{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater\u0026f%5Blevel%5D%5B%5D=Collection","next":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=2","last":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=8"},"meta":{"pages":{"current_page":1,"next_page":2,"prev_page":null,"total_pages":8,"limit_value":10,"offset_value":0,"total_count":75,"first_page?":true,"last_page?":false}},"data":[{"id":"vilxw_repositories_5_resources_219","type":"collection","attributes":{"title":"American Shakespeare Center Collection","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vilxw_repositories_5_resources_219#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection includes 65 Shakespeare plays, additional plays by George Bernard Shaw, Oscar Wilde and Molière; 12 Beta videotapes and audiocassettes; 26 cast scrapbooks with photographs; correspondence between Ralph Cohen and James Warren, founders of American Shakespeare Center, Hank Dobin, Washington and Lee University Dean (2005-2012), and a member of the Board of Directors of the American Shakespeare Center.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vilxw_repositories_5_resources_219#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vilxw_repositories_5_resources_219","ead_ssi":"vilxw_repositories_5_resources_219","_root_":"vilxw_repositories_5_resources_219","_nest_parent_":"vilxw_repositories_5_resources_219","ead_source_url_ssi":"data/oai/WLU/repositories_5_resources_219.xml","title_ssm":["American Shakespeare Center Collection"],"title_tesim":["American Shakespeare Center Collection"],"unitdate_ssm":["Inclusive 1987- ongoing","Bulk 1987-1995"],"unitdate_bulk_ssim":["Bulk 1987-1995"],"unitdate_inclusive_ssm":["Inclusive 1987- ongoing"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["WLU.Coll.0371","/repositories/5/resources/219"],"text":["WLU.Coll.0371","/repositories/5/resources/219","American Shakespeare Center Collection","Virginia -- Staunton ","Theater","Scrapbooks","Correspondence","Video recordings","Photographs","Some restrictions apply: no reproductions of DVDs are allowed. 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"],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_cbed6be54bd2c070c6f8f0c3dca7dc91\" label=\"Abstract\"\u003eThis collection contains official records of the American Theatre Association such as meeting minutes, correspondence, and administrative papers, as well as photographs and audiovisual materials.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains official records of the American Theatre Association such as meeting minutes, correspondence, and administrative papers, as well as photographs and audiovisual materials."],"names_coll_ssim":["National Theater Players (Washington, D.C.)","Davis, Jed H. 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An additional donation was made in 2016."],"access_subjects_ssim":["Theater -- United States","Theater","Performing arts","Theater and society","Correspondence","Video recordings","Photographs"],"access_subjects_ssm":["Theater -- United States","Theater","Performing arts","Theater and society","Correspondence","Video recordings","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["75 Linear Feet 91 boxes"],"extent_tesim":["75 Linear Feet 91 boxes"],"genreform_ssim":["Correspondence","Video recordings","Photographs"],"accessrestrict_html_tesm":["\u003cp\u003eCertain materials in this collection are restricted, see inventory for details. Otherwise, collection is open to research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Certain materials in this collection are restricted, see inventory for details. Otherwise, collection is open to research."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged by subject.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged by subject."],"bioghist_html_tesm":["\u003cp\u003eThe American Theatre Association (ATA) was formed in 1936 as the American Educational Theatre Association by a group of privately owned theatres. Recruiting its members from the ranks of teachers, actors, students, and directors, among others, the Association acted as a theatre advocacy group, promoting theatre and theatre education in several ways. It published and disseminated materials for use in children's secondary schools, colleges and universities, and community theatres, pushed for federal funding of theatre education, promoted the touring of educational theatre groups, and worked with the armed forces installations to develop mutually beneficial theatre programs. 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Davis wrote several essays on theatre education for major journals and coauthored two books with Mary Jane Evans,  Theatre, Children and Youth  and  Children's Theatre: Play Production for the Child Audience.  Since the 1950s, Jed Davis served actively in professional associations, including the Children's Theatre Conference in 1963 and the ATA in 1972 until retiring in 1986, the year of the ATA's dissolution. Davis passed away in 2015."],"prefercite_html_tesm":["\u003cp\u003eAmerican Theatre Association records, C0042, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["American Theatre Association records, C0042, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eThis collection is unprocessed. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009. \u003c/p\u003e","\u003cp\u003eBasic box inventory compiled by SCRC staff from 2022-2025. 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"],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_cbed6be54bd2c070c6f8f0c3dca7dc91\" label=\"Abstract\"\u003eThis collection contains official records of the American Theatre Association such as meeting minutes, correspondence, and administrative papers, as well as photographs and audiovisual materials.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains official records of the American Theatre Association such as meeting minutes, correspondence, and administrative papers, as well as photographs and audiovisual materials."],"names_coll_ssim":["National Theater Players (Washington, D.C.)","Davis, Jed H. (Jed Horace)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","American Theatre Association","National Theater Players (Washington, D.C.)","Davis, Jed H. (Jed Horace)"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American Theatre Association","National Theater Players (Washington, D.C.)"],"persname_ssim":["Davis, Jed H. 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Finding aid updated by Amanda Menjivar in February 2023."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds many other collection on \u003cextptr show=\"new\" title=\"theatre in the Washington, D.C. area\" href=\"https://aspace.gmu.edu/search?q[]=playbills\u0026amp;op[]=\u0026amp;field[]=keyword\u0026amp;from_year[]=\u0026amp;to_year[]=\u0026amp;filter_fields[]=subjects\u0026amp;filter_values[]=Theater+--+Washington+%28D.C.%29\"\u003e\u003c/extptr\u003e, as well as \u003cextptr show=\"new\" title=\"theatre playbills collections.\" href=\"https://aspace.gmu.edu/search?utf8=%E2%9C%93\u0026amp;op%5B%5D=\u0026amp;q%5B%5D=playbills\u0026amp;limit=\u0026amp;field%5B%5D=\u0026amp;from_year%5B%5D=\u0026amp;to_year%5B%5D=\u0026amp;commit=Search\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds many other collection on  , as well as "],"scopecontent_html_tesm":["\u003cp\u003eCollection consists of ephemera that documents performing arts and theater in Washington, D.C. 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"],"unitid_tesim":["C0269"],"normalized_title_ssm":["Amy Federman performing arts collection"],"collection_title_tesim":["Amy Federman performing arts collection"],"collection_ssim":["Amy Federman performing arts collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Federman, Amy"],"creator_ssim":["Federman, Amy"],"creator_persname_ssim":["Federman, Amy"],"creators_ssim":["Federman, Amy"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Amy Federman in 2015."],"access_subjects_ssim":["Theater","Theater -- Washington (D.C.)","Performing arts"],"access_subjects_ssm":["Theater","Theater -- Washington (D.C.)","Performing arts"],"has_online_content_ssim":["false"],"extent_ssm":["0.25 Linear Feet 1 box"],"extent_tesim":["0.25 Linear Feet 1 box"],"date_range_isim":[1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012],"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\u003eArranged by subject.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged by subject."],"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.\u003c/p\u003e"],"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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Finding aid updated by Amanda Menjivar in February 2023."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds many other collection on \u003cextptr show=\"new\" title=\"theatre in the Washington, D.C. area\" href=\"https://aspace.gmu.edu/search?q[]=playbills\u0026amp;op[]=\u0026amp;field[]=keyword\u0026amp;from_year[]=\u0026amp;to_year[]=\u0026amp;filter_fields[]=subjects\u0026amp;filter_values[]=Theater+--+Washington+%28D.C.%29\"\u003e\u003c/extptr\u003e, as well as \u003cextptr show=\"new\" title=\"theatre playbills collections.\" href=\"https://aspace.gmu.edu/search?utf8=%E2%9C%93\u0026amp;op%5B%5D=\u0026amp;q%5B%5D=playbills\u0026amp;limit=\u0026amp;field%5B%5D=\u0026amp;from_year%5B%5D=\u0026amp;to_year%5B%5D=\u0026amp;commit=Search\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds many other collection on  , as well as "],"scopecontent_html_tesm":["\u003cp\u003eCollection consists of ephemera that documents performing arts and theater in Washington, D.C. Items include programs, flyers, and ticket stubs. Some of the items are autographed.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Collection consists of ephemera that documents performing arts and theater in Washington, D.C. Items include programs, flyers, and ticket stubs. Some of the items are autographed."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_a69a6731ce82c7b112ea185e046db928\" label=\"Abstract\"\u003eCollection largely consists of ephemera that documents performing arts and theater in Washington, D.C.\u003c/abstract\u003e"],"abstract_tesim":["Collection largely consists of ephemera that documents performing arts and theater in Washington, D.C."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federman, Amy"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Federman, Amy"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:36:35.016Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_396"}},{"id":"vilxw_repositories_5_resources_229","type":"collection","attributes":{"title":"Annette John Collection","creator":{"id":"https://search.arvasarchive.org/catalog/vilxw_repositories_5_resources_229#creator","type":"document_value","attributes":{"value":"John, Annette","label":"Creator"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vilxw_repositories_5_resources_229#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vilxw_repositories_5_resources_229","ead_ssi":"vilxw_repositories_5_resources_229","_root_":"vilxw_repositories_5_resources_229","_nest_parent_":"vilxw_repositories_5_resources_229","ead_source_url_ssi":"data/oai/WLU/repositories_5_resources_229.xml","title_ssm":["Annette John Collection"],"title_tesim":["Annette John Collection"],"unitdate_ssm":["Date Not Yet Determined"],"unitdate_other_ssim":["Date Not Yet Determined"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["WLU.Coll.0385","/repositories/5/resources/229"],"text":["WLU.Coll.0385","/repositories/5/resources/229","Annette John Collection","Theater","Playbills","This collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","Annette John was a member of the faculty at Washington and Lee University from 1968 to 2000.","The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  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The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"acqinfo_ssim":["Gift of Annette John."],"access_subjects_ssim":["Theater","Playbills"],"access_subjects_ssm":["Theater","Playbills"],"has_online_content_ssim":["false"],"extent_ssm":["1 Linear Feet"],"extent_tesim":["1 Linear Feet"],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information."],"bioghist_html_tesm":["\u003cp\u003eAnnette John was a member of the faculty at Washington and Lee University from 1968 to 2000.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Annette John was a member of the faculty at Washington and Lee University from 1968 to 2000."],"prefercite_html_tesm":["\u003cp\u003ePreferred citation: [Identification of item], Annette John Collection, WLU Coll. 0385, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA. In some cases the citation format may vary. Please contact Special Collections staff to verify the appropriate format.\u003c/p\u003e"],"prefercite_tesim":["Preferred citation: [Identification of item], Annette John Collection, WLU Coll. 0385, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA. In some cases the citation format may vary. Please contact Special Collections staff to verify the appropriate format."],"userestrict_html_tesm":["\u003cp\u003eThe materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  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Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","Annette John was a member of the faculty at Washington and Lee University from 1968 to 2000.","The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  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The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"acqinfo_ssim":["Gift of Annette John."],"access_subjects_ssim":["Theater","Playbills"],"access_subjects_ssm":["Theater","Playbills"],"has_online_content_ssim":["false"],"extent_ssm":["1 Linear Feet"],"extent_tesim":["1 Linear Feet"],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information."],"bioghist_html_tesm":["\u003cp\u003eAnnette John was a member of the faculty at Washington and Lee University from 1968 to 2000.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Annette John was a member of the faculty at Washington and Lee University from 1968 to 2000."],"prefercite_html_tesm":["\u003cp\u003ePreferred citation: [Identification of item], Annette John Collection, WLU Coll. 0385, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA. In some cases the citation format may vary. Please contact Special Collections staff to verify the appropriate format.\u003c/p\u003e"],"prefercite_tesim":["Preferred citation: [Identification of item], Annette John Collection, WLU Coll. 0385, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA. In some cases the citation format may vary. Please contact Special Collections staff to verify the appropriate format."],"userestrict_html_tesm":["\u003cp\u003eThe materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"names_ssim":["Washington and Lee University, University Library Special Collections and Archives","John, Annette"],"corpname_ssim":["Washington and Lee University, University Library Special Collections and Archives"],"persname_ssim":["John, Annette"],"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":"2026-04-30T21:53:31.377Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vilxw_repositories_5_resources_229"}},{"id":"vifgm_repositories_2_resources_416","type":"collection","attributes":{"title":"Arena Stage records","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416#creator","type":"document_value","attributes":{"value":"Arena Stage (Organization : Washington, D.C.)","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416#abstract_or_scope","type":"document_value","attributes":{"value":"The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_416","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_416.xml","title_ssm":["Arena Stage records"],"title_tesim":["Arena Stage records"],"unitdate_ssm":["1949 - 2010"],"unitdate_inclusive_ssm":["1949 - 2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0017","/repositories/2/resources/416"],"text":["C0017","/repositories/2/resources/416","Arena Stage records","Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints","Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","Accruals to this collection are expected.","The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)",""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.","","From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.","The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.","Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.","The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.","The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016","English"],"unitid_tesim":["C0017","/repositories/2/resources/416"],"normalized_title_ssm":["Arena Stage records"],"collection_title_tesim":["Arena Stage records"],"collection_ssim":["Arena Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage (Organization : Washington, D.C.)"],"creator_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creator_corpname_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000-2024.","This collection has additional unprocessed accessions 2023.040-C and 2024.088-C, and therefore this finding aid may not be fully up to date. Please contact SCRC for more information."],"access_subjects_ssim":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"access_subjects_ssm":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"has_online_content_ssim":["false"],"extent_ssm":["369.5 Linear Feet 739 boxes"],"extent_tesim":["369.5 Linear Feet 739 boxes"],"genreform_ssim":["Video recordings","Sound recordings","Photographic prints"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"accruals_html_tesm":["\u003cp\u003eAccruals to this collection are expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Accruals to this collection are expected."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative records, 1949-2007 (Boxes 1-196)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, 1950-1991 (Boxes 589-639)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Audiovisual materials, 1970-2007 (Boxes 721-739)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)"],"bibliography_html_tesm":["\u003cp\u003e\u003cextptr href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e","\u003cp\u003e Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.\u003c/p\u003e","\u003cp\u003e \u003cextptr href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":[""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.",""],"bioghist_html_tesm":["\u003cp\u003eFrom its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.\u003c/p\u003e\n","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's \u003citalic\u003eShe Stoops to Conquer.\u003c/italic\u003e Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.\u003c/p\u003e\n","\u003cp\u003eDuring the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.\u003c/p\u003e\n","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: \u003citalic\u003eThe Great White Hope.\u003c/italic\u003e \u003citalic\u003eThe Great White Hope\u003c/italic\u003e included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like \u003citalic\u003eKing Lear\u003c/italic\u003e and \u003citalic\u003eThe Threepenny Opera\u003c/italic\u003e, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.\u003c/p\u003e\n","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, \u003citalic\u003eOur Town\u003c/italic\u003e and \u003citalic\u003eInherit the Wind\u003c/italic\u003e to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of \u003citalic\u003eInherit the Wind\u003c/italic\u003e at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.\u003c/p\u003e\n","\u003cp\u003eThe early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of \u003citalic\u003eK2\u003c/italic\u003e, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of \u003citalic\u003eThe Crucible\u003c/italic\u003e at the Israel Festival.\u003c/p\u003e\n","\u003cp\u003e1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.\u003c/p\u003e\n","\u003cp\u003eMany now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eArena Stage records, C0017, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Arena Stage records, C0017, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.\u003c/p\u003e\n","\u003cp\u003eSeries 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e\n","\u003cp\u003eSeries 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.\u003c/p\u003e\n","\u003cp\u003eSeries 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. "],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_ec96c412f915842d3012676b73803163\" label=\"Abstract\"\u003eThe Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.\u003c/abstract\u003e"],"abstract_tesim":["The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_22f8958322c3fdee6366a384bb686980\"\u003e\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5\u003c/physloc\u003e"],"physloc_tesim":["\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"names_coll_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"persname_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:23:25.700Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_416","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_416.xml","title_ssm":["Arena Stage records"],"title_tesim":["Arena Stage records"],"unitdate_ssm":["1949 - 2010"],"unitdate_inclusive_ssm":["1949 - 2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0017","/repositories/2/resources/416"],"text":["C0017","/repositories/2/resources/416","Arena Stage records","Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints","Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","Accruals to this collection are expected.","The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)",""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.","","From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.","The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.","Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.","The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.","The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016","English"],"unitid_tesim":["C0017","/repositories/2/resources/416"],"normalized_title_ssm":["Arena Stage records"],"collection_title_tesim":["Arena Stage records"],"collection_ssim":["Arena Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage (Organization : Washington, D.C.)"],"creator_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creator_corpname_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000-2024.","This collection has additional unprocessed accessions 2023.040-C and 2024.088-C, and therefore this finding aid may not be fully up to date. Please contact SCRC for more information."],"access_subjects_ssim":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"access_subjects_ssm":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"has_online_content_ssim":["false"],"extent_ssm":["369.5 Linear Feet 739 boxes"],"extent_tesim":["369.5 Linear Feet 739 boxes"],"genreform_ssim":["Video recordings","Sound recordings","Photographic prints"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"accruals_html_tesm":["\u003cp\u003eAccruals to this collection are expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Accruals to this collection are expected."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative records, 1949-2007 (Boxes 1-196)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, 1950-1991 (Boxes 589-639)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Audiovisual materials, 1970-2007 (Boxes 721-739)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)"],"bibliography_html_tesm":["\u003cp\u003e\u003cextptr href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e","\u003cp\u003e Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.\u003c/p\u003e","\u003cp\u003e \u003cextptr href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":[""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.",""],"bioghist_html_tesm":["\u003cp\u003eFrom its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.\u003c/p\u003e\n","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's \u003citalic\u003eShe Stoops to Conquer.\u003c/italic\u003e Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.\u003c/p\u003e\n","\u003cp\u003eDuring the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.\u003c/p\u003e\n","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: \u003citalic\u003eThe Great White Hope.\u003c/italic\u003e \u003citalic\u003eThe Great White Hope\u003c/italic\u003e included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like \u003citalic\u003eKing Lear\u003c/italic\u003e and \u003citalic\u003eThe Threepenny Opera\u003c/italic\u003e, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.\u003c/p\u003e\n","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, \u003citalic\u003eOur Town\u003c/italic\u003e and \u003citalic\u003eInherit the Wind\u003c/italic\u003e to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of \u003citalic\u003eInherit the Wind\u003c/italic\u003e at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.\u003c/p\u003e\n","\u003cp\u003eThe early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of \u003citalic\u003eK2\u003c/italic\u003e, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of \u003citalic\u003eThe Crucible\u003c/italic\u003e at the Israel Festival.\u003c/p\u003e\n","\u003cp\u003e1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.\u003c/p\u003e\n","\u003cp\u003eMany now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eArena Stage records, C0017, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Arena Stage records, C0017, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.\u003c/p\u003e\n","\u003cp\u003eSeries 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e\n","\u003cp\u003eSeries 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.\u003c/p\u003e\n","\u003cp\u003eSeries 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. "],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_ec96c412f915842d3012676b73803163\" label=\"Abstract\"\u003eThe Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.\u003c/abstract\u003e"],"abstract_tesim":["The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_22f8958322c3fdee6366a384bb686980\"\u003e\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5\u003c/physloc\u003e"],"physloc_tesim":["\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"corpname_ssim":["George Mason University. Libraries. 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EAD markup completed in March 2009 by Eron Ackerman and Jordan Patty."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center also holds many other collections on theatre and the performing arts.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center also holds many other collections on theatre and the performing arts."],"scopecontent_html_tesm":["\u003cp\u003eCollection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Collection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_95c03e029f352ee902d3ef5ddf795380\" label=\"Abstract\"\u003eCollection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson.\u003c/abstract\u003e"],"abstract_tesim":["Collection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Peterson, Arthur, 1912-1996"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Peterson, Arthur, 1912-1996"],"language_ssim":["English"],"total_component_count_is":311,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-08T07:16:03.204Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_147","ead_ssi":"vifgm_repositories_2_resources_147","_root_":"vifgm_repositories_2_resources_147","_nest_parent_":"vifgm_repositories_2_resources_147","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_147.xml","title_ssm":["Arthur Peterson papers"],"title_tesim":["Arthur Peterson papers"],"unitdate_ssm":["1940-1987"],"unitdate_inclusive_ssm":["1940-1987"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0027","/repositories/2/resources/147"],"text":["C0027","/repositories/2/resources/147","Arthur Peterson papers","Theater -- United States","Television programs -- United States","Situation comedies (Television programs)","Acting","Actors -- United States","Theater","Performing arts","Motion pictures","There are no access restrictions.","This collection is arranged alphabetically by subject and production title.","Arthur Peterson played character and supporting roles on stage, television, and feature films. On television, fans of the series Soap (1977-1981), a spoof on soap operas, may remember Peterson as the Major. Born in North Dakota, Peterson first obtained a degree in theater from the University of Minnesota before becoming a professional actor with the Federal Theater Project. Peterson made his media debut in 1936 with a regular role on the radio serial The Guiding Light. During WWII, Peterson fought within General Patton's third regiment. Upon his discharge, Peterson appeared in the ABC network's first situation comedy, That's O'Toole. Peterson's stage work included appearances in such plays as Inherit the Wind. His film credits include Return to Peyton Place (1961), Born Wild (1968), the television movie Rollercoaster (1977), and Just Pals (1982). Peterson spent 1981 to 1991 touring the country with his wife in a Pasadena Playhouse production of The Gin Game. When the play's long run ended, Peterson retired from acting. He passed away on October 31, 1996.","Processed by Special Collections Research Center staff. EAD markup completed in March 2009 by Eron Ackerman and Jordan Patty.","Special Collections Research Center also holds many other collections on theatre and the performing arts.","Collection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Collection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson.","George Mason University. Libraries. 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On television, fans of the series Soap (1977-1981), a spoof on soap operas, may remember Peterson as the Major. Born in North Dakota, Peterson first obtained a degree in theater from the University of Minnesota before becoming a professional actor with the Federal Theater Project. Peterson made his media debut in 1936 with a regular role on the radio serial The Guiding Light. During WWII, Peterson fought within General Patton's third regiment. Upon his discharge, Peterson appeared in the ABC network's first situation comedy, That's O'Toole. Peterson's stage work included appearances in such plays as Inherit the Wind. His film credits include Return to Peyton Place (1961), Born Wild (1968), the television movie Rollercoaster (1977), and Just Pals (1982). Peterson spent 1981 to 1991 touring the country with his wife in a Pasadena Playhouse production of The Gin Game. When the play's long run ended, Peterson retired from acting. He passed away on October 31, 1996.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Arthur Peterson played character and supporting roles on stage, television, and feature films. On television, fans of the series Soap (1977-1981), a spoof on soap operas, may remember Peterson as the Major. Born in North Dakota, Peterson first obtained a degree in theater from the University of Minnesota before becoming a professional actor with the Federal Theater Project. Peterson made his media debut in 1936 with a regular role on the radio serial The Guiding Light. During WWII, Peterson fought within General Patton's third regiment. Upon his discharge, Peterson appeared in the ABC network's first situation comedy, That's O'Toole. Peterson's stage work included appearances in such plays as Inherit the Wind. His film credits include Return to Peyton Place (1961), Born Wild (1968), the television movie Rollercoaster (1977), and Just Pals (1982). Peterson spent 1981 to 1991 touring the country with his wife in a Pasadena Playhouse production of The Gin Game. When the play's long run ended, Peterson retired from acting. He passed away on October 31, 1996."],"prefercite_html_tesm":["\u003cp\u003eArthur Peterson papers, C0027, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Arthur Peterson papers, C0027, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. EAD markup completed in March 2009 by Eron Ackerman and Jordan Patty.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. EAD markup completed in March 2009 by Eron Ackerman and Jordan Patty."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center also holds many other collections on theatre and the performing arts.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center also holds many other collections on theatre and the performing arts."],"scopecontent_html_tesm":["\u003cp\u003eCollection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Collection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_95c03e029f352ee902d3ef5ddf795380\" label=\"Abstract\"\u003eCollection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson.\u003c/abstract\u003e"],"abstract_tesim":["Collection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Peterson, Arthur, 1912-1996"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Peterson, Arthur, 1912-1996"],"language_ssim":["English"],"total_component_count_is":311,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-08T07:16:03.204Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_147"}},{"id":"vifgm_repositories_2_resources_534","type":"collection","attributes":{"title":"Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_534#creator","type":"document_value","attributes":{"value":"Friedman-Abeles (Firm)","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_534#abstract_or_scope","type":"document_value","attributes":{"value":"Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm, printed September 29, 1959.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_534#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_534","ead_ssi":"vifgm_repositories_2_resources_534","_root_":"vifgm_repositories_2_resources_534","_nest_parent_":"vifgm_repositories_2_resources_534","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_534.xml","title_ssm":["Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm"],"title_tesim":["Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm"],"unitdate_ssm":["September 29, 1959."],"unitdate_other_ssim":["September 29, 1959."],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0466","/repositories/2/resources/534"],"text":["C0466","/repositories/2/resources/534","Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm","Musical Theater","Photography","Theater","There are no access restrictions.","This is a single item collection.","Billy Rose Theatre Division, The New York Public Library. \"Friedman-Abeles photograph collection.\" New York Public Library Digital Collections. Accessed January 20, 2021. https://digitalcollections.nypl.org/collections/friedman-abeles-photograph-collection#/?tab=about\u0026scroll=20.","Billy Rose Theatre Division, The New York Public Library. \"Stephen Sondheim, Arthur Laurents, Hal Prince, Robert E. Griffith, Leonard Bernstein, and Jerome Robbins during rehearsal for the stage production West Side Story\" New York Public Library Digital Collections. Accessed January 20, 2021. https://digitalcollections.nypl.org/items/de6f38c0-8357-0134-1212-00505686a51c.","Internet Broadway Database. \"West Side Story.\" The Broadway League. Accessed January 20, 2021. https://www.ibdb.com/broadway-production/west-side-story-2639#ProductionStaff.","Schwarm, Betsy. \"West Side Story.\" Encyclopaedia Britannica. Encyclopaedia Britannica, inc. Accessed January 20, 2021. https://www.britannica.com/topic/West-Side-Story.","\"West Side Story\" is a musical that premiered on Broadway on September 26, 1957, with music composed by Leonard Bernstein and book and lyrics by Arthur Laurents and Stephen Sondeheim, respectively. It was conceived of, directed, and choreographed by Jerome Robbins. It was also produced by Harold Prince and Robert E. Griffith. The musical, set on the West Side of New York City, was inspired by Shakespeare's \"Romeo and Juliet.\" Two rival gangs - the white Jets and the Puerto Rican Sharks - battle for neighborhood dominance while star-crossed lovers from each side, Tony and Maria, fall in love. The musical was a critical and commercial success, and was subsequently adapted into two separate films. \"West Side Story\" endures as a musical classic and has been revived multiple times on Broadway since its inception.","Friedman-Abeles was a large photography firm in New York City, NY. Founded on the partnership of Leo and Sy Friedman and Joseph Ables, the firm was regularly tasked with photographing Broadway productions and was most successful from the 1950s - 1970s. Friedman-Ables photographed the behind-the-scenes process, as well as official photos, of the original \"West Side Story\" production.","Processing completed by Amanda Brent in January 2021. EAD markup completed by Amanda Brent in January 2021. This item was formerly part of the Performing Arts Manuscript Materials collection, C0215.","The Special Collections Research Center holds other collections containing items related to \"West Side Story,\" and musical theatre in general, including the  , the  , and the  .","The New York Public Library's Billy Rose Theatre Division holds a copy of this photograph, as well as others in the same series, which can be viewed  .","Black and white photograph of prominent members of the original \"West Side Story\" production team by the Friedman-Abeles photography firm, printed September 29, 1959, the year of the musical's first U.S. Tour. The photo was originally taken in 1957, during the musical's production. From left to right are: Stephen Sondheim, Arthur Laurents, Harold Prince, Robert E. Griffith (seated), Leonard Bernstein, and Jerome Robbins. All men had successful careers in the performing arts field. Taped to the verso is an October 4, 1959 news clipping with information about the Chicago premiere of \"West Side Story\" and the names of the photograph's subjects. It is also stamped with the photography firm's information and pertinent dates.","There are no restrictions on personal use. Permission to publish the Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm must be obtained from the Special Collections Research Center, George Mason University Libraries.","Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm, printed September 29, 1959.","R 72, C 3, S 5","George Mason University. Libraries. Special Collections Research Center","Friedman-Abeles (Firm)","Bernstein, Leonard, 1918-1990","Griffith, Robert E.","Laurents, Arthur","Prince, Harold, 1928-2019","Robbins, Jerome","Sondheim, Stephen","English \n.    "],"unitid_tesim":["C0466","/repositories/2/resources/534"],"normalized_title_ssm":["Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm"],"collection_title_tesim":["Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm"],"collection_ssim":["Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Friedman-Abeles (Firm)"],"creator_ssim":["Friedman-Abeles (Firm)"],"creator_corpname_ssim":["Friedman-Abeles (Firm)"],"creators_ssim":["Friedman-Abeles (Firm)"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish the Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm must be obtained from the Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Purchased by Steve Gerber in July 2018."],"access_subjects_ssim":["Musical Theater","Photography","Theater"],"access_subjects_ssm":["Musical Theater","Photography","Theater"],"has_online_content_ssim":["false"],"extent_ssm":[".01 Linear Feet 1 photograph"],"extent_tesim":[".01 Linear Feet 1 photograph"],"date_range_isim":[1959],"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\u003eThis is a single item collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This is a single item collection."],"bibliography_html_tesm":["\u003cp\u003eBilly Rose Theatre Division, The New York Public Library. \"Friedman-Abeles photograph collection.\" New York Public Library Digital Collections. Accessed January 20, 2021. https://digitalcollections.nypl.org/collections/friedman-abeles-photograph-collection#/?tab=about\u0026amp;scroll=20.\u003c/p\u003e\n","\u003cp\u003eBilly Rose Theatre Division, The New York Public Library. \"Stephen Sondheim, Arthur Laurents, Hal Prince, Robert E. Griffith, Leonard Bernstein, and Jerome Robbins during rehearsal for the stage production West Side Story\" New York Public Library Digital Collections. Accessed January 20, 2021. https://digitalcollections.nypl.org/items/de6f38c0-8357-0134-1212-00505686a51c.\u003c/p\u003e\n","\u003cp\u003eInternet Broadway Database. \"West Side Story.\" The Broadway League. Accessed January 20, 2021. https://www.ibdb.com/broadway-production/west-side-story-2639#ProductionStaff.\u003c/p\u003e\n","\u003cp\u003eSchwarm, Betsy. \"West Side Story.\" Encyclopaedia Britannica. Encyclopaedia Britannica, inc. Accessed January 20, 2021. https://www.britannica.com/topic/West-Side-Story.\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Billy Rose Theatre Division, The New York Public Library. \"Friedman-Abeles photograph collection.\" New York Public Library Digital Collections. Accessed January 20, 2021. https://digitalcollections.nypl.org/collections/friedman-abeles-photograph-collection#/?tab=about\u0026scroll=20.","Billy Rose Theatre Division, The New York Public Library. \"Stephen Sondheim, Arthur Laurents, Hal Prince, Robert E. Griffith, Leonard Bernstein, and Jerome Robbins during rehearsal for the stage production West Side Story\" New York Public Library Digital Collections. Accessed January 20, 2021. https://digitalcollections.nypl.org/items/de6f38c0-8357-0134-1212-00505686a51c.","Internet Broadway Database. \"West Side Story.\" The Broadway League. Accessed January 20, 2021. https://www.ibdb.com/broadway-production/west-side-story-2639#ProductionStaff.","Schwarm, Betsy. \"West Side Story.\" Encyclopaedia Britannica. Encyclopaedia Britannica, inc. Accessed January 20, 2021. https://www.britannica.com/topic/West-Side-Story."],"bioghist_html_tesm":["\u003cp\u003e\"West Side Story\" is a musical that premiered on Broadway on September 26, 1957, with music composed by Leonard Bernstein and book and lyrics by Arthur Laurents and Stephen Sondeheim, respectively. It was conceived of, directed, and choreographed by Jerome Robbins. It was also produced by Harold Prince and Robert E. Griffith. The musical, set on the West Side of New York City, was inspired by Shakespeare's \"Romeo and Juliet.\" Two rival gangs - the white Jets and the Puerto Rican Sharks - battle for neighborhood dominance while star-crossed lovers from each side, Tony and Maria, fall in love. The musical was a critical and commercial success, and was subsequently adapted into two separate films. \"West Side Story\" endures as a musical classic and has been revived multiple times on Broadway since its inception.\u003c/p\u003e\n","\u003cp\u003eFriedman-Abeles was a large photography firm in New York City, NY. Founded on the partnership of Leo and Sy Friedman and Joseph Ables, the firm was regularly tasked with photographing Broadway productions and was most successful from the 1950s - 1970s. Friedman-Ables photographed the behind-the-scenes process, as well as official photos, of the original \"West Side Story\" production.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["\"West Side Story\" is a musical that premiered on Broadway on September 26, 1957, with music composed by Leonard Bernstein and book and lyrics by Arthur Laurents and Stephen Sondeheim, respectively. It was conceived of, directed, and choreographed by Jerome Robbins. It was also produced by Harold Prince and Robert E. Griffith. The musical, set on the West Side of New York City, was inspired by Shakespeare's \"Romeo and Juliet.\" Two rival gangs - the white Jets and the Puerto Rican Sharks - battle for neighborhood dominance while star-crossed lovers from each side, Tony and Maria, fall in love. The musical was a critical and commercial success, and was subsequently adapted into two separate films. \"West Side Story\" endures as a musical classic and has been revived multiple times on Broadway since its inception.","Friedman-Abeles was a large photography firm in New York City, NY. Founded on the partnership of Leo and Sy Friedman and Joseph Ables, the firm was regularly tasked with photographing Broadway productions and was most successful from the 1950s - 1970s. Friedman-Ables photographed the behind-the-scenes process, as well as official photos, of the original \"West Side Story\" production."],"prefercite_html_tesm":["\u003cp\u003eBlack and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm, C0466, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm, C0466, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Amanda Brent in January 2021. EAD markup completed by Amanda Brent in January 2021. This item was formerly part of the Performing Arts Manuscript Materials collection, C0215.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Amanda Brent in January 2021. EAD markup completed by Amanda Brent in January 2021. This item was formerly part of the Performing Arts Manuscript Materials collection, C0215."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other collections containing items related to \"West Side Story,\" and musical theatre in general, including the \u003cextptr show=\"new\" title=\"Broadway souvenir theatre programs collection\" href=\"https://aspace.gmu.edu/repositories/2/resources/111\"\u003e\u003c/extptr\u003e, the \u003cextptr show=\"new\" title=\"Virginia Nelson playbills collection\" href=\"https://aspace.gmu.edu/repositories/2/resources/571\"\u003e\u003c/extptr\u003e, and the \u003cextptr show=\"new\" title=\"Charles Rodrigues playbill collection\" href=\"https://aspace.gmu.edu/repositories/2/resources/113\"\u003e\u003c/extptr\u003e.\u003c/p\u003e\n","\u003cp\u003eThe New York Public Library's Billy Rose Theatre Division holds a copy of this photograph, as well as others in the same series, which can be viewed \u003cextptr show=\"new\" title=\"here\" href=\"https://digitalcollections.nypl.org/items/de6f38c0-8357-0134-1212-00505686a51c\"\u003e\u003c/extptr\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds other collections containing items related to \"West Side Story,\" and musical theatre in general, including the  , the  , and the  .","The New York Public Library's Billy Rose Theatre Division holds a copy of this photograph, as well as others in the same series, which can be viewed  ."],"scopecontent_html_tesm":["\u003cp\u003eBlack and white photograph of prominent members of the original \"West Side Story\" production team by the Friedman-Abeles photography firm, printed September 29, 1959, the year of the musical's first U.S. Tour. The photo was originally taken in 1957, during the musical's production. From left to right are: Stephen Sondheim, Arthur Laurents, Harold Prince, Robert E. Griffith (seated), Leonard Bernstein, and Jerome Robbins. All men had successful careers in the performing arts field. Taped to the verso is an October 4, 1959 news clipping with information about the Chicago premiere of \"West Side Story\" and the names of the photograph's subjects. It is also stamped with the photography firm's information and pertinent dates.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Black and white photograph of prominent members of the original \"West Side Story\" production team by the Friedman-Abeles photography firm, printed September 29, 1959, the year of the musical's first U.S. Tour. The photo was originally taken in 1957, during the musical's production. From left to right are: Stephen Sondheim, Arthur Laurents, Harold Prince, Robert E. Griffith (seated), Leonard Bernstein, and Jerome Robbins. All men had successful careers in the performing arts field. Taped to the verso is an October 4, 1959 news clipping with information about the Chicago premiere of \"West Side Story\" and the names of the photograph's subjects. It is also stamped with the photography firm's information and pertinent dates."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish the Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm must be obtained from the Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish the Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm must be obtained from the Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"aspace_17f46ee49bdc9ef188bc8ece5e472cf9\" label=\"Abstract\"\u003eBlack and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm, printed September 29, 1959.\u003c/abstract\u003e"],"abstract_tesim":["Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm, printed September 29, 1959."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_0861e172f8c0c799bdb692c60024fa50\"\u003eR 72, C 3, S 5\u003c/physloc\u003e"],"physloc_tesim":["R 72, C 3, S 5"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Friedman-Abeles (Firm)","Bernstein, Leonard, 1918-1990","Griffith, Robert E.","Laurents, Arthur","Prince, Harold, 1928-2019","Robbins, Jerome","Sondheim, Stephen"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Friedman-Abeles (Firm)"],"names_coll_ssim":["Bernstein, Leonard, 1918-1990","Griffith, Robert E.","Laurents, Arthur","Prince, Harold, 1928-2019","Robbins, Jerome","Sondheim, Stephen"],"persname_ssim":["Bernstein, Leonard, 1918-1990","Griffith, Robert E.","Laurents, Arthur","Prince, Harold, 1928-2019","Robbins, Jerome","Sondheim, Stephen"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:35:24.911Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_534","ead_ssi":"vifgm_repositories_2_resources_534","_root_":"vifgm_repositories_2_resources_534","_nest_parent_":"vifgm_repositories_2_resources_534","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_534.xml","title_ssm":["Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm"],"title_tesim":["Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm"],"unitdate_ssm":["September 29, 1959."],"unitdate_other_ssim":["September 29, 1959."],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0466","/repositories/2/resources/534"],"text":["C0466","/repositories/2/resources/534","Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm","Musical Theater","Photography","Theater","There are no access restrictions.","This is a single item collection.","Billy Rose Theatre Division, The New York Public Library. \"Friedman-Abeles photograph collection.\" New York Public Library Digital Collections. Accessed January 20, 2021. https://digitalcollections.nypl.org/collections/friedman-abeles-photograph-collection#/?tab=about\u0026scroll=20.","Billy Rose Theatre Division, The New York Public Library. \"Stephen Sondheim, Arthur Laurents, Hal Prince, Robert E. Griffith, Leonard Bernstein, and Jerome Robbins during rehearsal for the stage production West Side Story\" New York Public Library Digital Collections. Accessed January 20, 2021. https://digitalcollections.nypl.org/items/de6f38c0-8357-0134-1212-00505686a51c.","Internet Broadway Database. \"West Side Story.\" The Broadway League. Accessed January 20, 2021. https://www.ibdb.com/broadway-production/west-side-story-2639#ProductionStaff.","Schwarm, Betsy. \"West Side Story.\" Encyclopaedia Britannica. Encyclopaedia Britannica, inc. Accessed January 20, 2021. https://www.britannica.com/topic/West-Side-Story.","\"West Side Story\" is a musical that premiered on Broadway on September 26, 1957, with music composed by Leonard Bernstein and book and lyrics by Arthur Laurents and Stephen Sondeheim, respectively. It was conceived of, directed, and choreographed by Jerome Robbins. It was also produced by Harold Prince and Robert E. Griffith. The musical, set on the West Side of New York City, was inspired by Shakespeare's \"Romeo and Juliet.\" Two rival gangs - the white Jets and the Puerto Rican Sharks - battle for neighborhood dominance while star-crossed lovers from each side, Tony and Maria, fall in love. The musical was a critical and commercial success, and was subsequently adapted into two separate films. \"West Side Story\" endures as a musical classic and has been revived multiple times on Broadway since its inception.","Friedman-Abeles was a large photography firm in New York City, NY. Founded on the partnership of Leo and Sy Friedman and Joseph Ables, the firm was regularly tasked with photographing Broadway productions and was most successful from the 1950s - 1970s. Friedman-Ables photographed the behind-the-scenes process, as well as official photos, of the original \"West Side Story\" production.","Processing completed by Amanda Brent in January 2021. EAD markup completed by Amanda Brent in January 2021. This item was formerly part of the Performing Arts Manuscript Materials collection, C0215.","The Special Collections Research Center holds other collections containing items related to \"West Side Story,\" and musical theatre in general, including the  , the  , and the  .","The New York Public Library's Billy Rose Theatre Division holds a copy of this photograph, as well as others in the same series, which can be viewed  .","Black and white photograph of prominent members of the original \"West Side Story\" production team by the Friedman-Abeles photography firm, printed September 29, 1959, the year of the musical's first U.S. Tour. The photo was originally taken in 1957, during the musical's production. From left to right are: Stephen Sondheim, Arthur Laurents, Harold Prince, Robert E. Griffith (seated), Leonard Bernstein, and Jerome Robbins. All men had successful careers in the performing arts field. Taped to the verso is an October 4, 1959 news clipping with information about the Chicago premiere of \"West Side Story\" and the names of the photograph's subjects. It is also stamped with the photography firm's information and pertinent dates.","There are no restrictions on personal use. Permission to publish the Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm must be obtained from the Special Collections Research Center, George Mason University Libraries.","Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm, printed September 29, 1959.","R 72, C 3, S 5","George Mason University. Libraries. Special Collections Research Center","Friedman-Abeles (Firm)","Bernstein, Leonard, 1918-1990","Griffith, Robert E.","Laurents, Arthur","Prince, Harold, 1928-2019","Robbins, Jerome","Sondheim, Stephen","English \n.    "],"unitid_tesim":["C0466","/repositories/2/resources/534"],"normalized_title_ssm":["Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm"],"collection_title_tesim":["Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm"],"collection_ssim":["Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Friedman-Abeles (Firm)"],"creator_ssim":["Friedman-Abeles (Firm)"],"creator_corpname_ssim":["Friedman-Abeles (Firm)"],"creators_ssim":["Friedman-Abeles (Firm)"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish the Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm must be obtained from the Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Purchased by Steve Gerber in July 2018."],"access_subjects_ssim":["Musical Theater","Photography","Theater"],"access_subjects_ssm":["Musical Theater","Photography","Theater"],"has_online_content_ssim":["false"],"extent_ssm":[".01 Linear Feet 1 photograph"],"extent_tesim":[".01 Linear Feet 1 photograph"],"date_range_isim":[1959],"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\u003eThis is a single item collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This is a single item collection."],"bibliography_html_tesm":["\u003cp\u003eBilly Rose Theatre Division, The New York Public Library. \"Friedman-Abeles photograph collection.\" New York Public Library Digital Collections. Accessed January 20, 2021. https://digitalcollections.nypl.org/collections/friedman-abeles-photograph-collection#/?tab=about\u0026amp;scroll=20.\u003c/p\u003e\n","\u003cp\u003eBilly Rose Theatre Division, The New York Public Library. \"Stephen Sondheim, Arthur Laurents, Hal Prince, Robert E. Griffith, Leonard Bernstein, and Jerome Robbins during rehearsal for the stage production West Side Story\" New York Public Library Digital Collections. Accessed January 20, 2021. https://digitalcollections.nypl.org/items/de6f38c0-8357-0134-1212-00505686a51c.\u003c/p\u003e\n","\u003cp\u003eInternet Broadway Database. \"West Side Story.\" The Broadway League. Accessed January 20, 2021. https://www.ibdb.com/broadway-production/west-side-story-2639#ProductionStaff.\u003c/p\u003e\n","\u003cp\u003eSchwarm, Betsy. \"West Side Story.\" Encyclopaedia Britannica. Encyclopaedia Britannica, inc. Accessed January 20, 2021. https://www.britannica.com/topic/West-Side-Story.\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Billy Rose Theatre Division, The New York Public Library. \"Friedman-Abeles photograph collection.\" New York Public Library Digital Collections. Accessed January 20, 2021. https://digitalcollections.nypl.org/collections/friedman-abeles-photograph-collection#/?tab=about\u0026scroll=20.","Billy Rose Theatre Division, The New York Public Library. \"Stephen Sondheim, Arthur Laurents, Hal Prince, Robert E. Griffith, Leonard Bernstein, and Jerome Robbins during rehearsal for the stage production West Side Story\" New York Public Library Digital Collections. Accessed January 20, 2021. https://digitalcollections.nypl.org/items/de6f38c0-8357-0134-1212-00505686a51c.","Internet Broadway Database. \"West Side Story.\" The Broadway League. Accessed January 20, 2021. https://www.ibdb.com/broadway-production/west-side-story-2639#ProductionStaff.","Schwarm, Betsy. \"West Side Story.\" Encyclopaedia Britannica. Encyclopaedia Britannica, inc. Accessed January 20, 2021. https://www.britannica.com/topic/West-Side-Story."],"bioghist_html_tesm":["\u003cp\u003e\"West Side Story\" is a musical that premiered on Broadway on September 26, 1957, with music composed by Leonard Bernstein and book and lyrics by Arthur Laurents and Stephen Sondeheim, respectively. It was conceived of, directed, and choreographed by Jerome Robbins. It was also produced by Harold Prince and Robert E. Griffith. The musical, set on the West Side of New York City, was inspired by Shakespeare's \"Romeo and Juliet.\" Two rival gangs - the white Jets and the Puerto Rican Sharks - battle for neighborhood dominance while star-crossed lovers from each side, Tony and Maria, fall in love. The musical was a critical and commercial success, and was subsequently adapted into two separate films. \"West Side Story\" endures as a musical classic and has been revived multiple times on Broadway since its inception.\u003c/p\u003e\n","\u003cp\u003eFriedman-Abeles was a large photography firm in New York City, NY. Founded on the partnership of Leo and Sy Friedman and Joseph Ables, the firm was regularly tasked with photographing Broadway productions and was most successful from the 1950s - 1970s. Friedman-Ables photographed the behind-the-scenes process, as well as official photos, of the original \"West Side Story\" production.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["\"West Side Story\" is a musical that premiered on Broadway on September 26, 1957, with music composed by Leonard Bernstein and book and lyrics by Arthur Laurents and Stephen Sondeheim, respectively. It was conceived of, directed, and choreographed by Jerome Robbins. It was also produced by Harold Prince and Robert E. Griffith. The musical, set on the West Side of New York City, was inspired by Shakespeare's \"Romeo and Juliet.\" Two rival gangs - the white Jets and the Puerto Rican Sharks - battle for neighborhood dominance while star-crossed lovers from each side, Tony and Maria, fall in love. The musical was a critical and commercial success, and was subsequently adapted into two separate films. \"West Side Story\" endures as a musical classic and has been revived multiple times on Broadway since its inception.","Friedman-Abeles was a large photography firm in New York City, NY. Founded on the partnership of Leo and Sy Friedman and Joseph Ables, the firm was regularly tasked with photographing Broadway productions and was most successful from the 1950s - 1970s. Friedman-Ables photographed the behind-the-scenes process, as well as official photos, of the original \"West Side Story\" production."],"prefercite_html_tesm":["\u003cp\u003eBlack and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm, C0466, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm, C0466, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Amanda Brent in January 2021. EAD markup completed by Amanda Brent in January 2021. This item was formerly part of the Performing Arts Manuscript Materials collection, C0215.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Amanda Brent in January 2021. EAD markup completed by Amanda Brent in January 2021. This item was formerly part of the Performing Arts Manuscript Materials collection, C0215."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other collections containing items related to \"West Side Story,\" and musical theatre in general, including the \u003cextptr show=\"new\" title=\"Broadway souvenir theatre programs collection\" href=\"https://aspace.gmu.edu/repositories/2/resources/111\"\u003e\u003c/extptr\u003e, the \u003cextptr show=\"new\" title=\"Virginia Nelson playbills collection\" href=\"https://aspace.gmu.edu/repositories/2/resources/571\"\u003e\u003c/extptr\u003e, and the \u003cextptr show=\"new\" title=\"Charles Rodrigues playbill collection\" href=\"https://aspace.gmu.edu/repositories/2/resources/113\"\u003e\u003c/extptr\u003e.\u003c/p\u003e\n","\u003cp\u003eThe New York Public Library's Billy Rose Theatre Division holds a copy of this photograph, as well as others in the same series, which can be viewed \u003cextptr show=\"new\" title=\"here\" href=\"https://digitalcollections.nypl.org/items/de6f38c0-8357-0134-1212-00505686a51c\"\u003e\u003c/extptr\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds other collections containing items related to \"West Side Story,\" and musical theatre in general, including the  , the  , and the  .","The New York Public Library's Billy Rose Theatre Division holds a copy of this photograph, as well as others in the same series, which can be viewed  ."],"scopecontent_html_tesm":["\u003cp\u003eBlack and white photograph of prominent members of the original \"West Side Story\" production team by the Friedman-Abeles photography firm, printed September 29, 1959, the year of the musical's first U.S. Tour. The photo was originally taken in 1957, during the musical's production. From left to right are: Stephen Sondheim, Arthur Laurents, Harold Prince, Robert E. Griffith (seated), Leonard Bernstein, and Jerome Robbins. All men had successful careers in the performing arts field. Taped to the verso is an October 4, 1959 news clipping with information about the Chicago premiere of \"West Side Story\" and the names of the photograph's subjects. It is also stamped with the photography firm's information and pertinent dates.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Black and white photograph of prominent members of the original \"West Side Story\" production team by the Friedman-Abeles photography firm, printed September 29, 1959, the year of the musical's first U.S. Tour. The photo was originally taken in 1957, during the musical's production. From left to right are: Stephen Sondheim, Arthur Laurents, Harold Prince, Robert E. Griffith (seated), Leonard Bernstein, and Jerome Robbins. All men had successful careers in the performing arts field. Taped to the verso is an October 4, 1959 news clipping with information about the Chicago premiere of \"West Side Story\" and the names of the photograph's subjects. It is also stamped with the photography firm's information and pertinent dates."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish the Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm must be obtained from the Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish the Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm must be obtained from the Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"aspace_17f46ee49bdc9ef188bc8ece5e472cf9\" label=\"Abstract\"\u003eBlack and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm, printed September 29, 1959.\u003c/abstract\u003e"],"abstract_tesim":["Black and white photograph of prominent members of the original \"West Side Story\" production team by Friedman-Abeles photography firm, printed September 29, 1959."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_0861e172f8c0c799bdb692c60024fa50\"\u003eR 72, C 3, S 5\u003c/physloc\u003e"],"physloc_tesim":["R 72, C 3, S 5"],"names_ssim":["George Mason University. Libraries. 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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.","Four theater broadsides advertising the Boston Academy of Music's productions for November and December of 1860, Charlotte Cushman is given top billing on each. 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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":["The collection is open to all researchers. 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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\u003eBoston Academy of Music Theater Broadsides, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e"],"prefercite_tesim":["Boston Academy of Music Theater Broadsides, Special Collections Research Center, William \u0026 Mary Libraries."],"scopecontent_html_tesm":["\u003cp\u003eFour theater broadsides advertising the Boston Academy of Music's productions for November and December of 1860, Charlotte Cushman is given top billing on each. 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Libraries. Special Collections Research Center","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_111#abstract_or_scope","type":"document_value","attributes":{"value":"This collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. 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Finding aid updated by Amanda Menjivar in April 2020.","The Special Collections Research Center holds other playbill and theatre-related collections.","This collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. Instead of the traditional free playbill which is handed out upon entrance of the theatre, souvenir programs tend to be purchased at show concession stands, and are of higher quality, have color photography, and are intended to last as a souvenir of the theatrical experience. This collection contains many programs from original Broadway show runs, revivals, and features many famous actors, singers, and dancers who performed in Broadway shows. It also contains a few film souvenir programs.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. It contains many programs from original Broadway show runs, and features many famous actors, singers, and dancers who performed in Broadway shows.","R43, C5, S1 - S7","George Mason University. Libraries. 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Accessed April 17, 2020."],"bioghist_html_tesm":["\u003cp\u003eThe Theater District of New York City, known as Broadway after the main thoroughfare where over forty theatres make their home, is one of the most popular tourist destinations in the world. First known as the Great White Way due to its dazzling use of lights on marquees, Broadway is synonymous with the best live theatre has to offer. The Golden Age of Broadway occurred between 1943 and 1959, when the theatre-scene exploded with the advent of a new form of musical, popularized by the legendary duo Richard Rodgers and Oscar Hammerstein III in \"Oklahoma!\" What followed were some of the most popular, successful, and enduring musicals in American history. In addition to Rodgers and Hammerstein, composers and lyricists like Leonard Bernstein, Alan Jay Lerner, Frederick Loewe, Stephen Sondheim, Irving Berlin, and Cole Porter found great success during these years with a variety of shows and collaboration with one another. 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Though new plays and musicals continued to churn out during the 1960s and 1970s, Broadway suffered a creative and financial slump during this time, only to be revitalized in the mid to late 1980s by the likes of Andrew Lloyd Webber, producer Cameron Mackintosh, and Stephen Sondheim."],"prefercite_html_tesm":["\u003cp\u003eBroadway souvenir theatre programs collection, C0182, Special Collections Research Center, George Mason University.\u003c/p\u003e"],"prefercite_tesim":["Broadway souvenir theatre programs collection, C0182, Special Collections Research Center, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. EAD markup completed by Tom Duncan in 2010. Finding aid updated by Amanda Menjivar in April 2020.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. EAD markup completed by Tom Duncan in 2010. Finding aid updated by Amanda Menjivar in April 2020."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other playbill and theatre-related collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds other playbill and theatre-related collections."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. Instead of the traditional free playbill which is handed out upon entrance of the theatre, souvenir programs tend to be purchased at show concession stands, and are of higher quality, have color photography, and are intended to last as a souvenir of the theatrical experience. 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This collection contains many programs from original Broadway show runs, revivals, and features many famous actors, singers, and dancers who performed in Broadway shows. It also contains a few film souvenir programs."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_bee07ba592a9093c395e24c430464c9f\" label=\"Abstract\"\u003eThis collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. It contains many programs from original Broadway show runs, and features many famous actors, singers, and dancers who performed in Broadway shows.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. It contains many programs from original Broadway show runs, and features many famous actors, singers, and dancers who performed in Broadway shows."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_50e2d6e41029baee7b2391636d5da92a\"\u003eR43, C5, S1 - S7\u003c/physloc\u003e"],"physloc_tesim":["R43, C5, S1 - S7"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"corpname_ssim":["George Mason University. Libraries. 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The Golden Age of Broadway occurred between 1943 and 1959, when the theatre-scene exploded with the advent of a new form of musical, popularized by the legendary duo Richard Rodgers and Oscar Hammerstein III in \"Oklahoma!\" What followed were some of the most popular, successful, and enduring musicals in American history. In addition to Rodgers and Hammerstein, composers and lyricists like Leonard Bernstein, Alan Jay Lerner, Frederick Loewe, Stephen Sondheim, Irving Berlin, and Cole Porter found great success during these years with a variety of shows and collaboration with one another. Though new plays and musicals continued to churn out during the 1960s and 1970s, Broadway suffered a creative and financial slump during this time, only to be revitalized in the mid to late 1980s by the likes of Andrew Lloyd Webber, producer Cameron Mackintosh, and Stephen Sondheim.","Processed by Special Collections Research Center staff. EAD markup completed by Tom Duncan in 2010. 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It also contains a few film souvenir programs.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. It contains many programs from original Broadway show runs, and features many famous actors, singers, and dancers who performed in Broadway shows.","R43, C5, S1 - S7","George Mason University. Libraries. 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Accessed April 17, 2020."],"bioghist_html_tesm":["\u003cp\u003eThe Theater District of New York City, known as Broadway after the main thoroughfare where over forty theatres make their home, is one of the most popular tourist destinations in the world. First known as the Great White Way due to its dazzling use of lights on marquees, Broadway is synonymous with the best live theatre has to offer. The Golden Age of Broadway occurred between 1943 and 1959, when the theatre-scene exploded with the advent of a new form of musical, popularized by the legendary duo Richard Rodgers and Oscar Hammerstein III in \"Oklahoma!\" What followed were some of the most popular, successful, and enduring musicals in American history. In addition to Rodgers and Hammerstein, composers and lyricists like Leonard Bernstein, Alan Jay Lerner, Frederick Loewe, Stephen Sondheim, Irving Berlin, and Cole Porter found great success during these years with a variety of shows and collaboration with one another. Though new plays and musicals continued to churn out during the 1960s and 1970s, Broadway suffered a creative and financial slump during this time, only to be revitalized in the mid to late 1980s by the likes of Andrew Lloyd Webber, producer Cameron Mackintosh, and Stephen Sondheim.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Theater District of New York City, known as Broadway after the main thoroughfare where over forty theatres make their home, is one of the most popular tourist destinations in the world. First known as the Great White Way due to its dazzling use of lights on marquees, Broadway is synonymous with the best live theatre has to offer. The Golden Age of Broadway occurred between 1943 and 1959, when the theatre-scene exploded with the advent of a new form of musical, popularized by the legendary duo Richard Rodgers and Oscar Hammerstein III in \"Oklahoma!\" What followed were some of the most popular, successful, and enduring musicals in American history. In addition to Rodgers and Hammerstein, composers and lyricists like Leonard Bernstein, Alan Jay Lerner, Frederick Loewe, Stephen Sondheim, Irving Berlin, and Cole Porter found great success during these years with a variety of shows and collaboration with one another. Though new plays and musicals continued to churn out during the 1960s and 1970s, Broadway suffered a creative and financial slump during this time, only to be revitalized in the mid to late 1980s by the likes of Andrew Lloyd Webber, producer Cameron Mackintosh, and Stephen Sondheim."],"prefercite_html_tesm":["\u003cp\u003eBroadway souvenir theatre programs collection, C0182, Special Collections Research Center, George Mason University.\u003c/p\u003e"],"prefercite_tesim":["Broadway souvenir theatre programs collection, C0182, Special Collections Research Center, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. EAD markup completed by Tom Duncan in 2010. Finding aid updated by Amanda Menjivar in April 2020.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. EAD markup completed by Tom Duncan in 2010. Finding aid updated by Amanda Menjivar in April 2020."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other playbill and theatre-related collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds other playbill and theatre-related collections."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. Instead of the traditional free playbill which is handed out upon entrance of the theatre, souvenir programs tend to be purchased at show concession stands, and are of higher quality, have color photography, and are intended to last as a souvenir of the theatrical experience. This collection contains many programs from original Broadway show runs, revivals, and features many famous actors, singers, and dancers who performed in Broadway shows. It also contains a few film souvenir programs.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. Instead of the traditional free playbill which is handed out upon entrance of the theatre, souvenir programs tend to be purchased at show concession stands, and are of higher quality, have color photography, and are intended to last as a souvenir of the theatrical experience. This collection contains many programs from original Broadway show runs, revivals, and features many famous actors, singers, and dancers who performed in Broadway shows. It also contains a few film souvenir programs."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_bee07ba592a9093c395e24c430464c9f\" label=\"Abstract\"\u003eThis collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. It contains many programs from original Broadway show runs, and features many famous actors, singers, and dancers who performed in Broadway shows.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. It contains many programs from original Broadway show runs, and features many famous actors, singers, and dancers who performed in Broadway shows."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_50e2d6e41029baee7b2391636d5da92a\"\u003eR43, C5, S1 - S7\u003c/physloc\u003e"],"physloc_tesim":["R43, C5, S1 - S7"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"corpname_ssim":["George Mason University. Libraries. 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