{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater+programs\u0026f%5Bdate_range%5D%5B%5D=1982\u0026f%5Bplaces%5D%5B%5D=Washington+%28D.C.%29","last":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater+programs\u0026f%5Bdate_range%5D%5B%5D=1982\u0026f%5Bplaces%5D%5B%5D=Washington+%28D.C.%29\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":2,"first_page?":true,"last_page?":true}},"data":[{"id":"vifgm_repositories_2_resources_13","type":"collection","attributes":{"title":"L. Claire Kincannon theatre collection","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_13#creator","type":"document_value","attributes":{"value":"Kincannon, Lois Claire","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_13#abstract_or_scope","type":"document_value","attributes":{"value":"The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show Behind the Scenes.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_13#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_13","ead_ssi":"vifgm_repositories_2_resources_13","_root_":"vifgm_repositories_2_resources_13","_nest_parent_":"vifgm_repositories_2_resources_13","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_13.xml","title_ssm":["L. Claire Kincannon theatre collection"],"title_tesim":["L. Claire Kincannon theatre collection"],"unitdate_ssm":["1941-2015"],"unitdate_inclusive_ssm":["1941-2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0018","/repositories/2/resources/13"],"text":["C0018","/repositories/2/resources/13","L. Claire Kincannon theatre collection","Ohio","Broadway (New York, N.Y.)","Washington (D.C.)","Motion pictures","Theater","Theater -- England -- London","Theater -- New York (State) -- New York","Theater -- Washington (D.C.)","Theater critics","Theater programs","Performing arts","Broadcasting","There are no access restrictions.","Most of the audiovisual materials in this collection have been digitized. Please contact the Special Collections Research Center for more information.","This collection is arranged into two series and then alphabetically by title.","Series Series 1: Theatre and film-related materials, 1941-2015 (Boxes 1-42; 65) Series 2:  Behind the Scenes  production materials, 1971-1990s (Boxes 32-34; 42-88) Series 3: Digitized  Behind the Scenes  reels, circa 1980s-1992","Lois Claire Kincannon, known as \"Claire,\" was an author, theatre critic, and radio journalist. Born April 19, 1940, Kincannon originally graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she hosted her own radio show titled  Behind the Scenes,  in which she reviewed and discussed the theatre performances that she attended in the Washington, D.C. area. In late 1992, Kincannon moved to Paris, France, with her husband, where she founded Dancing Ink Press and published several books, including  Paeonian to Paris ,  Sheets for Men Only, Sheets to the Wind,  and  Rockin' with Porch Memories.  After eight years abroad, she returned to the United States, where she lived for the rest of her life. Kincannon passed away on August 9th, 2023.","The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the L. Claire Kincannon theatre collection. Additional time and money may be required to digitize this material for access.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","Processed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012.","Reprocessed and additional accessions processed by Vilma Chicas Garcia from January-May 2024. Finding aid completed by Vilma Chicas Garcia in May 2024. ","Additional processing completed by Amanda Menjivar in June 2024. Finding aid edited and published by Amanda Menjivar in May 2024.","The Special Collections Research Center also holds many other collections on  . ","The University of Maryland holds multiple ","The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show  Behind the Scenes.  This collection consists of two series.","Series 1: Theatre and film-related materials consists of five subseries. Subseries 1: Washington, D.C. and District-Maryland-Virginia (DMV) area; Subseries 2: Ohio regional theatres; Subseries 3: New York productions; Subseries 4: Other American productions; and Subseries 5: International productions. Materials in this series include programs, playbills, stage bills, press releases, photographs, news articles, ticket stubs, invitations, and advertisements from theatre and motion picture productions across the United States and Eastern Europe, and are divided based on location. Some programs also contain Kincannon's handwritten notes. Many of these materials are from the John F. Kennedy Center for the Performing Arts, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and various other theatres in the D.C. area. It also includes productions by the Kenley Players and Victory Theatre in Dayton, Ohio, among others in the area. ","Series 2:  Behind The Scenes  production materials contains materials created during Kincannon's career, including drafted, unpublished, and published articles and scripts for her  Bydin' my Time  segment in the  Blue Ridge Leader  newspaper and her radio show  Behind the Scenes.  Materials include audio and visual materials from  Behind the Scenes,  as well as outlines, radio broadcast schedules, contracts, proposals, funding, and business correspondence.","C0018_018","C0018_031","6 cuts: 1. porgy + bess, 2. candide, 3. lena horne, 4. dancing in the streets, 5. program with one break, 6. program","C0018_004","C0018_020","C0018_005","C0018_006","C0018_007","C0018_021","C0018_008","C0018_022","C0018_033. Reviews include:  A Chorus Line  at Wolf Trap,  A Midsummer Night's Dream  at Brownell Farm, and  Cat on a Hot Tin Roof  at Wayside Theatre.","C0018_009","Two u-matic tapes for  Behind the Scenes . Includes is an instructional film published by Pacific Canada. This film was very damaged and, though viewable, its content is obstructed.","C0018_025","C0018_023","C0018_001","C0018_002","C0018_003","C0018_010","Also includes \"Cut 5 - Women in film old enough, cut 4 - gin game, cut 2 AIV, cut 3 \"Nine (portion)\"","C0018_024","C0018_011","C0018_029 and C0018_030","C0018_014","C0018_026","C0018_017","C0018_012","Includes  Cats, The GoodPerson of Setzuan,  and  Happy End  review drafts.","C0018_013","C0018_019","C0018_027","C0018_028","C0018_016","Includes handwritten notes from Kincannon, housed in Box [X].","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally. File name: Kincannon_003.","This material is only available digitally. File name: Kincannon_004.","This material is only available digitally. File name: Kincannon_005.","This material is only available digitally. File name: Kincannon_006.","This material is only available digitally. File name: Kincannon_007.","This material is only available digitally. This material is only available digitally. File name: Kincannon_008.","This material is only available digitally. This material is only available digitally. File name: Kincannon_009.","This material is only available digitally. This material is only available digitally. File name: Kincannon_010.","This material is only available digitally. File name: Kincannon_011.","This material is only available digitally. File name: Kincannon_012.","This material is only available digitally. File name: Kincannon_013.","This material is only available digitally. File name: Kincannon_014.","This material is only available digitally. File name: Kincannon_015.","This material is only available digitally. File name: Kincannon_016.","This material is only available digitally. File name: Kincannon_017.","This material is only available digitally. File name: Kincannon_018.","This material is only available digitally. File name: Kincannon_019.","This material is only available digitally. File name: Kincannon_020.","This material is only available digitally. File name: Kincannon_021.","This material is only available digitally. File name: Kincannon_022.","This material is only available digitally. File name: Kincannon_023.","This material is only available digitally. File name: Kincannon_024.","This material is only available digitally. File name: Kincannon_025.","This material is only available digitally. File name: Kincannon_026.","This material is only available digitally. File name: Kincannon_027.","This material is only available digitally. File name: Master_Tape_Wk_23-1, 2, and 3.","This material is only available digitally. File name: Shakespeare_Theatre_Part_1-1, 2, 3.","This material is only available digitally. File name: Shakespeare_Theatre_Part_II-1, 2, 3.","This material is only available digitally. File name: Sound_of_Music_Capital_Steps-1, 2","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show  Behind the Scenes.","R 9, C 4, S 3-7\n\nR 10, C 1, S 2-4\n\nOS R 2, C 1, S 4","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Folger Theatre","John F. Kennedy Center for the Performing Arts (U.S.)","Kincannon, Lois Claire","English"],"unitid_tesim":["C0018","/repositories/2/resources/13"],"normalized_title_ssm":["L. Claire Kincannon theatre collection"],"collection_title_tesim":["L. Claire Kincannon theatre collection"],"collection_ssim":["L. Claire Kincannon theatre collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Ohio","Broadway (New York, N.Y.)","Washington (D.C.)"],"geogname_ssim":["Ohio","Broadway (New York, N.Y.)","Washington (D.C.)"],"creator_ssm":["Kincannon, Lois Claire"],"creator_ssim":["Kincannon, Lois Claire"],"creator_persname_ssim":["Kincannon, Lois Claire"],"creators_ssim":["Kincannon, Lois Claire"],"places_ssim":["Ohio","Broadway (New York, N.Y.)","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":["Collection donated by L. Claire Kincannon from 2007-2015."],"access_subjects_ssim":["Motion pictures","Theater","Theater -- England -- London","Theater -- New York (State) -- New York","Theater -- Washington (D.C.)","Theater critics","Theater programs","Performing arts","Broadcasting"],"access_subjects_ssm":["Motion pictures","Theater","Theater -- England -- London","Theater -- New York (State) -- New York","Theater -- Washington (D.C.)","Theater critics","Theater programs","Performing arts","Broadcasting"],"has_online_content_ssim":["false"],"extent_ssm":["20 Linear Feet 88 boxes"],"extent_tesim":["20 Linear Feet 88 boxes"],"date_range_isim":[1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eMost of the audiovisual materials in this collection have been digitized. Please contact the Special Collections Research Center for more information.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Most of the audiovisual materials in this collection have been digitized. Please contact the Special Collections Research Center for more information."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into two series and then alphabetically by title.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Theatre and film-related materials, 1941-2015 (Boxes 1-42; 65)\u003c/item\u003e\n      \u003citem\u003eSeries 2: \u003citalic\u003eBehind the Scenes\u003c/italic\u003e production materials, 1971-1990s (Boxes 32-34; 42-88)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Digitized \u003citalic\u003eBehind the Scenes\u003c/italic\u003e reels, circa 1980s-1992\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into two series and then alphabetically by title.","Series Series 1: Theatre and film-related materials, 1941-2015 (Boxes 1-42; 65) Series 2:  Behind the Scenes  production materials, 1971-1990s (Boxes 32-34; 42-88) Series 3: Digitized  Behind the Scenes  reels, circa 1980s-1992"],"bioghist_html_tesm":["\u003cp\u003eLois Claire Kincannon, known as \"Claire,\" was an author, theatre critic, and radio journalist. Born April 19, 1940, Kincannon originally graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she hosted her own radio show titled \u003citalic\u003eBehind the Scenes,\u003c/italic\u003e in which she reviewed and discussed the theatre performances that she attended in the Washington, D.C. area. In late 1992, Kincannon moved to Paris, France, with her husband, where she founded Dancing Ink Press and published several books, including \u003citalic\u003ePaeonian to Paris\u003c/italic\u003e, \u003citalic\u003eSheets for Men Only,\u003c/italic\u003e \u003citalic\u003eSheets to the Wind,\u003c/italic\u003e and \u003citalic\u003eRockin' with Porch Memories.\u003c/italic\u003e After eight years abroad, she returned to the United States, where she lived for the rest of her life. Kincannon passed away on August 9th, 2023.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Lois Claire Kincannon, known as \"Claire,\" was an author, theatre critic, and radio journalist. Born April 19, 1940, Kincannon originally graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she hosted her own radio show titled  Behind the Scenes,  in which she reviewed and discussed the theatre performances that she attended in the Washington, D.C. area. In late 1992, Kincannon moved to Paris, France, with her husband, where she founded Dancing Ink Press and published several books, including  Paeonian to Paris ,  Sheets for Men Only, Sheets to the Wind,  and  Rockin' with Porch Memories.  After eight years abroad, she returned to the United States, where she lived for the rest of her life. Kincannon passed away on August 9th, 2023."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the L. Claire Kincannon theatre collection. Additional time and money may be required to digitize this material for access.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e"],"phystech_heading_ssm":["Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the L. Claire Kincannon theatre collection. Additional time and money may be required to digitize this material for access.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally."],"prefercite_html_tesm":["\u003cp\u003eL. Claire Kincannon theatre collection, C0018, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["L. Claire Kincannon theatre collection, C0018, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012.\u003c/p\u003e","\u003cp\u003eReprocessed and additional accessions processed by Vilma Chicas Garcia from January-May 2024. Finding aid completed by Vilma Chicas Garcia in May 2024. \u003c/p\u003e","\u003cp\u003eAdditional processing completed by Amanda Menjivar in June 2024. Finding aid edited and published by Amanda Menjivar in May 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012.","Reprocessed and additional accessions processed by Vilma Chicas Garcia from January-May 2024. Finding aid completed by Vilma Chicas Garcia in May 2024. ","Additional processing completed by Amanda Menjivar in June 2024. Finding aid edited and published by Amanda Menjivar in May 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds many other collections on \u003cextptr show=\"new\" title=\"theatre and the performing arts\" href=\"https://aspace.gmu.edu/search?utf8=%E2%9C%93\u0026amp;op%5B%5D=\u0026amp;q%5B%5D=theatre\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\n","\u003cp\u003eThe University of Maryland holds multiple \u003cextptr show=\"new\" title=\"radio and television broadcasting collections.\" href=\"https://www.lib.umd.edu/collections/special/broadcasting\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds many other collections on  . ","The University of Maryland holds multiple "],"scopecontent_html_tesm":["\u003cp\u003eThe L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show \u003citalic\u003eBehind the Scenes.\u003c/italic\u003e This collection consists of two series.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Theatre and film-related materials consists of five subseries. Subseries 1: Washington, D.C. and District-Maryland-Virginia (DMV) area; Subseries 2: Ohio regional theatres; Subseries 3: New York productions; Subseries 4: Other American productions; and Subseries 5: International productions. Materials in this series include programs, playbills, stage bills, press releases, photographs, news articles, ticket stubs, invitations, and advertisements from theatre and motion picture productions across the United States and Eastern Europe, and are divided based on location. Some programs also contain Kincannon's handwritten notes. Many of these materials are from the John F. Kennedy Center for the Performing Arts, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and various other theatres in the D.C. area. It also includes productions by the Kenley Players and Victory Theatre in Dayton, Ohio, among others in the area. \u003c/p\u003e\n","\u003cp\u003eSeries 2: \u003citalic\u003eBehind The Scenes\u003c/italic\u003e production materials contains materials created during Kincannon's career, including drafted, unpublished, and published articles and scripts for her \u003citalic\u003eBydin' my Time\u003c/italic\u003e segment in the \u003citalic\u003eBlue Ridge Leader\u003c/italic\u003e newspaper and her radio show \u003citalic\u003eBehind the Scenes.\u003c/italic\u003e Materials include audio and visual materials from \u003citalic\u003eBehind the Scenes,\u003c/italic\u003e as well as outlines, radio broadcast schedules, contracts, proposals, funding, and business correspondence.\u003c/p\u003e","\u003cp\u003eC0018_018\u003c/p\u003e","\u003cp\u003eC0018_031\u003c/p\u003e","\u003cp\u003e6 cuts: 1. porgy + bess, 2. candide, 3. lena horne, 4. dancing in the streets, 5. program with one break, 6. program\u003c/p\u003e","\u003cp\u003eC0018_004\u003c/p\u003e","\u003cp\u003eC0018_020\u003c/p\u003e","\u003cp\u003eC0018_005\u003c/p\u003e","\u003cp\u003eC0018_006\u003c/p\u003e","\u003cp\u003eC0018_007\u003c/p\u003e","\u003cp\u003eC0018_021\u003c/p\u003e","\u003cp\u003eC0018_008\u003c/p\u003e","\u003cp\u003eC0018_022\u003c/p\u003e","\u003cp\u003eC0018_033. Reviews include: \u003citalic\u003eA Chorus Line\u003c/italic\u003e at Wolf Trap, \u003citalic\u003eA Midsummer Night's Dream\u003c/italic\u003e at Brownell Farm, and \u003citalic\u003eCat on a Hot Tin Roof\u003c/italic\u003e at Wayside Theatre.\u003c/p\u003e","\u003cp\u003eC0018_009\u003c/p\u003e","\u003cp\u003eTwo u-matic tapes for \u003citalic\u003eBehind the Scenes\u003c/italic\u003e. Includes is an instructional film published by Pacific Canada. This film was very damaged and, though viewable, its content is obstructed.\u003c/p\u003e","\u003cp\u003eC0018_025\u003c/p\u003e","\u003cp\u003eC0018_023\u003c/p\u003e","\u003cp\u003eC0018_001\u003c/p\u003e","\u003cp\u003eC0018_002\u003c/p\u003e","\u003cp\u003eC0018_003\u003c/p\u003e","\u003cp\u003eC0018_010\u003c/p\u003e","\u003cp\u003eAlso includes \"Cut 5 - Women in film old enough, cut 4 - gin game, cut 2 AIV, cut 3 \"Nine (portion)\"\u003c/p\u003e","\u003cp\u003eC0018_024\u003c/p\u003e","\u003cp\u003eC0018_011\u003c/p\u003e","\u003cp\u003eC0018_029 and C0018_030\u003c/p\u003e","\u003cp\u003eC0018_014\u003c/p\u003e","\u003cp\u003eC0018_026\u003c/p\u003e","\u003cp\u003eC0018_017\u003c/p\u003e","\u003cp\u003eC0018_012\u003c/p\u003e","\u003cp\u003eIncludes \u003citalic\u003eCats, The GoodPerson of Setzuan,\u003c/italic\u003e and \u003citalic\u003eHappy End\u003c/italic\u003e review drafts.\u003c/p\u003e","\u003cp\u003eC0018_013\u003c/p\u003e","\u003cp\u003eC0018_019\u003c/p\u003e","\u003cp\u003eC0018_027\u003c/p\u003e","\u003cp\u003eC0018_028\u003c/p\u003e","\u003cp\u003eC0018_016\u003c/p\u003e","\u003cp\u003eIncludes handwritten notes from Kincannon, housed in Box [X].\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_003.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_004.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_005.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_006.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_007.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. This material is only available digitally. File name: Kincannon_008.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. This material is only available digitally. File name: Kincannon_009.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. This material is only available digitally. File name: Kincannon_010.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_011.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_012.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_013.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_014.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_015.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_016.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_017.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_018.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_019.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_020.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_021.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_022.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_023.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_024.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_025.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_026.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_027.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Master_Tape_Wk_23-1, 2, and 3.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Shakespeare_Theatre_Part_1-1, 2, 3.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Shakespeare_Theatre_Part_II-1, 2, 3.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Sound_of_Music_Capital_Steps-1, 2\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show  Behind the Scenes.  This collection consists of two series.","Series 1: Theatre and film-related materials consists of five subseries. Subseries 1: Washington, D.C. and District-Maryland-Virginia (DMV) area; Subseries 2: Ohio regional theatres; Subseries 3: New York productions; Subseries 4: Other American productions; and Subseries 5: International productions. Materials in this series include programs, playbills, stage bills, press releases, photographs, news articles, ticket stubs, invitations, and advertisements from theatre and motion picture productions across the United States and Eastern Europe, and are divided based on location. Some programs also contain Kincannon's handwritten notes. Many of these materials are from the John F. Kennedy Center for the Performing Arts, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and various other theatres in the D.C. area. It also includes productions by the Kenley Players and Victory Theatre in Dayton, Ohio, among others in the area. ","Series 2:  Behind The Scenes  production materials contains materials created during Kincannon's career, including drafted, unpublished, and published articles and scripts for her  Bydin' my Time  segment in the  Blue Ridge Leader  newspaper and her radio show  Behind the Scenes.  Materials include audio and visual materials from  Behind the Scenes,  as well as outlines, radio broadcast schedules, contracts, proposals, funding, and business correspondence.","C0018_018","C0018_031","6 cuts: 1. porgy + bess, 2. candide, 3. lena horne, 4. dancing in the streets, 5. program with one break, 6. program","C0018_004","C0018_020","C0018_005","C0018_006","C0018_007","C0018_021","C0018_008","C0018_022","C0018_033. Reviews include:  A Chorus Line  at Wolf Trap,  A Midsummer Night's Dream  at Brownell Farm, and  Cat on a Hot Tin Roof  at Wayside Theatre.","C0018_009","Two u-matic tapes for  Behind the Scenes . Includes is an instructional film published by Pacific Canada. This film was very damaged and, though viewable, its content is obstructed.","C0018_025","C0018_023","C0018_001","C0018_002","C0018_003","C0018_010","Also includes \"Cut 5 - Women in film old enough, cut 4 - gin game, cut 2 AIV, cut 3 \"Nine (portion)\"","C0018_024","C0018_011","C0018_029 and C0018_030","C0018_014","C0018_026","C0018_017","C0018_012","Includes  Cats, The GoodPerson of Setzuan,  and  Happy End  review drafts.","C0018_013","C0018_019","C0018_027","C0018_028","C0018_016","Includes handwritten notes from Kincannon, housed in Box [X].","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally. File name: Kincannon_003.","This material is only available digitally. File name: Kincannon_004.","This material is only available digitally. File name: Kincannon_005.","This material is only available digitally. File name: Kincannon_006.","This material is only available digitally. File name: Kincannon_007.","This material is only available digitally. This material is only available digitally. File name: Kincannon_008.","This material is only available digitally. This material is only available digitally. File name: Kincannon_009.","This material is only available digitally. This material is only available digitally. File name: Kincannon_010.","This material is only available digitally. File name: Kincannon_011.","This material is only available digitally. File name: Kincannon_012.","This material is only available digitally. File name: Kincannon_013.","This material is only available digitally. File name: Kincannon_014.","This material is only available digitally. File name: Kincannon_015.","This material is only available digitally. File name: Kincannon_016.","This material is only available digitally. File name: Kincannon_017.","This material is only available digitally. File name: Kincannon_018.","This material is only available digitally. File name: Kincannon_019.","This material is only available digitally. File name: Kincannon_020.","This material is only available digitally. File name: Kincannon_021.","This material is only available digitally. File name: Kincannon_022.","This material is only available digitally. File name: Kincannon_023.","This material is only available digitally. File name: Kincannon_024.","This material is only available digitally. File name: Kincannon_025.","This material is only available digitally. File name: Kincannon_026.","This material is only available digitally. File name: Kincannon_027.","This material is only available digitally. File name: Master_Tape_Wk_23-1, 2, and 3.","This material is only available digitally. File name: Shakespeare_Theatre_Part_1-1, 2, 3.","This material is only available digitally. File name: Shakespeare_Theatre_Part_II-1, 2, 3.","This material is only available digitally. File name: Sound_of_Music_Capital_Steps-1, 2"],"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_16a68c93d8b3d69c2ae06c4266189f5f\"\u003eThe L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show \u003citalic\u003eBehind the Scenes.\u003c/italic\u003e\u003c/abstract\u003e"],"abstract_tesim":["The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show  Behind the Scenes."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e075fefd777b95903634244477006030\"\u003eR 9, C 4, S 3-7\n\nR 10, C 1, S 2-4\n\nOS R 2, C 1, S 4\u003c/physloc\u003e"],"physloc_tesim":["R 9, C 4, S 3-7\n\nR 10, C 1, S 2-4\n\nOS R 2, C 1, S 4"],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)","Folger Theatre","John F. Kennedy Center for the Performing Arts (U.S.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Folger Theatre","John F. Kennedy Center for the Performing Arts (U.S.)","Kincannon, Lois Claire"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Folger Theatre","John F. Kennedy Center for the Performing Arts (U.S.)"],"persname_ssim":["Kincannon, Lois Claire"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1250,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-24T23:40:54.982Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_13","ead_ssi":"vifgm_repositories_2_resources_13","_root_":"vifgm_repositories_2_resources_13","_nest_parent_":"vifgm_repositories_2_resources_13","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_13.xml","title_ssm":["L. Claire Kincannon theatre collection"],"title_tesim":["L. Claire Kincannon theatre collection"],"unitdate_ssm":["1941-2015"],"unitdate_inclusive_ssm":["1941-2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0018","/repositories/2/resources/13"],"text":["C0018","/repositories/2/resources/13","L. Claire Kincannon theatre collection","Ohio","Broadway (New York, N.Y.)","Washington (D.C.)","Motion pictures","Theater","Theater -- England -- London","Theater -- New York (State) -- New York","Theater -- Washington (D.C.)","Theater critics","Theater programs","Performing arts","Broadcasting","There are no access restrictions.","Most of the audiovisual materials in this collection have been digitized. Please contact the Special Collections Research Center for more information.","This collection is arranged into two series and then alphabetically by title.","Series Series 1: Theatre and film-related materials, 1941-2015 (Boxes 1-42; 65) Series 2:  Behind the Scenes  production materials, 1971-1990s (Boxes 32-34; 42-88) Series 3: Digitized  Behind the Scenes  reels, circa 1980s-1992","Lois Claire Kincannon, known as \"Claire,\" was an author, theatre critic, and radio journalist. Born April 19, 1940, Kincannon originally graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she hosted her own radio show titled  Behind the Scenes,  in which she reviewed and discussed the theatre performances that she attended in the Washington, D.C. area. In late 1992, Kincannon moved to Paris, France, with her husband, where she founded Dancing Ink Press and published several books, including  Paeonian to Paris ,  Sheets for Men Only, Sheets to the Wind,  and  Rockin' with Porch Memories.  After eight years abroad, she returned to the United States, where she lived for the rest of her life. Kincannon passed away on August 9th, 2023.","The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the L. Claire Kincannon theatre collection. Additional time and money may be required to digitize this material for access.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","Processed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012.","Reprocessed and additional accessions processed by Vilma Chicas Garcia from January-May 2024. Finding aid completed by Vilma Chicas Garcia in May 2024. ","Additional processing completed by Amanda Menjivar in June 2024. Finding aid edited and published by Amanda Menjivar in May 2024.","The Special Collections Research Center also holds many other collections on  . ","The University of Maryland holds multiple ","The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show  Behind the Scenes.  This collection consists of two series.","Series 1: Theatre and film-related materials consists of five subseries. Subseries 1: Washington, D.C. and District-Maryland-Virginia (DMV) area; Subseries 2: Ohio regional theatres; Subseries 3: New York productions; Subseries 4: Other American productions; and Subseries 5: International productions. Materials in this series include programs, playbills, stage bills, press releases, photographs, news articles, ticket stubs, invitations, and advertisements from theatre and motion picture productions across the United States and Eastern Europe, and are divided based on location. Some programs also contain Kincannon's handwritten notes. Many of these materials are from the John F. Kennedy Center for the Performing Arts, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and various other theatres in the D.C. area. It also includes productions by the Kenley Players and Victory Theatre in Dayton, Ohio, among others in the area. ","Series 2:  Behind The Scenes  production materials contains materials created during Kincannon's career, including drafted, unpublished, and published articles and scripts for her  Bydin' my Time  segment in the  Blue Ridge Leader  newspaper and her radio show  Behind the Scenes.  Materials include audio and visual materials from  Behind the Scenes,  as well as outlines, radio broadcast schedules, contracts, proposals, funding, and business correspondence.","C0018_018","C0018_031","6 cuts: 1. porgy + bess, 2. candide, 3. lena horne, 4. dancing in the streets, 5. program with one break, 6. program","C0018_004","C0018_020","C0018_005","C0018_006","C0018_007","C0018_021","C0018_008","C0018_022","C0018_033. Reviews include:  A Chorus Line  at Wolf Trap,  A Midsummer Night's Dream  at Brownell Farm, and  Cat on a Hot Tin Roof  at Wayside Theatre.","C0018_009","Two u-matic tapes for  Behind the Scenes . Includes is an instructional film published by Pacific Canada. This film was very damaged and, though viewable, its content is obstructed.","C0018_025","C0018_023","C0018_001","C0018_002","C0018_003","C0018_010","Also includes \"Cut 5 - Women in film old enough, cut 4 - gin game, cut 2 AIV, cut 3 \"Nine (portion)\"","C0018_024","C0018_011","C0018_029 and C0018_030","C0018_014","C0018_026","C0018_017","C0018_012","Includes  Cats, The GoodPerson of Setzuan,  and  Happy End  review drafts.","C0018_013","C0018_019","C0018_027","C0018_028","C0018_016","Includes handwritten notes from Kincannon, housed in Box [X].","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally. File name: Kincannon_003.","This material is only available digitally. File name: Kincannon_004.","This material is only available digitally. File name: Kincannon_005.","This material is only available digitally. File name: Kincannon_006.","This material is only available digitally. File name: Kincannon_007.","This material is only available digitally. This material is only available digitally. File name: Kincannon_008.","This material is only available digitally. This material is only available digitally. File name: Kincannon_009.","This material is only available digitally. This material is only available digitally. File name: Kincannon_010.","This material is only available digitally. File name: Kincannon_011.","This material is only available digitally. File name: Kincannon_012.","This material is only available digitally. File name: Kincannon_013.","This material is only available digitally. File name: Kincannon_014.","This material is only available digitally. File name: Kincannon_015.","This material is only available digitally. File name: Kincannon_016.","This material is only available digitally. File name: Kincannon_017.","This material is only available digitally. File name: Kincannon_018.","This material is only available digitally. File name: Kincannon_019.","This material is only available digitally. File name: Kincannon_020.","This material is only available digitally. File name: Kincannon_021.","This material is only available digitally. File name: Kincannon_022.","This material is only available digitally. File name: Kincannon_023.","This material is only available digitally. File name: Kincannon_024.","This material is only available digitally. File name: Kincannon_025.","This material is only available digitally. File name: Kincannon_026.","This material is only available digitally. File name: Kincannon_027.","This material is only available digitally. File name: Master_Tape_Wk_23-1, 2, and 3.","This material is only available digitally. File name: Shakespeare_Theatre_Part_1-1, 2, 3.","This material is only available digitally. File name: Shakespeare_Theatre_Part_II-1, 2, 3.","This material is only available digitally. File name: Sound_of_Music_Capital_Steps-1, 2","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show  Behind the Scenes.","R 9, C 4, S 3-7\n\nR 10, C 1, S 2-4\n\nOS R 2, C 1, S 4","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Folger Theatre","John F. Kennedy Center for the Performing Arts (U.S.)","Kincannon, Lois Claire","English"],"unitid_tesim":["C0018","/repositories/2/resources/13"],"normalized_title_ssm":["L. Claire Kincannon theatre collection"],"collection_title_tesim":["L. Claire Kincannon theatre collection"],"collection_ssim":["L. Claire Kincannon theatre collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Ohio","Broadway (New York, N.Y.)","Washington (D.C.)"],"geogname_ssim":["Ohio","Broadway (New York, N.Y.)","Washington (D.C.)"],"creator_ssm":["Kincannon, Lois Claire"],"creator_ssim":["Kincannon, Lois Claire"],"creator_persname_ssim":["Kincannon, Lois Claire"],"creators_ssim":["Kincannon, Lois Claire"],"places_ssim":["Ohio","Broadway (New York, N.Y.)","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":["Collection donated by L. Claire Kincannon from 2007-2015."],"access_subjects_ssim":["Motion pictures","Theater","Theater -- England -- London","Theater -- New York (State) -- New York","Theater -- Washington (D.C.)","Theater critics","Theater programs","Performing arts","Broadcasting"],"access_subjects_ssm":["Motion pictures","Theater","Theater -- England -- London","Theater -- New York (State) -- New York","Theater -- Washington (D.C.)","Theater critics","Theater programs","Performing arts","Broadcasting"],"has_online_content_ssim":["false"],"extent_ssm":["20 Linear Feet 88 boxes"],"extent_tesim":["20 Linear Feet 88 boxes"],"date_range_isim":[1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eMost of the audiovisual materials in this collection have been digitized. Please contact the Special Collections Research Center for more information.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Most of the audiovisual materials in this collection have been digitized. Please contact the Special Collections Research Center for more information."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into two series and then alphabetically by title.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Theatre and film-related materials, 1941-2015 (Boxes 1-42; 65)\u003c/item\u003e\n      \u003citem\u003eSeries 2: \u003citalic\u003eBehind the Scenes\u003c/italic\u003e production materials, 1971-1990s (Boxes 32-34; 42-88)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Digitized \u003citalic\u003eBehind the Scenes\u003c/italic\u003e reels, circa 1980s-1992\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into two series and then alphabetically by title.","Series Series 1: Theatre and film-related materials, 1941-2015 (Boxes 1-42; 65) Series 2:  Behind the Scenes  production materials, 1971-1990s (Boxes 32-34; 42-88) Series 3: Digitized  Behind the Scenes  reels, circa 1980s-1992"],"bioghist_html_tesm":["\u003cp\u003eLois Claire Kincannon, known as \"Claire,\" was an author, theatre critic, and radio journalist. Born April 19, 1940, Kincannon originally graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she hosted her own radio show titled \u003citalic\u003eBehind the Scenes,\u003c/italic\u003e in which she reviewed and discussed the theatre performances that she attended in the Washington, D.C. area. In late 1992, Kincannon moved to Paris, France, with her husband, where she founded Dancing Ink Press and published several books, including \u003citalic\u003ePaeonian to Paris\u003c/italic\u003e, \u003citalic\u003eSheets for Men Only,\u003c/italic\u003e \u003citalic\u003eSheets to the Wind,\u003c/italic\u003e and \u003citalic\u003eRockin' with Porch Memories.\u003c/italic\u003e After eight years abroad, she returned to the United States, where she lived for the rest of her life. Kincannon passed away on August 9th, 2023.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Lois Claire Kincannon, known as \"Claire,\" was an author, theatre critic, and radio journalist. Born April 19, 1940, Kincannon originally graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she hosted her own radio show titled  Behind the Scenes,  in which she reviewed and discussed the theatre performances that she attended in the Washington, D.C. area. In late 1992, Kincannon moved to Paris, France, with her husband, where she founded Dancing Ink Press and published several books, including  Paeonian to Paris ,  Sheets for Men Only, Sheets to the Wind,  and  Rockin' with Porch Memories.  After eight years abroad, she returned to the United States, where she lived for the rest of her life. Kincannon passed away on August 9th, 2023."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the L. Claire Kincannon theatre collection. Additional time and money may be required to digitize this material for access.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e"],"phystech_heading_ssm":["Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements","Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the L. Claire Kincannon theatre collection. Additional time and money may be required to digitize this material for access.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally."],"prefercite_html_tesm":["\u003cp\u003eL. Claire Kincannon theatre collection, C0018, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["L. Claire Kincannon theatre collection, C0018, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012.\u003c/p\u003e","\u003cp\u003eReprocessed and additional accessions processed by Vilma Chicas Garcia from January-May 2024. Finding aid completed by Vilma Chicas Garcia in May 2024. \u003c/p\u003e","\u003cp\u003eAdditional processing completed by Amanda Menjivar in June 2024. Finding aid edited and published by Amanda Menjivar in May 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012.","Reprocessed and additional accessions processed by Vilma Chicas Garcia from January-May 2024. Finding aid completed by Vilma Chicas Garcia in May 2024. ","Additional processing completed by Amanda Menjivar in June 2024. Finding aid edited and published by Amanda Menjivar in May 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds many other collections on \u003cextptr show=\"new\" title=\"theatre and the performing arts\" href=\"https://aspace.gmu.edu/search?utf8=%E2%9C%93\u0026amp;op%5B%5D=\u0026amp;q%5B%5D=theatre\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\n","\u003cp\u003eThe University of Maryland holds multiple \u003cextptr show=\"new\" title=\"radio and television broadcasting collections.\" href=\"https://www.lib.umd.edu/collections/special/broadcasting\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds many other collections on  . ","The University of Maryland holds multiple "],"scopecontent_html_tesm":["\u003cp\u003eThe L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show \u003citalic\u003eBehind the Scenes.\u003c/italic\u003e This collection consists of two series.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Theatre and film-related materials consists of five subseries. Subseries 1: Washington, D.C. and District-Maryland-Virginia (DMV) area; Subseries 2: Ohio regional theatres; Subseries 3: New York productions; Subseries 4: Other American productions; and Subseries 5: International productions. Materials in this series include programs, playbills, stage bills, press releases, photographs, news articles, ticket stubs, invitations, and advertisements from theatre and motion picture productions across the United States and Eastern Europe, and are divided based on location. Some programs also contain Kincannon's handwritten notes. Many of these materials are from the John F. Kennedy Center for the Performing Arts, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and various other theatres in the D.C. area. It also includes productions by the Kenley Players and Victory Theatre in Dayton, Ohio, among others in the area. \u003c/p\u003e\n","\u003cp\u003eSeries 2: \u003citalic\u003eBehind The Scenes\u003c/italic\u003e production materials contains materials created during Kincannon's career, including drafted, unpublished, and published articles and scripts for her \u003citalic\u003eBydin' my Time\u003c/italic\u003e segment in the \u003citalic\u003eBlue Ridge Leader\u003c/italic\u003e newspaper and her radio show \u003citalic\u003eBehind the Scenes.\u003c/italic\u003e Materials include audio and visual materials from \u003citalic\u003eBehind the Scenes,\u003c/italic\u003e as well as outlines, radio broadcast schedules, contracts, proposals, funding, and business correspondence.\u003c/p\u003e","\u003cp\u003eC0018_018\u003c/p\u003e","\u003cp\u003eC0018_031\u003c/p\u003e","\u003cp\u003e6 cuts: 1. porgy + bess, 2. candide, 3. lena horne, 4. dancing in the streets, 5. program with one break, 6. program\u003c/p\u003e","\u003cp\u003eC0018_004\u003c/p\u003e","\u003cp\u003eC0018_020\u003c/p\u003e","\u003cp\u003eC0018_005\u003c/p\u003e","\u003cp\u003eC0018_006\u003c/p\u003e","\u003cp\u003eC0018_007\u003c/p\u003e","\u003cp\u003eC0018_021\u003c/p\u003e","\u003cp\u003eC0018_008\u003c/p\u003e","\u003cp\u003eC0018_022\u003c/p\u003e","\u003cp\u003eC0018_033. Reviews include: \u003citalic\u003eA Chorus Line\u003c/italic\u003e at Wolf Trap, \u003citalic\u003eA Midsummer Night's Dream\u003c/italic\u003e at Brownell Farm, and \u003citalic\u003eCat on a Hot Tin Roof\u003c/italic\u003e at Wayside Theatre.\u003c/p\u003e","\u003cp\u003eC0018_009\u003c/p\u003e","\u003cp\u003eTwo u-matic tapes for \u003citalic\u003eBehind the Scenes\u003c/italic\u003e. Includes is an instructional film published by Pacific Canada. This film was very damaged and, though viewable, its content is obstructed.\u003c/p\u003e","\u003cp\u003eC0018_025\u003c/p\u003e","\u003cp\u003eC0018_023\u003c/p\u003e","\u003cp\u003eC0018_001\u003c/p\u003e","\u003cp\u003eC0018_002\u003c/p\u003e","\u003cp\u003eC0018_003\u003c/p\u003e","\u003cp\u003eC0018_010\u003c/p\u003e","\u003cp\u003eAlso includes \"Cut 5 - Women in film old enough, cut 4 - gin game, cut 2 AIV, cut 3 \"Nine (portion)\"\u003c/p\u003e","\u003cp\u003eC0018_024\u003c/p\u003e","\u003cp\u003eC0018_011\u003c/p\u003e","\u003cp\u003eC0018_029 and C0018_030\u003c/p\u003e","\u003cp\u003eC0018_014\u003c/p\u003e","\u003cp\u003eC0018_026\u003c/p\u003e","\u003cp\u003eC0018_017\u003c/p\u003e","\u003cp\u003eC0018_012\u003c/p\u003e","\u003cp\u003eIncludes \u003citalic\u003eCats, The GoodPerson of Setzuan,\u003c/italic\u003e and \u003citalic\u003eHappy End\u003c/italic\u003e review drafts.\u003c/p\u003e","\u003cp\u003eC0018_013\u003c/p\u003e","\u003cp\u003eC0018_019\u003c/p\u003e","\u003cp\u003eC0018_027\u003c/p\u003e","\u003cp\u003eC0018_028\u003c/p\u003e","\u003cp\u003eC0018_016\u003c/p\u003e","\u003cp\u003eIncludes handwritten notes from Kincannon, housed in Box [X].\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_003.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_004.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_005.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_006.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Kincannon_007.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. This material is only available digitally. File name: Kincannon_008.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. This material is only available digitally. File name: Kincannon_009.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. This material is only available digitally. File name: Kincannon_010.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. 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File name: Shakespeare_Theatre_Part_II-1, 2, 3.\u003c/p\u003e","\u003cp\u003eThis material is only available digitally. File name: Sound_of_Music_Capital_Steps-1, 2\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show  Behind the Scenes.  This collection consists of two series.","Series 1: Theatre and film-related materials consists of five subseries. Subseries 1: Washington, D.C. and District-Maryland-Virginia (DMV) area; Subseries 2: Ohio regional theatres; Subseries 3: New York productions; Subseries 4: Other American productions; and Subseries 5: International productions. Materials in this series include programs, playbills, stage bills, press releases, photographs, news articles, ticket stubs, invitations, and advertisements from theatre and motion picture productions across the United States and Eastern Europe, and are divided based on location. Some programs also contain Kincannon's handwritten notes. Many of these materials are from the John F. Kennedy Center for the Performing Arts, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and various other theatres in the D.C. area. It also includes productions by the Kenley Players and Victory Theatre in Dayton, Ohio, among others in the area. ","Series 2:  Behind The Scenes  production materials contains materials created during Kincannon's career, including drafted, unpublished, and published articles and scripts for her  Bydin' my Time  segment in the  Blue Ridge Leader  newspaper and her radio show  Behind the Scenes.  Materials include audio and visual materials from  Behind the Scenes,  as well as outlines, radio broadcast schedules, contracts, proposals, funding, and business correspondence.","C0018_018","C0018_031","6 cuts: 1. porgy + bess, 2. candide, 3. lena horne, 4. dancing in the streets, 5. program with one break, 6. program","C0018_004","C0018_020","C0018_005","C0018_006","C0018_007","C0018_021","C0018_008","C0018_022","C0018_033. Reviews include:  A Chorus Line  at Wolf Trap,  A Midsummer Night's Dream  at Brownell Farm, and  Cat on a Hot Tin Roof  at Wayside Theatre.","C0018_009","Two u-matic tapes for  Behind the Scenes . Includes is an instructional film published by Pacific Canada. This film was very damaged and, though viewable, its content is obstructed.","C0018_025","C0018_023","C0018_001","C0018_002","C0018_003","C0018_010","Also includes \"Cut 5 - Women in film old enough, cut 4 - gin game, cut 2 AIV, cut 3 \"Nine (portion)\"","C0018_024","C0018_011","C0018_029 and C0018_030","C0018_014","C0018_026","C0018_017","C0018_012","Includes  Cats, The GoodPerson of Setzuan,  and  Happy End  review drafts.","C0018_013","C0018_019","C0018_027","C0018_028","C0018_016","Includes handwritten notes from Kincannon, housed in Box [X].","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally.","This material is only available digitally. File name: Kincannon_003.","This material is only available digitally. File name: Kincannon_004.","This material is only available digitally. File name: Kincannon_005.","This material is only available digitally. File name: Kincannon_006.","This material is only available digitally. File name: Kincannon_007.","This material is only available digitally. This material is only available digitally. File name: Kincannon_008.","This material is only available digitally. This material is only available digitally. File name: Kincannon_009.","This material is only available digitally. This material is only available digitally. File name: Kincannon_010.","This material is only available digitally. File name: Kincannon_011.","This material is only available digitally. File name: Kincannon_012.","This material is only available digitally. File name: Kincannon_013.","This material is only available digitally. File name: Kincannon_014.","This material is only available digitally. File name: Kincannon_015.","This material is only available digitally. File name: Kincannon_016.","This material is only available digitally. File name: Kincannon_017.","This material is only available digitally. File name: Kincannon_018.","This material is only available digitally. File name: Kincannon_019.","This material is only available digitally. File name: Kincannon_020.","This material is only available digitally. File name: Kincannon_021.","This material is only available digitally. File name: Kincannon_022.","This material is only available digitally. File name: Kincannon_023.","This material is only available digitally. File name: Kincannon_024.","This material is only available digitally. File name: Kincannon_025.","This material is only available digitally. File name: Kincannon_026.","This material is only available digitally. File name: Kincannon_027.","This material is only available digitally. File name: Master_Tape_Wk_23-1, 2, and 3.","This material is only available digitally. File name: Shakespeare_Theatre_Part_1-1, 2, 3.","This material is only available digitally. File name: Shakespeare_Theatre_Part_II-1, 2, 3.","This material is only available digitally. File name: Sound_of_Music_Capital_Steps-1, 2"],"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_16a68c93d8b3d69c2ae06c4266189f5f\"\u003eThe L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show \u003citalic\u003eBehind the Scenes.\u003c/italic\u003e\u003c/abstract\u003e"],"abstract_tesim":["The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show  Behind the Scenes."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e075fefd777b95903634244477006030\"\u003eR 9, C 4, S 3-7\n\nR 10, C 1, S 2-4\n\nOS R 2, C 1, S 4\u003c/physloc\u003e"],"physloc_tesim":["R 9, C 4, S 3-7\n\nR 10, C 1, S 2-4\n\nOS R 2, C 1, S 4"],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)","Folger Theatre","John F. Kennedy Center for the Performing Arts (U.S.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Folger Theatre","John F. Kennedy Center for the Performing Arts (U.S.)","Kincannon, Lois Claire"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Folger Theatre","John F. Kennedy Center for the Performing Arts (U.S.)"],"persname_ssim":["Kincannon, Lois Claire"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1250,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-24T23:40:54.982Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_13"}},{"id":"vifgm_repositories_2_resources_602","type":"collection","attributes":{"title":"Living Stage records","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_602#abstract_or_scope","type":"document_value","attributes":{"value":"The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_602#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_602","ead_ssi":"vifgm_repositories_2_resources_602","_root_":"vifgm_repositories_2_resources_602","_nest_parent_":"vifgm_repositories_2_resources_602","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_602.xml","title_filing_ssi":"Living Stage records","title_ssm":["Living Stage records"],"title_tesim":["Living Stage records"],"unitdate_ssm":["1965-2001"],"unitdate_inclusive_ssm":["1965-2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0277","/repositories/2/resources/602"],"text":["C0277","/repositories/2/resources/602","Living Stage records","Washington (D.C.)","Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript","There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.","The collection is divided into three series, each of which is divided into subseries.","Series Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56) Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85) Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)","The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. ","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. ","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.","The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.","Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.","The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.","The Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. ","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Series 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Series 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Copyright 1978","Folder 1 of 2","Folder 2 of 2","Folder 1 of 4","Folder 2 of 4","Folder 3 of 4","Folder 4 of 4","Folder 1 of 2","Folder 2 of 2","Series 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Folder 1 of 2","Folder 2 of 2","Large Box","VO 1 of 2","VO 2 of 2","Completely Unraveled - Large Box","Large Box","Franklin Sherman?","Large Box","Large Box","Continued from October 19, 1977 Tape","Loose","Color?","Large Box","Large Box","Large Box","Large Box","Smells like Vinegar","Semi-Unraveling","Semi-Unraveling","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","XL Roll","Semi-Unraveling","Large Box","Semi-Unraveling","Large Box","Large Box","Semi-Unraveling","Tape 3 of 3","Tape 1 of 3","Tape 2 of 3","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Betamax","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","VHS","U-matic","Betamax","VHS","VHS","VHS","VHS","Betamax","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","Betamax","VHS","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","Betamax","Betamax","VHS","VHS","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","Betamax","VHS","Betamax","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.","R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2","George Mason University. Libraries. Special Collections Research Center","English"],"unitid_tesim":["C0277","/repositories/2/resources/602"],"normalized_title_ssm":["Living Stage records"],"collection_title_tesim":["Living Stage records"],"collection_ssim":["Living Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Washington (D.C.)"],"geogname_ssim":["Washington (D.C.)"],"places_ssim":["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."],"access_subjects_ssim":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"access_subjects_ssm":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"has_online_content_ssim":["false"],"extent_ssm":["48.0 Linear Feet 106 boxes"],"extent_tesim":["48.0 Linear Feet 106 boxes"],"genreform_ssim":["Playscript"],"date_range_isim":[1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3."],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into three series, each of which is divided into subseries.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is divided into three series, each of which is divided into subseries.","Series Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56) Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85) Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)"],"bioghist_html_tesm":["\u003cp\u003eThe Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. \u003c/p\u003e\n","\u003cp\u003eThe Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. \u003c/p\u003e\n","\u003cp\u003eThe projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"\u003c/p\u003e\n","\u003cp\u003eThe organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. ","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. ","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 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 watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eLiving Stage records, C0277, Special Collections Reserch Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Living Stage records, C0277, Special Collections Reserch Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. \u003c/p\u003e\n","\u003cp\u003eSeries 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.\u003c/p\u003e","\u003cp\u003eSeries 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eSeries 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eCopyright 1978\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 4\u003c/p\u003e","\u003cp\u003eFolder 2 of 4\u003c/p\u003e","\u003cp\u003eFolder 3 of 4\u003c/p\u003e","\u003cp\u003eFolder 4 of 4\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eSeries 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eVO 1 of 2\u003c/p\u003e","\u003cp\u003eVO 2 of 2\u003c/p\u003e","\u003cp\u003eCompletely Unraveled - Large Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eFranklin Sherman?\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eContinued from October 19, 1977 Tape\u003c/p\u003e","\u003cp\u003eLoose\u003c/p\u003e","\u003cp\u003eColor?\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eSmells like 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Tape 1 of 2\u003c/p\u003e","\u003cp\u003eBeta Tape 2 of 2\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and 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Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. ","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Series 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Series 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Copyright 1978","Folder 1 of 2","Folder 2 of 2","Folder 1 of 4","Folder 2 of 4","Folder 3 of 4","Folder 4 of 4","Folder 1 of 2","Folder 2 of 2","Series 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Folder 1 of 2","Folder 2 of 2","Large Box","VO 1 of 2","VO 2 of 2","Completely Unraveled - Large Box","Large Box","Franklin Sherman?","Large Box","Large Box","Continued from October 19, 1977 Tape","Loose","Color?","Large Box","Large Box","Large Box","Large Box","Smells like Vinegar","Semi-Unraveling","Semi-Unraveling","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","XL Roll","Semi-Unraveling","Large Box","Semi-Unraveling","Large Box","Large Box","Semi-Unraveling","Tape 3 of 3","Tape 1 of 3","Tape 2 of 3","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Betamax","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","VHS","U-matic","Betamax","VHS","VHS","VHS","VHS","Betamax","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","Betamax","VHS","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","Betamax","Betamax","VHS","VHS","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","Betamax","VHS","Betamax"],"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_ref348\"\u003eThe Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.\u003c/abstract\u003e"],"abstract_tesim":["The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e176c0c8972614dd614b2ea45cfacaaf\"\u003eR 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2\u003c/physloc\u003e"],"physloc_tesim":["R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1502,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T05:25:00.697Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_602","ead_ssi":"vifgm_repositories_2_resources_602","_root_":"vifgm_repositories_2_resources_602","_nest_parent_":"vifgm_repositories_2_resources_602","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_602.xml","title_filing_ssi":"Living Stage records","title_ssm":["Living Stage records"],"title_tesim":["Living Stage records"],"unitdate_ssm":["1965-2001"],"unitdate_inclusive_ssm":["1965-2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0277","/repositories/2/resources/602"],"text":["C0277","/repositories/2/resources/602","Living Stage records","Washington (D.C.)","Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript","There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.","The collection is divided into three series, each of which is divided into subseries.","Series Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56) Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85) Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)","The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. ","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. ","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.","The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.","Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.","The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.","The Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. ","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Series 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Series 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Copyright 1978","Folder 1 of 2","Folder 2 of 2","Folder 1 of 4","Folder 2 of 4","Folder 3 of 4","Folder 4 of 4","Folder 1 of 2","Folder 2 of 2","Series 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Folder 1 of 2","Folder 2 of 2","Large Box","VO 1 of 2","VO 2 of 2","Completely Unraveled - Large Box","Large Box","Franklin Sherman?","Large Box","Large Box","Continued from October 19, 1977 Tape","Loose","Color?","Large Box","Large Box","Large Box","Large Box","Smells like Vinegar","Semi-Unraveling","Semi-Unraveling","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","XL Roll","Semi-Unraveling","Large Box","Semi-Unraveling","Large Box","Large Box","Semi-Unraveling","Tape 3 of 3","Tape 1 of 3","Tape 2 of 3","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Betamax","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","VHS","U-matic","Betamax","VHS","VHS","VHS","VHS","Betamax","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","Betamax","VHS","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","Betamax","Betamax","VHS","VHS","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","Betamax","VHS","Betamax","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.","R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2","George Mason University. Libraries. Special Collections Research Center","English"],"unitid_tesim":["C0277","/repositories/2/resources/602"],"normalized_title_ssm":["Living Stage records"],"collection_title_tesim":["Living Stage records"],"collection_ssim":["Living Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Washington (D.C.)"],"geogname_ssim":["Washington (D.C.)"],"places_ssim":["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."],"access_subjects_ssim":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"access_subjects_ssm":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"has_online_content_ssim":["false"],"extent_ssm":["48.0 Linear Feet 106 boxes"],"extent_tesim":["48.0 Linear Feet 106 boxes"],"genreform_ssim":["Playscript"],"date_range_isim":[1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3."],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into three series, each of which is divided into subseries.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is divided into three series, each of which is divided into subseries.","Series Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56) Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85) Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)"],"bioghist_html_tesm":["\u003cp\u003eThe Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. \u003c/p\u003e\n","\u003cp\u003eThe Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. \u003c/p\u003e\n","\u003cp\u003eThe projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"\u003c/p\u003e\n","\u003cp\u003eThe organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. ","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. ","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 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 watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eLiving Stage records, C0277, Special Collections Reserch Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Living Stage records, C0277, Special Collections Reserch Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. \u003c/p\u003e\n","\u003cp\u003eSeries 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.\u003c/p\u003e","\u003cp\u003eSeries 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eSeries 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eCopyright 1978\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 4\u003c/p\u003e","\u003cp\u003eFolder 2 of 4\u003c/p\u003e","\u003cp\u003eFolder 3 of 4\u003c/p\u003e","\u003cp\u003eFolder 4 of 4\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eSeries 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eVO 1 of 2\u003c/p\u003e","\u003cp\u003eVO 2 of 2\u003c/p\u003e","\u003cp\u003eCompletely Unraveled - Large Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eFranklin Sherman?\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eContinued from October 19, 1977 Tape\u003c/p\u003e","\u003cp\u003eLoose\u003c/p\u003e","\u003cp\u003eColor?\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eSmells like 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Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and 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Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. ","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Series 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Series 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Copyright 1978","Folder 1 of 2","Folder 2 of 2","Folder 1 of 4","Folder 2 of 4","Folder 3 of 4","Folder 4 of 4","Folder 1 of 2","Folder 2 of 2","Series 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Folder 1 of 2","Folder 2 of 2","Large Box","VO 1 of 2","VO 2 of 2","Completely Unraveled - Large Box","Large Box","Franklin Sherman?","Large Box","Large Box","Continued from October 19, 1977 Tape","Loose","Color?","Large Box","Large Box","Large Box","Large Box","Smells like Vinegar","Semi-Unraveling","Semi-Unraveling","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","XL Roll","Semi-Unraveling","Large Box","Semi-Unraveling","Large Box","Large Box","Semi-Unraveling","Tape 3 of 3","Tape 1 of 3","Tape 2 of 3","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Betamax","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","VHS","U-matic","Betamax","VHS","VHS","VHS","VHS","Betamax","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","Betamax","VHS","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","Betamax","Betamax","VHS","VHS","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","Betamax","VHS","Betamax"],"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_ref348\"\u003eThe Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.\u003c/abstract\u003e"],"abstract_tesim":["The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e176c0c8972614dd614b2ea45cfacaaf\"\u003eR 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2\u003c/physloc\u003e"],"physloc_tesim":["R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"corpname_ssim":["George Mason University. Libraries. 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