interview.\u003c/p\u003e","\u003cp\u003e Administrator with the National Play Bureau;\n                  playwright, play reader, NYC FTP.\u003c/p\u003e","\u003cp\u003e Director of Miami unit, FTP.\u003c/p\u003e","\u003cp\u003e Actor with SF FTP\u003c/p\u003e","\u003cp\u003e Actress with the Classical unit, NYC FTP\u003c/p\u003e","\u003cp\u003e Actor with Children's Theatre, NYC FTP\u003c/p\u003e","\u003cp\u003e Writer with Radio Division, Illinois Writers'\n                  Project\u003c/p\u003e","\u003cp\u003e Producer and Theatrical Director, NYC FTP\u003c/p\u003e","\u003cp\u003e Wife of Ralph Freud, theatrical director and actor\n                  with LA FTP\u003c/p\u003e","\u003cp\u003e Wife of Ralph Freud, theatrical director and actor\n                  with LA FTP.\u003c/p\u003e","\u003cp\u003e Theatrical director and actor with LA and SF\n                  FTP.\u003c/p\u003e","\u003cp\u003e Playwright and technical assistant with the\n                  Detroit FTP.\u003c/p\u003e","\u003cp\u003e Composer; accompanist with Dance Project, LA\n                  FTP.\u003c/p\u003e","\u003cp\u003e Dancer and assistant to Doris Humphrey with the\n                  Dance Project, NYC FTP.\u003c/p\u003e","\u003cp\u003e Actor, NYC FTP.\u003c/p\u003e","\u003cp\u003e Writer and Publicist with FWP and the Negro unit,\n                  NYC FTP; play reader with FTP Play Bureau. Closed\n                  pending release.\u003c/p\u003e","\u003cp\u003e Dancer with the Dance Project, NYC FTP\u003c/p\u003e","\u003cp\u003e Actor and founder of Chicago Repertory Group,\n                  1933.\u003c/p\u003e","\u003cp\u003e Administrator, Bureau of research and Publications\n                  of FTP.\u003c/p\u003e","\u003cp\u003e Administrator, Bureau of Research and Publications\n                  of FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Chicago FTP.\u003c/p\u003e","\u003cp\u003e Dancer with the Chicago FTP.\u003c/p\u003e","\u003cp\u003e Actress and dancer with the Vaudeville unit, LA\n                  FTP\u003c/p\u003e","\u003cp\u003e Actor with the LA FTP; director with the Seattle\n                  FTP.\u003c/p\u003e","\u003cp\u003e State director of the Illinois FMP.\u003c/p\u003e","\u003cp\u003e Publicist with NYC FTP; director, Department of\n                  Information, FTP.\u003c/p\u003e","\u003cp\u003e Designer, theater historian; critic.\u003c/p\u003e","\u003cp\u003e Theatrical director with the Atlanta, Tampa, and\n                  Chicago units of the FTP.\u003c/p\u003e","\u003cp\u003e Theatrical director with the Atlanta, Tampa, and\n                  Chicago units of the FTP.\u003c/p\u003e","\u003cp\u003e Playwright, some of whose works were produced by\n                  various FTP units.\u003c/p\u003e","\u003cp\u003e Musical director with the LA and SF FTP.\n                  Permission to quote more than 100 words required.\u003c/p\u003e","\u003cp\u003e Musical director with the LA and SF FTP.Closed\n                  until 1996; or permission of interviewee.\u003c/p\u003e","\u003cp\u003e Art director with the Atlanta FTP.\u003c/p\u003e","\u003cp\u003e Staff composer and arranger with FTP.\u003c/p\u003e","\u003cp\u003e Stage manager and publicity director with the\n                  Living Newspaper unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Writer and researcher with the Living Newspaper\n                  unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Play reader and playwright with the NYC FTP.\n                  Permission required for commercial use.\u003c/p\u003e","\u003cp\u003e Play reader and playwright with the NYC FTP. Closed\n                  pending release.\u003c/p\u003e","\u003cp\u003e Muralist with the FAP and SECT in NY and Ohio.\n                  Permission of interviewer required for\n                  publication.\u003c/p\u003e","\u003cp\u003e Writer, critic, producer, designer with the NY\n                  theaters i the 1930s.\u003c/p\u003e","\u003cp\u003e Producer and administrator with the Negro and\n                  Classical units, NYC FTP.\u003c/p\u003e","\u003cp\u003e Participated in the Resettlement\n                  Administration.\u003c/p\u003e","\u003cp\u003e Son of Edith Isaacs, editor of Theatre Arts\n                  Magazine; friend of FTP. This is an untaped\n                  interview.\u003c/p\u003e","\u003cp\u003e Lighting designer with the LA FTP. This is an\n                  untaped interview.\u003c/p\u003e","\u003cp\u003e Theatrical director familiar with the LA and NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Publicist and promotion officer with the NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Director of information with the NYC FMP.\u003c/p\u003e","\u003cp\u003e Actor with the SF FTP.\u003c/p\u003e","\u003cp\u003e Songwriter and composer with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Choreographer and dancer with the Dance Project,\n                  LA FTP.\u003c/p\u003e","\u003cp\u003e Actress with the San Bernardino/Riverside and LA\n                  FTP.\u003c/p\u003e","\u003cp\u003e Stagehand with the NYC FTP.Closed pending\n                  release.\u003c/p\u003e","\u003cp\u003e Playwright with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Administrative director, Chicago and NYC FTP.\u003c/p\u003e","\u003cp\u003e Concertmaster of the Grand Rapids, MI FTP\n                  orchestra.\u003c/p\u003e","\u003cp\u003e Stage manager, administrator, theatrical director\n                  with the FTP in NYC, Washington, D.C., and Seattle,\n                  WA.\u003c/p\u003e","\u003cp\u003e Stage manager, administrator, theatrical director\n                  with the FTP in NYC, Washington, D.C., and Seattle,\n                  WA.\u003c/p\u003e","\u003cp\u003e Playwright whose works were produced by the NYC\n                  FTP. Closed pending release.\u003c/p\u003e","\u003cp\u003e Actress with the SF and Oakland FTP. This is an\n                  untaped interview.\u003c/p\u003e","\u003cp\u003e Dancer with the Dance Project, NYC FTP.\u003c/p\u003e","\u003cp\u003e Actress with the Classical unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Administrator with the National Service Bureau of\n                  the FTP.\u003c/p\u003e","\u003cp\u003e Director, National Service Bureau of the FTP.\u003c/p\u003e","\u003cp\u003e Director of Bureau of Research and Publication,\n                  NYC FTP.Bound with the 1-4-76 transcript.\u003c/p\u003e","\u003cp\u003e Director of Bureau of Research and Publication,\n                  NYC FTP.Bound with the 1-3-76 transcript.\u003c/p\u003e","\u003cp\u003e Actress with the Negro unit, NYC FTP. Closed\n                  during interviewee's lifetime.\u003c/p\u003e","\u003cp\u003e Puppeteer with the Marionette Project, NYC\n                  FTP.Closed during lifetime.\u003c/p\u003e","\u003cp\u003e Publicist with NYC and Chicago FTP. Interview not\n                  to be used for gain or profit without the consent of\n                  the interviewee.\u003c/p\u003e","\u003cp\u003e Actor with the several units of the NYC FTP.\u003c/p\u003e","\u003cp\u003e Lyricist whose work was featured in the NYC FTP\n                  production of Sing For Your Supper.\u003c/p\u003e","\u003cp\u003e Administrator with the New Orleans and Atlanta\n                  FTP.Permission for use required during Mr. Lentz's\n                  lifetime.\u003c/p\u003e","\u003cp\u003e Actor with NYC FTP.\u003c/p\u003e","\u003cp\u003e Set designer with NYC FTP.\u003c/p\u003e","\u003cp\u003e Playwright whose Model Tenements was produced by\n                  the Chicago FTP.\u003c/p\u003e","\u003cp\u003e Dancer with the Dance Project, LA FTP.\u003c/p\u003e","\u003cp\u003e Teacher and conductor with NYC FMP. Closed during\n                  interviewee's lifetime.\u003c/p\u003e","\u003cp\u003e Interviewee's husband, Gerhardt Lindemulder, was a\n                  director with the FTP in Louisiana and Florida.\u003c/p\u003e","\u003cp\u003e Vaudeville performer with the FTP.\u003c/p\u003e","\u003cp\u003e Dancer with the Children's unit and Dance Project,\n                  NYC FTP.Tape restricted.\u003c/p\u003e","\u003cp\u003e Puppet artist with the Marionette unit, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Living Newspaper unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Costume designer with FTP units in Seattle and\n                  Tacoma, WA.Closed during Mr. Williams's lifetime.\u003c/p\u003e","\u003cp\u003e Conductor with the Vermont FMP.\u003c/p\u003e","\u003cp\u003e Father of Sidney Lumet, child actor with the\n                  Yiddish unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Administrative director with the Florida FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Chicago FTP.Closed during\n                  interviewee's lifetime.\u003c/p\u003e","\u003cp\u003e Actor with the Jacksonville and Miami FTP.Closed\n                  during interviewee's lifetime.\u003c/p\u003e","\u003cp\u003e Marionette artist with the SF FTP.Quotations must\n                  be accurate.\u003c/p\u003e","\u003cp\u003e Playwright whose work was produced by NYC FTP.\u003c/p\u003e","\u003cp\u003e Actress with the Classical unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Chicago FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Atlanta FTP.\u003c/p\u003e","\u003cp\u003e Playwright and researcher with the National Play\n                  Bureau of the FTP.Closed during interviewee's\n                  lifetime.\u003c/p\u003e","\u003cp\u003e Publicist with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Actress and researcher with the LA FTP; researcher\n                  with the Seattle FTP.\u003c/p\u003e","\u003cp\u003e Actress and researcher with the LA FTP; researcher\n                  with the Seattle FTP.\u003c/p\u003e","\u003cp\u003e Costume designer with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Stage manager with the Tampa FTP.Closed during\n                  interviewee's lifetime.\u003c/p\u003e","\u003cp\u003e Administrator with the Research Bureau, NYC\n                  FTP.This is an untaped interview.\u003c/p\u003e","\u003cp\u003e Staff member with the Educational Division, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP.\u003c/p\u003e","\u003cp\u003e Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP.\u003c/p\u003e","\u003cp\u003e Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP.\u003c/p\u003e","\u003cp\u003e Member of the Seattle Negro Repertory Theatre in\n                  the 1930s.Closed to any government agency.\u003c/p\u003e","\u003cp\u003e Set designer with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Worked with the NYC FTP. This is an untaped\n                  interview.\u003c/p\u003e","\u003cp\u003e Director with the FTP in the South; later with the\n                  Detroit FTP.\u003c/p\u003e","\u003cp\u003e Theatrical director with the Negro unit, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Actor, director, writer with the Southwest\n                  Experimental unit of the LA FTP.\u003c/p\u003e","\u003cp\u003e Director with the Negro unit, LA FTP.\u003c/p\u003e","\u003cp\u003e Dancer with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Writer and playwright who submitted work to the\n                  Negro unit, NYC FTP.This is an untaped interview.\u003c/p\u003e","\u003cp\u003e Director with the Indiana FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Seattle FTP.\u003c/p\u003e","\u003cp\u003e Dancer and choreographer with the Chicago FTP.\u003c/p\u003e","\u003cp\u003e Dancer with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Chicago FTP.\u003c/p\u003e","\u003cp\u003e Writer with the Southwest Experimental unit of the\n                  LA FTP.\u003c/p\u003e","\u003cp\u003e Actress and student of Hallie Flanagan at Vassar\n                  College.This is an untaped interview.\u003c/p\u003e","\u003cp\u003e Actor; director with Suitcase Theatre; assistant\n                  director with the Classical unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Director of casting with the Talent Bureau, NYC\n                  FTP.Closed pending release.\u003c/p\u003e","\u003cp\u003e Dancer with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Director of the Vaudeville productions, LA\n                  FTP.\u003c/p\u003e","\u003cp\u003e Actor in Yiddish theater and New York University\n                  repertory groups during the FTP era.\u003c/p\u003e","\u003cp\u003e Conductor with the Michigan WPA Symphony\n                  Orchestra.\u003c/p\u003e","\u003cp\u003e Actor with the LA and Portland (OR) FTP units.This\n                  is an untaped interview.\u003c/p\u003e","\u003cp\u003e With the WPA program in Connecticut; also with the\n                  CCC; founded the Plymouth Playhouse; worked briefly\n                  on the set of Faustus.\u003c/p\u003e","\u003cp\u003e Actor with the Children's unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Researcher of the Chinese theater, Research\n                  Department, SF FTP.\u003c/p\u003e","\u003cp\u003e Choreographer with the Yiddish unit, NYC\n                  FTP.Closed during interviewee's lifetime.\u003c/p\u003e","\u003cp\u003e Radio script writer, Radio Division, NYC FTP.This\n                  is an untaped interview.\u003c/p\u003e","\u003cp\u003e Artist, muralist with the FAP in NY, NJ, and\n                  CA.Permission of interviewer required for\n                  publication.\u003c/p\u003e","\u003cp\u003e Actress and director with the marionette unit of\n                  the Miami FTP.\u003c/p\u003e","\u003cp\u003e Playwright in New York and San Francisco; write\n                  with the FWP.\u003c/p\u003e","\u003cp\u003e Administrator and legal counsel for the National\n                  Service Bureau, FTP.\u003c/p\u003e","\u003cp\u003e Administrator and legal counsel for the National\n                  Service Bureau, FTP.\u003c/p\u003e","\u003cp\u003e Hallie Flanagan's assistant who collected\n                  Flanagan's papers which were donated to the Theatre\n                  Collection, New York Public Library.\u003c/p\u003e","\u003cp\u003e Actor with the Cleveland (OH) FTP.\u003c/p\u003e","\u003cp\u003e Composer for various productions, NYC FTP.\u003c/p\u003e","\u003cp\u003e Writer and director with the Radio Division, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Actress with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Lyricist who wrote the words for \"Papa's Got a\n                  Job\" for Sing For Your Supper under the pseudonym of\n                  Hector Troy.This is an untaped interview.\u003c/p\u003e","\u003cp\u003e Playwright, play reader with the Playwriting\n                  Bureau, NYC FTP.Prior consent required for\n                  publication.\u003c/p\u003e","\u003cp\u003e Muralist with the Massachusetts and New York\n                  FAP.Permission of interviewer required for\n                  publication.\u003c/p\u003e","\u003cp\u003e Administrator, Playwriting Bureau, FTP.Permission\n                  of interviewee required; copyright conditions.\u003c/p\u003e","\u003cp\u003e Playwright in NYC whose works were produced by\n                  FTP.This is an untaped interview.\u003c/p\u003e","\u003cp\u003e Actor with the Negro unit, NYC FTP. This is an\n                  untaped interview.\u003c/p\u003e","\u003cp\u003e Playwright and director with the Seattle\n                  FTP.Closed during Guy Williams's lifetime.\u003c/p\u003e","\u003cp\u003e Director with the Experimental unit, NYC\n                  FTP.Closed pending release.\u003c/p\u003e","\u003cp\u003e Administrative assistant with the Negro and\n                  Classical units, NYC FTP.\u003c/p\u003e","\u003cp\u003e Actress with the Radio Division, NYC FTP.\u003c/p\u003e","\u003cp\u003e Administrator, Delaware FTP; with FTP national\n                  office, Washington, DC; with the San Francisco\n                  World's Fair, 1939.\u003c/p\u003e","\u003cp\u003e Administrator, Delaware FTP; with FTP national\n                  office, Washington, DC; with the San Francisco\n                  World's Fair, 1939.\u003c/p\u003e","\u003cp\u003e Administrative assistant to Philip Barber, NYC\n                  FTP. Closed during interviewee's lifetime.\u003c/p\u003e","\u003cp\u003e Assistant stage manager with the Living Newspaper\n                  unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Administrative assistant to Jasper Deeter, first\n                  director of the Pennsylvania/New Jersey FTP.\u003c/p\u003e","\u003cp\u003e Audience member, NYC FTP productions.\u003c/p\u003e","\u003cp\u003e Composer, NYC FMP.\u003c/p\u003e","\u003cp\u003e Director of the Anglo-Jewish unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Worked with Children's and Vaudeville units, Miami\n                  and Tampa FTP. Closed during Fernando Mesa's\n                  lifetime.\u003c/p\u003e","\u003cp\u003e Puppeteer with the Marionette unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Classical unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Writer and playwright in NYC at the time of the\n                  FTP. This is an untaped interview.\u003c/p\u003e","\u003cp\u003e Actress, NYC FTP.\u003c/p\u003e","\u003cp\u003e Actress, NYC FTP.\u003c/p\u003e","\u003cp\u003e Publicist, NYC FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Chicago, Peoria, and Miami FTP;\n                  worked with sets and costumes in Chicago.\u003c/p\u003e","\u003cp\u003e Actor with the Children's and Negro units, NYC\n                  FTP. Closed pending release.\u003c/p\u003e","\u003cp\u003e Concertmaster with the FMP Illinois Symphony.\u003c/p\u003e","\u003cp\u003e Composer with the NYC FTP; wrote the score for\n                  FTP's Created Equal.\u003c/p\u003e","\u003cp\u003e Publicist with the Negro unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Administrative director, NJ FTP; director of\n                  repertory unit, Roslyn, NY FTP. Written permission of\n                  interviewee required for publication.\u003c/p\u003e","\u003cp\u003e Playwright in NYC whose work was produced by the\n                  FTP. Permission to quote required by interviewee.\u003c/p\u003e","\u003cp\u003e Director, Denver FTP.\u003c/p\u003e","\u003cp\u003e Worked with Composers's Forum and Copying Project\n                  of the FMP.\u003c/p\u003e","\u003cp\u003e Choreographer, NYC FTP. This is an untaped\n                  interview.\u003c/p\u003e","\u003cp\u003e Artist, NY FAP. Permission of interviewer required\n                  for publication.\u003c/p\u003e","\u003cp\u003e Songwriter whose works were performed by NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Administrator with Iowa FTP; assistant to E.C.\n                  Mabie, regional director for the Midwest FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Seattle FTP.\u003c/p\u003e","\u003cp\u003e Playwright whose work was produced by the FTP.\u003c/p\u003e","\u003cp\u003e Composer and arranger with the Vaudeville unit, LA\n                  FTP.\u003c/p\u003e","\u003cp\u003e Set designer, LA FTP.\u003c/p\u003e","\u003cp\u003e Actor with the Anglo-Jewish unit, NYC FTP. Closed\n                  pending release.\u003c/p\u003e","\u003cp\u003e Actor with the New Hampshire FTP. Closed pending\n                  release.\u003c/p\u003e","\u003cp\u003e Puppeteer in NYC familiar with the Marionette and\n                  Children's units, NYC FTP.\u003c/p\u003e","\u003cp\u003e Playwright in Chicago whose work was produced by\n                  the FTP.\u003c/p\u003e","\u003cp\u003e Administrator, director, actor, and playwright\n                  involved with the Seattle and Tacoma FTP, and the Des\n                  Moines FTP.\u003c/p\u003e","\u003cp\u003e Stage Manager with the Mercury Theatre, New\n                  York.\u003c/p\u003e","\u003cp\u003e Theatrical director with the Classical unit, NYC\n                  FTP. Closed pending release.\u003c/p\u003e","\u003cp\u003e Musical director with the Negro and Classical\n                  units, NYC FTP.\u003c/p\u003e","\u003cp\u003e Musical director with the Negro and Classical\n                  units. NYC FTP.\u003c/p\u003e","\u003cp\u003e Worked with the National Youth Administration and\n                  the WPA in Iowa. Closed pending release.\u003c/p\u003e","\u003cp\u003e Administrator, National Play Bureau, NYC FTP.\u003c/p\u003e","\u003cp\u003e Worked with the Resettlement Administration.\u003c/p\u003e","\u003cp\u003e Actor with the Roslyn, NY FTP.\u003c/p\u003e","\u003cp\u003e Dancer with Tamiris's group, Dance Project, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Playwright based in Chicago whose works were\n                  produced by the FTP. Permission to quote over 100\n                  words required.\u003c/p\u003e","\u003cp\u003e Playwright based in Chicago whose works were\n                  produced by the FTP.\u003c/p\u003e","\u003cp\u003e Actress with the Vaudeville unit, LA FTP.\u003c/p\u003e","\u003cp\u003e Stage manager, actor, and lighting technician with\n                  the LA FTP.\u003c/p\u003e","\u003cp\u003e Stage manager, actor, and lighting technician, LA\n                  FTP.\u003c/p\u003e","\u003cp\u003e Administrator, Atlanta FTP.\u003c/p\u003e","\u003cp\u003e Lawyer who represented Orson Welles and John\n                  Houseman.\u003c/p\u003e","\u003cp\u003e Director with the NYC FTP.\u003c/p\u003e","\u003cp\u003e Muralist with the Illinois FAP. Permission needed\n                  to quote over 100 words.\u003c/p\u003e","\u003cp\u003e Lighting director and technician with the Chicago\n                  FTP.\u003c/p\u003e","\u003cp\u003e Administrator with the Marionette unit of the NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Puppeteer and lighting designer with the\n                  Marionette unit, NYC FTP.\u003c/p\u003e","\u003cp\u003e Theatrical director with the Seattle FTP. Closed\n                  during Mr. Williams's lifetime.\u003c/p\u003e","\u003cp\u003e Theatrical director with the Seattle FTP. Closed\n                  during Mr. Williams's lifetime.\u003c/p\u003e","\u003cp\u003e Stage manager with the Children's theater, NYC\n                  FTP.\u003c/p\u003e","\u003cp\u003e Artist with the Illinois and New York FAP.\u003c/p\u003e","\u003cp\u003e Research with the San Francisco Theatre History\n                  project; actor in several SF FTP productions.\u003c/p\u003e","\u003cp\u003e Worked with the GSA; recovered many FAP works and\n                  murals.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content\n"],"scopecontent_tesim":["This compilation describes oral interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project.\n","\nThe interviews (transcripts and tapes) are arranged in alphabetical order by the subject's last name. The date of the interview is included along with the type of work or position held by the interviewee during the 1930s, with the location when known. The name of the interviewer(s) follows. In some cases a notation is made indicating that an interview is untaped. If the interview was a joint one, this information is noted. The type of media available (abstract, letter, notes, tape, and/or transcript)is then listed along with the number of pages or minutes of each type. Restrictions that may apply to certain interviews is the last information in an entry.\n","\nList of Abbreviations:\n","\nCCC - Civilian Conservation Corps, FAP - Federal Art Project, FERA - Federal Emergency Relief Administration, FMP - Federal Music Project, FTP - Federal Theatre Project, FWP - Federal Writers Project, GSA - General Services Administration, NYA - National Youth Administration, SECT - Section of Painting and Sculpture, WPA - Works Projects Adminstration\n"," Widow of playwright Hughes Allison, whose work was\n                  produced by FTP."," Stage manager and director with the Negro unit,\n                  NYC FTP."," Costume designer with SF FTP."," Actress who auditioned for Negro Unit, NYC\n                  FTP."," Composer and director, SF FMP."," Technician, marionette artist, and actor with the\n                  Classical unit, NYC FTP."," Conductor, FMP's Virginia Symphony Orchestra and\n                  North Carolina-Virginia Symphony."," Dancer and assistant to Charles Weidman, with NYC\n                  Federal Dance Theatre."," Dancer with the Negro unit, NYC FTP. Closed\n                  pending release."," Administrative director of the NYC FTP."," Administrative director of the NYC FTP."," Dancer with Federal Dance Project, NYC."," Worked with the Radio Division of FTP. This is an\n                  untaped interview."," Stage manager with the Manhattan City Projects,\n                  NYC."," Dancer and actor with NYC FTP units."," Set designer for various NYC FTP productions."," Son-in-law of Hallie Flanagan; writer and critic\n                  of modern drama."," Step-daughter of Hallie Flanagan. Closed pending\n                  release."," Artist, muralist. Unidentified interviewer may\n                  have residual rights to interview."," Actor with Children's Theatre and Living Newspaper\n                  units of NYC FTP."," Writer who worked with the National Play Bureau,\n                  NYC FTP. Restricted during interviewee's\n                  lifetime."," Novelist, film writer, journalist, NYC, LA.\n                  Approval of Sylviane Bessie required."," Costume designer with SF FTP."," Administrator with NYC FTP Radio Division; also\n                  worked as publicist with NYC FTP. This is an untaped\n                  interview."," Composer, musician; wrote Swing It for NYC FTP.\n                  Closed pending release."," Playwright whose play, Battle Hymn, written with\n                  Michael Gold, was produced by various FTP units."," Artist, muralist with NYC FAP. Permission for\n                  publication required."," [see Bolton, Philip.]"," Son of Harold (director and choreographer with NYC\n                  FTP) and Rhoda Rammelkamp Bolton (costume designer,\n                  NYC FTP). This is an untaped interview."," [see Bolton, Philip.]"," Costume designer with NYC FTP."," Director of Play Bureau; in charge of exhibits;\n                  head of Play Reading Bureau within the National\n                  Office of FTP."," Actor with LA FTP. This is an untaped\n                  interview."," Director and actor with Chicago FTP."," Director and actress with Chicago FTP."," Actor with LA FTP."," Director of marionette unit of LA FTP."," Artist with FAP. Permission for publication\n                  required."," Playwright whose work was produced by Seattle FTP;\n                  also a writer with Boston FTP."," Actor with Children's unit of NYC FTP."," Sound technician with Living Newspaper unit of NYC\n                  FTP."," Publicist with NYC FTP."," Artist, muralist with FAP. Closed pending\n                  release."," Playwright whose work, Reward, was produced by the\n                  Tampa FTP. Closed during Fernando Mesa's\n                  lifetime."," Director of Lafayette Theatre's Negro unit of NYC\n                  FTP. This is an untaped interview."," Personnel administrator with NYC and Florida FTP\n                  units."," Artist, administrator with Ohio FAP. Permission\n                  with interviewer required for publication."," Actor, stage manager with Portland, OR FTP. Closed\n                  during interviewee's lifetime."," Playwright whose work was produced by Denver\n                  FTP."," Publicist with Federal Dance Theatre, NYC FTP.\n                  Closed pending release."," Writer and theater critic. Closed pending\n                  release."," Director of marionette units, SF and LA FTP;\n                  costume designer."," Director of marionette units, SF and LA FTP;\n                  costume designer."," Choreographer and dancer with Federal Dance\n                  Project, NYC FTP."," Artist with the Illinois and District of Columbia\n                  FAP. Permission of interviewer required for\n                  publication."," See Schnitzer, Marcella Cisney."," With Children's Theatre unit, NYC FTP."," Theatrical director with Experimental and\n                  Children's units, NYC FTP."," Assistant stage manager with Classical unit, NYC\n                  FTP."," Concertmaster, Illinois Symphony Orchestra."," Director of Play Bureau, NYC FTP."," Director of Play Bureau, NYC FTP. Closed until\n                  completion of dissertation."," District supervisor with SF FTP."," Supervisor of Copyists unit of Philadelphia FMP;\n                  conductor of Philadelphia Orchestra."," Director of Negro unit, Boston FTP. Permission to\n                  quote required."," Director of Negro unit, Boston FTP."," Playwright whose works were produced by various\n                  FTP units."," Actor with NYC FTP."," Actor with Classical unit,NYC FTP."," Playwright whose work, Swamp Mud, was produced in\n                  Birmingham, AL."," WPA administrative assistant and secretary,\n                  Washington, D.C. and NY. Closed pending release."," Sculptor with FAP. Permission of interviewer\n                  required for publication."," Administrative assistant to Ellen Woodward, WPA's\n                  head of Woman's and Professional Division,\n                  Washington, D.C. FTP. This is an untaped\n                  interview."," Actress with Roslyn, NY unit of FTP."," Actress, dancer, playwright, and marionette\n                  manipulator with SF FTP."," Actor and director with Radio Division, NYC\n                  FTP."," Worked with various productions of FTP in\n                  California. Permission of interviewer required for\n                  publication."," Actor with the Roslyn, NY FTP unit."," Writer with Radio Division, NYC FTP."," Finance administrator, WPA arts projects,\n                  Washington, D.C."," Actor with Popular Price Theatre, NYC FTP. Closed\n                  pending release."," Music director with the Negro unit, NYC FTP."," Dancer and choreographer with the dance unit, NYC\n                  FTP."," Dancer with the dance unit, NYC FTP."," Play adapter and choreographer with Classical\n                  unit, NYC FTP."," Assistant to Hallie Flanagan at Smith College;\n                  playwright."," Playwright with Chicago FTP. Permission to quote\n                  over 100 words required."," Assistant stage manager with Negro unit, NYC\n                  FTP."," Worked in Herbert Hoover's and Harry Hopkins's\n                  press offices."," Student of Hallie Flanagan; expert in children's\n                  theater."," Director of Vaudeville unit, Los Angeles, FTP.\n                  Closed pending release."," Set designer with the Roslyn, NY unit of the\n                  FTP."," Actress with the Children's Theatre, NYC FTP."," Set designer with the Los Angeles FTP."," Actress with the Los Angeles FTP."," Musical composer and director with various units,\n                  NYC FMP and FTP."," Musical composer and director with various units,\n                  NYC FMP and FTP."," Director of Negro unit and Children's unit,\n                  Chicago, FTP. Closed pending release."," Director of Southwest Experimental unit, Los\n                  Angeles FTP."," Administrative assistant to Hallie Flanagan,\n                  national office, FTP."," Director, Midwest FTP; administrator for Federal\n                  Arts Projects in Chicago and Washington, D.C."," Lighting designer with the Negro and Classical\n                  units, NYC FTP. Closed pending release."," Brother of Hallie Flanagan. This is an untaped\n                  interview."," Administrator with the National Play Bureau;\n                  playwright, play reader, NYC FTP."," Director of Miami unit, FTP."," Actor with SF FTP"," Actress with the Classical unit, NYC FTP"," Actor with Children's Theatre, NYC FTP"," Writer with Radio Division, Illinois Writers'\n                  Project"," Producer and Theatrical Director, NYC FTP"," Wife of Ralph Freud, theatrical director and actor\n                  with LA FTP"," Wife of Ralph Freud, theatrical director and actor\n                  with LA FTP."," Theatrical director and actor with LA and SF\n                  FTP."," Playwright and technical assistant with the\n                  Detroit FTP."," Composer; accompanist with Dance Project, LA\n                  FTP."," Dancer and assistant to Doris Humphrey with the\n                  Dance Project, NYC FTP."," Actor, NYC FTP."," Writer and Publicist with FWP and the Negro unit,\n                  NYC FTP; play reader with FTP Play Bureau. Closed\n                  pending release."," Dancer with the Dance Project, NYC FTP"," Actor and founder of Chicago Repertory Group,\n                  1933."," Administrator, Bureau of research and Publications\n                  of FTP."," Administrator, Bureau of Research and Publications\n                  of FTP."," Actor with the Chicago FTP."," Dancer with the Chicago FTP."," Actress and dancer with the Vaudeville unit, LA\n                  FTP"," Actor with the LA FTP; director with the Seattle\n                  FTP."," State director of the Illinois FMP."," Publicist with NYC FTP; director, Department of\n                  Information, FTP."," Designer, theater historian; critic."," Theatrical director with the Atlanta, Tampa, and\n                  Chicago units of the FTP."," Theatrical director with the Atlanta, Tampa, and\n                  Chicago units of the FTP."," Playwright, some of whose works were produced by\n                  various FTP units."," Musical director with the LA and SF FTP.\n                  Permission to quote more than 100 words required."," Musical director with the LA and SF FTP.Closed\n                  until 1996; or permission of interviewee."," Art director with the Atlanta FTP."," Staff composer and arranger with FTP."," Stage manager and publicity director with the\n                  Living Newspaper unit, NYC FTP."," Writer and researcher with the Living Newspaper\n                  unit, NYC FTP."," Play reader and playwright with the NYC FTP.\n                  Permission required for commercial use."," Play reader and playwright with the NYC FTP. Closed\n                  pending release."," Muralist with the FAP and SECT in NY and Ohio.\n                  Permission of interviewer required for\n                  publication."," Writer, critic, producer, designer with the NY\n                  theaters i the 1930s."," Producer and administrator with the Negro and\n                  Classical units, NYC FTP."," Participated in the Resettlement\n                  Administration."," Son of Edith Isaacs, editor of Theatre Arts\n                  Magazine; friend of FTP. This is an untaped\n                  interview."," Lighting designer with the LA FTP. This is an\n                  untaped interview."," Theatrical director familiar with the LA and NYC\n                  FTP."," Publicist and promotion officer with the NYC\n                  FTP."," Director of information with the NYC FMP."," Actor with the SF FTP."," Songwriter and composer with the NYC FTP."," Choreographer and dancer with the Dance Project,\n                  LA FTP."," Actress with the San Bernardino/Riverside and LA\n                  FTP."," Stagehand with the NYC FTP.Closed pending\n                  release."," Playwright with the NYC FTP."," Administrative director, Chicago and NYC FTP."," Concertmaster of the Grand Rapids, MI FTP\n                  orchestra."," Stage manager, administrator, theatrical director\n                  with the FTP in NYC, Washington, D.C., and Seattle,\n                  WA."," Stage manager, administrator, theatrical director\n                  with the FTP in NYC, Washington, D.C., and Seattle,\n                  WA."," Playwright whose works were produced by the NYC\n                  FTP. Closed pending release."," Actress with the SF and Oakland FTP. This is an\n                  untaped interview."," Dancer with the Dance Project, NYC FTP."," Actress with the Classical unit, NYC FTP."," Administrator with the National Service Bureau of\n                  the FTP."," Director, National Service Bureau of the FTP."," Director of Bureau of Research and Publication,\n                  NYC FTP.Bound with the 1-4-76 transcript."," Director of Bureau of Research and Publication,\n                  NYC FTP.Bound with the 1-3-76 transcript."," Actress with the Negro unit, NYC FTP. Closed\n                  during interviewee's lifetime."," Puppeteer with the Marionette Project, NYC\n                  FTP.Closed during lifetime."," Publicist with NYC and Chicago FTP. Interview not\n                  to be used for gain or profit without the consent of\n                  the interviewee."," Actor with the several units of the NYC FTP."," Lyricist whose work was featured in the NYC FTP\n                  production of Sing For Your Supper."," Administrator with the New Orleans and Atlanta\n                  FTP.Permission for use required during Mr. Lentz's\n                  lifetime."," Actor with NYC FTP."," Set designer with NYC FTP."," Playwright whose Model Tenements was produced by\n                  the Chicago FTP."," Dancer with the Dance Project, LA FTP."," Teacher and conductor with NYC FMP. Closed during\n                  interviewee's lifetime."," Interviewee's husband, Gerhardt Lindemulder, was a\n                  director with the FTP in Louisiana and Florida."," Vaudeville performer with the FTP."," Dancer with the Children's unit and Dance Project,\n                  NYC FTP.Tape restricted."," Puppet artist with the Marionette unit, NYC\n                  FTP."," Actor with the Living Newspaper unit, NYC FTP."," Costume designer with FTP units in Seattle and\n                  Tacoma, WA.Closed during Mr. Williams's lifetime."," Conductor with the Vermont FMP."," Father of Sidney Lumet, child actor with the\n                  Yiddish unit, NYC FTP."," Administrative director with the Florida FTP."," Actor with the Chicago FTP.Closed during\n                  interviewee's lifetime."," Actor with the Jacksonville and Miami FTP.Closed\n                  during interviewee's lifetime."," Marionette artist with the SF FTP.Quotations must\n                  be accurate."," Playwright whose work was produced by NYC FTP."," Actress with the Classical unit, NYC FTP."," Actor with the Chicago FTP."," Actor with the Atlanta FTP."," Playwright and researcher with the National Play\n                  Bureau of the FTP.Closed during interviewee's\n                  lifetime."," Publicist with the NYC FTP."," Actress and researcher with the LA FTP; researcher\n                  with the Seattle FTP."," Actress and researcher with the LA FTP; researcher\n                  with the Seattle FTP."," Costume designer with the NYC FTP."," Stage manager with the Tampa FTP.Closed during\n                  interviewee's lifetime."," Administrator with the Research Bureau, NYC\n                  FTP.This is an untaped interview."," Staff member with the Educational Division, NYC\n                  FTP."," Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP."," Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP."," Administrative director with the West Coast units\n                  of FTP; deputy National Director of FTP."," Member of the Seattle Negro Repertory Theatre in\n                  the 1930s.Closed to any government agency."," Set designer with the NYC FTP."," Worked with the NYC FTP. This is an untaped\n                  interview."," Director with the FTP in the South; later with the\n                  Detroit FTP."," Theatrical director with the Negro unit, NYC\n                  FTP."," Actor, director, writer with the Southwest\n                  Experimental unit of the LA FTP."," Director with the Negro unit, LA FTP."," Dancer with the NYC FTP."," Writer and playwright who submitted work to the\n                  Negro unit, NYC FTP.This is an untaped interview."," Director with the Indiana FTP."," Actor with the Seattle FTP."," Dancer and choreographer with the Chicago FTP."," Dancer with the NYC FTP."," Actor with the Chicago FTP."," Writer with the Southwest Experimental unit of the\n                  LA FTP."," Actress and student of Hallie Flanagan at Vassar\n                  College.This is an untaped interview."," Actor; director with Suitcase Theatre; assistant\n                  director with the Classical unit, NYC FTP."," Director of casting with the Talent Bureau, NYC\n                  FTP.Closed pending release."," Dancer with the NYC FTP."," Director of the Vaudeville productions, LA\n                  FTP."," Actor in Yiddish theater and New York University\n                  repertory groups during the FTP era."," Conductor with the Michigan WPA Symphony\n                  Orchestra."," Actor with the LA and Portland (OR) FTP units.This\n                  is an untaped interview."," With the WPA program in Connecticut; also with the\n                  CCC; founded the Plymouth Playhouse; worked briefly\n                  on the set of Faustus."," Actor with the Children's unit, NYC FTP."," Researcher of the Chinese theater, Research\n                  Department, SF FTP."," Choreographer with the Yiddish unit, NYC\n                  FTP.Closed during interviewee's lifetime."," Radio script writer, Radio Division, NYC FTP.This\n                  is an untaped interview."," Artist, muralist with the FAP in NY, NJ, and\n                  CA.Permission of interviewer required for\n                  publication."," Actress and director with the marionette unit of\n                  the Miami FTP."," Playwright in New York and San Francisco; write\n                  with the FWP."," Administrator and legal counsel for the National\n                  Service Bureau, FTP."," Administrator and legal counsel for the National\n                  Service Bureau, FTP."," Hallie Flanagan's assistant who collected\n                  Flanagan's papers which were donated to the Theatre\n                  Collection, New York Public Library."," Actor with the Cleveland (OH) FTP."," Composer for various productions, NYC FTP."," Writer and director with the Radio Division, NYC\n                  FTP."," Actress with the NYC FTP."," Lyricist who wrote the words for \"Papa's Got a\n                  Job\" for Sing For Your Supper under the pseudonym of\n                  Hector Troy.This is an untaped interview."," Playwright, play reader with the Playwriting\n                  Bureau, NYC FTP.Prior consent required for\n                  publication."," Muralist with the Massachusetts and New York\n                  FAP.Permission of interviewer required for\n                  publication."," Administrator, Playwriting Bureau, FTP.Permission\n                  of interviewee required; copyright conditions."," Playwright in NYC whose works were produced by\n                  FTP.This is an untaped interview."," Actor with the Negro unit, NYC FTP. This is an\n                  untaped interview."," Playwright and director with the Seattle\n                  FTP.Closed during Guy Williams's lifetime."," Director with the Experimental unit, NYC\n                  FTP.Closed pending release."," Administrative assistant with the Negro and\n                  Classical units, NYC FTP."," Actress with the Radio Division, NYC FTP."," Administrator, Delaware FTP; with FTP national\n                  office, Washington, DC; with the San Francisco\n                  World's Fair, 1939."," Administrator, Delaware FTP; with FTP national\n                  office, Washington, DC; with the San Francisco\n                  World's Fair, 1939."," Administrative assistant to Philip Barber, NYC\n                  FTP. Closed during interviewee's lifetime."," Assistant stage manager with the Living Newspaper\n                  unit, NYC FTP."," Administrative assistant to Jasper Deeter, first\n                  director of the Pennsylvania/New Jersey FTP."," Audience member, NYC FTP productions."," Composer, NYC FMP."," Director of the Anglo-Jewish unit, NYC FTP."," Worked with Children's and Vaudeville units, Miami\n                  and Tampa FTP. Closed during Fernando Mesa's\n                  lifetime."," Puppeteer with the Marionette unit, NYC FTP."," Actor with the Classical unit, NYC FTP."," Writer and playwright in NYC at the time of the\n                  FTP. This is an untaped interview."," Actress, NYC FTP."," Actress, NYC FTP."," Publicist, NYC FTP."," Actor with the Chicago, Peoria, and Miami FTP;\n                  worked with sets and costumes in Chicago."," Actor with the Children's and Negro units, NYC\n                  FTP. Closed pending release."," Concertmaster with the FMP Illinois Symphony."," Composer with the NYC FTP; wrote the score for\n                  FTP's Created Equal."," Publicist with the Negro unit, NYC FTP."," Administrative director, NJ FTP; director of\n                  repertory unit, Roslyn, NY FTP. Written permission of\n                  interviewee required for publication."," Playwright in NYC whose work was produced by the\n                  FTP. Permission to quote required by interviewee."," Director, Denver FTP."," Worked with Composers's Forum and Copying Project\n                  of the FMP."," Choreographer, NYC FTP. This is an untaped\n                  interview."," Artist, NY FAP. Permission of interviewer required\n                  for publication."," Songwriter whose works were performed by NYC\n                  FTP."," Administrator with Iowa FTP; assistant to E.C.\n                  Mabie, regional director for the Midwest FTP."," Actor with the Seattle FTP."," Playwright whose work was produced by the FTP."," Composer and arranger with the Vaudeville unit, LA\n                  FTP."," Set designer, LA FTP."," Actor with the Anglo-Jewish unit, NYC FTP. Closed\n                  pending release."," Actor with the New Hampshire FTP. Closed pending\n                  release."," Puppeteer in NYC familiar with the Marionette and\n                  Children's units, NYC FTP."," Playwright in Chicago whose work was produced by\n                  the FTP."," Administrator, director, actor, and playwright\n                  involved with the Seattle and Tacoma FTP, and the Des\n                  Moines FTP."," Stage Manager with the Mercury Theatre, New\n                  York."," Theatrical director with the Classical unit, NYC\n                  FTP. Closed pending release."," Musical director with the Negro and Classical\n                  units, NYC FTP."," Musical director with the Negro and Classical\n                  units. NYC FTP."," Worked with the National Youth Administration and\n                  the WPA in Iowa. Closed pending release."," Administrator, National Play Bureau, NYC FTP."," Worked with the Resettlement Administration."," Actor with the Roslyn, NY FTP."," Dancer with Tamiris's group, Dance Project, NYC\n                  FTP."," Playwright based in Chicago whose works were\n                  produced by the FTP. Permission to quote over 100\n                  words required."," Playwright based in Chicago whose works were\n                  produced by the FTP."," Actress with the Vaudeville unit, LA FTP."," Stage manager, actor, and lighting technician with\n                  the LA FTP."," Stage manager, actor, and lighting technician, LA\n                  FTP."," Administrator, Atlanta FTP."," Lawyer who represented Orson Welles and John\n                  Houseman."," Director with the NYC FTP."," Muralist with the Illinois FAP. Permission needed\n                  to quote over 100 words."," Lighting director and technician with the Chicago\n                  FTP."," Administrator with the Marionette unit of the NYC\n                  FTP."," Puppeteer and lighting designer with the\n                  Marionette unit, NYC FTP."," Theatrical director with the Seattle FTP. Closed\n                  during Mr. Williams's lifetime."," Theatrical director with the Seattle FTP. Closed\n                  during Mr. Williams's lifetime."," Stage manager with the Children's theater, NYC\n                  FTP."," Artist with the Illinois and New York FAP."," Research with the San Francisco Theatre History\n                  project; actor in several SF FTP productions."," Worked with the GSA; recovered many FAP works and\n                  murals."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions\n"],"userestrict_tesim":["There are no restrictions.\n"],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003e This compilation describes oral interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project.\n\u003c/abstract\u003e"],"abstract_tesim":[" This compilation describes oral interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project.\n"],"names_ssim":["George Mason University.  Special Collections and Archives.\n","George Mason University. Institute on the Federal Theatre Project and New Deal Culture\n","Federal Art Project.","Federal Music Project (U.S.)","Federal Theatre Project (U.S.)","United States. Works Progress Administration."],"corpname_ssim":["George Mason University.  Special Collections and Archives.\n","George Mason University. Institute on the Federal Theatre Project and New Deal Culture\n","Federal Art Project.","Federal Music Project (U.S.)","Federal Theatre Project (U.S.)","United States. 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