{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Musical+theater\u0026f%5Blevel%5D%5B%5D=Collection","last":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Musical+theater\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":2,"first_page?":true,"last_page?":true}},"data":[{"id":"viw_repositories_2_resources_8292","type":"collection","attributes":{"title":"Hallelujah, Baby! Playscript, 1967","creator":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_8292#creator","type":"document_value","attributes":{"value":"Styne, Jule, 1905-1994","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_8292#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eHallelujah Baby Musical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_8292#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viw_repositories_2_resources_8292","ead_ssi":"viw_repositories_2_resources_8292","_root_":"viw_repositories_2_resources_8292","_nest_parent_":"viw_repositories_2_resources_8292","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_8292.xml","title_filing_ssi":"Hallelujah, Baby! Playscript","title_ssm":["Hallelujah, Baby! Playscript"],"title_tesim":["Hallelujah, Baby! Playscript"],"unitdate_ssm":["circa 1967"],"unitdate_other_ssim":["circa 1967"],"normalized_date_ssm":["1967"],"normalized_title_ssm":["Hallelujah, Baby! Playscript, 1967"],"text":["Hallelujah, Baby! Playscript, 1967","SC 01571","/repositories/2/resources/8292","Musicals","Race in musical theater","Musical theater","Civil rights movements","Women's rights--United States","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Hallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green","First Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.","ACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.","Ken Mandelbaum- Theguidetomusicaltheater.com","The Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-","English"],"collection_title_tesim":["Hallelujah, Baby! Playscript, 1967"],"collection_ssim":["Hallelujah, Baby! Playscript, 1967"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 01571","/repositories/2/resources/8292"],"unitid_tesim":["SC 01571","/repositories/2/resources/8292"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_ssm":["Styne, Jule, 1905-1994"],"creator_ssim":["Styne, Jule, 1905-1994"],"creator_persname_ssim":["Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-","Special Collections Research Center"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Purchased from Clouds Hill books with funds from the Francis Randolph Howard Endowment, 2018."],"access_subjects_ssim":["Musicals","Race in musical theater","Musical theater","Civil rights movements","Women's rights--United States"],"access_subjects_ssm":["Musicals","Race in musical theater","Musical theater","Civil rights movements","Women's rights--United States"],"has_online_content_ssim":["false"],"extent_ssm":["0.03 Linear Feet"],"extent_tesim":["0.03 Linear Feet"],"date_range_isim":[1967],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"prefercite_html_tesm":["\u003cp\u003eHellelujah, Baby! Playscript, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Hellelujah, Baby! Playscript, Special Collections Research Center, William \u0026 Mary Libraries."],"scopecontent_html_tesm":["\u003cp\u003eHallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green\u003c/p\u003e","\u003cp\u003eFirst Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.\u003c/p\u003e","\u003cp\u003eACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.\u003c/p\u003e","\u003cp\u003eKen Mandelbaum- Theguidetomusicaltheater.com \u003c/p\u003e","\u003cp\u003eThe Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Hallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green","First Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.","ACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.","Ken Mandelbaum- Theguidetomusicaltheater.com","The Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com"],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"persname_ssim":["Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"names_coll_ssim":["Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"names_ssim":["Special Collections Research Center","Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T23:03:51.294Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_8292","ead_ssi":"viw_repositories_2_resources_8292","_root_":"viw_repositories_2_resources_8292","_nest_parent_":"viw_repositories_2_resources_8292","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_8292.xml","title_filing_ssi":"Hallelujah, Baby! Playscript","title_ssm":["Hallelujah, Baby! Playscript"],"title_tesim":["Hallelujah, Baby! Playscript"],"unitdate_ssm":["circa 1967"],"unitdate_other_ssim":["circa 1967"],"normalized_date_ssm":["1967"],"normalized_title_ssm":["Hallelujah, Baby! Playscript, 1967"],"text":["Hallelujah, Baby! Playscript, 1967","SC 01571","/repositories/2/resources/8292","Musicals","Race in musical theater","Musical theater","Civil rights movements","Women's rights--United States","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Hallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green","First Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.","ACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.","Ken Mandelbaum- Theguidetomusicaltheater.com","The Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-","English"],"collection_title_tesim":["Hallelujah, Baby! Playscript, 1967"],"collection_ssim":["Hallelujah, Baby! Playscript, 1967"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 01571","/repositories/2/resources/8292"],"unitid_tesim":["SC 01571","/repositories/2/resources/8292"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_ssm":["Styne, Jule, 1905-1994"],"creator_ssim":["Styne, Jule, 1905-1994"],"creator_persname_ssim":["Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-","Special Collections Research Center"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Purchased from Clouds Hill books with funds from the Francis Randolph Howard Endowment, 2018."],"access_subjects_ssim":["Musicals","Race in musical theater","Musical theater","Civil rights movements","Women's rights--United States"],"access_subjects_ssm":["Musicals","Race in musical theater","Musical theater","Civil rights movements","Women's rights--United States"],"has_online_content_ssim":["false"],"extent_ssm":["0.03 Linear Feet"],"extent_tesim":["0.03 Linear Feet"],"date_range_isim":[1967],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"prefercite_html_tesm":["\u003cp\u003eHellelujah, Baby! Playscript, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Hellelujah, Baby! Playscript, Special Collections Research Center, William \u0026 Mary Libraries."],"scopecontent_html_tesm":["\u003cp\u003eHallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green\u003c/p\u003e","\u003cp\u003eFirst Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.\u003c/p\u003e","\u003cp\u003eACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.\u003c/p\u003e","\u003cp\u003eKen Mandelbaum- Theguidetomusicaltheater.com \u003c/p\u003e","\u003cp\u003eThe Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Hallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green","First Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.","ACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.","Ken Mandelbaum- Theguidetomusicaltheater.com","The Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com"],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"persname_ssim":["Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"names_coll_ssim":["Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"names_ssim":["Special Collections Research Center","Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T23:03:51.294Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_8292"}},{"id":"vifgm_nelson","type":"collection","attributes":{"title":"Virginia Nelson playbills collection, 1939/2007","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_nelson#creator","type":"document_value","attributes":{"value":"Virginia Nelson","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_nelson#abstract_or_scope","type":"document_value","attributes":{"value":"This collection contains playbills for performances at a variety of venues in the Washington D.C. metro area, including the National Theatre, Arena Stage, the New Gayety Theatre, the Warner Theatre, and the John F. Kennedy Center for the Performing Arts, as well as multiple smaller, local theatres and companies, and others across the United States and internationally. ","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_nelson#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_nelson","ead_ssi":"vifgm_nelson","_root_":"vifgm_nelson","_nest_parent_":"vifgm_nelson","ead_source_url_ssi":"data/gmu/nelson.xml","aspace_url_ssi":"http://scrc.gmu.edu/nelson.html","title_ssm":["Virginia Nelson playbills collection"],"title_tesim":["Virginia Nelson playbills collection"],"unitdate_ssm":["1939-2007"],"unitdate_inclusive_ssm":["1939-2007"],"normalized_date_ssm":["1939/2007"],"normalized_title_ssm":["Virginia Nelson playbills collection, 1939/2007"],"text":["Virginia Nelson playbills collection, 1939/2007","C0015","Ballet.","Musical theater","Musical theater--England--London.","Musical theater--New York (State)--New York.","Musical theater--Washington (D.C.)","Opera.","Performing arts.","Plays.","Theater--Washington (D.C.)","Theater--New York (State)","There are no access restrictions.","Arranged chronologically.","Following World War II, Washington, D.C. gradually acquired a vibrant theatre and performing arts scene, due in large part to the population growth as the federal government expanded.  In particular the opening of John F. Kennedy Center for the Performing Arts in the early 1970s signaled the great importance of performing arts for the citizens of the Washington, D.C. metro area.","Processed by Special Collections Research Center staff. EAD markup completed by Eron Ackerman and Jordan Patty in August 2009. Contents list added and finding aid updated by Amanda Brent in 2017.","Special Collections Research Center also holds many other .","The Virginia Nelson playbills collection represents the rise and expansion of theatre and the performing arts in the Metro D.C. area, including a variety of performances at a multitude of venues over the course of eight decades, beginning in the 1930s and ending in the early 2000s. From plays and musical theatre, to opera, ballet, and musical acts, the gamut of the performing arts is represented within the collection. This collection contains playbills for performances at a variety of D.C. area venues, including the National Theatre, Arena Stage, the New Gayety Theatre, the Warner Theatre, Wolf Trap, Signature Theatre, and the John F. Kennedy Center for the Performing Arts, as well as other theatres across the nation and abroad, including those from Broadway in New York and the West End in London. Many of the playbills come from renowned \"classic\" performances of certain works, many starring famous actors. Also represented in the collection are smaller, local theatrical venues, companies, and performances. Note: Included in the collection were a number of Arena Stage Playbills, which were removed except for one that was not already included in the Arena Stage records. All other Arena Stage playbills (before the 2006/2007 season) are available in the","There are no restrictions on personal use. Permission to publish material from the Virginia Nelson playbills collection must be obtained from Special Collections Research Center, George Mason University Libraries.","This collection contains playbills for performances at a variety of venues in the Washington D.C. metro area, including the National Theatre, Arena Stage, the New Gayety Theatre, the Warner Theatre, and the John F. Kennedy Center for the Performing Arts, as well as multiple smaller, local theatres and companies, and others across the United States and internationally.","George Mason University. Libraries.  Special Collections Research Center.","Arena Stage (Organization : Washington, D.C.)","John F. Kennedy Center for the Performing Arts (U.S.)","National Theatre (Washington, D.C.)","New Gayety Theatre (Organization : Washington, D.C.)","Warner Theatre (Washington, D.C.)","Wolf Trap National Park for the Performing Arts (Va.)","Virginia Nelson","English"],"collection_title_tesim":["Virginia Nelson playbills collection, 1939/2007"],"collection_ssim":["Virginia Nelson playbills collection, 1939/2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0015"],"unitid_tesim":["C0015"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Virginia Nelson"],"creator_ssim":["Virginia Nelson"],"creator_persname_ssim":["Virginia Nelson"],"creator_corpname_ssim":["George Mason University. Libraries.  Special Collections Research Center.","Arena Stage (Organization : Washington, D.C.)","John F. Kennedy Center for the Performing Arts (U.S.)","National Theatre (Washington, D.C.)","New Gayety Theatre (Organization : Washington, D.C.)","Warner Theatre (Washington, D.C.)","Wolf Trap National Park for the Performing Arts (Va.)"],"creators_ssim":["Virginia Nelson","George Mason University. Libraries.  Special Collections Research Center.","Arena Stage (Organization : Washington, D.C.)","John F. Kennedy Center for the Performing Arts (U.S.)","National Theatre (Washington, D.C.)","New Gayety Theatre (Organization : Washington, D.C.)","Warner Theatre (Washington, D.C.)","Wolf Trap National Park for the Performing Arts (Va.)"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Virginia Nelson playbills collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Collection donated by Virginia Nelson in 2007."],"access_subjects_ssim":["Ballet.","Musical theater","Musical theater--England--London.","Musical theater--New York (State)--New York.","Musical theater--Washington (D.C.)","Opera.","Performing arts.","Plays.","Theater--Washington (D.C.)","Theater--New York (State)"],"access_subjects_ssm":["Ballet.","Musical theater","Musical theater--England--London.","Musical theater--New York (State)--New York.","Musical theater--Washington (D.C.)","Opera.","Performing arts.","Plays.","Theater--Washington (D.C.)","Theater--New York (State)"],"has_online_content_ssim":["false"],"extent_ssm":["6 linear feet (12 boxes)"],"extent_tesim":["6 linear feet (12 boxes)"],"date_range_isim":[1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\n\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eArranged chronologically.\n\u003c/p\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged chronologically."],"bioghist_html_tesm":["\u003cp\u003eFollowing World War II, Washington, D.C. gradually acquired a vibrant theatre and performing arts scene, due in large part to the population growth as the federal government expanded.  In particular the opening of John F. Kennedy Center for the Performing Arts in the early 1970s signaled the great importance of performing arts for the citizens of the Washington, D.C. metro area. \n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Following World War II, Washington, D.C. gradually acquired a vibrant theatre and performing arts scene, due in large part to the population growth as the federal government expanded.  In particular the opening of John F. Kennedy Center for the Performing Arts in the early 1970s signaled the great importance of performing arts for the citizens of the Washington, D.C. metro area."],"prefercite_html_tesm":["\u003cp\u003eVirginia Nelson playbills collection, C0015, Special Collections and Archives, George Mason University Libraries.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Virginia Nelson playbills collection, C0015, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. EAD markup completed by Eron Ackerman and Jordan Patty in August 2009. Contents list added and finding aid updated by Amanda Brent in 2017. \n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. EAD markup completed by Eron Ackerman and Jordan Patty in August 2009. Contents list added and finding aid updated by Amanda Brent in 2017."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center also holds many other \u003cextptr type=\"simple\" title=\"performing arts and theatre collections\" show=\"new\" href=\"http://sca.gmu.edu/collections-subject.php#THEATRE\"\u003e\u003c/extptr\u003e.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center also holds many other ."],"scopecontent_html_tesm":["\u003cp\u003eThe Virginia Nelson playbills collection represents the rise and expansion of theatre and the performing arts in the Metro D.C. area, including a variety of performances at a multitude of venues over the course of eight decades, beginning in the 1930s and ending in the early 2000s. From plays and musical theatre, to opera, ballet, and musical acts, the gamut of the performing arts is represented within the collection. This collection contains playbills for performances at a variety of D.C. area venues, including the National Theatre, Arena Stage, the New Gayety Theatre, the Warner Theatre, Wolf Trap, Signature Theatre, and the John F. Kennedy Center for the Performing Arts, as well as other theatres across the nation and abroad, including those from Broadway in New York and the West End in London. Many of the playbills come from renowned \"classic\" performances of certain works, many starring famous actors. Also represented in the collection are smaller, local theatrical venues, companies, and performances. Note: Included in the collection were a number of Arena Stage Playbills, which were removed except for one that was not already included in the Arena Stage records. All other Arena Stage playbills (before the 2006/2007 season) are available in the \u003cextptr type=\"simple\" title=\"Arena Stage records.\" show=\"new\" href=\"https://scrc.gmu.edu/finding_aids/arenastage.html\"\u003e\u003c/extptr\u003e\u003c/p\u003e\n    "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Virginia Nelson playbills collection represents the rise and expansion of theatre and the performing arts in the Metro D.C. area, including a variety of performances at a multitude of venues over the course of eight decades, beginning in the 1930s and ending in the early 2000s. From plays and musical theatre, to opera, ballet, and musical acts, the gamut of the performing arts is represented within the collection. This collection contains playbills for performances at a variety of D.C. area venues, including the National Theatre, Arena Stage, the New Gayety Theatre, the Warner Theatre, Wolf Trap, Signature Theatre, and the John F. Kennedy Center for the Performing Arts, as well as other theatres across the nation and abroad, including those from Broadway in New York and the West End in London. Many of the playbills come from renowned \"classic\" performances of certain works, many starring famous actors. Also represented in the collection are smaller, local theatrical venues, companies, and performances. Note: Included in the collection were a number of Arena Stage Playbills, which were removed except for one that was not already included in the Arena Stage records. All other Arena Stage playbills (before the 2006/2007 season) are available in the"],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Virginia Nelson playbills collection must be obtained from Special Collections Research Center, George Mason University Libraries.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Virginia Nelson playbills collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eThis collection contains playbills for performances at a variety of venues in the Washington D.C. metro area, including the National Theatre, Arena Stage, the New Gayety Theatre, the Warner Theatre, and the John F. Kennedy Center for the Performing Arts, as well as multiple smaller, local theatres and companies, and others across the United States and internationally.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains playbills for performances at a variety of venues in the Washington D.C. metro area, including the National Theatre, Arena Stage, the New Gayety Theatre, the Warner Theatre, and the John F. Kennedy Center for the Performing Arts, as well as multiple smaller, local theatres and companies, and others across the United States and internationally."],"corpname_ssim":["George Mason University. Libraries.  Special Collections Research Center.","Arena Stage (Organization : Washington, D.C.)","John F. Kennedy Center for the Performing Arts (U.S.)","National Theatre (Washington, D.C.)","New Gayety Theatre (Organization : Washington, D.C.)","Warner Theatre (Washington, D.C.)","Wolf Trap National Park for the Performing Arts (Va.)"],"persname_ssim":["Virginia Nelson"],"names_ssim":["George Mason University. Libraries.  Special Collections Research Center.","Arena Stage (Organization : Washington, D.C.)","John F. 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This collection contains playbills for performances at a variety of D.C. area venues, including the National Theatre, Arena Stage, the New Gayety Theatre, the Warner Theatre, Wolf Trap, Signature Theatre, and the John F. Kennedy Center for the Performing Arts, as well as other theatres across the nation and abroad, including those from Broadway in New York and the West End in London. Many of the playbills come from renowned \"classic\" performances of certain works, many starring famous actors. Also represented in the collection are smaller, local theatrical venues, companies, and performances. Note: Included in the collection were a number of Arena Stage Playbills, which were removed except for one that was not already included in the Arena Stage records. All other Arena Stage playbills (before the 2006/2007 season) are available in the","There are no restrictions on personal use. 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In particular the opening of John F. Kennedy Center for the Performing Arts in the early 1970s signaled the great importance of performing arts for the citizens of the Washington, D.C. metro area. \n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Following World War II, Washington, D.C. gradually acquired a vibrant theatre and performing arts scene, due in large part to the population growth as the federal government expanded.  In particular the opening of John F. 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Contents list added and finding aid updated by Amanda Brent in 2017."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center also holds many other \u003cextptr type=\"simple\" title=\"performing arts and theatre collections\" show=\"new\" href=\"http://sca.gmu.edu/collections-subject.php#THEATRE\"\u003e\u003c/extptr\u003e.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center also holds many other ."],"scopecontent_html_tesm":["\u003cp\u003eThe Virginia Nelson playbills collection represents the rise and expansion of theatre and the performing arts in the Metro D.C. area, including a variety of performances at a multitude of venues over the course of eight decades, beginning in the 1930s and ending in the early 2000s. From plays and musical theatre, to opera, ballet, and musical acts, the gamut of the performing arts is represented within the collection. This collection contains playbills for performances at a variety of D.C. area venues, including the National Theatre, Arena Stage, the New Gayety Theatre, the Warner Theatre, Wolf Trap, Signature Theatre, and the John F. Kennedy Center for the Performing Arts, as well as other theatres across the nation and abroad, including those from Broadway in New York and the West End in London. Many of the playbills come from renowned \"classic\" performances of certain works, many starring famous actors. Also represented in the collection are smaller, local theatrical venues, companies, and performances. Note: Included in the collection were a number of Arena Stage Playbills, which were removed except for one that was not already included in the Arena Stage records. All other Arena Stage playbills (before the 2006/2007 season) are available in the \u003cextptr type=\"simple\" title=\"Arena Stage records.\" show=\"new\" href=\"https://scrc.gmu.edu/finding_aids/arenastage.html\"\u003e\u003c/extptr\u003e\u003c/p\u003e\n    "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Virginia Nelson playbills collection represents the rise and expansion of theatre and the performing arts in the Metro D.C. area, including a variety of performances at a multitude of venues over the course of eight decades, beginning in the 1930s and ending in the early 2000s. From plays and musical theatre, to opera, ballet, and musical acts, the gamut of the performing arts is represented within the collection. This collection contains playbills for performances at a variety of D.C. area venues, including the National Theatre, Arena Stage, the New Gayety Theatre, the Warner Theatre, Wolf Trap, Signature Theatre, and the John F. Kennedy Center for the Performing Arts, as well as other theatres across the nation and abroad, including those from Broadway in New York and the West End in London. Many of the playbills come from renowned \"classic\" performances of certain works, many starring famous actors. Also represented in the collection are smaller, local theatrical venues, companies, and performances. Note: Included in the collection were a number of Arena Stage Playbills, which were removed except for one that was not already included in the Arena Stage records. All other Arena Stage playbills (before the 2006/2007 season) are available in the"],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Virginia Nelson playbills collection must be obtained from Special Collections Research Center, George Mason University Libraries.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Virginia Nelson playbills collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eThis collection contains playbills for performances at a variety of venues in the Washington D.C. metro area, including the National Theatre, Arena Stage, the New Gayety Theatre, the Warner Theatre, and the John F. Kennedy Center for the Performing Arts, as well as multiple smaller, local theatres and companies, and others across the United States and internationally.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains playbills for performances at a variety of venues in the Washington D.C. metro area, including the National Theatre, Arena Stage, the New Gayety Theatre, the Warner Theatre, and the John F. Kennedy Center for the Performing Arts, as well as multiple smaller, local theatres and companies, and others across the United States and internationally."],"corpname_ssim":["George Mason University. Libraries.  Special Collections Research Center.","Arena Stage (Organization : Washington, D.C.)","John F. 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