{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater+programs\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026view=list","next":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater+programs\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026page=2\u0026view=list","last":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater+programs\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026page=2\u0026view=list"},"meta":{"pages":{"current_page":1,"next_page":2,"prev_page":null,"total_pages":2,"limit_value":10,"offset_value":0,"total_count":19,"first_page?":true,"last_page?":false}},"data":[{"id":"vifgm_repositories_2_resources_416","type":"collection","attributes":{"title":"Arena Stage records","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416#creator","type":"document_value","attributes":{"value":"Arena Stage (Organization : Washington, D.C.)","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416#abstract_or_scope","type":"document_value","attributes":{"value":"The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_416","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_416.xml","title_ssm":["Arena Stage records"],"title_tesim":["Arena Stage records"],"unitdate_ssm":["1949 - 2010"],"unitdate_inclusive_ssm":["1949 - 2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0017","/repositories/2/resources/416"],"text":["C0017","/repositories/2/resources/416","Arena Stage records","Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints","Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","Accruals to this collection are expected.","The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)",""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.","","From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.","The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.","Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.","The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.","The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016","English"],"unitid_tesim":["C0017","/repositories/2/resources/416"],"normalized_title_ssm":["Arena Stage records"],"collection_title_tesim":["Arena Stage records"],"collection_ssim":["Arena Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage (Organization : Washington, D.C.)"],"creator_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creator_corpname_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000-2024.","This collection has additional unprocessed accessions 2023.040-C and 2024.088-C, and therefore this finding aid may not be fully up to date. Please contact SCRC for more information."],"access_subjects_ssim":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"access_subjects_ssm":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"has_online_content_ssim":["false"],"extent_ssm":["369.5 Linear Feet 739 boxes"],"extent_tesim":["369.5 Linear Feet 739 boxes"],"genreform_ssim":["Video recordings","Sound recordings","Photographic prints"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"accruals_html_tesm":["\u003cp\u003eAccruals to this collection are expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Accruals to this collection are expected."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative records, 1949-2007 (Boxes 1-196)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, 1950-1991 (Boxes 589-639)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Audiovisual materials, 1970-2007 (Boxes 721-739)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)"],"bibliography_html_tesm":["\u003cp\u003e\u003cextptr href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e","\u003cp\u003e Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.\u003c/p\u003e","\u003cp\u003e \u003cextptr href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":[""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.",""],"bioghist_html_tesm":["\u003cp\u003eFrom its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.\u003c/p\u003e\n","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's \u003citalic\u003eShe Stoops to Conquer.\u003c/italic\u003e Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.\u003c/p\u003e\n","\u003cp\u003eDuring the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.\u003c/p\u003e\n","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: \u003citalic\u003eThe Great White Hope.\u003c/italic\u003e \u003citalic\u003eThe Great White Hope\u003c/italic\u003e included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like \u003citalic\u003eKing Lear\u003c/italic\u003e and \u003citalic\u003eThe Threepenny Opera\u003c/italic\u003e, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.\u003c/p\u003e\n","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, \u003citalic\u003eOur Town\u003c/italic\u003e and \u003citalic\u003eInherit the Wind\u003c/italic\u003e to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of \u003citalic\u003eInherit the Wind\u003c/italic\u003e at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.\u003c/p\u003e\n","\u003cp\u003eThe early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of \u003citalic\u003eK2\u003c/italic\u003e, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of \u003citalic\u003eThe Crucible\u003c/italic\u003e at the Israel Festival.\u003c/p\u003e\n","\u003cp\u003e1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.\u003c/p\u003e\n","\u003cp\u003eMany now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eArena Stage records, C0017, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Arena Stage records, C0017, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.\u003c/p\u003e\n","\u003cp\u003eSeries 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e\n","\u003cp\u003eSeries 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.\u003c/p\u003e\n","\u003cp\u003eSeries 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. "],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_ec96c412f915842d3012676b73803163\" label=\"Abstract\"\u003eThe Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.\u003c/abstract\u003e"],"abstract_tesim":["The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_22f8958322c3fdee6366a384bb686980\"\u003e\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5\u003c/physloc\u003e"],"physloc_tesim":["\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"names_coll_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"persname_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:23:25.700Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_416","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_416.xml","title_ssm":["Arena Stage records"],"title_tesim":["Arena Stage records"],"unitdate_ssm":["1949 - 2010"],"unitdate_inclusive_ssm":["1949 - 2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0017","/repositories/2/resources/416"],"text":["C0017","/repositories/2/resources/416","Arena Stage records","Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints","Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","Accruals to this collection are expected.","The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)",""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.","","From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.","The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.","Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.","The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.","The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016","English"],"unitid_tesim":["C0017","/repositories/2/resources/416"],"normalized_title_ssm":["Arena Stage records"],"collection_title_tesim":["Arena Stage records"],"collection_ssim":["Arena Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage (Organization : Washington, D.C.)"],"creator_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creator_corpname_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000-2024.","This collection has additional unprocessed accessions 2023.040-C and 2024.088-C, and therefore this finding aid may not be fully up to date. Please contact SCRC for more information."],"access_subjects_ssim":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"access_subjects_ssm":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"has_online_content_ssim":["false"],"extent_ssm":["369.5 Linear Feet 739 boxes"],"extent_tesim":["369.5 Linear Feet 739 boxes"],"genreform_ssim":["Video recordings","Sound recordings","Photographic prints"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"accruals_html_tesm":["\u003cp\u003eAccruals to this collection are expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Accruals to this collection are expected."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative records, 1949-2007 (Boxes 1-196)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, 1950-1991 (Boxes 589-639)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Audiovisual materials, 1970-2007 (Boxes 721-739)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)"],"bibliography_html_tesm":["\u003cp\u003e\u003cextptr href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e","\u003cp\u003e Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.\u003c/p\u003e","\u003cp\u003e \u003cextptr href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":[""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.",""],"bioghist_html_tesm":["\u003cp\u003eFrom its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.\u003c/p\u003e\n","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's \u003citalic\u003eShe Stoops to Conquer.\u003c/italic\u003e Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.\u003c/p\u003e\n","\u003cp\u003eDuring the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.\u003c/p\u003e\n","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: \u003citalic\u003eThe Great White Hope.\u003c/italic\u003e \u003citalic\u003eThe Great White Hope\u003c/italic\u003e included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like \u003citalic\u003eKing Lear\u003c/italic\u003e and \u003citalic\u003eThe Threepenny Opera\u003c/italic\u003e, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.\u003c/p\u003e\n","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, \u003citalic\u003eOur Town\u003c/italic\u003e and \u003citalic\u003eInherit the Wind\u003c/italic\u003e to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of \u003citalic\u003eInherit the Wind\u003c/italic\u003e at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.\u003c/p\u003e\n","\u003cp\u003eThe early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of \u003citalic\u003eK2\u003c/italic\u003e, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of \u003citalic\u003eThe Crucible\u003c/italic\u003e at the Israel Festival.\u003c/p\u003e\n","\u003cp\u003e1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.\u003c/p\u003e\n","\u003cp\u003eMany now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eArena Stage records, C0017, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Arena Stage records, C0017, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.\u003c/p\u003e\n","\u003cp\u003eSeries 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e\n","\u003cp\u003eSeries 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.\u003c/p\u003e\n","\u003cp\u003eSeries 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. "],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_ec96c412f915842d3012676b73803163\" label=\"Abstract\"\u003eThe Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.\u003c/abstract\u003e"],"abstract_tesim":["The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_22f8958322c3fdee6366a384bb686980\"\u003e\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5\u003c/physloc\u003e"],"physloc_tesim":["\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"names_coll_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"persname_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:23:25.700Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416"}},{"id":"vifgm_repositories_2_resources_386","type":"collection","attributes":{"title":"Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_386#creator","type":"document_value","attributes":{"value":"Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_386#abstract_or_scope","type":"document_value","attributes":{"value":"This collection documents Bernard Rosenblatt's involvement in the Regional Theater Council for Northern California and Nevada, as well as related organizations. It also includes a collection of playbills from around the United States dating from 1938 - 1979.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_386#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_386","ead_ssi":"vifgm_repositories_2_resources_386","_root_":"vifgm_repositories_2_resources_386","_nest_parent_":"vifgm_repositories_2_resources_386","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_386.xml","title_ssm":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers"],"title_tesim":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers"],"unitdate_ssm":["1938 - 1979"],"unitdate_inclusive_ssm":["1938 - 1979"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0260","/repositories/2/resources/386"],"text":["C0260","/repositories/2/resources/386","Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers","Theater -- United States","Theater programs","There are no access restrictions.","The collection is arranged in three boxes by format and chronologically.","The Regional Theater Council (RTC) for Northern California and Nevada was a regional affiliate of the American National Theater and Academy (ANTA), an organization created to promote and support the development of American theatre. RTC, founded in the early 1950s, drew its membership from community and university theatres around the region. RTC disbanded by 1969 due to lack of interest, fragmentation, and absorption by other related organizations, such as the California Educational Theater Association (CETA), the Northern California District of the American Educational Theater Association (NCD-AETA), and the American Community Theater Association (ACTA).  \nBernard Rosenblatt, a professor at San Joaquin Delta College, served as president of RTC in the mid and late 1960s, and served as Vice President of the NCD-AETA upon its formation in 1968.","Processing completed by Elizabeth Beckman in June 2015. EAD markup completed by Elizabeth Beckman in June 2015. Box inventory created by Savannah Long in November 2022. Finding aid updated by Amanda Menjivar in November 2022.","The Special Collections Research Center also holds the  , which includes extensive documentation of ANTA.","This collection documents the activities of Bernard Rosenblatt and the Regional Theater Council for Northern California and Nevada, as well as related organizations such as the Northern California District of the American Educational Theatre Association and the American Community Theatre Association. Types of records include correspondence, meeting minutes, organizational constitutions, histories, and newsletters dating from 1960 - 1969. Also included is Bernard Rosenblatt's collection of theatre programs from institutions across the United States (from the Metropolitan Opera to community theatre productions) dating from 1938-1979. The organizational records are located in boxes 1 and 2, and the theatre programs are located in boxes 2 and 3.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection documents Bernard Rosenblatt's involvement in the Regional Theater Council for Northern California and Nevada, as well as related organizations.  It also includes a collection of playbills from around the United States dating from 1938 - 1979.","R 50, C 4, S 5","George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969","English \n.    "],"unitid_tesim":["C0260","/repositories/2/resources/386"],"normalized_title_ssm":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers"],"collection_title_tesim":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers"],"collection_ssim":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"creator_ssim":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"creator_persname_ssim":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"creators_ssim":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"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 Bernard Rosenblatt in 1995."],"access_subjects_ssim":["Theater -- United States","Theater programs"],"access_subjects_ssm":["Theater -- United States","Theater programs"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 3 boxes"],"extent_tesim":["1.5 Linear Feet 3 boxes"],"date_range_isim":[1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in three boxes by format and chronologically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in three boxes by format and chronologically."],"bioghist_html_tesm":["\u003cp\u003eThe Regional Theater Council (RTC) for Northern California and Nevada was a regional affiliate of the American National Theater and Academy (ANTA), an organization created to promote and support the development of American theatre. RTC, founded in the early 1950s, drew its membership from community and university theatres around the region. RTC disbanded by 1969 due to lack of interest, fragmentation, and absorption by other related organizations, such as the California Educational Theater Association (CETA), the Northern California District of the American Educational Theater Association (NCD-AETA), and the American Community Theater Association (ACTA).  \nBernard Rosenblatt, a professor at San Joaquin Delta College, served as president of RTC in the mid and late 1960s, and served as Vice President of the NCD-AETA upon its formation in 1968.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Regional Theater Council (RTC) for Northern California and Nevada was a regional affiliate of the American National Theater and Academy (ANTA), an organization created to promote and support the development of American theatre. 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RTC disbanded by 1969 due to lack of interest, fragmentation, and absorption by other related organizations, such as the California Educational Theater Association (CETA), the Northern California District of the American Educational Theater Association (NCD-AETA), and the American Community Theater Association (ACTA).  \nBernard Rosenblatt, a professor at San Joaquin Delta College, served as president of RTC in the mid and late 1960s, and served as Vice President of the NCD-AETA upon its formation in 1968."],"prefercite_html_tesm":["\u003cp\u003eBernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers, C0260, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers, C0260, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Elizabeth Beckman in June 2015. EAD markup completed by Elizabeth Beckman in June 2015. Box inventory created by Savannah Long in November 2022. Finding aid updated by Amanda Menjivar in November 2022.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Elizabeth Beckman in June 2015. EAD markup completed by Elizabeth Beckman in June 2015. Box inventory created by Savannah Long in November 2022. Finding aid updated by Amanda Menjivar in November 2022."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Robert and Wilva Breen papers\" href=\"https://aspace.gmu.edu/resources/c0004\"\u003e\u003c/extptr\u003e, which includes extensive documentation of ANTA.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  , which includes extensive documentation of ANTA."],"scopecontent_html_tesm":["\u003cp\u003eThis collection documents the activities of Bernard Rosenblatt and the Regional Theater Council for Northern California and Nevada, as well as related organizations such as the Northern California District of the American Educational Theatre Association and the American Community Theatre Association. Types of records include correspondence, meeting minutes, organizational constitutions, histories, and newsletters dating from 1960 - 1969. Also included is Bernard Rosenblatt's collection of theatre programs from institutions across the United States (from the Metropolitan Opera to community theatre productions) dating from 1938-1979. The organizational records are located in boxes 1 and 2, and the theatre programs are located in boxes 2 and 3.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection documents the activities of Bernard Rosenblatt and the Regional Theater Council for Northern California and Nevada, as well as related organizations such as the Northern California District of the American Educational Theatre Association and the American Community Theatre Association. Types of records include correspondence, meeting minutes, organizational constitutions, histories, and newsletters dating from 1960 - 1969. Also included is Bernard Rosenblatt's collection of theatre programs from institutions across the United States (from the Metropolitan Opera to community theatre productions) dating from 1938-1979. The organizational records are located in boxes 1 and 2, and the theatre programs are located in boxes 2 and 3."],"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_c63ac6f95aef2bac4a30f4fe5c8add4e\"\u003eThis collection documents Bernard Rosenblatt's involvement in the Regional Theater Council for Northern California and Nevada, as well as related organizations.  It also includes a collection of playbills from around the United States dating from 1938 - 1979.\u003c/abstract\u003e"],"abstract_tesim":["This collection documents Bernard Rosenblatt's involvement in the Regional Theater Council for Northern California and Nevada, as well as related organizations.  It also includes a collection of playbills from around the United States dating from 1938 - 1979."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_1cba5636c0f00121c2887def4c300b0c\"\u003eR 50, C 4, S 5\u003c/physloc\u003e"],"physloc_tesim":["R 50, C 4, S 5"],"names_coll_ssim":["ANTA (Organization)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)"],"persname_ssim":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":34,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:26:43.674Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_386","ead_ssi":"vifgm_repositories_2_resources_386","_root_":"vifgm_repositories_2_resources_386","_nest_parent_":"vifgm_repositories_2_resources_386","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_386.xml","title_ssm":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers"],"title_tesim":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers"],"unitdate_ssm":["1938 - 1979"],"unitdate_inclusive_ssm":["1938 - 1979"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0260","/repositories/2/resources/386"],"text":["C0260","/repositories/2/resources/386","Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers","Theater -- United States","Theater programs","There are no access restrictions.","The collection is arranged in three boxes by format and chronologically.","The Regional Theater Council (RTC) for Northern California and Nevada was a regional affiliate of the American National Theater and Academy (ANTA), an organization created to promote and support the development of American theatre. RTC, founded in the early 1950s, drew its membership from community and university theatres around the region. RTC disbanded by 1969 due to lack of interest, fragmentation, and absorption by other related organizations, such as the California Educational Theater Association (CETA), the Northern California District of the American Educational Theater Association (NCD-AETA), and the American Community Theater Association (ACTA).  \nBernard Rosenblatt, a professor at San Joaquin Delta College, served as president of RTC in the mid and late 1960s, and served as Vice President of the NCD-AETA upon its formation in 1968.","Processing completed by Elizabeth Beckman in June 2015. EAD markup completed by Elizabeth Beckman in June 2015. Box inventory created by Savannah Long in November 2022. Finding aid updated by Amanda Menjivar in November 2022.","The Special Collections Research Center also holds the  , which includes extensive documentation of ANTA.","This collection documents the activities of Bernard Rosenblatt and the Regional Theater Council for Northern California and Nevada, as well as related organizations such as the Northern California District of the American Educational Theatre Association and the American Community Theatre Association. Types of records include correspondence, meeting minutes, organizational constitutions, histories, and newsletters dating from 1960 - 1969. Also included is Bernard Rosenblatt's collection of theatre programs from institutions across the United States (from the Metropolitan Opera to community theatre productions) dating from 1938-1979. The organizational records are located in boxes 1 and 2, and the theatre programs are located in boxes 2 and 3.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection documents Bernard Rosenblatt's involvement in the Regional Theater Council for Northern California and Nevada, as well as related organizations.  It also includes a collection of playbills from around the United States dating from 1938 - 1979.","R 50, C 4, S 5","George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969","English \n.    "],"unitid_tesim":["C0260","/repositories/2/resources/386"],"normalized_title_ssm":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers"],"collection_title_tesim":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers"],"collection_ssim":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"creator_ssim":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"creator_persname_ssim":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"creators_ssim":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"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 Bernard Rosenblatt in 1995."],"access_subjects_ssim":["Theater -- United States","Theater programs"],"access_subjects_ssm":["Theater -- United States","Theater programs"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 3 boxes"],"extent_tesim":["1.5 Linear Feet 3 boxes"],"date_range_isim":[1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in three boxes by format and chronologically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in three boxes by format and chronologically."],"bioghist_html_tesm":["\u003cp\u003eThe Regional Theater Council (RTC) for Northern California and Nevada was a regional affiliate of the American National Theater and Academy (ANTA), an organization created to promote and support the development of American theatre. RTC, founded in the early 1950s, drew its membership from community and university theatres around the region. RTC disbanded by 1969 due to lack of interest, fragmentation, and absorption by other related organizations, such as the California Educational Theater Association (CETA), the Northern California District of the American Educational Theater Association (NCD-AETA), and the American Community Theater Association (ACTA).  \nBernard Rosenblatt, a professor at San Joaquin Delta College, served as president of RTC in the mid and late 1960s, and served as Vice President of the NCD-AETA upon its formation in 1968.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Regional Theater Council (RTC) for Northern California and Nevada was a regional affiliate of the American National Theater and Academy (ANTA), an organization created to promote and support the development of American theatre. RTC, founded in the early 1950s, drew its membership from community and university theatres around the region. RTC disbanded by 1969 due to lack of interest, fragmentation, and absorption by other related organizations, such as the California Educational Theater Association (CETA), the Northern California District of the American Educational Theater Association (NCD-AETA), and the American Community Theater Association (ACTA).  \nBernard Rosenblatt, a professor at San Joaquin Delta College, served as president of RTC in the mid and late 1960s, and served as Vice President of the NCD-AETA upon its formation in 1968."],"prefercite_html_tesm":["\u003cp\u003eBernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers, C0260, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers, C0260, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Elizabeth Beckman in June 2015. EAD markup completed by Elizabeth Beckman in June 2015. Box inventory created by Savannah Long in November 2022. Finding aid updated by Amanda Menjivar in November 2022.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Elizabeth Beckman in June 2015. EAD markup completed by Elizabeth Beckman in June 2015. Box inventory created by Savannah Long in November 2022. Finding aid updated by Amanda Menjivar in November 2022."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Robert and Wilva Breen papers\" href=\"https://aspace.gmu.edu/resources/c0004\"\u003e\u003c/extptr\u003e, which includes extensive documentation of ANTA.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  , which includes extensive documentation of ANTA."],"scopecontent_html_tesm":["\u003cp\u003eThis collection documents the activities of Bernard Rosenblatt and the Regional Theater Council for Northern California and Nevada, as well as related organizations such as the Northern California District of the American Educational Theatre Association and the American Community Theatre Association. Types of records include correspondence, meeting minutes, organizational constitutions, histories, and newsletters dating from 1960 - 1969. Also included is Bernard Rosenblatt's collection of theatre programs from institutions across the United States (from the Metropolitan Opera to community theatre productions) dating from 1938-1979. The organizational records are located in boxes 1 and 2, and the theatre programs are located in boxes 2 and 3.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection documents the activities of Bernard Rosenblatt and the Regional Theater Council for Northern California and Nevada, as well as related organizations such as the Northern California District of the American Educational Theatre Association and the American Community Theatre Association. Types of records include correspondence, meeting minutes, organizational constitutions, histories, and newsletters dating from 1960 - 1969. Also included is Bernard Rosenblatt's collection of theatre programs from institutions across the United States (from the Metropolitan Opera to community theatre productions) dating from 1938-1979. The organizational records are located in boxes 1 and 2, and the theatre programs are located in boxes 2 and 3."],"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_c63ac6f95aef2bac4a30f4fe5c8add4e\"\u003eThis collection documents Bernard Rosenblatt's involvement in the Regional Theater Council for Northern California and Nevada, as well as related organizations.  It also includes a collection of playbills from around the United States dating from 1938 - 1979.\u003c/abstract\u003e"],"abstract_tesim":["This collection documents Bernard Rosenblatt's involvement in the Regional Theater Council for Northern California and Nevada, as well as related organizations.  It also includes a collection of playbills from around the United States dating from 1938 - 1979."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_1cba5636c0f00121c2887def4c300b0c\"\u003eR 50, C 4, S 5\u003c/physloc\u003e"],"physloc_tesim":["R 50, C 4, S 5"],"names_coll_ssim":["ANTA (Organization)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)"],"persname_ssim":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":34,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:26:43.674Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_386"}},{"id":"vifgm_repositories_2_resources_111","type":"collection","attributes":{"title":"Broadway souvenir theatre programs collection","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_111#creator","type":"document_value","attributes":{"value":"George Mason University. Libraries. Special Collections Research Center","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_111#abstract_or_scope","type":"document_value","attributes":{"value":"This collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. It contains many programs from original Broadway show runs, and features many famous actors, singers, and dancers who performed in Broadway shows.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_111#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_111","ead_ssi":"vifgm_repositories_2_resources_111","_root_":"vifgm_repositories_2_resources_111","_nest_parent_":"vifgm_repositories_2_resources_111","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_111.xml","title_ssm":["Broadway souvenir theatre programs collection"],"title_tesim":["Broadway souvenir theatre programs collection"],"unitdate_ssm":["1942-1997"],"unitdate_inclusive_ssm":["1942-1997"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0182","/repositories/2/resources/111"],"text":["C0182","/repositories/2/resources/111","Broadway souvenir theatre programs collection","Broadway (New York, N.Y.)","Musical Theater","Theater programs","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Musical Theater -- New York (State) -- New York","There are no access restrictions.","This collection is arranged alphabetically by production title.","\"Broadway History.\" Spotlight on Broadway. https://www.spotlightonbroadway.com/broadway-history. Accessed April 17, 2020.","\"The Golden Age of Broadway.\" Digital Public Library of America. https://dp.la/primary-source-sets/the-golden-age-of-broadway. Accessed April 17, 2020.","\"Timeline - 100 Years of Musical Theater - 1943-1959: Golden Age.\" PBS. https://www.pbs.org/wnet/broadway/timelines/1943-1959/. Accessed April 17, 2020.","The Theater District of New York City, known as Broadway after the main thoroughfare where over forty theatres make their home, is one of the most popular tourist destinations in the world. First known as the Great White Way due to its dazzling use of lights on marquees, Broadway is synonymous with the best live theatre has to offer. The Golden Age of Broadway occurred between 1943 and 1959, when the theatre-scene exploded with the advent of a new form of musical, popularized by the legendary duo Richard Rodgers and Oscar Hammerstein III in \"Oklahoma!\" What followed were some of the most popular, successful, and enduring musicals in American history. In addition to Rodgers and Hammerstein, composers and lyricists like Leonard Bernstein, Alan Jay Lerner, Frederick Loewe, Stephen Sondheim, Irving Berlin, and Cole Porter found great success during these years with a variety of shows and collaboration with one another. Though new plays and musicals continued to churn out during the 1960s and 1970s, Broadway suffered a creative and financial slump during this time, only to be revitalized in the mid to late 1980s by the likes of Andrew Lloyd Webber, producer Cameron Mackintosh, and Stephen Sondheim.","Processed by Special Collections Research Center staff. EAD markup completed by Tom Duncan in 2010. Finding aid updated by Amanda Menjivar in April 2020.","The Special Collections Research Center holds other playbill and theatre-related collections.","This collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. Instead of the traditional free playbill which is handed out upon entrance of the theatre, souvenir programs tend to be purchased at show concession stands, and are of higher quality, have color photography, and are intended to last as a souvenir of the theatrical experience. This collection contains many programs from original Broadway show runs, revivals, and features many famous actors, singers, and dancers who performed in Broadway shows. It also contains a few film souvenir programs.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. It contains many programs from original Broadway show runs, and features many famous actors, singers, and dancers who performed in Broadway shows.","R43, C5, S1 - S7","George Mason University. Libraries. 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Accessed April 17, 2020.\u003c/p\u003e\n","\u003cp\u003e\"The Golden Age of Broadway.\" Digital Public Library of America. https://dp.la/primary-source-sets/the-golden-age-of-broadway. Accessed April 17, 2020.\u003c/p\u003e\n","\u003cp\u003e\"Timeline - 100 Years of Musical Theater - 1943-1959: Golden Age.\" PBS. https://www.pbs.org/wnet/broadway/timelines/1943-1959/. Accessed April 17, 2020.\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["\"Broadway History.\" Spotlight on Broadway. https://www.spotlightonbroadway.com/broadway-history. Accessed April 17, 2020.","\"The Golden Age of Broadway.\" Digital Public Library of America. https://dp.la/primary-source-sets/the-golden-age-of-broadway. Accessed April 17, 2020.","\"Timeline - 100 Years of Musical Theater - 1943-1959: Golden Age.\" PBS. https://www.pbs.org/wnet/broadway/timelines/1943-1959/. Accessed April 17, 2020."],"bioghist_html_tesm":["\u003cp\u003eThe Theater District of New York City, known as Broadway after the main thoroughfare where over forty theatres make their home, is one of the most popular tourist destinations in the world. First known as the Great White Way due to its dazzling use of lights on marquees, Broadway is synonymous with the best live theatre has to offer. The Golden Age of Broadway occurred between 1943 and 1959, when the theatre-scene exploded with the advent of a new form of musical, popularized by the legendary duo Richard Rodgers and Oscar Hammerstein III in \"Oklahoma!\" What followed were some of the most popular, successful, and enduring musicals in American history. In addition to Rodgers and Hammerstein, composers and lyricists like Leonard Bernstein, Alan Jay Lerner, Frederick Loewe, Stephen Sondheim, Irving Berlin, and Cole Porter found great success during these years with a variety of shows and collaboration with one another. Though new plays and musicals continued to churn out during the 1960s and 1970s, Broadway suffered a creative and financial slump during this time, only to be revitalized in the mid to late 1980s by the likes of Andrew Lloyd Webber, producer Cameron Mackintosh, and Stephen Sondheim.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Theater District of New York City, known as Broadway after the main thoroughfare where over forty theatres make their home, is one of the most popular tourist destinations in the world. First known as the Great White Way due to its dazzling use of lights on marquees, Broadway is synonymous with the best live theatre has to offer. The Golden Age of Broadway occurred between 1943 and 1959, when the theatre-scene exploded with the advent of a new form of musical, popularized by the legendary duo Richard Rodgers and Oscar Hammerstein III in \"Oklahoma!\" What followed were some of the most popular, successful, and enduring musicals in American history. In addition to Rodgers and Hammerstein, composers and lyricists like Leonard Bernstein, Alan Jay Lerner, Frederick Loewe, Stephen Sondheim, Irving Berlin, and Cole Porter found great success during these years with a variety of shows and collaboration with one another. Though new plays and musicals continued to churn out during the 1960s and 1970s, Broadway suffered a creative and financial slump during this time, only to be revitalized in the mid to late 1980s by the likes of Andrew Lloyd Webber, producer Cameron Mackintosh, and Stephen Sondheim."],"prefercite_html_tesm":["\u003cp\u003eBroadway souvenir theatre programs collection, C0182, Special Collections Research Center, George Mason University.\u003c/p\u003e"],"prefercite_tesim":["Broadway souvenir theatre programs collection, C0182, Special Collections Research Center, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. EAD markup completed by Tom Duncan in 2010. Finding aid updated by Amanda Menjivar in April 2020.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. EAD markup completed by Tom Duncan in 2010. Finding aid updated by Amanda Menjivar in April 2020."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other playbill and theatre-related collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds other playbill and theatre-related collections."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. Instead of the traditional free playbill which is handed out upon entrance of the theatre, souvenir programs tend to be purchased at show concession stands, and are of higher quality, have color photography, and are intended to last as a souvenir of the theatrical experience. This collection contains many programs from original Broadway show runs, revivals, and features many famous actors, singers, and dancers who performed in Broadway shows. It also contains a few film souvenir programs.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. Instead of the traditional free playbill which is handed out upon entrance of the theatre, souvenir programs tend to be purchased at show concession stands, and are of higher quality, have color photography, and are intended to last as a souvenir of the theatrical experience. This collection contains many programs from original Broadway show runs, revivals, and features many famous actors, singers, and dancers who performed in Broadway shows. It also contains a few film souvenir programs."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_bee07ba592a9093c395e24c430464c9f\" label=\"Abstract\"\u003eThis collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. It contains many programs from original Broadway show runs, and features many famous actors, singers, and dancers who performed in Broadway shows.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. It contains many programs from original Broadway show runs, and features many famous actors, singers, and dancers who performed in Broadway shows."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_50e2d6e41029baee7b2391636d5da92a\"\u003eR43, C5, S1 - S7\u003c/physloc\u003e"],"physloc_tesim":["R43, C5, S1 - S7"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":164,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:21:35.788Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_111","ead_ssi":"vifgm_repositories_2_resources_111","_root_":"vifgm_repositories_2_resources_111","_nest_parent_":"vifgm_repositories_2_resources_111","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_111.xml","title_ssm":["Broadway souvenir theatre programs collection"],"title_tesim":["Broadway souvenir theatre programs collection"],"unitdate_ssm":["1942-1997"],"unitdate_inclusive_ssm":["1942-1997"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0182","/repositories/2/resources/111"],"text":["C0182","/repositories/2/resources/111","Broadway souvenir theatre programs collection","Broadway (New York, N.Y.)","Musical Theater","Theater programs","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Musical Theater -- New York (State) -- New York","There are no access restrictions.","This collection is arranged alphabetically by production title.","\"Broadway History.\" Spotlight on Broadway. https://www.spotlightonbroadway.com/broadway-history. Accessed April 17, 2020.","\"The Golden Age of Broadway.\" Digital Public Library of America. https://dp.la/primary-source-sets/the-golden-age-of-broadway. Accessed April 17, 2020.","\"Timeline - 100 Years of Musical Theater - 1943-1959: Golden Age.\" PBS. https://www.pbs.org/wnet/broadway/timelines/1943-1959/. Accessed April 17, 2020.","The Theater District of New York City, known as Broadway after the main thoroughfare where over forty theatres make their home, is one of the most popular tourist destinations in the world. First known as the Great White Way due to its dazzling use of lights on marquees, Broadway is synonymous with the best live theatre has to offer. The Golden Age of Broadway occurred between 1943 and 1959, when the theatre-scene exploded with the advent of a new form of musical, popularized by the legendary duo Richard Rodgers and Oscar Hammerstein III in \"Oklahoma!\" What followed were some of the most popular, successful, and enduring musicals in American history. In addition to Rodgers and Hammerstein, composers and lyricists like Leonard Bernstein, Alan Jay Lerner, Frederick Loewe, Stephen Sondheim, Irving Berlin, and Cole Porter found great success during these years with a variety of shows and collaboration with one another. Though new plays and musicals continued to churn out during the 1960s and 1970s, Broadway suffered a creative and financial slump during this time, only to be revitalized in the mid to late 1980s by the likes of Andrew Lloyd Webber, producer Cameron Mackintosh, and Stephen Sondheim.","Processed by Special Collections Research Center staff. EAD markup completed by Tom Duncan in 2010. 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It also contains a few film souvenir programs.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. It contains many programs from original Broadway show runs, and features many famous actors, singers, and dancers who performed in Broadway shows.","R43, C5, S1 - S7","George Mason University. Libraries. 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Special Collections Research Center"],"places_ssim":["Broadway (New York, N.Y.)"],"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":["The donor is unknown."],"access_subjects_ssim":["Musical Theater","Theater programs","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Musical Theater -- New York (State) -- New York"],"access_subjects_ssm":["Musical Theater","Theater programs","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Musical Theater -- New York (State) -- New York"],"has_online_content_ssim":["false"],"extent_ssm":["2.75 Linear Feet 6 boxes"],"extent_tesim":["2.75 Linear Feet 6 boxes"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged alphabetically by production title.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged alphabetically by production title."],"bibliography_html_tesm":["\u003cp\u003e\"Broadway History.\" Spotlight on Broadway. https://www.spotlightonbroadway.com/broadway-history. 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Accessed April 17, 2020."],"bioghist_html_tesm":["\u003cp\u003eThe Theater District of New York City, known as Broadway after the main thoroughfare where over forty theatres make their home, is one of the most popular tourist destinations in the world. First known as the Great White Way due to its dazzling use of lights on marquees, Broadway is synonymous with the best live theatre has to offer. The Golden Age of Broadway occurred between 1943 and 1959, when the theatre-scene exploded with the advent of a new form of musical, popularized by the legendary duo Richard Rodgers and Oscar Hammerstein III in \"Oklahoma!\" What followed were some of the most popular, successful, and enduring musicals in American history. In addition to Rodgers and Hammerstein, composers and lyricists like Leonard Bernstein, Alan Jay Lerner, Frederick Loewe, Stephen Sondheim, Irving Berlin, and Cole Porter found great success during these years with a variety of shows and collaboration with one another. Though new plays and musicals continued to churn out during the 1960s and 1970s, Broadway suffered a creative and financial slump during this time, only to be revitalized in the mid to late 1980s by the likes of Andrew Lloyd Webber, producer Cameron Mackintosh, and Stephen Sondheim.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Theater District of New York City, known as Broadway after the main thoroughfare where over forty theatres make their home, is one of the most popular tourist destinations in the world. First known as the Great White Way due to its dazzling use of lights on marquees, Broadway is synonymous with the best live theatre has to offer. The Golden Age of Broadway occurred between 1943 and 1959, when the theatre-scene exploded with the advent of a new form of musical, popularized by the legendary duo Richard Rodgers and Oscar Hammerstein III in \"Oklahoma!\" What followed were some of the most popular, successful, and enduring musicals in American history. In addition to Rodgers and Hammerstein, composers and lyricists like Leonard Bernstein, Alan Jay Lerner, Frederick Loewe, Stephen Sondheim, Irving Berlin, and Cole Porter found great success during these years with a variety of shows and collaboration with one another. Though new plays and musicals continued to churn out during the 1960s and 1970s, Broadway suffered a creative and financial slump during this time, only to be revitalized in the mid to late 1980s by the likes of Andrew Lloyd Webber, producer Cameron Mackintosh, and Stephen Sondheim."],"prefercite_html_tesm":["\u003cp\u003eBroadway souvenir theatre programs collection, C0182, Special Collections Research Center, George Mason University.\u003c/p\u003e"],"prefercite_tesim":["Broadway souvenir theatre programs collection, C0182, Special Collections Research Center, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. EAD markup completed by Tom Duncan in 2010. Finding aid updated by Amanda Menjivar in April 2020.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. EAD markup completed by Tom Duncan in 2010. Finding aid updated by Amanda Menjivar in April 2020."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other playbill and theatre-related collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds other playbill and theatre-related collections."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. Instead of the traditional free playbill which is handed out upon entrance of the theatre, souvenir programs tend to be purchased at show concession stands, and are of higher quality, have color photography, and are intended to last as a souvenir of the theatrical experience. This collection contains many programs from original Broadway show runs, revivals, and features many famous actors, singers, and dancers who performed in Broadway shows. It also contains a few film souvenir programs.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. Instead of the traditional free playbill which is handed out upon entrance of the theatre, souvenir programs tend to be purchased at show concession stands, and are of higher quality, have color photography, and are intended to last as a souvenir of the theatrical experience. This collection contains many programs from original Broadway show runs, revivals, and features many famous actors, singers, and dancers who performed in Broadway shows. It also contains a few film souvenir programs."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_bee07ba592a9093c395e24c430464c9f\" label=\"Abstract\"\u003eThis collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. It contains many programs from original Broadway show runs, and features many famous actors, singers, and dancers who performed in Broadway shows.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains theatre souvenir programs from Broadway productions between the years 1942 and 1997. The programs include descriptions of the production, along with information on the respective creators, performers, directors, choreographers, and producers. It contains many programs from original Broadway show runs, and features many famous actors, singers, and dancers who performed in Broadway shows."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_50e2d6e41029baee7b2391636d5da92a\"\u003eR43, C5, S1 - S7\u003c/physloc\u003e"],"physloc_tesim":["R43, C5, S1 - S7"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":164,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:21:35.788Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_111"}},{"id":"vifgm_repositories_2_resources_552","type":"collection","attributes":{"title":"Carol Berger Chicago performing arts playbills collection","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_552#creator","type":"document_value","attributes":{"value":"Berger, Carol","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_552#abstract_or_scope","type":"document_value","attributes":{"value":"This collection largely consists of playbills from Chicago's Lyric Opera House, the Chicago Symphony Orchestra, and regional theatres collected by Carol Berger. There are also ticket stubs from the performances, as well as materials from the Art Institute of Chicago.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_552#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_552","ead_ssi":"vifgm_repositories_2_resources_552","_root_":"vifgm_repositories_2_resources_552","_nest_parent_":"vifgm_repositories_2_resources_552","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_552.xml","title_ssm":["Carol Berger Chicago performing arts playbills collection"],"title_tesim":["Carol Berger Chicago performing arts playbills collection"],"unitdate_ssm":["1988-2015"],"unitdate_inclusive_ssm":["1988-2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0263","/repositories/2/resources/552"],"text":["C0263","/repositories/2/resources/552","Carol Berger Chicago performing arts playbills collection","Chicago (Ill.)","Performing arts","Theater programs","Theater -- United States","Theater","There are no access restrictions.","This collection is arranged by venue, followed by format. The playbills are arranged chronologically by season, and alphabetically within each season.","","The Lyric Opera of Chicago was founded by Carol Fox, Lawrence V. Kelly and Nicola Rescigno in 1954. It is located in the Civic Opera Building which first opened its doors on November 4, 1929. The Civic Opera Building was envisioned by Samuel Insull as the predominant place for operatic performances. The Lyric Opera is now globally renowned for their chorus, orchestra, as well as their preservation of the cultural importance of opera in Chicago, Illinois. Several other nationally and internationally renowned theatres are also included in the collection of playbills.","Processing completed by Amy Blake in August 2018. EAD markup completed by Amy Blake in August 2018. Finding aid updated by Amanda Menjivar in January 2024.","The Special Collections Research Center holds many other ","This collection largely consists of playbills from Chicago's Lyric Opera House, the Chicago Symphony Orchestra, and regional theatres collected by Carol Berger. There are also ticket stubs from a handful of the performances, as well as materials from the Art Institute of Chicago. The playbills from Chicago's Lyric Opera House span the course of twenty-one seasons from the 34th to the 57th. The largest part of the collection consists of playbills from regional theatres from across the United States, including one piece from the San Francisco Opera. A smaller portion of the collection is made up of pamphlets from the Art Institute of Chicago that describe a few fashion and art exhibitions from 1996 to 2015.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection largely consists of playbills from Chicago's Lyric Opera House, the Chicago Symphony Orchestra, and regional theatres collected by Carol Berger. There are also ticket stubs from the performances, as well as materials from the Art Institute of Chicago.","George Mason University. Libraries. Special Collections Research Center","Berger, Carol","English \n.    "],"unitid_tesim":["C0263","/repositories/2/resources/552"],"normalized_title_ssm":["Carol Berger Chicago performing arts playbills collection"],"collection_title_tesim":["Carol Berger Chicago performing arts playbills collection"],"collection_ssim":["Carol Berger Chicago performing arts playbills collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Chicago (Ill.)"],"geogname_ssim":["Chicago (Ill.)"],"creator_ssm":["Berger, Carol"],"creator_ssim":["Berger, Carol"],"creator_persname_ssim":["Berger, Carol"],"creators_ssim":["Berger, Carol"],"places_ssim":["Chicago (Ill.)"],"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 Carol Berger in 2015."],"access_subjects_ssim":["Performing arts","Theater programs","Theater -- United States","Theater"],"access_subjects_ssm":["Performing arts","Theater programs","Theater -- United States","Theater"],"has_online_content_ssim":["false"],"extent_ssm":["1 Linear Feet 4 boxes"],"extent_tesim":["1 Linear Feet 4 boxes"],"date_range_isim":[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."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged by venue, followed by format. The playbills are arranged chronologically by season, and alphabetically within each season.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged by venue, followed by format. The playbills are arranged chronologically by season, and alphabetically within each season."],"bibliography_html_tesm":["\u003cp\u003e\u003cextptr href=\"https://www.lyricopera.org/about/history/lyricoperahistory\" title=\"History of Lyric Opera of Chicago.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":[""],"bioghist_html_tesm":["\u003cp\u003eThe Lyric Opera of Chicago was founded by Carol Fox, Lawrence V. Kelly and Nicola Rescigno in 1954. It is located in the Civic Opera Building which first opened its doors on November 4, 1929. The Civic Opera Building was envisioned by Samuel Insull as the predominant place for operatic performances. The Lyric Opera is now globally renowned for their chorus, orchestra, as well as their preservation of the cultural importance of opera in Chicago, Illinois. Several other nationally and internationally renowned theatres are also included in the collection of playbills.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Lyric Opera of Chicago was founded by Carol Fox, Lawrence V. Kelly and Nicola Rescigno in 1954. It is located in the Civic Opera Building which first opened its doors on November 4, 1929. The Civic Opera Building was envisioned by Samuel Insull as the predominant place for operatic performances. The Lyric Opera is now globally renowned for their chorus, orchestra, as well as their preservation of the cultural importance of opera in Chicago, Illinois. Several other nationally and internationally renowned theatres are also included in the collection of playbills."],"prefercite_html_tesm":["\u003cp\u003eCarol Berger Chicago performing arts playbills collection, C0263, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Carol Berger Chicago performing arts playbills collection, C0263, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Amy Blake in August 2018. EAD markup completed by Amy Blake in August 2018. Finding aid updated by Amanda Menjivar in January 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Amy Blake in August 2018. EAD markup completed by Amy Blake in August 2018. Finding aid updated by Amanda Menjivar in January 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds many other \u003cextptr show=\"new\" title=\"playbill collections.\" href=\"https://aspace.gmu.edu/search?utf8=%E2%9C%93\u0026amp;op%5B%5D=\u0026amp;q%5B%5D=playbill\u0026amp;limit=\u0026amp;field%5B%5D=\u0026amp;from_year%5B%5D=\u0026amp;to_year%5B%5D=\u0026amp;commit=Search\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds many other "],"scopecontent_html_tesm":["\u003cp\u003eThis collection largely consists of playbills from Chicago's Lyric Opera House, the Chicago Symphony Orchestra, and regional theatres collected by Carol Berger. There are also ticket stubs from a handful of the performances, as well as materials from the Art Institute of Chicago. The playbills from Chicago's Lyric Opera House span the course of twenty-one seasons from the 34th to the 57th. The largest part of the collection consists of playbills from regional theatres from across the United States, including one piece from the San Francisco Opera. A smaller portion of the collection is made up of pamphlets from the Art Institute of Chicago that describe a few fashion and art exhibitions from 1996 to 2015.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection largely consists of playbills from Chicago's Lyric Opera House, the Chicago Symphony Orchestra, and regional theatres collected by Carol Berger. There are also ticket stubs from a handful of the performances, as well as materials from the Art Institute of Chicago. The playbills from Chicago's Lyric Opera House span the course of twenty-one seasons from the 34th to the 57th. The largest part of the collection consists of playbills from regional theatres from across the United States, including one piece from the San Francisco Opera. A smaller portion of the collection is made up of pamphlets from the Art Institute of Chicago that describe a few fashion and art exhibitions from 1996 to 2015."],"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_ref2\"\u003eThis collection largely consists of playbills from Chicago's Lyric Opera House, the Chicago Symphony Orchestra, and regional theatres collected by Carol Berger. There are also ticket stubs from the performances, as well as materials from the Art Institute of Chicago.\u003c/abstract\u003e"],"abstract_tesim":["This collection largely consists of playbills from Chicago's Lyric Opera House, the Chicago Symphony Orchestra, and regional theatres collected by Carol Berger. There are also ticket stubs from the performances, as well as materials from the Art Institute of Chicago."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Berger, Carol"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Berger, Carol"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":60,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:35:40.833Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_552","ead_ssi":"vifgm_repositories_2_resources_552","_root_":"vifgm_repositories_2_resources_552","_nest_parent_":"vifgm_repositories_2_resources_552","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_552.xml","title_ssm":["Carol Berger Chicago performing arts playbills collection"],"title_tesim":["Carol Berger Chicago performing arts playbills collection"],"unitdate_ssm":["1988-2015"],"unitdate_inclusive_ssm":["1988-2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0263","/repositories/2/resources/552"],"text":["C0263","/repositories/2/resources/552","Carol Berger Chicago performing arts playbills collection","Chicago (Ill.)","Performing arts","Theater programs","Theater -- United States","Theater","There are no access restrictions.","This collection is arranged by venue, followed by format. The playbills are arranged chronologically by season, and alphabetically within each season.","","The Lyric Opera of Chicago was founded by Carol Fox, Lawrence V. Kelly and Nicola Rescigno in 1954. It is located in the Civic Opera Building which first opened its doors on November 4, 1929. The Civic Opera Building was envisioned by Samuel Insull as the predominant place for operatic performances. The Lyric Opera is now globally renowned for their chorus, orchestra, as well as their preservation of the cultural importance of opera in Chicago, Illinois. Several other nationally and internationally renowned theatres are also included in the collection of playbills.","Processing completed by Amy Blake in August 2018. EAD markup completed by Amy Blake in August 2018. Finding aid updated by Amanda Menjivar in January 2024.","The Special Collections Research Center holds many other ","This collection largely consists of playbills from Chicago's Lyric Opera House, the Chicago Symphony Orchestra, and regional theatres collected by Carol Berger. There are also ticket stubs from a handful of the performances, as well as materials from the Art Institute of Chicago. The playbills from Chicago's Lyric Opera House span the course of twenty-one seasons from the 34th to the 57th. The largest part of the collection consists of playbills from regional theatres from across the United States, including one piece from the San Francisco Opera. A smaller portion of the collection is made up of pamphlets from the Art Institute of Chicago that describe a few fashion and art exhibitions from 1996 to 2015.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection largely consists of playbills from Chicago's Lyric Opera House, the Chicago Symphony Orchestra, and regional theatres collected by Carol Berger. There are also ticket stubs from the performances, as well as materials from the Art Institute of Chicago.","George Mason University. Libraries. Special Collections Research Center","Berger, Carol","English \n.    "],"unitid_tesim":["C0263","/repositories/2/resources/552"],"normalized_title_ssm":["Carol Berger Chicago performing arts playbills collection"],"collection_title_tesim":["Carol Berger Chicago performing arts playbills collection"],"collection_ssim":["Carol Berger Chicago performing arts playbills collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Chicago (Ill.)"],"geogname_ssim":["Chicago (Ill.)"],"creator_ssm":["Berger, Carol"],"creator_ssim":["Berger, Carol"],"creator_persname_ssim":["Berger, Carol"],"creators_ssim":["Berger, Carol"],"places_ssim":["Chicago (Ill.)"],"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 Carol Berger in 2015."],"access_subjects_ssim":["Performing arts","Theater programs","Theater -- United States","Theater"],"access_subjects_ssm":["Performing arts","Theater programs","Theater -- United States","Theater"],"has_online_content_ssim":["false"],"extent_ssm":["1 Linear Feet 4 boxes"],"extent_tesim":["1 Linear Feet 4 boxes"],"date_range_isim":[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."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged by venue, followed by format. The playbills are arranged chronologically by season, and alphabetically within each season.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged by venue, followed by format. The playbills are arranged chronologically by season, and alphabetically within each season."],"bibliography_html_tesm":["\u003cp\u003e\u003cextptr href=\"https://www.lyricopera.org/about/history/lyricoperahistory\" title=\"History of Lyric Opera of Chicago.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":[""],"bioghist_html_tesm":["\u003cp\u003eThe Lyric Opera of Chicago was founded by Carol Fox, Lawrence V. Kelly and Nicola Rescigno in 1954. It is located in the Civic Opera Building which first opened its doors on November 4, 1929. The Civic Opera Building was envisioned by Samuel Insull as the predominant place for operatic performances. The Lyric Opera is now globally renowned for their chorus, orchestra, as well as their preservation of the cultural importance of opera in Chicago, Illinois. Several other nationally and internationally renowned theatres are also included in the collection of playbills.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Lyric Opera of Chicago was founded by Carol Fox, Lawrence V. Kelly and Nicola Rescigno in 1954. It is located in the Civic Opera Building which first opened its doors on November 4, 1929. The Civic Opera Building was envisioned by Samuel Insull as the predominant place for operatic performances. The Lyric Opera is now globally renowned for their chorus, orchestra, as well as their preservation of the cultural importance of opera in Chicago, Illinois. Several other nationally and internationally renowned theatres are also included in the collection of playbills."],"prefercite_html_tesm":["\u003cp\u003eCarol Berger Chicago performing arts playbills collection, C0263, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Carol Berger Chicago performing arts playbills collection, C0263, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Amy Blake in August 2018. EAD markup completed by Amy Blake in August 2018. Finding aid updated by Amanda Menjivar in January 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Amy Blake in August 2018. EAD markup completed by Amy Blake in August 2018. Finding aid updated by Amanda Menjivar in January 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds many other \u003cextptr show=\"new\" title=\"playbill collections.\" href=\"https://aspace.gmu.edu/search?utf8=%E2%9C%93\u0026amp;op%5B%5D=\u0026amp;q%5B%5D=playbill\u0026amp;limit=\u0026amp;field%5B%5D=\u0026amp;from_year%5B%5D=\u0026amp;to_year%5B%5D=\u0026amp;commit=Search\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds many other "],"scopecontent_html_tesm":["\u003cp\u003eThis collection largely consists of playbills from Chicago's Lyric Opera House, the Chicago Symphony Orchestra, and regional theatres collected by Carol Berger. There are also ticket stubs from a handful of the performances, as well as materials from the Art Institute of Chicago. The playbills from Chicago's Lyric Opera House span the course of twenty-one seasons from the 34th to the 57th. The largest part of the collection consists of playbills from regional theatres from across the United States, including one piece from the San Francisco Opera. A smaller portion of the collection is made up of pamphlets from the Art Institute of Chicago that describe a few fashion and art exhibitions from 1996 to 2015.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection largely consists of playbills from Chicago's Lyric Opera House, the Chicago Symphony Orchestra, and regional theatres collected by Carol Berger. There are also ticket stubs from a handful of the performances, as well as materials from the Art Institute of Chicago. The playbills from Chicago's Lyric Opera House span the course of twenty-one seasons from the 34th to the 57th. The largest part of the collection consists of playbills from regional theatres from across the United States, including one piece from the San Francisco Opera. A smaller portion of the collection is made up of pamphlets from the Art Institute of Chicago that describe a few fashion and art exhibitions from 1996 to 2015."],"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_ref2\"\u003eThis collection largely consists of playbills from Chicago's Lyric Opera House, the Chicago Symphony Orchestra, and regional theatres collected by Carol Berger. There are also ticket stubs from the performances, as well as materials from the Art Institute of Chicago.\u003c/abstract\u003e"],"abstract_tesim":["This collection largely consists of playbills from Chicago's Lyric Opera House, the Chicago Symphony Orchestra, and regional theatres collected by Carol Berger. There are also ticket stubs from the performances, as well as materials from the Art Institute of Chicago."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Berger, Carol"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Berger, Carol"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":60,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:35:40.833Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_552"}},{"id":"vifgm_repositories_2_resources_577","type":"collection","attributes":{"title":"College of Visual and Performing Arts records","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_577#creator","type":"document_value","attributes":{"value":"George Mason University. College of Visual \u0026 Performing Arts","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_577#abstract_or_scope","type":"document_value","attributes":{"value":"The College of Visual and Performing Arts records contains information about several departments within the college itself along with many posters, playbills and class materials ranging from the 1960s-2015. As the College of Visual and Performing Arts was established in 1990, much of the collection is made up from materials from the departments pre-dating the time when the College brought them all together.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_577#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_577","ead_ssi":"vifgm_repositories_2_resources_577","_root_":"vifgm_repositories_2_resources_577","_nest_parent_":"vifgm_repositories_2_resources_577","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_577.xml","title_ssm":["College of Visual and Performing Arts records"],"title_tesim":["College of Visual and Performing Arts records"],"unitdate_ssm":["1930-2015"],"unitdate_inclusive_ssm":["1930-2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["R0011","/repositories/2/resources/577"],"text":["R0011","/repositories/2/resources/577","College of Visual and Performing Arts records","Photography -- Negatives","Dance","George Mason University. Center for Study of Public Choice","Music","Theater","Playwriting","Color photography","Slides (Photography)","Theater programs","Performing arts","Negatives","Performing arts posters","Photographs","Playscript","Theatrical posters","Color photographs","Concert posters","There are no access restrictions.","This collection is arranged by subject first and then chronologically and alphabetically respectively."," The collection was arranged as such in order to maintain cohesion between the series and subjects within it in a meaningful way in terms of dates. When dates were unreliable, alphabetical organization was used to add order to the materials. A note: The boxes in each series are not always chronological or next to one another in the stacks.","Series 1: International Arts Festival, 1980s-2005 (Boxes 1-2) Series 2: Theater Department/GMU Players, 1962-2012 (Boxes 3-10, 36, 44) Series 3: Arts Center Associates (ACA), 1980-1998 (Boxes 11-12) Series 4: \"In The Wings\", 1990s-1999 (Box 13) Series 5: Center for the Arts/Institute of the Arts, 1987-2013 (Boxes 14-15, 45-46, 60-62) Series 6: Department of Music, 1968-2001 (Boxes 16-27) Series 7: Photographs/Negatives/Slides, 1949-2003 (Boxes 28-33, 59, 63, 64) Series 8: Jane Pearson Papers, 1987-2004 (Boxes 34-35) Series 9: Playbills/Programs, 1966-2005 (Boxes 37-42) Series 10: CD-Rs/AV, 1970s-2015 (Boxes 47, 49-52) Series 11: Outside the GMU Theater, 1930s-1991 (Boxes 43, 48, 53-58)","George Mason University College of Visual and Performing Arts, \"Our History\", College of Visual and Performing Arts, Accessed December 17, 2018, ","Beginning with the creation of the Institute of the Arts (IOA) alongside the opening of the Center for the Arts in 1990, the Arts at George Mason University has been growing, eventually creating the College of Visual and Performing Arts at George Mason University. It has since been thriving and expanding with many departments including Music, Art and Visual Technology, Dance and Theater. The College of Visual and Performing Arts was established on July 1, 2001 with William F. Reeder serving as the founding dean for 14 years. He was later followed by Rick Davis starting in 2015. As of 2018 there 1,400 active majors within the college with three of the newer programs being Arts Management, Film and Video Studies and Computer Game Design. The college, along with the Center for the Arts and Hylton Performing Arts Center serves more than 300,000 patrons anually as of 2018.","Processing completed by Amy Blake in December 2018. EAD markup completed by Amy Blake in December 2018.","The Special Collections Research Center holds several other collections related to George Mason Performing Arts such as the  , the  , and the ","The materials contained in this colection are varied and include: posters, playbills, programs, faculty paperwork and meeting minutes, colour and black and white photographs, negatives, slides, Life Magazines, VHS tapes, CD-Rs, cassette tapes, flyers, tickets, memorandum, invitations to Mathy House, scripts and playbooks."," Series 1: International Arts Festival, dated 1980s-2005, is comprised of paperwork, flyers and memorandum related to George Mason University's International Arts Festival. "," Series 2: Theater Department/GMU Players, dated 1962-2011, is comprised of paperwork, flyers, memoranda, playbills and posters related to George Mason University's Theater Department and the GMU/Mason Players."," Series 3: Arts Center Associates (ACA) dated 1980-1999, is comprised of paperwork and flyers related to George Mason University's Arts Center Associates (ACA)."," Series 4: \"In The Wings,\" dated 1990s, is issues of the George Mason University magazine, \"In The Wings\". "," Series 5: Center for the Arts/Institute of the Arts, dated 1987-2013, is compromised of paperwork, flyers, memorandum, playbills and degree information related to George Mason University's Center for the Arts."," Series 6: Department of Music, dated 1978-2001, is compromised of paperwork, flyers, degree information, faculty paperwork, playbills and memoranda related to George Mason Univeristy's music department and the faculty of the department."," Series 7: Photographs/Negatives/Slides, dated 1949-2003, is comprised of photographs, negatives and slides related to the College of Visual and Performing Arts at George Mason University. There are three damaged photographs within these materials and both color and black and white materials are included."," Series 8: Jane Pearson Papers, dated 1987-2004, is comprised mostly of invitations to Mathy House from the President and his wife and were donated by Jane Pearson."," Series 9: Playbills/Programs, dated 1982-2012, is comprised of playbills and programs from various George Mason University plays, musicals, music productions and events."," Series 10: CD-Rs/AV, dated 1970s-2015, is comprised of AV materials and CD-Rs, the AV materials are VHS tapes and Cassettes containing performances and snippets of recordings."," Series 11: Outside the GMU Theater, dated 1930s-1980, the materials contained in this series are unrelated to George Mason University and are comprised of Life Magazines and programs from old performances from the 1930s and 1940s as well as scrapbooks filled with clippings from programs and playbills of the same era."," Notable people in this collection are Jane Pearson, Colonel Arnald Gabriel, and Doc. Severinsen. John F. Kennedy and Carol Burnett are featured in some of the material unrelated to George Mason Theater."," It is important to note that this collection contains materials that are from George Mason Music, Dance and Theater departments that pre-date the creation of the College of Visual and Performing Arts. CVPA was established in 1990, and several pieces from George Mason date from the 1960s-1980s."," This collection also contains several pieces that are unrelated to the College of Visual and Performing Arts and George Mason University. These pieces are Life Magazines from the 1960s when President John F. Kennedy was assassinated, as well as many programs, some in scrapbooks, dating from the 1930s to the 1950s, that feature famous celebrities and works such as \"Hello, Dolly!\" and Carol Burnett.","There are no restrictions on personal use. Permission to publish material from the College of Visual and Performing Arts records must be obtained from the Special Collections Research Center, George Mason University Libraries.","The College of Visual and Performing Arts records contains information about several departments within the college itself along with many posters, playbills and class materials ranging from the 1960s-2015. As the College of Visual and Performing Arts was established in 1990, much of the collection is made up from materials from the departments pre-dating the time when the College brought them all together.","George Mason University. Libraries. Special Collections Research Center","George Mason University. College of Visual \u0026 Performing Arts","English"],"unitid_tesim":["R0011","/repositories/2/resources/577"],"normalized_title_ssm":["College of Visual and Performing Arts records"],"collection_title_tesim":["College of Visual and Performing Arts records"],"collection_ssim":["College of Visual and Performing Arts records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. College of Visual \u0026 Performing Arts"],"creator_ssim":["George Mason University. College of Visual \u0026 Performing Arts"],"creator_corpname_ssim":["George Mason University. College of Visual \u0026 Performing Arts"],"creators_ssim":["George Mason University. College of Visual \u0026 Performing Arts"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the College of Visual and Performing Arts records must be obtained from the Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Donated by the College of Visual and Performing Arts between 1984 and 2016."],"access_subjects_ssim":["Photography -- Negatives","Dance","George Mason University. Center for Study of Public Choice","Music","Theater","Playwriting","Color photography","Slides (Photography)","Theater programs","Performing arts","Negatives","Performing arts posters","Photographs","Playscript","Theatrical posters","Color photographs","Concert posters"],"access_subjects_ssm":["Photography -- Negatives","Dance","George Mason University. Center for Study of Public Choice","Music","Theater","Playwriting","Color photography","Slides (Photography)","Theater programs","Performing arts","Negatives","Performing arts posters","Photographs","Playscript","Theatrical posters","Color photographs","Concert posters"],"has_online_content_ssim":["false"],"extent_ssm":["36.0 linear feet (64 boxes)"],"extent_tesim":["36.0 linear feet (64 boxes)"],"genreform_ssim":["Negatives","Performing arts posters","Photographs","Playscript","Theatrical posters","Color photographs","Concert posters"],"date_range_isim":[1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged by subject first and then chronologically and alphabetically respectively.\u003c/p\u003e\n","\u003cp\u003e The collection was arranged as such in order to maintain cohesion between the series and subjects within it in a meaningful way in terms of dates. When dates were unreliable, alphabetical organization was used to add order to the materials. A note: The boxes in each series are not always chronological or next to one another in the stacks.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003citem\u003eSeries 1: International Arts Festival, 1980s-2005 (Boxes 1-2)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Theater Department/GMU Players, 1962-2012 (Boxes 3-10, 36, 44)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Arts Center Associates (ACA), 1980-1998 (Boxes 11-12)\u003c/item\u003e\n      \u003citem\u003eSeries 4: \"In The Wings\", 1990s-1999 (Box 13)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Center for the Arts/Institute of the Arts, 1987-2013 (Boxes 14-15, 45-46, 60-62)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Department of Music, 1968-2001 (Boxes 16-27)\u003c/item\u003e\n      \u003citem\u003eSeries 7: Photographs/Negatives/Slides, 1949-2003 (Boxes 28-33, 59, 63, 64)\u003c/item\u003e\n      \u003citem\u003eSeries 8: Jane Pearson Papers, 1987-2004 (Boxes 34-35)\u003c/item\u003e\n      \u003citem\u003eSeries 9: Playbills/Programs, 1966-2005 (Boxes 37-42)\u003c/item\u003e\n      \u003citem\u003eSeries 10: CD-Rs/AV, 1970s-2015 (Boxes 47, 49-52)\u003c/item\u003e\n      \u003citem\u003eSeries 11: Outside the GMU Theater, 1930s-1991 (Boxes 43, 48, 53-58)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged by subject first and then chronologically and alphabetically respectively."," The collection was arranged as such in order to maintain cohesion between the series and subjects within it in a meaningful way in terms of dates. When dates were unreliable, alphabetical organization was used to add order to the materials. A note: The boxes in each series are not always chronological or next to one another in the stacks.","Series 1: International Arts Festival, 1980s-2005 (Boxes 1-2) Series 2: Theater Department/GMU Players, 1962-2012 (Boxes 3-10, 36, 44) Series 3: Arts Center Associates (ACA), 1980-1998 (Boxes 11-12) Series 4: \"In The Wings\", 1990s-1999 (Box 13) Series 5: Center for the Arts/Institute of the Arts, 1987-2013 (Boxes 14-15, 45-46, 60-62) Series 6: Department of Music, 1968-2001 (Boxes 16-27) Series 7: Photographs/Negatives/Slides, 1949-2003 (Boxes 28-33, 59, 63, 64) Series 8: Jane Pearson Papers, 1987-2004 (Boxes 34-35) Series 9: Playbills/Programs, 1966-2005 (Boxes 37-42) Series 10: CD-Rs/AV, 1970s-2015 (Boxes 47, 49-52) Series 11: Outside the GMU Theater, 1930s-1991 (Boxes 43, 48, 53-58)"],"bibliography_html_tesm":["\u003cbibref\u003eGeorge Mason University College of Visual and Performing Arts, \"Our History\", College of Visual and Performing Arts, Accessed December 17, 2018, \u003cextptr href=\"https://cvpa.gmu.edu/about/our-history\" title=\"https://cvpa.gmu.edu/about/our-history.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["George Mason University College of Visual and Performing Arts, \"Our History\", College of Visual and Performing Arts, Accessed December 17, 2018, "],"bioghist_html_tesm":["\u003cp\u003eBeginning with the creation of the Institute of the Arts (IOA) alongside the opening of the Center for the Arts in 1990, the Arts at George Mason University has been growing, eventually creating the College of Visual and Performing Arts at George Mason University. It has since been thriving and expanding with many departments including Music, Art and Visual Technology, Dance and Theater. The College of Visual and Performing Arts was established on July 1, 2001 with William F. Reeder serving as the founding dean for 14 years. He was later followed by Rick Davis starting in 2015. As of 2018 there 1,400 active majors within the college with three of the newer programs being Arts Management, Film and Video Studies and Computer Game Design. The college, along with the Center for the Arts and Hylton Performing Arts Center serves more than 300,000 patrons anually as of 2018.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical/Historical note"],"bioghist_tesim":["Beginning with the creation of the Institute of the Arts (IOA) alongside the opening of the Center for the Arts in 1990, the Arts at George Mason University has been growing, eventually creating the College of Visual and Performing Arts at George Mason University. It has since been thriving and expanding with many departments including Music, Art and Visual Technology, Dance and Theater. The College of Visual and Performing Arts was established on July 1, 2001 with William F. Reeder serving as the founding dean for 14 years. He was later followed by Rick Davis starting in 2015. As of 2018 there 1,400 active majors within the college with three of the newer programs being Arts Management, Film and Video Studies and Computer Game Design. The college, along with the Center for the Arts and Hylton Performing Arts Center serves more than 300,000 patrons anually as of 2018."],"prefercite_html_tesm":["\u003cp\u003eCollege of Visual and Performing Arts records, R0011, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["College of Visual and Performing Arts records, R0011, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Amy Blake in December 2018. EAD markup completed by Amy Blake in December 2018.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Amy Blake in December 2018. EAD markup completed by Amy Blake in December 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds several other collections related to George Mason Performing Arts such as the \u003cextptr href=\"https://scrc.gmu.edu/finding_aids/ftp.html\" title=\"Federal Theater Project\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://scrc.gmu.edu/finding_aids/arenastage.html\" title=\"Arena Stage records\" show=\"new\"\u003e\u003c/extptr\u003e, and the \u003cextptr href=\"https://scrc.gmu.edu/finding_aids/tfa.html\" title=\"Theater of the First Amendment\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds several other collections related to George Mason Performing Arts such as the  , the  , and the "],"scopecontent_html_tesm":["\u003cp\u003eThe materials contained in this colection are varied and include: posters, playbills, programs, faculty paperwork and meeting minutes, colour and black and white photographs, negatives, slides, Life Magazines, VHS tapes, CD-Rs, cassette tapes, flyers, tickets, memorandum, invitations to Mathy House, scripts and playbooks.\u003c/p\u003e\n","\u003cp\u003e Series 1: International Arts Festival, dated 1980s-2005, is comprised of paperwork, flyers and memorandum related to George Mason University's International Arts Festival. \u003c/p\u003e\n","\u003cp\u003e Series 2: Theater Department/GMU Players, dated 1962-2011, is comprised of paperwork, flyers, memoranda, playbills and posters related to George Mason University's Theater Department and the GMU/Mason Players.\u003c/p\u003e\n","\u003cp\u003e Series 3: Arts Center Associates (ACA) dated 1980-1999, is comprised of paperwork and flyers related to George Mason University's Arts Center Associates (ACA).\u003c/p\u003e\n","\u003cp\u003e Series 4: \"In The Wings,\" dated 1990s, is issues of the George Mason University magazine, \"In The Wings\". \u003c/p\u003e\n","\u003cp\u003e Series 5: Center for the Arts/Institute of the Arts, dated 1987-2013, is compromised of paperwork, flyers, memorandum, playbills and degree information related to George Mason University's Center for the Arts.\u003c/p\u003e\n","\u003cp\u003e Series 6: Department of Music, dated 1978-2001, is compromised of paperwork, flyers, degree information, faculty paperwork, playbills and memoranda related to George Mason Univeristy's music department and the faculty of the department.\u003c/p\u003e\n","\u003cp\u003e Series 7: Photographs/Negatives/Slides, dated 1949-2003, is comprised of photographs, negatives and slides related to the College of Visual and Performing Arts at George Mason University. There are three damaged photographs within these materials and both color and black and white materials are included.\u003c/p\u003e\n","\u003cp\u003e Series 8: Jane Pearson Papers, dated 1987-2004, is comprised mostly of invitations to Mathy House from the President and his wife and were donated by Jane Pearson.\u003c/p\u003e\n","\u003cp\u003e Series 9: Playbills/Programs, dated 1982-2012, is comprised of playbills and programs from various George Mason University plays, musicals, music productions and events.\u003c/p\u003e\n","\u003cp\u003e Series 10: CD-Rs/AV, dated 1970s-2015, is comprised of AV materials and CD-Rs, the AV materials are VHS tapes and Cassettes containing performances and snippets of recordings.\u003c/p\u003e\n","\u003cp\u003e Series 11: Outside the GMU Theater, dated 1930s-1980, the materials contained in this series are unrelated to George Mason University and are comprised of Life Magazines and programs from old performances from the 1930s and 1940s as well as scrapbooks filled with clippings from programs and playbills of the same era.\u003c/p\u003e\n","\u003cp\u003e Notable people in this collection are Jane Pearson, Colonel Arnald Gabriel, and Doc. Severinsen. John F. Kennedy and Carol Burnett are featured in some of the material unrelated to George Mason Theater.\u003c/p\u003e\n","\u003cp\u003e It is important to note that this collection contains materials that are from George Mason Music, Dance and Theater departments that pre-date the creation of the College of Visual and Performing Arts. CVPA was established in 1990, and several pieces from George Mason date from the 1960s-1980s.\u003c/p\u003e\n","\u003cp\u003e This collection also contains several pieces that are unrelated to the College of Visual and Performing Arts and George Mason University. These pieces are Life Magazines from the 1960s when President John F. Kennedy was assassinated, as well as many programs, some in scrapbooks, dating from the 1930s to the 1950s, that feature famous celebrities and works such as \"Hello, Dolly!\" and Carol Burnett.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["The materials contained in this colection are varied and include: posters, playbills, programs, faculty paperwork and meeting minutes, colour and black and white photographs, negatives, slides, Life Magazines, VHS tapes, CD-Rs, cassette tapes, flyers, tickets, memorandum, invitations to Mathy House, scripts and playbooks."," Series 1: International Arts Festival, dated 1980s-2005, is comprised of paperwork, flyers and memorandum related to George Mason University's International Arts Festival. "," Series 2: Theater Department/GMU Players, dated 1962-2011, is comprised of paperwork, flyers, memoranda, playbills and posters related to George Mason University's Theater Department and the GMU/Mason Players."," Series 3: Arts Center Associates (ACA) dated 1980-1999, is comprised of paperwork and flyers related to George Mason University's Arts Center Associates (ACA)."," Series 4: \"In The Wings,\" dated 1990s, is issues of the George Mason University magazine, \"In The Wings\". "," Series 5: Center for the Arts/Institute of the Arts, dated 1987-2013, is compromised of paperwork, flyers, memorandum, playbills and degree information related to George Mason University's Center for the Arts."," Series 6: Department of Music, dated 1978-2001, is compromised of paperwork, flyers, degree information, faculty paperwork, playbills and memoranda related to George Mason Univeristy's music department and the faculty of the department."," Series 7: Photographs/Negatives/Slides, dated 1949-2003, is comprised of photographs, negatives and slides related to the College of Visual and Performing Arts at George Mason University. There are three damaged photographs within these materials and both color and black and white materials are included."," Series 8: Jane Pearson Papers, dated 1987-2004, is comprised mostly of invitations to Mathy House from the President and his wife and were donated by Jane Pearson."," Series 9: Playbills/Programs, dated 1982-2012, is comprised of playbills and programs from various George Mason University plays, musicals, music productions and events."," Series 10: CD-Rs/AV, dated 1970s-2015, is comprised of AV materials and CD-Rs, the AV materials are VHS tapes and Cassettes containing performances and snippets of recordings."," Series 11: Outside the GMU Theater, dated 1930s-1980, the materials contained in this series are unrelated to George Mason University and are comprised of Life Magazines and programs from old performances from the 1930s and 1940s as well as scrapbooks filled with clippings from programs and playbills of the same era."," Notable people in this collection are Jane Pearson, Colonel Arnald Gabriel, and Doc. Severinsen. John F. Kennedy and Carol Burnett are featured in some of the material unrelated to George Mason Theater."," It is important to note that this collection contains materials that are from George Mason Music, Dance and Theater departments that pre-date the creation of the College of Visual and Performing Arts. CVPA was established in 1990, and several pieces from George Mason date from the 1960s-1980s."," This collection also contains several pieces that are unrelated to the College of Visual and Performing Arts and George Mason University. These pieces are Life Magazines from the 1960s when President John F. Kennedy was assassinated, as well as many programs, some in scrapbooks, dating from the 1930s to the 1950s, that feature famous celebrities and works such as \"Hello, Dolly!\" and Carol Burnett."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the College of Visual and Performing Arts records must be obtained from the Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the College of Visual and Performing Arts records must be obtained from the Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe College of Visual and Performing Arts records contains information about several departments within the college itself along with many posters, playbills and class materials ranging from the 1960s-2015. As the College of Visual and Performing Arts was established in 1990, much of the collection is made up from materials from the departments pre-dating the time when the College brought them all together.\u003c/abstract\u003e"],"abstract_tesim":["The College of Visual and Performing Arts records contains information about several departments within the college itself along with many posters, playbills and class materials ranging from the 1960s-2015. As the College of Visual and Performing Arts was established in 1990, much of the collection is made up from materials from the departments pre-dating the time when the College brought them all together."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. College of Visual \u0026 Performing Arts"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. College of Visual \u0026 Performing Arts"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1471,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:23:25.700Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_577","ead_ssi":"vifgm_repositories_2_resources_577","_root_":"vifgm_repositories_2_resources_577","_nest_parent_":"vifgm_repositories_2_resources_577","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_577.xml","title_ssm":["College of Visual and Performing Arts records"],"title_tesim":["College of Visual and Performing Arts records"],"unitdate_ssm":["1930-2015"],"unitdate_inclusive_ssm":["1930-2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["R0011","/repositories/2/resources/577"],"text":["R0011","/repositories/2/resources/577","College of Visual and Performing Arts records","Photography -- Negatives","Dance","George Mason University. Center for Study of Public Choice","Music","Theater","Playwriting","Color photography","Slides (Photography)","Theater programs","Performing arts","Negatives","Performing arts posters","Photographs","Playscript","Theatrical posters","Color photographs","Concert posters","There are no access restrictions.","This collection is arranged by subject first and then chronologically and alphabetically respectively."," The collection was arranged as such in order to maintain cohesion between the series and subjects within it in a meaningful way in terms of dates. When dates were unreliable, alphabetical organization was used to add order to the materials. A note: The boxes in each series are not always chronological or next to one another in the stacks.","Series 1: International Arts Festival, 1980s-2005 (Boxes 1-2) Series 2: Theater Department/GMU Players, 1962-2012 (Boxes 3-10, 36, 44) Series 3: Arts Center Associates (ACA), 1980-1998 (Boxes 11-12) Series 4: \"In The Wings\", 1990s-1999 (Box 13) Series 5: Center for the Arts/Institute of the Arts, 1987-2013 (Boxes 14-15, 45-46, 60-62) Series 6: Department of Music, 1968-2001 (Boxes 16-27) Series 7: Photographs/Negatives/Slides, 1949-2003 (Boxes 28-33, 59, 63, 64) Series 8: Jane Pearson Papers, 1987-2004 (Boxes 34-35) Series 9: Playbills/Programs, 1966-2005 (Boxes 37-42) Series 10: CD-Rs/AV, 1970s-2015 (Boxes 47, 49-52) Series 11: Outside the GMU Theater, 1930s-1991 (Boxes 43, 48, 53-58)","George Mason University College of Visual and Performing Arts, \"Our History\", College of Visual and Performing Arts, Accessed December 17, 2018, ","Beginning with the creation of the Institute of the Arts (IOA) alongside the opening of the Center for the Arts in 1990, the Arts at George Mason University has been growing, eventually creating the College of Visual and Performing Arts at George Mason University. It has since been thriving and expanding with many departments including Music, Art and Visual Technology, Dance and Theater. The College of Visual and Performing Arts was established on July 1, 2001 with William F. Reeder serving as the founding dean for 14 years. He was later followed by Rick Davis starting in 2015. As of 2018 there 1,400 active majors within the college with three of the newer programs being Arts Management, Film and Video Studies and Computer Game Design. The college, along with the Center for the Arts and Hylton Performing Arts Center serves more than 300,000 patrons anually as of 2018.","Processing completed by Amy Blake in December 2018. EAD markup completed by Amy Blake in December 2018.","The Special Collections Research Center holds several other collections related to George Mason Performing Arts such as the  , the  , and the ","The materials contained in this colection are varied and include: posters, playbills, programs, faculty paperwork and meeting minutes, colour and black and white photographs, negatives, slides, Life Magazines, VHS tapes, CD-Rs, cassette tapes, flyers, tickets, memorandum, invitations to Mathy House, scripts and playbooks."," Series 1: International Arts Festival, dated 1980s-2005, is comprised of paperwork, flyers and memorandum related to George Mason University's International Arts Festival. "," Series 2: Theater Department/GMU Players, dated 1962-2011, is comprised of paperwork, flyers, memoranda, playbills and posters related to George Mason University's Theater Department and the GMU/Mason Players."," Series 3: Arts Center Associates (ACA) dated 1980-1999, is comprised of paperwork and flyers related to George Mason University's Arts Center Associates (ACA)."," Series 4: \"In The Wings,\" dated 1990s, is issues of the George Mason University magazine, \"In The Wings\". "," Series 5: Center for the Arts/Institute of the Arts, dated 1987-2013, is compromised of paperwork, flyers, memorandum, playbills and degree information related to George Mason University's Center for the Arts."," Series 6: Department of Music, dated 1978-2001, is compromised of paperwork, flyers, degree information, faculty paperwork, playbills and memoranda related to George Mason Univeristy's music department and the faculty of the department."," Series 7: Photographs/Negatives/Slides, dated 1949-2003, is comprised of photographs, negatives and slides related to the College of Visual and Performing Arts at George Mason University. There are three damaged photographs within these materials and both color and black and white materials are included."," Series 8: Jane Pearson Papers, dated 1987-2004, is comprised mostly of invitations to Mathy House from the President and his wife and were donated by Jane Pearson."," Series 9: Playbills/Programs, dated 1982-2012, is comprised of playbills and programs from various George Mason University plays, musicals, music productions and events."," Series 10: CD-Rs/AV, dated 1970s-2015, is comprised of AV materials and CD-Rs, the AV materials are VHS tapes and Cassettes containing performances and snippets of recordings."," Series 11: Outside the GMU Theater, dated 1930s-1980, the materials contained in this series are unrelated to George Mason University and are comprised of Life Magazines and programs from old performances from the 1930s and 1940s as well as scrapbooks filled with clippings from programs and playbills of the same era."," Notable people in this collection are Jane Pearson, Colonel Arnald Gabriel, and Doc. Severinsen. John F. Kennedy and Carol Burnett are featured in some of the material unrelated to George Mason Theater."," It is important to note that this collection contains materials that are from George Mason Music, Dance and Theater departments that pre-date the creation of the College of Visual and Performing Arts. CVPA was established in 1990, and several pieces from George Mason date from the 1960s-1980s."," This collection also contains several pieces that are unrelated to the College of Visual and Performing Arts and George Mason University. These pieces are Life Magazines from the 1960s when President John F. Kennedy was assassinated, as well as many programs, some in scrapbooks, dating from the 1930s to the 1950s, that feature famous celebrities and works such as \"Hello, Dolly!\" and Carol Burnett.","There are no restrictions on personal use. Permission to publish material from the College of Visual and Performing Arts records must be obtained from the Special Collections Research Center, George Mason University Libraries.","The College of Visual and Performing Arts records contains information about several departments within the college itself along with many posters, playbills and class materials ranging from the 1960s-2015. As the College of Visual and Performing Arts was established in 1990, much of the collection is made up from materials from the departments pre-dating the time when the College brought them all together.","George Mason University. Libraries. Special Collections Research Center","George Mason University. College of Visual \u0026 Performing Arts","English"],"unitid_tesim":["R0011","/repositories/2/resources/577"],"normalized_title_ssm":["College of Visual and Performing Arts records"],"collection_title_tesim":["College of Visual and Performing Arts records"],"collection_ssim":["College of Visual and Performing Arts records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. College of Visual \u0026 Performing Arts"],"creator_ssim":["George Mason University. College of Visual \u0026 Performing Arts"],"creator_corpname_ssim":["George Mason University. College of Visual \u0026 Performing Arts"],"creators_ssim":["George Mason University. College of Visual \u0026 Performing Arts"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the College of Visual and Performing Arts records must be obtained from the Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Donated by the College of Visual and Performing Arts between 1984 and 2016."],"access_subjects_ssim":["Photography -- Negatives","Dance","George Mason University. Center for Study of Public Choice","Music","Theater","Playwriting","Color photography","Slides (Photography)","Theater programs","Performing arts","Negatives","Performing arts posters","Photographs","Playscript","Theatrical posters","Color photographs","Concert posters"],"access_subjects_ssm":["Photography -- Negatives","Dance","George Mason University. Center for Study of Public Choice","Music","Theater","Playwriting","Color photography","Slides (Photography)","Theater programs","Performing arts","Negatives","Performing arts posters","Photographs","Playscript","Theatrical posters","Color photographs","Concert posters"],"has_online_content_ssim":["false"],"extent_ssm":["36.0 linear feet (64 boxes)"],"extent_tesim":["36.0 linear feet (64 boxes)"],"genreform_ssim":["Negatives","Performing arts posters","Photographs","Playscript","Theatrical posters","Color photographs","Concert posters"],"date_range_isim":[1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged by subject first and then chronologically and alphabetically respectively.\u003c/p\u003e\n","\u003cp\u003e The collection was arranged as such in order to maintain cohesion between the series and subjects within it in a meaningful way in terms of dates. When dates were unreliable, alphabetical organization was used to add order to the materials. A note: The boxes in each series are not always chronological or next to one another in the stacks.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003citem\u003eSeries 1: International Arts Festival, 1980s-2005 (Boxes 1-2)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Theater Department/GMU Players, 1962-2012 (Boxes 3-10, 36, 44)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Arts Center Associates (ACA), 1980-1998 (Boxes 11-12)\u003c/item\u003e\n      \u003citem\u003eSeries 4: \"In The Wings\", 1990s-1999 (Box 13)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Center for the Arts/Institute of the Arts, 1987-2013 (Boxes 14-15, 45-46, 60-62)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Department of Music, 1968-2001 (Boxes 16-27)\u003c/item\u003e\n      \u003citem\u003eSeries 7: Photographs/Negatives/Slides, 1949-2003 (Boxes 28-33, 59, 63, 64)\u003c/item\u003e\n      \u003citem\u003eSeries 8: Jane Pearson Papers, 1987-2004 (Boxes 34-35)\u003c/item\u003e\n      \u003citem\u003eSeries 9: Playbills/Programs, 1966-2005 (Boxes 37-42)\u003c/item\u003e\n      \u003citem\u003eSeries 10: CD-Rs/AV, 1970s-2015 (Boxes 47, 49-52)\u003c/item\u003e\n      \u003citem\u003eSeries 11: Outside the GMU Theater, 1930s-1991 (Boxes 43, 48, 53-58)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged by subject first and then chronologically and alphabetically respectively."," The collection was arranged as such in order to maintain cohesion between the series and subjects within it in a meaningful way in terms of dates. When dates were unreliable, alphabetical organization was used to add order to the materials. A note: The boxes in each series are not always chronological or next to one another in the stacks.","Series 1: International Arts Festival, 1980s-2005 (Boxes 1-2) Series 2: Theater Department/GMU Players, 1962-2012 (Boxes 3-10, 36, 44) Series 3: Arts Center Associates (ACA), 1980-1998 (Boxes 11-12) Series 4: \"In The Wings\", 1990s-1999 (Box 13) Series 5: Center for the Arts/Institute of the Arts, 1987-2013 (Boxes 14-15, 45-46, 60-62) Series 6: Department of Music, 1968-2001 (Boxes 16-27) Series 7: Photographs/Negatives/Slides, 1949-2003 (Boxes 28-33, 59, 63, 64) Series 8: Jane Pearson Papers, 1987-2004 (Boxes 34-35) Series 9: Playbills/Programs, 1966-2005 (Boxes 37-42) Series 10: CD-Rs/AV, 1970s-2015 (Boxes 47, 49-52) Series 11: Outside the GMU Theater, 1930s-1991 (Boxes 43, 48, 53-58)"],"bibliography_html_tesm":["\u003cbibref\u003eGeorge Mason University College of Visual and Performing Arts, \"Our History\", College of Visual and Performing Arts, Accessed December 17, 2018, \u003cextptr href=\"https://cvpa.gmu.edu/about/our-history\" title=\"https://cvpa.gmu.edu/about/our-history.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["George Mason University College of Visual and Performing Arts, \"Our History\", College of Visual and Performing Arts, Accessed December 17, 2018, "],"bioghist_html_tesm":["\u003cp\u003eBeginning with the creation of the Institute of the Arts (IOA) alongside the opening of the Center for the Arts in 1990, the Arts at George Mason University has been growing, eventually creating the College of Visual and Performing Arts at George Mason University. It has since been thriving and expanding with many departments including Music, Art and Visual Technology, Dance and Theater. The College of Visual and Performing Arts was established on July 1, 2001 with William F. Reeder serving as the founding dean for 14 years. He was later followed by Rick Davis starting in 2015. As of 2018 there 1,400 active majors within the college with three of the newer programs being Arts Management, Film and Video Studies and Computer Game Design. The college, along with the Center for the Arts and Hylton Performing Arts Center serves more than 300,000 patrons anually as of 2018.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical/Historical note"],"bioghist_tesim":["Beginning with the creation of the Institute of the Arts (IOA) alongside the opening of the Center for the Arts in 1990, the Arts at George Mason University has been growing, eventually creating the College of Visual and Performing Arts at George Mason University. It has since been thriving and expanding with many departments including Music, Art and Visual Technology, Dance and Theater. The College of Visual and Performing Arts was established on July 1, 2001 with William F. Reeder serving as the founding dean for 14 years. He was later followed by Rick Davis starting in 2015. As of 2018 there 1,400 active majors within the college with three of the newer programs being Arts Management, Film and Video Studies and Computer Game Design. The college, along with the Center for the Arts and Hylton Performing Arts Center serves more than 300,000 patrons anually as of 2018."],"prefercite_html_tesm":["\u003cp\u003eCollege of Visual and Performing Arts records, R0011, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["College of Visual and Performing Arts records, R0011, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Amy Blake in December 2018. EAD markup completed by Amy Blake in December 2018.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Amy Blake in December 2018. EAD markup completed by Amy Blake in December 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds several other collections related to George Mason Performing Arts such as the \u003cextptr href=\"https://scrc.gmu.edu/finding_aids/ftp.html\" title=\"Federal Theater Project\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://scrc.gmu.edu/finding_aids/arenastage.html\" title=\"Arena Stage records\" show=\"new\"\u003e\u003c/extptr\u003e, and the \u003cextptr href=\"https://scrc.gmu.edu/finding_aids/tfa.html\" title=\"Theater of the First Amendment\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds several other collections related to George Mason Performing Arts such as the  , the  , and the "],"scopecontent_html_tesm":["\u003cp\u003eThe materials contained in this colection are varied and include: posters, playbills, programs, faculty paperwork and meeting minutes, colour and black and white photographs, negatives, slides, Life Magazines, VHS tapes, CD-Rs, cassette tapes, flyers, tickets, memorandum, invitations to Mathy House, scripts and playbooks.\u003c/p\u003e\n","\u003cp\u003e Series 1: International Arts Festival, dated 1980s-2005, is comprised of paperwork, flyers and memorandum related to George Mason University's International Arts Festival. \u003c/p\u003e\n","\u003cp\u003e Series 2: Theater Department/GMU Players, dated 1962-2011, is comprised of paperwork, flyers, memoranda, playbills and posters related to George Mason University's Theater Department and the GMU/Mason Players.\u003c/p\u003e\n","\u003cp\u003e Series 3: Arts Center Associates (ACA) dated 1980-1999, is comprised of paperwork and flyers related to George Mason University's Arts Center Associates (ACA).\u003c/p\u003e\n","\u003cp\u003e Series 4: \"In The Wings,\" dated 1990s, is issues of the George Mason University magazine, \"In The Wings\". \u003c/p\u003e\n","\u003cp\u003e Series 5: Center for the Arts/Institute of the Arts, dated 1987-2013, is compromised of paperwork, flyers, memorandum, playbills and degree information related to George Mason University's Center for the Arts.\u003c/p\u003e\n","\u003cp\u003e Series 6: Department of Music, dated 1978-2001, is compromised of paperwork, flyers, degree information, faculty paperwork, playbills and memoranda related to George Mason Univeristy's music department and the faculty of the department.\u003c/p\u003e\n","\u003cp\u003e Series 7: Photographs/Negatives/Slides, dated 1949-2003, is comprised of photographs, negatives and slides related to the College of Visual and Performing Arts at George Mason University. There are three damaged photographs within these materials and both color and black and white materials are included.\u003c/p\u003e\n","\u003cp\u003e Series 8: Jane Pearson Papers, dated 1987-2004, is comprised mostly of invitations to Mathy House from the President and his wife and were donated by Jane Pearson.\u003c/p\u003e\n","\u003cp\u003e Series 9: Playbills/Programs, dated 1982-2012, is comprised of playbills and programs from various George Mason University plays, musicals, music productions and events.\u003c/p\u003e\n","\u003cp\u003e Series 10: CD-Rs/AV, dated 1970s-2015, is comprised of AV materials and CD-Rs, the AV materials are VHS tapes and Cassettes containing performances and snippets of recordings.\u003c/p\u003e\n","\u003cp\u003e Series 11: Outside the GMU Theater, dated 1930s-1980, the materials contained in this series are unrelated to George Mason University and are comprised of Life Magazines and programs from old performances from the 1930s and 1940s as well as scrapbooks filled with clippings from programs and playbills of the same era.\u003c/p\u003e\n","\u003cp\u003e Notable people in this collection are Jane Pearson, Colonel Arnald Gabriel, and Doc. Severinsen. John F. Kennedy and Carol Burnett are featured in some of the material unrelated to George Mason Theater.\u003c/p\u003e\n","\u003cp\u003e It is important to note that this collection contains materials that are from George Mason Music, Dance and Theater departments that pre-date the creation of the College of Visual and Performing Arts. CVPA was established in 1990, and several pieces from George Mason date from the 1960s-1980s.\u003c/p\u003e\n","\u003cp\u003e This collection also contains several pieces that are unrelated to the College of Visual and Performing Arts and George Mason University. These pieces are Life Magazines from the 1960s when President John F. Kennedy was assassinated, as well as many programs, some in scrapbooks, dating from the 1930s to the 1950s, that feature famous celebrities and works such as \"Hello, Dolly!\" and Carol Burnett.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["The materials contained in this colection are varied and include: posters, playbills, programs, faculty paperwork and meeting minutes, colour and black and white photographs, negatives, slides, Life Magazines, VHS tapes, CD-Rs, cassette tapes, flyers, tickets, memorandum, invitations to Mathy House, scripts and playbooks."," Series 1: International Arts Festival, dated 1980s-2005, is comprised of paperwork, flyers and memorandum related to George Mason University's International Arts Festival. "," Series 2: Theater Department/GMU Players, dated 1962-2011, is comprised of paperwork, flyers, memoranda, playbills and posters related to George Mason University's Theater Department and the GMU/Mason Players."," Series 3: Arts Center Associates (ACA) dated 1980-1999, is comprised of paperwork and flyers related to George Mason University's Arts Center Associates (ACA)."," Series 4: \"In The Wings,\" dated 1990s, is issues of the George Mason University magazine, \"In The Wings\". "," Series 5: Center for the Arts/Institute of the Arts, dated 1987-2013, is compromised of paperwork, flyers, memorandum, playbills and degree information related to George Mason University's Center for the Arts."," Series 6: Department of Music, dated 1978-2001, is compromised of paperwork, flyers, degree information, faculty paperwork, playbills and memoranda related to George Mason Univeristy's music department and the faculty of the department."," Series 7: Photographs/Negatives/Slides, dated 1949-2003, is comprised of photographs, negatives and slides related to the College of Visual and Performing Arts at George Mason University. There are three damaged photographs within these materials and both color and black and white materials are included."," Series 8: Jane Pearson Papers, dated 1987-2004, is comprised mostly of invitations to Mathy House from the President and his wife and were donated by Jane Pearson."," Series 9: Playbills/Programs, dated 1982-2012, is comprised of playbills and programs from various George Mason University plays, musicals, music productions and events."," Series 10: CD-Rs/AV, dated 1970s-2015, is comprised of AV materials and CD-Rs, the AV materials are VHS tapes and Cassettes containing performances and snippets of recordings."," Series 11: Outside the GMU Theater, dated 1930s-1980, the materials contained in this series are unrelated to George Mason University and are comprised of Life Magazines and programs from old performances from the 1930s and 1940s as well as scrapbooks filled with clippings from programs and playbills of the same era."," Notable people in this collection are Jane Pearson, Colonel Arnald Gabriel, and Doc. Severinsen. John F. Kennedy and Carol Burnett are featured in some of the material unrelated to George Mason Theater."," It is important to note that this collection contains materials that are from George Mason Music, Dance and Theater departments that pre-date the creation of the College of Visual and Performing Arts. CVPA was established in 1990, and several pieces from George Mason date from the 1960s-1980s."," This collection also contains several pieces that are unrelated to the College of Visual and Performing Arts and George Mason University. These pieces are Life Magazines from the 1960s when President John F. Kennedy was assassinated, as well as many programs, some in scrapbooks, dating from the 1930s to the 1950s, that feature famous celebrities and works such as \"Hello, Dolly!\" and Carol Burnett."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the College of Visual and Performing Arts records must be obtained from the Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the College of Visual and Performing Arts records must be obtained from the Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe College of Visual and Performing Arts records contains information about several departments within the college itself along with many posters, playbills and class materials ranging from the 1960s-2015. As the College of Visual and Performing Arts was established in 1990, much of the collection is made up from materials from the departments pre-dating the time when the College brought them all together.\u003c/abstract\u003e"],"abstract_tesim":["The College of Visual and Performing Arts records contains information about several departments within the college itself along with many posters, playbills and class materials ranging from the 1960s-2015. As the College of Visual and Performing Arts was established in 1990, much of the collection is made up from materials from the departments pre-dating the time when the College brought them all together."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. College of Visual \u0026 Performing Arts"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. College of Visual \u0026 Performing Arts"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1471,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:23:25.700Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_577"}},{"id":"vifgm_repositories_2_resources_90","type":"collection","attributes":{"title":"E. P. Conkle papers","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_90#creator","type":"document_value","attributes":{"value":"Conkle, E. P. (Ellsworth Prouty)","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_90#abstract_or_scope","type":"document_value","attributes":{"value":"Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973).","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_90#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_90","ead_ssi":"vifgm_repositories_2_resources_90","_root_":"vifgm_repositories_2_resources_90","_nest_parent_":"vifgm_repositories_2_resources_90","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_90.xml","title_filing_ssi":"E. P. Conkle papers","title_ssm":["E. P. Conkle papers"],"title_tesim":["E. P. Conkle papers"],"unitdate_ssm":["1928-1994"],"unitdate_inclusive_ssm":["1928-1994"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0157","/repositories/2/resources/90"],"text":["C0157","/repositories/2/resources/90","E. P. Conkle papers","Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence","There are no access restrictions.","This collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.","Series Series 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1) Series 2: Book Manuscripts, undated (Box 1) Series 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6) Series 4: Poetry, 1939-1973 (Box 6) Series 5: Short Stories, 1939-1973 (Box 7) Series 6: Miscellaneous, 1931-1992 (Box 7)","Ellsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker. ","In addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994. ","Processed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009.","The Special Collections Research Center also holds the  .","Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle. ","Series 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright. ","Series 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy. ","Series 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\" ","Series 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More. ","Series 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\" ","Series 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student. ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973).","George Mason University. Libraries. Special Collections Research Center","Conkle, E. P. (Ellsworth Prouty)","English"],"unitid_tesim":["C0157","/repositories/2/resources/90"],"normalized_title_ssm":["E. P. Conkle papers"],"collection_title_tesim":["E. P. Conkle papers"],"collection_ssim":["E. P. Conkle papers"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Conkle, E. P. (Ellsworth Prouty)"],"creator_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"creator_persname_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"creators_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"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 Virginia McNeal Conkle in 1994."],"access_subjects_ssim":["Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence"],"access_subjects_ssm":["Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence"],"has_online_content_ssim":["false"],"extent_ssm":["3.5 Linear Feet 7 boxes"],"extent_tesim":["3.5 Linear Feet 7 boxes"],"genreform_ssim":["Poetry","Manuscripts","Correspondence"],"date_range_isim":[1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Book Manuscripts, undated (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Poetry, 1939-1973 (Box 6)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Short Stories, 1939-1973 (Box 7)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Miscellaneous, 1931-1992 (Box 7)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.","Series Series 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1) Series 2: Book Manuscripts, undated (Box 1) Series 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6) Series 4: Poetry, 1939-1973 (Box 6) Series 5: Short Stories, 1939-1973 (Box 7) Series 6: Miscellaneous, 1931-1992 (Box 7)"],"bioghist_html_tesm":["\u003cp\u003eEllsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker. \u003c/p\u003e\n","\u003cp\u003eIn addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Ellsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker. ","In addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994. "],"prefercite_html_tesm":["\u003cp\u003eE. P. Conkle papers, C0157, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["E. P. Conkle papers, C0157, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Jay Bradford Fowler, Jr. papers\" href=\"https://aspace.gmu.edu/resources/c0046\"\u003e\u003c/extptr\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  ."],"scopecontent_html_tesm":["\u003cp\u003eIncluded in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle. \u003c/p\u003e\n","\u003cp\u003eSeries 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright. \u003c/p\u003e\n","\u003cp\u003eSeries 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy. \u003c/p\u003e\n","\u003cp\u003eSeries 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\" \u003c/p\u003e\n","\u003cp\u003eSeries 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More. \u003c/p\u003e\n","\u003cp\u003eSeries 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\" \u003c/p\u003e\n","\u003cp\u003eSeries 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle. ","Series 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright. ","Series 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy. ","Series 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\" ","Series 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More. ","Series 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\" ","Series 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student. "],"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_e4cc520ef016e4cf4b96e754985251fb\" label=\"Abstract\"\u003eIncluded in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973).\u003c/abstract\u003e"],"abstract_tesim":["Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973)."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Conkle, E. P. (Ellsworth Prouty)"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"names_coll_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"persname_ssim":["Conkle, E. P. 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Conkle papers","Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence","There are no access restrictions.","This collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.","Series Series 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1) Series 2: Book Manuscripts, undated (Box 1) Series 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6) Series 4: Poetry, 1939-1973 (Box 6) Series 5: Short Stories, 1939-1973 (Box 7) Series 6: Miscellaneous, 1931-1992 (Box 7)","Ellsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker. ","In addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994. ","Processed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009.","The Special Collections Research Center also holds the  .","Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle. ","Series 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright. ","Series 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy. ","Series 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\" ","Series 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More. ","Series 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\" ","Series 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student. ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973).","George Mason University. Libraries. Special Collections Research Center","Conkle, E. P. (Ellsworth Prouty)","English"],"unitid_tesim":["C0157","/repositories/2/resources/90"],"normalized_title_ssm":["E. P. Conkle papers"],"collection_title_tesim":["E. P. Conkle papers"],"collection_ssim":["E. P. Conkle papers"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Conkle, E. P. (Ellsworth Prouty)"],"creator_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"creator_persname_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"creators_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"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 Virginia McNeal Conkle in 1994."],"access_subjects_ssim":["Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence"],"access_subjects_ssm":["Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence"],"has_online_content_ssim":["false"],"extent_ssm":["3.5 Linear Feet 7 boxes"],"extent_tesim":["3.5 Linear Feet 7 boxes"],"genreform_ssim":["Poetry","Manuscripts","Correspondence"],"date_range_isim":[1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Book Manuscripts, undated (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Poetry, 1939-1973 (Box 6)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Short Stories, 1939-1973 (Box 7)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Miscellaneous, 1931-1992 (Box 7)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.","Series Series 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1) Series 2: Book Manuscripts, undated (Box 1) Series 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6) Series 4: Poetry, 1939-1973 (Box 6) Series 5: Short Stories, 1939-1973 (Box 7) Series 6: Miscellaneous, 1931-1992 (Box 7)"],"bioghist_html_tesm":["\u003cp\u003eEllsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker. \u003c/p\u003e\n","\u003cp\u003eIn addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Ellsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker. ","In addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994. "],"prefercite_html_tesm":["\u003cp\u003eE. P. Conkle papers, C0157, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["E. P. Conkle papers, C0157, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Jay Bradford Fowler, Jr. papers\" href=\"https://aspace.gmu.edu/resources/c0046\"\u003e\u003c/extptr\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  ."],"scopecontent_html_tesm":["\u003cp\u003eIncluded in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle. \u003c/p\u003e\n","\u003cp\u003eSeries 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright. \u003c/p\u003e\n","\u003cp\u003eSeries 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy. \u003c/p\u003e\n","\u003cp\u003eSeries 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\" \u003c/p\u003e\n","\u003cp\u003eSeries 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More. \u003c/p\u003e\n","\u003cp\u003eSeries 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\" \u003c/p\u003e\n","\u003cp\u003eSeries 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle. ","Series 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright. ","Series 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy. ","Series 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\" ","Series 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More. ","Series 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\" ","Series 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student. "],"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_e4cc520ef016e4cf4b96e754985251fb\" label=\"Abstract\"\u003eIncluded in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973).\u003c/abstract\u003e"],"abstract_tesim":["Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973)."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Conkle, E. P. (Ellsworth Prouty)"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"names_coll_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"persname_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":63,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:27:54.262Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_90"}},{"id":"vifgm_repositories_2_resources_331","type":"collection","attributes":{"title":"Federal Theatre Project collection","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_331#creator","type":"document_value","attributes":{"value":"Federal Theatre Project (U.S.)","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_331#abstract_or_scope","type":"document_value","attributes":{"value":"The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_331#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_331","ead_ssi":"vifgm_repositories_2_resources_331","_root_":"vifgm_repositories_2_resources_331","_nest_parent_":"vifgm_repositories_2_resources_331","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_331.xml","title_filing_ssi":"Federal Theatre Project collection","title_ssm":["Federal Theatre Project collection"],"title_tesim":["Federal Theatre Project collection"],"unitdate_ssm":["circa 1885-1986","1935-1939"],"unitdate_bulk_ssim":["1935-1939"],"unitdate_inclusive_ssm":["circa 1885-1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0002","/repositories/2/resources/331"],"text":["C0002","/repositories/2/resources/331","Federal Theatre Project collection","Children's theater","New Deal, 1933-1939","Political plays, American","Radio and theater","Theater programs","Theater -- United States","Theater","Theater -- Production and direction","Performing arts","Playscript","There are no access restrictions.","The scripts are also available as a series in the   in the Mason Archival Repository Service.\nThere are additional documents from this and other GMU FTP collections   .","Arranged into five series.","Series Series 1: Administrative Records, 1935-1939 (Boxes 1-5, 361, 365-366, 368) Series 2: Play Service and Research Records, 1935-1939 (Boxes 5-105) Series 3: Library Records, 1885-1986 (Boxes 106-306) Series 4: Production Records, 193-193 (Boxes 307-363, 366-367) Series 5: Costumes, circa 1935-1939 (Boxes 369-371)","The Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression. Jobs were provided for many people, including actors, playwrights, scene designers, scene builders, seamstresses, lighting experts, ushers, box-office men, and stagehands.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirocheta.","The Federal Theatre was noted for employing Black Americans at a time when the Federal Government did not actively protect the rights of marginalized communities. This unit was called \"The Negro Unit,\" which at the time was a socially acceptable term used to describe people of African descent. All-Black theatre companies were an established industry before the Depression. As a result, the inclusion of this unit greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by Black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.","Processed by Special Collections Research Center staff. Reprocessed and EAD completed in 2012 by Greta Kuriger. Finding aid updated by Robert Vay in February 2023.","The Special Collections Research Center also holds the Federal Theatre Project photograph collection, the Federal Theatre Project personal papers, the Arnold Sungaard papers, and the Works Progress Administration oral histories collection.","The scripts are also available as a series in the  . ","Content Warning: Some materials contain racist language and slurs, including play titles.","The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.","Series 1 contains correspondence, memoranda, reports, inventories, reorganization plans, briefs, and speeches relating to the background organization, policies, services, and procedures of the Federal Theatre Project (FTP). Publications featuring articles on productions and organizational activities such as Federal Theatre are included in this series. Personnel file information such as biographical and employee tests are also included, as is research studies of the Civilian Conservation Corps (CCC), Federal Art Project (FAP) and the Historical Records Survey (HRS). This series is arranged alphabetically.","Series 2 is titled Play Service and Research Records and comprises two subseries. Subseries 2.1 contains research on drama, theatre technique, and theatre operations. This subseries is arranged alphabetically. Subseries 2.2 is titled Play Reader Reports and contains thousands of reports completed by the Federal Theatre for possible production or inclusion in play lists. This subseries is loosely arranged alphabetically by play title. Some duplicate material.","Series 3 is titled Library Records and consists of three subseries: Playscripts, Radio scripts, and Play lists. Subseries 3.1 includes hundreds of playscripts from over 900 productions performed or considered for production from around the United States. Most of the scripts are in English but some are in Yiddish or Italian. Some duplicate material. Arranged alphabetically by title. Subseries 3.2 includes radio scripts. Series of shows include topics such as art, children's shows, mysteries, health, music, history, and science. Arranged alphabetically by series and single broadcast title. Subseries 3.3 consists of play lists. These lists were created to aid play selection among the various units of the Federal Theatre. Lists are arranged alphabetically by subject categories such as children's plays, historical drama, holidays, minstrel shows, operettas, puppet plays, and vaudeville.","Series 4 is titled Production Records and consists of three subseries: Production Title File, Playbills and Programs, and Music File. Subseries 4.1 includes memoranda, production bulletins, publicity, and reports relating to play productions. Each production bulletin contains some or all of the following: synopsis, director's report, set and costume designs, lighting scheme, blueprints, photographs, program, reviews, royalty information, and a script. Arranged alphabetically by title. Subseries 4.2 includes programs, heralds, handbills, and other announcements of FTP productions on different sized and colored paper. The first section of this subseries is arranged alphabetically by state in which the performance was produced and then it is arranged alphabetically by play title. The second section is arranged alphabetically by play title. There may be duplicates between the two arrangements. Subseries 4.3 includes manuscript scores and parts for multiple Federal Theatre productions. Resource material used for reference purposes for play productions and Federal Theatre units and regions throughout the United States consists of mostly printed music and is found under \"miscellaneous\". Chiefly arranged alphabetically by title and then according to standard orchestral instrument order. Some duplicates.","Series 5 is titled Costumes and includes two coats and two pairs of pants created and used by the Federal Theatre Project.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).","The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.","\nR 1, C 8, S 6 - C 9, S 7\n\nR 2, C 1, S 1 - C 8, S 3\nOS R 7, C 1, S1\nOS R 3, C 5, S 5 - S 6\nMap Case 9.1, 11.1, 11.3-11.5, 21.2","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","English"],"unitid_tesim":["C0002","/repositories/2/resources/331"],"normalized_title_ssm":["Federal Theatre Project collection"],"collection_title_tesim":["Federal Theatre Project collection"],"collection_ssim":["Federal Theatre Project collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Federal Theatre Project (U.S.)"],"creator_ssim":["Federal Theatre Project (U.S.)"],"creator_corpname_ssim":["Federal Theatre Project (U.S.)"],"creators_ssim":["Federal Theatre Project (U.S.)"],"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 the Library of Congress."],"access_subjects_ssim":["Children's theater","New Deal, 1933-1939","Political plays, American","Radio and theater","Theater programs","Theater -- United States","Theater","Theater -- Production and direction","Performing arts","Playscript"],"access_subjects_ssm":["Children's theater","New Deal, 1933-1939","Political plays, American","Radio and theater","Theater programs","Theater -- United States","Theater","Theater -- Production and direction","Performing arts","Playscript"],"has_online_content_ssim":["false"],"extent_ssm":["185 Linear Feet 371 boxes"],"extent_tesim":["185 Linear Feet 371 boxes"],"genreform_ssim":["Playscript"],"date_range_isim":[1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986],"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\u003eThe scripts are also available as a series in the \u003cextptr href=\"https://mars.gmu.edu/handle/1920/3478\" title=\"Federal Theatre Project Materials Collection\" show=\"new\"\u003e\u003c/extptr\u003e in the Mason Archival Repository Service.\nThere are additional documents from this and other GMU FTP collections  \u003cextptr href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\" title=\"available here\" show=\"new\"\u003e\u003c/extptr\u003e.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The scripts are also available as a series in the   in the Mason Archival Repository Service.\nThere are additional documents from this and other GMU FTP collections   ."],"arrangement_html_tesm":["\u003cp\u003eArranged into five series.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative Records, 1935-1939 (Boxes 1-5, 361, 365-366, 368)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Play Service and Research Records, 1935-1939 (Boxes 5-105)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Library Records, 1885-1986 (Boxes 106-306)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Production Records, 193-193 (Boxes 307-363, 366-367)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Costumes, circa 1935-1939 (Boxes 369-371)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into five series.","Series Series 1: Administrative Records, 1935-1939 (Boxes 1-5, 361, 365-366, 368) Series 2: Play Service and Research Records, 1935-1939 (Boxes 5-105) Series 3: Library Records, 1885-1986 (Boxes 106-306) Series 4: Production Records, 193-193 (Boxes 307-363, 366-367) Series 5: Costumes, circa 1935-1939 (Boxes 369-371)"],"bioghist_html_tesm":["\u003cp\u003eThe Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression. Jobs were provided for many people, including actors, playwrights, scene designers, scene builders, seamstresses, lighting experts, ushers, box-office men, and stagehands.\u003c/p\u003e\n","\u003cp\u003eLike many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.\u003c/p\u003e\n","\u003cp\u003eBut it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"\u003c/p\u003e\n","\u003cp\u003eFlanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.\u003c/p\u003e\n","\u003cp\u003eThe productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirocheta.\u003c/p\u003e\n","\u003cp\u003eThe Federal Theatre was noted for employing Black Americans at a time when the Federal Government did not actively protect the rights of marginalized communities. This unit was called \"The Negro Unit,\" which at the time was a socially acceptable term used to describe people of African descent. All-Black theatre companies were an established industry before the Depression. As a result, the inclusion of this unit greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by Black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression. Jobs were provided for many people, including actors, playwrights, scene designers, scene builders, seamstresses, lighting experts, ushers, box-office men, and stagehands.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirocheta.","The Federal Theatre was noted for employing Black Americans at a time when the Federal Government did not actively protect the rights of marginalized communities. This unit was called \"The Negro Unit,\" which at the time was a socially acceptable term used to describe people of African descent. All-Black theatre companies were an established industry before the Depression. As a result, the inclusion of this unit greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by Black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck."],"prefercite_html_tesm":["\u003cp\u003eFederal Theatre Project collection, C0002, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Federal Theatre Project collection, C0002, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. Reprocessed and EAD completed in 2012 by Greta Kuriger. Finding aid updated by Robert Vay in February 2023.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. Reprocessed and EAD completed in 2012 by Greta Kuriger. Finding aid updated by Robert Vay in February 2023."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the Federal Theatre Project photograph collection, the Federal Theatre Project personal papers, the Arnold Sungaard papers, and the Works Progress Administration oral histories collection.\u003c/p\u003e\n","\u003cp\u003eThe scripts are also available as a series in the \u003cextptr show=\"new\" title=\"FTP digital collection\" href=\"https://mars.gmu.edu/handle/1920/3478\"\u003e\u003c/extptr\u003e. \u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the Federal Theatre Project photograph collection, the Federal Theatre Project personal papers, the Arnold Sungaard papers, and the Works Progress Administration oral histories collection.","The scripts are also available as a series in the  . "],"scopecontent_html_tesm":["\u003cp\u003eContent Warning: Some materials contain racist language and slurs, including play titles.\u003c/p\u003e\n","\u003cp\u003eThe Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.\u003c/p\u003e\n","\u003cp\u003eSeries 1 contains correspondence, memoranda, reports, inventories, reorganization plans, briefs, and speeches relating to the background organization, policies, services, and procedures of the Federal Theatre Project (FTP). Publications featuring articles on productions and organizational activities such as Federal Theatre are included in this series. Personnel file information such as biographical and employee tests are also included, as is research studies of the Civilian Conservation Corps (CCC), Federal Art Project (FAP) and the Historical Records Survey (HRS). This series is arranged alphabetically.\u003c/p\u003e\n","\u003cp\u003eSeries 2 is titled Play Service and Research Records and comprises two subseries. Subseries 2.1 contains research on drama, theatre technique, and theatre operations. This subseries is arranged alphabetically. Subseries 2.2 is titled Play Reader Reports and contains thousands of reports completed by the Federal Theatre for possible production or inclusion in play lists. This subseries is loosely arranged alphabetically by play title. Some duplicate material.\u003c/p\u003e\n","\u003cp\u003eSeries 3 is titled Library Records and consists of three subseries: Playscripts, Radio scripts, and Play lists. Subseries 3.1 includes hundreds of playscripts from over 900 productions performed or considered for production from around the United States. Most of the scripts are in English but some are in Yiddish or Italian. Some duplicate material. Arranged alphabetically by title. Subseries 3.2 includes radio scripts. Series of shows include topics such as art, children's shows, mysteries, health, music, history, and science. Arranged alphabetically by series and single broadcast title. Subseries 3.3 consists of play lists. These lists were created to aid play selection among the various units of the Federal Theatre. Lists are arranged alphabetically by subject categories such as children's plays, historical drama, holidays, minstrel shows, operettas, puppet plays, and vaudeville.\u003c/p\u003e\n","\u003cp\u003eSeries 4 is titled Production Records and consists of three subseries: Production Title File, Playbills and Programs, and Music File. Subseries 4.1 includes memoranda, production bulletins, publicity, and reports relating to play productions. Each production bulletin contains some or all of the following: synopsis, director's report, set and costume designs, lighting scheme, blueprints, photographs, program, reviews, royalty information, and a script. Arranged alphabetically by title. Subseries 4.2 includes programs, heralds, handbills, and other announcements of FTP productions on different sized and colored paper. The first section of this subseries is arranged alphabetically by state in which the performance was produced and then it is arranged alphabetically by play title. The second section is arranged alphabetically by play title. There may be duplicates between the two arrangements. Subseries 4.3 includes manuscript scores and parts for multiple Federal Theatre productions. Resource material used for reference purposes for play productions and Federal Theatre units and regions throughout the United States consists of mostly printed music and is found under \"miscellaneous\". Chiefly arranged alphabetically by title and then according to standard orchestral instrument order. Some duplicates.\u003c/p\u003e\n","\u003cp\u003eSeries 5 is titled Costumes and includes two coats and two pairs of pants created and used by the Federal Theatre Project.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Content Warning: Some materials contain racist language and slurs, including play titles.","The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.","Series 1 contains correspondence, memoranda, reports, inventories, reorganization plans, briefs, and speeches relating to the background organization, policies, services, and procedures of the Federal Theatre Project (FTP). Publications featuring articles on productions and organizational activities such as Federal Theatre are included in this series. Personnel file information such as biographical and employee tests are also included, as is research studies of the Civilian Conservation Corps (CCC), Federal Art Project (FAP) and the Historical Records Survey (HRS). This series is arranged alphabetically.","Series 2 is titled Play Service and Research Records and comprises two subseries. Subseries 2.1 contains research on drama, theatre technique, and theatre operations. This subseries is arranged alphabetically. Subseries 2.2 is titled Play Reader Reports and contains thousands of reports completed by the Federal Theatre for possible production or inclusion in play lists. This subseries is loosely arranged alphabetically by play title. Some duplicate material.","Series 3 is titled Library Records and consists of three subseries: Playscripts, Radio scripts, and Play lists. Subseries 3.1 includes hundreds of playscripts from over 900 productions performed or considered for production from around the United States. Most of the scripts are in English but some are in Yiddish or Italian. Some duplicate material. Arranged alphabetically by title. Subseries 3.2 includes radio scripts. Series of shows include topics such as art, children's shows, mysteries, health, music, history, and science. Arranged alphabetically by series and single broadcast title. Subseries 3.3 consists of play lists. These lists were created to aid play selection among the various units of the Federal Theatre. Lists are arranged alphabetically by subject categories such as children's plays, historical drama, holidays, minstrel shows, operettas, puppet plays, and vaudeville.","Series 4 is titled Production Records and consists of three subseries: Production Title File, Playbills and Programs, and Music File. Subseries 4.1 includes memoranda, production bulletins, publicity, and reports relating to play productions. Each production bulletin contains some or all of the following: synopsis, director's report, set and costume designs, lighting scheme, blueprints, photographs, program, reviews, royalty information, and a script. Arranged alphabetically by title. Subseries 4.2 includes programs, heralds, handbills, and other announcements of FTP productions on different sized and colored paper. The first section of this subseries is arranged alphabetically by state in which the performance was produced and then it is arranged alphabetically by play title. The second section is arranged alphabetically by play title. There may be duplicates between the two arrangements. Subseries 4.3 includes manuscript scores and parts for multiple Federal Theatre productions. Resource material used for reference purposes for play productions and Federal Theatre units and regions throughout the United States consists of mostly printed music and is found under \"miscellaneous\". Chiefly arranged alphabetically by title and then according to standard orchestral instrument order. Some duplicates.","Series 5 is titled Costumes and includes two coats and two pairs of pants created and used by the Federal Theatre Project."],"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_0f4707cda45d410e12f09ae2a350510a\" label=\"Abstract\"\u003eThe Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.\u003c/abstract\u003e"],"abstract_tesim":["The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_d65479dc2ffe44debbb5af464a6479da\"\u003e\nR 1, C 8, S 6 - C 9, S 7\n\nR 2, C 1, S 1 - C 8, S 3\nOS R 7, C 1, S1\nOS R 3, C 5, S 5 - S 6\nMap Case 9.1, 11.1, 11.3-11.5, 21.2\u003c/physloc\u003e"],"physloc_tesim":["\nR 1, C 8, S 6 - C 9, S 7\n\nR 2, C 1, S 1 - C 8, S 3\nOS R 7, C 1, S1\nOS R 3, C 5, S 5 - S 6\nMap Case 9.1, 11.1, 11.3-11.5, 21.2"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3180,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-07T07:19:07.641Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_331","ead_ssi":"vifgm_repositories_2_resources_331","_root_":"vifgm_repositories_2_resources_331","_nest_parent_":"vifgm_repositories_2_resources_331","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_331.xml","title_filing_ssi":"Federal Theatre Project collection","title_ssm":["Federal Theatre Project collection"],"title_tesim":["Federal Theatre Project collection"],"unitdate_ssm":["circa 1885-1986","1935-1939"],"unitdate_bulk_ssim":["1935-1939"],"unitdate_inclusive_ssm":["circa 1885-1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0002","/repositories/2/resources/331"],"text":["C0002","/repositories/2/resources/331","Federal Theatre Project collection","Children's theater","New Deal, 1933-1939","Political plays, American","Radio and theater","Theater programs","Theater -- United States","Theater","Theater -- Production and direction","Performing arts","Playscript","There are no access restrictions.","The scripts are also available as a series in the   in the Mason Archival Repository Service.\nThere are additional documents from this and other GMU FTP collections   .","Arranged into five series.","Series Series 1: Administrative Records, 1935-1939 (Boxes 1-5, 361, 365-366, 368) Series 2: Play Service and Research Records, 1935-1939 (Boxes 5-105) Series 3: Library Records, 1885-1986 (Boxes 106-306) Series 4: Production Records, 193-193 (Boxes 307-363, 366-367) Series 5: Costumes, circa 1935-1939 (Boxes 369-371)","The Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression. Jobs were provided for many people, including actors, playwrights, scene designers, scene builders, seamstresses, lighting experts, ushers, box-office men, and stagehands.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirocheta.","The Federal Theatre was noted for employing Black Americans at a time when the Federal Government did not actively protect the rights of marginalized communities. This unit was called \"The Negro Unit,\" which at the time was a socially acceptable term used to describe people of African descent. All-Black theatre companies were an established industry before the Depression. As a result, the inclusion of this unit greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by Black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.","Processed by Special Collections Research Center staff. Reprocessed and EAD completed in 2012 by Greta Kuriger. Finding aid updated by Robert Vay in February 2023.","The Special Collections Research Center also holds the Federal Theatre Project photograph collection, the Federal Theatre Project personal papers, the Arnold Sungaard papers, and the Works Progress Administration oral histories collection.","The scripts are also available as a series in the  . ","Content Warning: Some materials contain racist language and slurs, including play titles.","The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.","Series 1 contains correspondence, memoranda, reports, inventories, reorganization plans, briefs, and speeches relating to the background organization, policies, services, and procedures of the Federal Theatre Project (FTP). Publications featuring articles on productions and organizational activities such as Federal Theatre are included in this series. Personnel file information such as biographical and employee tests are also included, as is research studies of the Civilian Conservation Corps (CCC), Federal Art Project (FAP) and the Historical Records Survey (HRS). This series is arranged alphabetically.","Series 2 is titled Play Service and Research Records and comprises two subseries. Subseries 2.1 contains research on drama, theatre technique, and theatre operations. This subseries is arranged alphabetically. Subseries 2.2 is titled Play Reader Reports and contains thousands of reports completed by the Federal Theatre for possible production or inclusion in play lists. This subseries is loosely arranged alphabetically by play title. Some duplicate material.","Series 3 is titled Library Records and consists of three subseries: Playscripts, Radio scripts, and Play lists. Subseries 3.1 includes hundreds of playscripts from over 900 productions performed or considered for production from around the United States. Most of the scripts are in English but some are in Yiddish or Italian. Some duplicate material. Arranged alphabetically by title. Subseries 3.2 includes radio scripts. Series of shows include topics such as art, children's shows, mysteries, health, music, history, and science. Arranged alphabetically by series and single broadcast title. Subseries 3.3 consists of play lists. These lists were created to aid play selection among the various units of the Federal Theatre. Lists are arranged alphabetically by subject categories such as children's plays, historical drama, holidays, minstrel shows, operettas, puppet plays, and vaudeville.","Series 4 is titled Production Records and consists of three subseries: Production Title File, Playbills and Programs, and Music File. Subseries 4.1 includes memoranda, production bulletins, publicity, and reports relating to play productions. Each production bulletin contains some or all of the following: synopsis, director's report, set and costume designs, lighting scheme, blueprints, photographs, program, reviews, royalty information, and a script. Arranged alphabetically by title. Subseries 4.2 includes programs, heralds, handbills, and other announcements of FTP productions on different sized and colored paper. The first section of this subseries is arranged alphabetically by state in which the performance was produced and then it is arranged alphabetically by play title. The second section is arranged alphabetically by play title. There may be duplicates between the two arrangements. Subseries 4.3 includes manuscript scores and parts for multiple Federal Theatre productions. Resource material used for reference purposes for play productions and Federal Theatre units and regions throughout the United States consists of mostly printed music and is found under \"miscellaneous\". Chiefly arranged alphabetically by title and then according to standard orchestral instrument order. Some duplicates.","Series 5 is titled Costumes and includes two coats and two pairs of pants created and used by the Federal Theatre Project.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).","The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.","\nR 1, C 8, S 6 - C 9, S 7\n\nR 2, C 1, S 1 - C 8, S 3\nOS R 7, C 1, S1\nOS R 3, C 5, S 5 - S 6\nMap Case 9.1, 11.1, 11.3-11.5, 21.2","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","English"],"unitid_tesim":["C0002","/repositories/2/resources/331"],"normalized_title_ssm":["Federal Theatre Project collection"],"collection_title_tesim":["Federal Theatre Project collection"],"collection_ssim":["Federal Theatre Project collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Federal Theatre Project (U.S.)"],"creator_ssim":["Federal Theatre Project (U.S.)"],"creator_corpname_ssim":["Federal Theatre Project (U.S.)"],"creators_ssim":["Federal Theatre Project (U.S.)"],"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 the Library of Congress."],"access_subjects_ssim":["Children's theater","New Deal, 1933-1939","Political plays, American","Radio and theater","Theater programs","Theater -- United States","Theater","Theater -- Production and direction","Performing arts","Playscript"],"access_subjects_ssm":["Children's theater","New Deal, 1933-1939","Political plays, American","Radio and theater","Theater programs","Theater -- United States","Theater","Theater -- Production and direction","Performing arts","Playscript"],"has_online_content_ssim":["false"],"extent_ssm":["185 Linear Feet 371 boxes"],"extent_tesim":["185 Linear Feet 371 boxes"],"genreform_ssim":["Playscript"],"date_range_isim":[1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986],"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\u003eThe scripts are also available as a series in the \u003cextptr href=\"https://mars.gmu.edu/handle/1920/3478\" title=\"Federal Theatre Project Materials Collection\" show=\"new\"\u003e\u003c/extptr\u003e in the Mason Archival Repository Service.\nThere are additional documents from this and other GMU FTP collections  \u003cextptr href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\" title=\"available here\" show=\"new\"\u003e\u003c/extptr\u003e.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The scripts are also available as a series in the   in the Mason Archival Repository Service.\nThere are additional documents from this and other GMU FTP collections   ."],"arrangement_html_tesm":["\u003cp\u003eArranged into five series.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative Records, 1935-1939 (Boxes 1-5, 361, 365-366, 368)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Play Service and Research Records, 1935-1939 (Boxes 5-105)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Library Records, 1885-1986 (Boxes 106-306)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Production Records, 193-193 (Boxes 307-363, 366-367)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Costumes, circa 1935-1939 (Boxes 369-371)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into five series.","Series Series 1: Administrative Records, 1935-1939 (Boxes 1-5, 361, 365-366, 368) Series 2: Play Service and Research Records, 1935-1939 (Boxes 5-105) Series 3: Library Records, 1885-1986 (Boxes 106-306) Series 4: Production Records, 193-193 (Boxes 307-363, 366-367) Series 5: Costumes, circa 1935-1939 (Boxes 369-371)"],"bioghist_html_tesm":["\u003cp\u003eThe Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression. Jobs were provided for many people, including actors, playwrights, scene designers, scene builders, seamstresses, lighting experts, ushers, box-office men, and stagehands.\u003c/p\u003e\n","\u003cp\u003eLike many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.\u003c/p\u003e\n","\u003cp\u003eBut it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"\u003c/p\u003e\n","\u003cp\u003eFlanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.\u003c/p\u003e\n","\u003cp\u003eThe productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirocheta.\u003c/p\u003e\n","\u003cp\u003eThe Federal Theatre was noted for employing Black Americans at a time when the Federal Government did not actively protect the rights of marginalized communities. This unit was called \"The Negro Unit,\" which at the time was a socially acceptable term used to describe people of African descent. All-Black theatre companies were an established industry before the Depression. As a result, the inclusion of this unit greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by Black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression. Jobs were provided for many people, including actors, playwrights, scene designers, scene builders, seamstresses, lighting experts, ushers, box-office men, and stagehands.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirocheta.","The Federal Theatre was noted for employing Black Americans at a time when the Federal Government did not actively protect the rights of marginalized communities. This unit was called \"The Negro Unit,\" which at the time was a socially acceptable term used to describe people of African descent. All-Black theatre companies were an established industry before the Depression. As a result, the inclusion of this unit greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by Black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck."],"prefercite_html_tesm":["\u003cp\u003eFederal Theatre Project collection, C0002, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Federal Theatre Project collection, C0002, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. Reprocessed and EAD completed in 2012 by Greta Kuriger. Finding aid updated by Robert Vay in February 2023.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. Reprocessed and EAD completed in 2012 by Greta Kuriger. Finding aid updated by Robert Vay in February 2023."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the Federal Theatre Project photograph collection, the Federal Theatre Project personal papers, the Arnold Sungaard papers, and the Works Progress Administration oral histories collection.\u003c/p\u003e\n","\u003cp\u003eThe scripts are also available as a series in the \u003cextptr show=\"new\" title=\"FTP digital collection\" href=\"https://mars.gmu.edu/handle/1920/3478\"\u003e\u003c/extptr\u003e. \u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the Federal Theatre Project photograph collection, the Federal Theatre Project personal papers, the Arnold Sungaard papers, and the Works Progress Administration oral histories collection.","The scripts are also available as a series in the  . "],"scopecontent_html_tesm":["\u003cp\u003eContent Warning: Some materials contain racist language and slurs, including play titles.\u003c/p\u003e\n","\u003cp\u003eThe Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.\u003c/p\u003e\n","\u003cp\u003eSeries 1 contains correspondence, memoranda, reports, inventories, reorganization plans, briefs, and speeches relating to the background organization, policies, services, and procedures of the Federal Theatre Project (FTP). Publications featuring articles on productions and organizational activities such as Federal Theatre are included in this series. Personnel file information such as biographical and employee tests are also included, as is research studies of the Civilian Conservation Corps (CCC), Federal Art Project (FAP) and the Historical Records Survey (HRS). This series is arranged alphabetically.\u003c/p\u003e\n","\u003cp\u003eSeries 2 is titled Play Service and Research Records and comprises two subseries. Subseries 2.1 contains research on drama, theatre technique, and theatre operations. This subseries is arranged alphabetically. Subseries 2.2 is titled Play Reader Reports and contains thousands of reports completed by the Federal Theatre for possible production or inclusion in play lists. This subseries is loosely arranged alphabetically by play title. Some duplicate material.\u003c/p\u003e\n","\u003cp\u003eSeries 3 is titled Library Records and consists of three subseries: Playscripts, Radio scripts, and Play lists. Subseries 3.1 includes hundreds of playscripts from over 900 productions performed or considered for production from around the United States. Most of the scripts are in English but some are in Yiddish or Italian. Some duplicate material. Arranged alphabetically by title. Subseries 3.2 includes radio scripts. Series of shows include topics such as art, children's shows, mysteries, health, music, history, and science. Arranged alphabetically by series and single broadcast title. Subseries 3.3 consists of play lists. These lists were created to aid play selection among the various units of the Federal Theatre. Lists are arranged alphabetically by subject categories such as children's plays, historical drama, holidays, minstrel shows, operettas, puppet plays, and vaudeville.\u003c/p\u003e\n","\u003cp\u003eSeries 4 is titled Production Records and consists of three subseries: Production Title File, Playbills and Programs, and Music File. Subseries 4.1 includes memoranda, production bulletins, publicity, and reports relating to play productions. Each production bulletin contains some or all of the following: synopsis, director's report, set and costume designs, lighting scheme, blueprints, photographs, program, reviews, royalty information, and a script. Arranged alphabetically by title. Subseries 4.2 includes programs, heralds, handbills, and other announcements of FTP productions on different sized and colored paper. The first section of this subseries is arranged alphabetically by state in which the performance was produced and then it is arranged alphabetically by play title. The second section is arranged alphabetically by play title. There may be duplicates between the two arrangements. Subseries 4.3 includes manuscript scores and parts for multiple Federal Theatre productions. Resource material used for reference purposes for play productions and Federal Theatre units and regions throughout the United States consists of mostly printed music and is found under \"miscellaneous\". Chiefly arranged alphabetically by title and then according to standard orchestral instrument order. Some duplicates.\u003c/p\u003e\n","\u003cp\u003eSeries 5 is titled Costumes and includes two coats and two pairs of pants created and used by the Federal Theatre Project.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Content Warning: Some materials contain racist language and slurs, including play titles.","The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.","Series 1 contains correspondence, memoranda, reports, inventories, reorganization plans, briefs, and speeches relating to the background organization, policies, services, and procedures of the Federal Theatre Project (FTP). Publications featuring articles on productions and organizational activities such as Federal Theatre are included in this series. Personnel file information such as biographical and employee tests are also included, as is research studies of the Civilian Conservation Corps (CCC), Federal Art Project (FAP) and the Historical Records Survey (HRS). This series is arranged alphabetically.","Series 2 is titled Play Service and Research Records and comprises two subseries. Subseries 2.1 contains research on drama, theatre technique, and theatre operations. This subseries is arranged alphabetically. Subseries 2.2 is titled Play Reader Reports and contains thousands of reports completed by the Federal Theatre for possible production or inclusion in play lists. This subseries is loosely arranged alphabetically by play title. Some duplicate material.","Series 3 is titled Library Records and consists of three subseries: Playscripts, Radio scripts, and Play lists. Subseries 3.1 includes hundreds of playscripts from over 900 productions performed or considered for production from around the United States. Most of the scripts are in English but some are in Yiddish or Italian. Some duplicate material. Arranged alphabetically by title. Subseries 3.2 includes radio scripts. Series of shows include topics such as art, children's shows, mysteries, health, music, history, and science. Arranged alphabetically by series and single broadcast title. Subseries 3.3 consists of play lists. These lists were created to aid play selection among the various units of the Federal Theatre. Lists are arranged alphabetically by subject categories such as children's plays, historical drama, holidays, minstrel shows, operettas, puppet plays, and vaudeville.","Series 4 is titled Production Records and consists of three subseries: Production Title File, Playbills and Programs, and Music File. Subseries 4.1 includes memoranda, production bulletins, publicity, and reports relating to play productions. Each production bulletin contains some or all of the following: synopsis, director's report, set and costume designs, lighting scheme, blueprints, photographs, program, reviews, royalty information, and a script. Arranged alphabetically by title. Subseries 4.2 includes programs, heralds, handbills, and other announcements of FTP productions on different sized and colored paper. The first section of this subseries is arranged alphabetically by state in which the performance was produced and then it is arranged alphabetically by play title. The second section is arranged alphabetically by play title. There may be duplicates between the two arrangements. Subseries 4.3 includes manuscript scores and parts for multiple Federal Theatre productions. Resource material used for reference purposes for play productions and Federal Theatre units and regions throughout the United States consists of mostly printed music and is found under \"miscellaneous\". Chiefly arranged alphabetically by title and then according to standard orchestral instrument order. Some duplicates.","Series 5 is titled Costumes and includes two coats and two pairs of pants created and used by the Federal Theatre Project."],"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_0f4707cda45d410e12f09ae2a350510a\" label=\"Abstract\"\u003eThe Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.\u003c/abstract\u003e"],"abstract_tesim":["The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_d65479dc2ffe44debbb5af464a6479da\"\u003e\nR 1, C 8, S 6 - C 9, S 7\n\nR 2, C 1, S 1 - C 8, S 3\nOS R 7, C 1, S1\nOS R 3, C 5, S 5 - S 6\nMap Case 9.1, 11.1, 11.3-11.5, 21.2\u003c/physloc\u003e"],"physloc_tesim":["\nR 1, C 8, S 6 - C 9, S 7\n\nR 2, C 1, S 1 - C 8, S 3\nOS R 7, C 1, S1\nOS R 3, C 5, S 5 - S 6\nMap Case 9.1, 11.1, 11.3-11.5, 21.2"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3180,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-07T07:19:07.641Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_331"}},{"id":"vifgm_repositories_2_resources_209","type":"collection","attributes":{"title":"George Mason University Institute on the Federal Theatre Project and New Deal Culture records","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_209#creator","type":"document_value","attributes":{"value":"George Mason University. Institute on the Federal Theatre Project and New Deal Culture","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_209#abstract_or_scope","type":"document_value","attributes":{"value":"The George Mason University Institute on the Federal Theatre Project and New Deal Culture records describe the operations, research, publications, and outreach of the George Mason University Institute on the Federal Theatre Project and New Deal Culture. Records date from 1935 to 2000.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_209#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_209","ead_ssi":"vifgm_repositories_2_resources_209","_root_":"vifgm_repositories_2_resources_209","_nest_parent_":"vifgm_repositories_2_resources_209","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_209.xml","title_filing_ssi":"George Mason University Institute on the Federal Theatre Project and New Deal Culture records","title_ssm":["George Mason University Institute on the Federal Theatre Project and New Deal Culture records"],"title_tesim":["George Mason University Institute on the Federal Theatre Project and New Deal Culture records"],"unitdate_ssm":["1935-2006"],"unitdate_inclusive_ssm":["1935-2006"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["R0021","/repositories/2/resources/209"],"text":["R0021","/repositories/2/resources/209","George Mason University Institute on the Federal Theatre Project and New Deal Culture records","Theater programs","Dance","Ballet","None","There are no restrictions.","Collection is arranged within the following series:","Series 1: Administrative Records\nSeries 2: Correspondence\nSeries 3: Outreach Activities Records\nSeries 4: IFTP Publications\nSeries 5: Photographs\nSeries 6: Indexes, Inventories, and Collection Control Records\nSeries 7: Research Materials\nSeries 8: Audiovisual materials","Within each series, the records are arranged alphabetically by subject, topic, or individual.","The Federal Theatre Project (FTP) began in 1935 as part of the New Deal's Works Progress Administration, employing several thousand actors, directors, playwrights, producers and others in the performing arts industry during the Great Depression. During its four-year run the FTP produced plays, musicals, dance and radio programs, circuses, and marionette shows. It featured the early works of actors and producers such as Orson Welles, Arthur Miller, and Elia Kazan. The federal government discontinued the program in 1939, and thousands of scripts, photographs, posters, and other FTP records were dispersed between the National Archives, the Library of Congress, public libraries, and educational institutions. For over twenty-five years the main body of these records sat forgotten in a government-owned storage facility at Middle River, near Baltimore, Maryland until they were located by George Mason University English professors, Lorraine Brown and John O'Connor.","After Brown and O'Connor's discovery, and realizing the historical significance of these records, George Mason University entered into negotiations with the Library of Congress for permission to house and care for the collection and provide access to the materials to scholars. Many of the materials were physically deteriorating after so many years in less-than-ideal storage conditions. An agreement was reached, and the collection was placed on loan to George Mason University Libraries, with the aim that the collection would be processed, cared for, and used by scholars of the FTP and WPA. A center named The Research Center for the Federal Theatre Project was established at Mason, and a staff of archives and library professionals was hired to process, describe, and provide access to the records in Mason's Fenwick Library.  ","While initially, the center was focused on unpacking, sorting, processing, and inventorying the collection, it soon concentrated on disseminating the materials and facilitating scholarship regarding the FTP. It participated in grants to preserve the materials and produce programming and exhibitions to expose the materials to a larger audience. It continued to build on the collection by conducting oral history interviews of former FTP personnel, acquisition their personal papers, and photographic duplication of deteriorating records inside the collection, such as original posters, set, and costume design drawings. George Mason University Libraries established its Special Collections \u0026 Archives (SC\u0026A) department in 1979, and the Federal Theatre Project Materials became a collection under the custody of that entity.","In 1980 the Research Center for the Federal Theatre Project was renamed the Institute on the Federal Theatre Project (IFTP), part of the newly established Center for Government, Society, and the Arts (CGSA). ","In 1993, the Library of Congress began the process of recalling collections that it had loaned to libraries across the country over the years, including the rich archives of the FTP housed at George Mason University. LC administrators suggested that the collection would be more accessible at the Library's Music Division in Washington, D.C. rather than in Fairfax. While the bulk of the original loaned collection was eventually returned to the Library in August of 1994, George Mason University Libraries was allowed to retain duplicates of many of the records to complement the additional materials it had independently acquired between 1975 and 1994. After the replevin of the FTP materials back to the Library of Congress, the IFTP focused more of its attention on the study of the American National Theater and Academy (ANTA's) work in the Coldwar era, promoting the papers of Robert Breen, Director of ANTA, which are also held by George Mason University's Special Collections Research Center (formerly Special Collections \u0026 Archives). The CGSA and IFTP ceased operation during the summer of 1998. ","Materials were transferred to Special Collections Research Center from the Institute on the Federal Theatre Project and New Deal Culture between the years 1979 and 2000.","Collection processed by Maegan Jankowsi and Robert Vay.","George Mason University Libraries records","Federal Theatre Project collection","Federal Theatre Project photograph collection","Federal Theatre Project personal papers","Works Progress Administration oral histories","Collection contains records pertaining to the operation of the the Institute on the Federal Theatre Project (IFTP) and its prior iteration, the Research Center for the Federal Theatre Project (RCFTP). These records include operational, research and correspondence files, materials related to the Institute's outreach, programming, audiovisual and photographic materials and publications. ","The collection is organized within the following series:","\nSeries 1: Administrative Records: These records consist of materials which document the day to day operation of the IFTP, its projects, initiatives, and development.","Series 2: Correspondence: This series contains manuscript and typewritten correspondence between IFTP personel and their colleagues and outside individuals and groups. ","Series 3: Outreach Activities Records: These materials document the IFTP's efforts to provide external programming to promote and disseminate scholarship pertaining to and public awareness of the FTP throuugh exhibits, talks, and other programming. ","Series 4: IFTP Publications: This series contains pamphlets detailing IFTP programs, organizational brochures and other publications created by IFTP to assist scholars in researching the FTP, Federal One, the newsletter of the RCFTP and IFTP, Free Adult and Uncensored, which details the history of the FTP, and other publications which promote and facilitate understanding of the FTP collection housed at George Mason University. ","Series 5: Photographs: This series contains photographs created or procured by the IFTP. Featured are its personel, events, and programs, copy photographs of original FTP photos, posters, and other graphic items. ","Series 6: Indexes, Inventories, and Collection Control Records: These records document the IFTP and RCFTP's fifteen-year effort to inventory, process, index, and describe the FTP collection.  ","Series 7: Research Materials: These consist of original FTP records descrbing plays and play types, newspaper and magazine articles and clippings, hearing transcripts, and other publications from scholars and government entities  pertaining to FTP and WPA used to study FTP personel and the plays, dance, and music that it produced.  ","Series 8: Audiovisual materials include audio and videotapes of documentaries pertaining to the FTP, programs presented by the IFTP, such as panel discussions, lectures, and symposia, and productions of original FTP plays staged during the 1980s and 1990s.  SCRC staff must be consulted for information regarding access to these records. ","The George Mason University Institute on the Federal Theatre Project and New Deal Culture records describe the operations, research, publications, and outreach of the George Mason University Institute on the Federal Theatre Project and New Deal Culture. Records date from 1935 to 2000.","SCRC storage area, Rows 81 and 82.","George Mason University. Libraries. Special Collections Research Center","George Mason University. Institute on the Federal Theatre Project and New Deal Culture","George Mason University","Federal Theatre Project (U.S.)","United States. Works Progress Administration","English"],"unitid_tesim":["R0021","/repositories/2/resources/209"],"normalized_title_ssm":["George Mason University Institute on the Federal Theatre Project and New Deal Culture records"],"collection_title_tesim":["George Mason University Institute on the Federal Theatre Project and New Deal Culture records"],"collection_ssim":["George Mason University Institute on the Federal Theatre Project and New Deal Culture records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture","George Mason University"],"creator_ssim":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture","George Mason University"],"creator_corpname_ssim":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture","George Mason University"],"creators_ssim":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture","George Mason University"],"access_subjects_ssim":["Theater programs","Dance","Ballet"],"access_subjects_ssm":["Theater programs","Dance","Ballet"],"has_online_content_ssim":["false"],"extent_ssm":["37.5 Linear Feet 81 boxes"],"extent_tesim":["37.5 Linear Feet 81 boxes"],"date_range_isim":[1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eNone\u003c/p\u003e","\u003cp\u003eThere are no restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions","Use Restictions"],"accessrestrict_tesim":["None","There are no restrictions."],"arrangement_html_tesm":["\u003cp\u003eCollection is arranged within the following series:\u003c/p\u003e\n","\u003cp\u003eSeries 1: Administrative Records\nSeries 2: Correspondence\nSeries 3: Outreach Activities Records\nSeries 4: IFTP Publications\nSeries 5: Photographs\nSeries 6: Indexes, Inventories, and Collection Control Records\nSeries 7: Research Materials\nSeries 8: Audiovisual materials\u003c/p\u003e\n","\u003cp\u003eWithin each series, the records are arranged alphabetically by subject, topic, or individual.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Collection is arranged within the following series:","Series 1: Administrative Records\nSeries 2: Correspondence\nSeries 3: Outreach Activities Records\nSeries 4: IFTP Publications\nSeries 5: Photographs\nSeries 6: Indexes, Inventories, and Collection Control Records\nSeries 7: Research Materials\nSeries 8: Audiovisual materials","Within each series, the records are arranged alphabetically by subject, topic, or individual."],"bioghist_html_tesm":["\u003cp\u003eThe Federal Theatre Project (FTP) began in 1935 as part of the New Deal's Works Progress Administration, employing several thousand actors, directors, playwrights, producers and others in the performing arts industry during the Great Depression. During its four-year run the FTP produced plays, musicals, dance and radio programs, circuses, and marionette shows. It featured the early works of actors and producers such as Orson Welles, Arthur Miller, and Elia Kazan. The federal government discontinued the program in 1939, and thousands of scripts, photographs, posters, and other FTP records were dispersed between the National Archives, the Library of Congress, public libraries, and educational institutions. For over twenty-five years the main body of these records sat forgotten in a government-owned storage facility at Middle River, near Baltimore, Maryland until they were located by George Mason University English professors, Lorraine Brown and John O'Connor.\u003c/p\u003e\n","\u003cp\u003eAfter Brown and O'Connor's discovery, and realizing the historical significance of these records, George Mason University entered into negotiations with the Library of Congress for permission to house and care for the collection and provide access to the materials to scholars. Many of the materials were physically deteriorating after so many years in less-than-ideal storage conditions. An agreement was reached, and the collection was placed on loan to George Mason University Libraries, with the aim that the collection would be processed, cared for, and used by scholars of the FTP and WPA. A center named The Research Center for the Federal Theatre Project was established at Mason, and a staff of archives and library professionals was hired to process, describe, and provide access to the records in Mason's Fenwick Library.  \u003c/p\u003e\n","\u003cp\u003eWhile initially, the center was focused on unpacking, sorting, processing, and inventorying the collection, it soon concentrated on disseminating the materials and facilitating scholarship regarding the FTP. It participated in grants to preserve the materials and produce programming and exhibitions to expose the materials to a larger audience. It continued to build on the collection by conducting oral history interviews of former FTP personnel, acquisition their personal papers, and photographic duplication of deteriorating records inside the collection, such as original posters, set, and costume design drawings. George Mason University Libraries established its Special Collections \u0026amp; Archives (SC\u0026amp;A) department in 1979, and the Federal Theatre Project Materials became a collection under the custody of that entity.\u003c/p\u003e\n","\u003cp\u003eIn 1980 the Research Center for the Federal Theatre Project was renamed the Institute on the Federal Theatre Project (IFTP), part of the newly established Center for Government, Society, and the Arts (CGSA). \u003c/p\u003e\n","\u003cp\u003eIn 1993, the Library of Congress began the process of recalling collections that it had loaned to libraries across the country over the years, including the rich archives of the FTP housed at George Mason University. LC administrators suggested that the collection would be more accessible at the Library's Music Division in Washington, D.C. rather than in Fairfax. While the bulk of the original loaned collection was eventually returned to the Library in August of 1994, George Mason University Libraries was allowed to retain duplicates of many of the records to complement the additional materials it had independently acquired between 1975 and 1994. After the replevin of the FTP materials back to the Library of Congress, the IFTP focused more of its attention on the study of the American National Theater and Academy (ANTA's) work in the Coldwar era, promoting the papers of Robert Breen, Director of ANTA, which are also held by George Mason University's Special Collections Research Center (formerly Special Collections \u0026amp; Archives). The CGSA and IFTP ceased operation during the summer of 1998. \u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Federal Theatre Project (FTP) began in 1935 as part of the New Deal's Works Progress Administration, employing several thousand actors, directors, playwrights, producers and others in the performing arts industry during the Great Depression. During its four-year run the FTP produced plays, musicals, dance and radio programs, circuses, and marionette shows. It featured the early works of actors and producers such as Orson Welles, Arthur Miller, and Elia Kazan. The federal government discontinued the program in 1939, and thousands of scripts, photographs, posters, and other FTP records were dispersed between the National Archives, the Library of Congress, public libraries, and educational institutions. For over twenty-five years the main body of these records sat forgotten in a government-owned storage facility at Middle River, near Baltimore, Maryland until they were located by George Mason University English professors, Lorraine Brown and John O'Connor.","After Brown and O'Connor's discovery, and realizing the historical significance of these records, George Mason University entered into negotiations with the Library of Congress for permission to house and care for the collection and provide access to the materials to scholars. Many of the materials were physically deteriorating after so many years in less-than-ideal storage conditions. An agreement was reached, and the collection was placed on loan to George Mason University Libraries, with the aim that the collection would be processed, cared for, and used by scholars of the FTP and WPA. A center named The Research Center for the Federal Theatre Project was established at Mason, and a staff of archives and library professionals was hired to process, describe, and provide access to the records in Mason's Fenwick Library.  ","While initially, the center was focused on unpacking, sorting, processing, and inventorying the collection, it soon concentrated on disseminating the materials and facilitating scholarship regarding the FTP. It participated in grants to preserve the materials and produce programming and exhibitions to expose the materials to a larger audience. It continued to build on the collection by conducting oral history interviews of former FTP personnel, acquisition their personal papers, and photographic duplication of deteriorating records inside the collection, such as original posters, set, and costume design drawings. George Mason University Libraries established its Special Collections \u0026 Archives (SC\u0026A) department in 1979, and the Federal Theatre Project Materials became a collection under the custody of that entity.","In 1980 the Research Center for the Federal Theatre Project was renamed the Institute on the Federal Theatre Project (IFTP), part of the newly established Center for Government, Society, and the Arts (CGSA). ","In 1993, the Library of Congress began the process of recalling collections that it had loaned to libraries across the country over the years, including the rich archives of the FTP housed at George Mason University. LC administrators suggested that the collection would be more accessible at the Library's Music Division in Washington, D.C. rather than in Fairfax. While the bulk of the original loaned collection was eventually returned to the Library in August of 1994, George Mason University Libraries was allowed to retain duplicates of many of the records to complement the additional materials it had independently acquired between 1975 and 1994. After the replevin of the FTP materials back to the Library of Congress, the IFTP focused more of its attention on the study of the American National Theater and Academy (ANTA's) work in the Coldwar era, promoting the papers of Robert Breen, Director of ANTA, which are also held by George Mason University's Special Collections Research Center (formerly Special Collections \u0026 Archives). The CGSA and IFTP ceased operation during the summer of 1998. "],"custodhist_html_tesm":["\u003cp\u003eMaterials were transferred to Special Collections Research Center from the Institute on the Federal Theatre Project and New Deal Culture between the years 1979 and 2000.\u003c/p\u003e"],"custodhist_heading_ssm":["Acquisition Information"],"custodhist_tesim":["Materials were transferred to Special Collections Research Center from the Institute on the Federal Theatre Project and New Deal Culture between the years 1979 and 2000."],"prefercite_html_tesm":["\u003cp\u003eGeorge Mason University Institute on the Federal Theatre Project and New Deal Culture records, #R0021, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["George Mason University Institute on the Federal Theatre Project and New Deal Culture records, #R0021, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by Maegan Jankowsi and Robert Vay.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by Maegan Jankowsi and Robert Vay."],"relatedmaterial_html_tesm":["\u003cp\u003e\u003cextref href=\"https://aspace.gmu.edu/resources/r0095\"\u003eGeorge Mason University Libraries records\u003c/extref\u003e \u003c/p\u003e\n","\u003cp\u003e\u003cextref href=\"https://aspace.gmu.edu/resources/c0002\"\u003eFederal Theatre Project collection\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cextref href=\"https://aspace.gmu.edu/resources/c0205\"\u003eFederal Theatre Project photograph collection\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cextref href=\"https://aspace.gmu.edu/resources/c0227\"\u003eFederal Theatre Project personal papers\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cextref href=\"https://aspace.gmu.edu/resources/c0153\"\u003eWorks Progress Administration oral histories\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["George Mason University Libraries records","Federal Theatre Project collection","Federal Theatre Project photograph collection","Federal Theatre Project personal papers","Works Progress Administration oral histories"],"scopecontent_html_tesm":["\u003cp\u003eCollection contains records pertaining to the operation of the the Institute on the Federal Theatre Project (IFTP) and its prior iteration, the Research Center for the Federal Theatre Project (RCFTP). These records include operational, research and correspondence files, materials related to the Institute's outreach, programming, audiovisual and photographic materials and publications. \u003c/p\u003e\n","\u003cp\u003eThe collection is organized within the following series:\u003c/p\u003e\n","\u003cp\u003e\nSeries 1: Administrative Records: These records consist of materials which document the day to day operation of the IFTP, its projects, initiatives, and development.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Correspondence: This series contains manuscript and typewritten correspondence between IFTP personel and their colleagues and outside individuals and groups. \u003c/p\u003e\n","\u003cp\u003eSeries 3: Outreach Activities Records: These materials document the IFTP's efforts to provide external programming to promote and disseminate scholarship pertaining to and public awareness of the FTP throuugh exhibits, talks, and other programming. \u003c/p\u003e\n","\u003cp\u003eSeries 4: IFTP Publications: This series contains pamphlets detailing IFTP programs, organizational brochures and other publications created by IFTP to assist scholars in researching the FTP, Federal One, the newsletter of the RCFTP and IFTP, Free Adult and Uncensored, which details the history of the FTP, and other publications which promote and facilitate understanding of the FTP collection housed at George Mason University. \u003c/p\u003e\n","\u003cp\u003eSeries 5: Photographs: This series contains photographs created or procured by the IFTP. Featured are its personel, events, and programs, copy photographs of original FTP photos, posters, and other graphic items. \u003c/p\u003e\n","\u003cp\u003eSeries 6: Indexes, Inventories, and Collection Control Records: These records document the IFTP and RCFTP's fifteen-year effort to inventory, process, index, and describe the FTP collection.  \u003c/p\u003e\n","\u003cp\u003eSeries 7: Research Materials: These consist of original FTP records descrbing plays and play types, newspaper and magazine articles and clippings, hearing transcripts, and other publications from scholars and government entities  pertaining to FTP and WPA used to study FTP personel and the plays, dance, and music that it produced.  \u003c/p\u003e\n","\u003cp\u003eSeries 8: Audiovisual materials include audio and videotapes of documentaries pertaining to the FTP, programs presented by the IFTP, such as panel discussions, lectures, and symposia, and productions of original FTP plays staged during the 1980s and 1990s.  SCRC staff must be consulted for information regarding access to these records. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Collection contains records pertaining to the operation of the the Institute on the Federal Theatre Project (IFTP) and its prior iteration, the Research Center for the Federal Theatre Project (RCFTP). These records include operational, research and correspondence files, materials related to the Institute's outreach, programming, audiovisual and photographic materials and publications. ","The collection is organized within the following series:","\nSeries 1: Administrative Records: These records consist of materials which document the day to day operation of the IFTP, its projects, initiatives, and development.","Series 2: Correspondence: This series contains manuscript and typewritten correspondence between IFTP personel and their colleagues and outside individuals and groups. ","Series 3: Outreach Activities Records: These materials document the IFTP's efforts to provide external programming to promote and disseminate scholarship pertaining to and public awareness of the FTP throuugh exhibits, talks, and other programming. ","Series 4: IFTP Publications: This series contains pamphlets detailing IFTP programs, organizational brochures and other publications created by IFTP to assist scholars in researching the FTP, Federal One, the newsletter of the RCFTP and IFTP, Free Adult and Uncensored, which details the history of the FTP, and other publications which promote and facilitate understanding of the FTP collection housed at George Mason University. ","Series 5: Photographs: This series contains photographs created or procured by the IFTP. Featured are its personel, events, and programs, copy photographs of original FTP photos, posters, and other graphic items. ","Series 6: Indexes, Inventories, and Collection Control Records: These records document the IFTP and RCFTP's fifteen-year effort to inventory, process, index, and describe the FTP collection.  ","Series 7: Research Materials: These consist of original FTP records descrbing plays and play types, newspaper and magazine articles and clippings, hearing transcripts, and other publications from scholars and government entities  pertaining to FTP and WPA used to study FTP personel and the plays, dance, and music that it produced.  ","Series 8: Audiovisual materials include audio and videotapes of documentaries pertaining to the FTP, programs presented by the IFTP, such as panel discussions, lectures, and symposia, and productions of original FTP plays staged during the 1980s and 1990s.  SCRC staff must be consulted for information regarding access to these records. "],"abstract_html_tesm":["\u003cabstract id=\"aspace_554430af778b5b3433a75c9894961db0\"\u003eThe George Mason University Institute on the Federal Theatre Project and New Deal Culture records describe the operations, research, publications, and outreach of the George Mason University Institute on the Federal Theatre Project and New Deal Culture. Records date from 1935 to 2000.\u003c/abstract\u003e"],"abstract_tesim":["The George Mason University Institute on the Federal Theatre Project and New Deal Culture records describe the operations, research, publications, and outreach of the George Mason University Institute on the Federal Theatre Project and New Deal Culture. Records date from 1935 to 2000."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_d66750c11aa95b4555db32d46e03745b\" label=\"Physical Location\"\u003eSCRC storage area, Rows 81 and 82.\u003c/physloc\u003e"],"physloc_tesim":["SCRC storage area, Rows 81 and 82."],"names_coll_ssim":["Federal Theatre Project (U.S.)","United States. Works Progress Administration"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. Institute on the Federal Theatre Project and New Deal Culture","George Mason University","Federal Theatre Project (U.S.)","United States. Works Progress Administration"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. Institute on the Federal Theatre Project and New Deal Culture","George Mason University","Federal Theatre Project (U.S.)","United States. Works Progress Administration"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":621,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:25:37.310Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_209","ead_ssi":"vifgm_repositories_2_resources_209","_root_":"vifgm_repositories_2_resources_209","_nest_parent_":"vifgm_repositories_2_resources_209","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_209.xml","title_filing_ssi":"George Mason University Institute on the Federal Theatre Project and New Deal Culture records","title_ssm":["George Mason University Institute on the Federal Theatre Project and New Deal Culture records"],"title_tesim":["George Mason University Institute on the Federal Theatre Project and New Deal Culture records"],"unitdate_ssm":["1935-2006"],"unitdate_inclusive_ssm":["1935-2006"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["R0021","/repositories/2/resources/209"],"text":["R0021","/repositories/2/resources/209","George Mason University Institute on the Federal Theatre Project and New Deal Culture records","Theater programs","Dance","Ballet","None","There are no restrictions.","Collection is arranged within the following series:","Series 1: Administrative Records\nSeries 2: Correspondence\nSeries 3: Outreach Activities Records\nSeries 4: IFTP Publications\nSeries 5: Photographs\nSeries 6: Indexes, Inventories, and Collection Control Records\nSeries 7: Research Materials\nSeries 8: Audiovisual materials","Within each series, the records are arranged alphabetically by subject, topic, or individual.","The Federal Theatre Project (FTP) began in 1935 as part of the New Deal's Works Progress Administration, employing several thousand actors, directors, playwrights, producers and others in the performing arts industry during the Great Depression. During its four-year run the FTP produced plays, musicals, dance and radio programs, circuses, and marionette shows. It featured the early works of actors and producers such as Orson Welles, Arthur Miller, and Elia Kazan. The federal government discontinued the program in 1939, and thousands of scripts, photographs, posters, and other FTP records were dispersed between the National Archives, the Library of Congress, public libraries, and educational institutions. For over twenty-five years the main body of these records sat forgotten in a government-owned storage facility at Middle River, near Baltimore, Maryland until they were located by George Mason University English professors, Lorraine Brown and John O'Connor.","After Brown and O'Connor's discovery, and realizing the historical significance of these records, George Mason University entered into negotiations with the Library of Congress for permission to house and care for the collection and provide access to the materials to scholars. Many of the materials were physically deteriorating after so many years in less-than-ideal storage conditions. An agreement was reached, and the collection was placed on loan to George Mason University Libraries, with the aim that the collection would be processed, cared for, and used by scholars of the FTP and WPA. A center named The Research Center for the Federal Theatre Project was established at Mason, and a staff of archives and library professionals was hired to process, describe, and provide access to the records in Mason's Fenwick Library.  ","While initially, the center was focused on unpacking, sorting, processing, and inventorying the collection, it soon concentrated on disseminating the materials and facilitating scholarship regarding the FTP. It participated in grants to preserve the materials and produce programming and exhibitions to expose the materials to a larger audience. It continued to build on the collection by conducting oral history interviews of former FTP personnel, acquisition their personal papers, and photographic duplication of deteriorating records inside the collection, such as original posters, set, and costume design drawings. George Mason University Libraries established its Special Collections \u0026 Archives (SC\u0026A) department in 1979, and the Federal Theatre Project Materials became a collection under the custody of that entity.","In 1980 the Research Center for the Federal Theatre Project was renamed the Institute on the Federal Theatre Project (IFTP), part of the newly established Center for Government, Society, and the Arts (CGSA). ","In 1993, the Library of Congress began the process of recalling collections that it had loaned to libraries across the country over the years, including the rich archives of the FTP housed at George Mason University. LC administrators suggested that the collection would be more accessible at the Library's Music Division in Washington, D.C. rather than in Fairfax. While the bulk of the original loaned collection was eventually returned to the Library in August of 1994, George Mason University Libraries was allowed to retain duplicates of many of the records to complement the additional materials it had independently acquired between 1975 and 1994. After the replevin of the FTP materials back to the Library of Congress, the IFTP focused more of its attention on the study of the American National Theater and Academy (ANTA's) work in the Coldwar era, promoting the papers of Robert Breen, Director of ANTA, which are also held by George Mason University's Special Collections Research Center (formerly Special Collections \u0026 Archives). The CGSA and IFTP ceased operation during the summer of 1998. ","Materials were transferred to Special Collections Research Center from the Institute on the Federal Theatre Project and New Deal Culture between the years 1979 and 2000.","Collection processed by Maegan Jankowsi and Robert Vay.","George Mason University Libraries records","Federal Theatre Project collection","Federal Theatre Project photograph collection","Federal Theatre Project personal papers","Works Progress Administration oral histories","Collection contains records pertaining to the operation of the the Institute on the Federal Theatre Project (IFTP) and its prior iteration, the Research Center for the Federal Theatre Project (RCFTP). These records include operational, research and correspondence files, materials related to the Institute's outreach, programming, audiovisual and photographic materials and publications. ","The collection is organized within the following series:","\nSeries 1: Administrative Records: These records consist of materials which document the day to day operation of the IFTP, its projects, initiatives, and development.","Series 2: Correspondence: This series contains manuscript and typewritten correspondence between IFTP personel and their colleagues and outside individuals and groups. ","Series 3: Outreach Activities Records: These materials document the IFTP's efforts to provide external programming to promote and disseminate scholarship pertaining to and public awareness of the FTP throuugh exhibits, talks, and other programming. ","Series 4: IFTP Publications: This series contains pamphlets detailing IFTP programs, organizational brochures and other publications created by IFTP to assist scholars in researching the FTP, Federal One, the newsletter of the RCFTP and IFTP, Free Adult and Uncensored, which details the history of the FTP, and other publications which promote and facilitate understanding of the FTP collection housed at George Mason University. ","Series 5: Photographs: This series contains photographs created or procured by the IFTP. Featured are its personel, events, and programs, copy photographs of original FTP photos, posters, and other graphic items. ","Series 6: Indexes, Inventories, and Collection Control Records: These records document the IFTP and RCFTP's fifteen-year effort to inventory, process, index, and describe the FTP collection.  ","Series 7: Research Materials: These consist of original FTP records descrbing plays and play types, newspaper and magazine articles and clippings, hearing transcripts, and other publications from scholars and government entities  pertaining to FTP and WPA used to study FTP personel and the plays, dance, and music that it produced.  ","Series 8: Audiovisual materials include audio and videotapes of documentaries pertaining to the FTP, programs presented by the IFTP, such as panel discussions, lectures, and symposia, and productions of original FTP plays staged during the 1980s and 1990s.  SCRC staff must be consulted for information regarding access to these records. ","The George Mason University Institute on the Federal Theatre Project and New Deal Culture records describe the operations, research, publications, and outreach of the George Mason University Institute on the Federal Theatre Project and New Deal Culture. Records date from 1935 to 2000.","SCRC storage area, Rows 81 and 82.","George Mason University. Libraries. Special Collections Research Center","George Mason University. Institute on the Federal Theatre Project and New Deal Culture","George Mason University","Federal Theatre Project (U.S.)","United States. Works Progress Administration","English"],"unitid_tesim":["R0021","/repositories/2/resources/209"],"normalized_title_ssm":["George Mason University Institute on the Federal Theatre Project and New Deal Culture records"],"collection_title_tesim":["George Mason University Institute on the Federal Theatre Project and New Deal Culture records"],"collection_ssim":["George Mason University Institute on the Federal Theatre Project and New Deal Culture records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture","George Mason University"],"creator_ssim":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture","George Mason University"],"creator_corpname_ssim":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture","George Mason University"],"creators_ssim":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture","George Mason University"],"access_subjects_ssim":["Theater programs","Dance","Ballet"],"access_subjects_ssm":["Theater programs","Dance","Ballet"],"has_online_content_ssim":["false"],"extent_ssm":["37.5 Linear Feet 81 boxes"],"extent_tesim":["37.5 Linear Feet 81 boxes"],"date_range_isim":[1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eNone\u003c/p\u003e","\u003cp\u003eThere are no restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions","Use Restictions"],"accessrestrict_tesim":["None","There are no restrictions."],"arrangement_html_tesm":["\u003cp\u003eCollection is arranged within the following series:\u003c/p\u003e\n","\u003cp\u003eSeries 1: Administrative Records\nSeries 2: Correspondence\nSeries 3: Outreach Activities Records\nSeries 4: IFTP Publications\nSeries 5: Photographs\nSeries 6: Indexes, Inventories, and Collection Control Records\nSeries 7: Research Materials\nSeries 8: Audiovisual materials\u003c/p\u003e\n","\u003cp\u003eWithin each series, the records are arranged alphabetically by subject, topic, or individual.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Collection is arranged within the following series:","Series 1: Administrative Records\nSeries 2: Correspondence\nSeries 3: Outreach Activities Records\nSeries 4: IFTP Publications\nSeries 5: Photographs\nSeries 6: Indexes, Inventories, and Collection Control Records\nSeries 7: Research Materials\nSeries 8: Audiovisual materials","Within each series, the records are arranged alphabetically by subject, topic, or individual."],"bioghist_html_tesm":["\u003cp\u003eThe Federal Theatre Project (FTP) began in 1935 as part of the New Deal's Works Progress Administration, employing several thousand actors, directors, playwrights, producers and others in the performing arts industry during the Great Depression. During its four-year run the FTP produced plays, musicals, dance and radio programs, circuses, and marionette shows. It featured the early works of actors and producers such as Orson Welles, Arthur Miller, and Elia Kazan. The federal government discontinued the program in 1939, and thousands of scripts, photographs, posters, and other FTP records were dispersed between the National Archives, the Library of Congress, public libraries, and educational institutions. For over twenty-five years the main body of these records sat forgotten in a government-owned storage facility at Middle River, near Baltimore, Maryland until they were located by George Mason University English professors, Lorraine Brown and John O'Connor.\u003c/p\u003e\n","\u003cp\u003eAfter Brown and O'Connor's discovery, and realizing the historical significance of these records, George Mason University entered into negotiations with the Library of Congress for permission to house and care for the collection and provide access to the materials to scholars. Many of the materials were physically deteriorating after so many years in less-than-ideal storage conditions. An agreement was reached, and the collection was placed on loan to George Mason University Libraries, with the aim that the collection would be processed, cared for, and used by scholars of the FTP and WPA. A center named The Research Center for the Federal Theatre Project was established at Mason, and a staff of archives and library professionals was hired to process, describe, and provide access to the records in Mason's Fenwick Library.  \u003c/p\u003e\n","\u003cp\u003eWhile initially, the center was focused on unpacking, sorting, processing, and inventorying the collection, it soon concentrated on disseminating the materials and facilitating scholarship regarding the FTP. It participated in grants to preserve the materials and produce programming and exhibitions to expose the materials to a larger audience. It continued to build on the collection by conducting oral history interviews of former FTP personnel, acquisition their personal papers, and photographic duplication of deteriorating records inside the collection, such as original posters, set, and costume design drawings. George Mason University Libraries established its Special Collections \u0026amp; Archives (SC\u0026amp;A) department in 1979, and the Federal Theatre Project Materials became a collection under the custody of that entity.\u003c/p\u003e\n","\u003cp\u003eIn 1980 the Research Center for the Federal Theatre Project was renamed the Institute on the Federal Theatre Project (IFTP), part of the newly established Center for Government, Society, and the Arts (CGSA). \u003c/p\u003e\n","\u003cp\u003eIn 1993, the Library of Congress began the process of recalling collections that it had loaned to libraries across the country over the years, including the rich archives of the FTP housed at George Mason University. LC administrators suggested that the collection would be more accessible at the Library's Music Division in Washington, D.C. rather than in Fairfax. While the bulk of the original loaned collection was eventually returned to the Library in August of 1994, George Mason University Libraries was allowed to retain duplicates of many of the records to complement the additional materials it had independently acquired between 1975 and 1994. After the replevin of the FTP materials back to the Library of Congress, the IFTP focused more of its attention on the study of the American National Theater and Academy (ANTA's) work in the Coldwar era, promoting the papers of Robert Breen, Director of ANTA, which are also held by George Mason University's Special Collections Research Center (formerly Special Collections \u0026amp; Archives). The CGSA and IFTP ceased operation during the summer of 1998. \u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Federal Theatre Project (FTP) began in 1935 as part of the New Deal's Works Progress Administration, employing several thousand actors, directors, playwrights, producers and others in the performing arts industry during the Great Depression. During its four-year run the FTP produced plays, musicals, dance and radio programs, circuses, and marionette shows. It featured the early works of actors and producers such as Orson Welles, Arthur Miller, and Elia Kazan. The federal government discontinued the program in 1939, and thousands of scripts, photographs, posters, and other FTP records were dispersed between the National Archives, the Library of Congress, public libraries, and educational institutions. For over twenty-five years the main body of these records sat forgotten in a government-owned storage facility at Middle River, near Baltimore, Maryland until they were located by George Mason University English professors, Lorraine Brown and John O'Connor.","After Brown and O'Connor's discovery, and realizing the historical significance of these records, George Mason University entered into negotiations with the Library of Congress for permission to house and care for the collection and provide access to the materials to scholars. Many of the materials were physically deteriorating after so many years in less-than-ideal storage conditions. An agreement was reached, and the collection was placed on loan to George Mason University Libraries, with the aim that the collection would be processed, cared for, and used by scholars of the FTP and WPA. A center named The Research Center for the Federal Theatre Project was established at Mason, and a staff of archives and library professionals was hired to process, describe, and provide access to the records in Mason's Fenwick Library.  ","While initially, the center was focused on unpacking, sorting, processing, and inventorying the collection, it soon concentrated on disseminating the materials and facilitating scholarship regarding the FTP. It participated in grants to preserve the materials and produce programming and exhibitions to expose the materials to a larger audience. It continued to build on the collection by conducting oral history interviews of former FTP personnel, acquisition their personal papers, and photographic duplication of deteriorating records inside the collection, such as original posters, set, and costume design drawings. George Mason University Libraries established its Special Collections \u0026 Archives (SC\u0026A) department in 1979, and the Federal Theatre Project Materials became a collection under the custody of that entity.","In 1980 the Research Center for the Federal Theatre Project was renamed the Institute on the Federal Theatre Project (IFTP), part of the newly established Center for Government, Society, and the Arts (CGSA). ","In 1993, the Library of Congress began the process of recalling collections that it had loaned to libraries across the country over the years, including the rich archives of the FTP housed at George Mason University. LC administrators suggested that the collection would be more accessible at the Library's Music Division in Washington, D.C. rather than in Fairfax. While the bulk of the original loaned collection was eventually returned to the Library in August of 1994, George Mason University Libraries was allowed to retain duplicates of many of the records to complement the additional materials it had independently acquired between 1975 and 1994. After the replevin of the FTP materials back to the Library of Congress, the IFTP focused more of its attention on the study of the American National Theater and Academy (ANTA's) work in the Coldwar era, promoting the papers of Robert Breen, Director of ANTA, which are also held by George Mason University's Special Collections Research Center (formerly Special Collections \u0026 Archives). The CGSA and IFTP ceased operation during the summer of 1998. "],"custodhist_html_tesm":["\u003cp\u003eMaterials were transferred to Special Collections Research Center from the Institute on the Federal Theatre Project and New Deal Culture between the years 1979 and 2000.\u003c/p\u003e"],"custodhist_heading_ssm":["Acquisition Information"],"custodhist_tesim":["Materials were transferred to Special Collections Research Center from the Institute on the Federal Theatre Project and New Deal Culture between the years 1979 and 2000."],"prefercite_html_tesm":["\u003cp\u003eGeorge Mason University Institute on the Federal Theatre Project and New Deal Culture records, #R0021, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["George Mason University Institute on the Federal Theatre Project and New Deal Culture records, #R0021, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eCollection processed by Maegan Jankowsi and Robert Vay.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection processed by Maegan Jankowsi and Robert Vay."],"relatedmaterial_html_tesm":["\u003cp\u003e\u003cextref href=\"https://aspace.gmu.edu/resources/r0095\"\u003eGeorge Mason University Libraries records\u003c/extref\u003e \u003c/p\u003e\n","\u003cp\u003e\u003cextref href=\"https://aspace.gmu.edu/resources/c0002\"\u003eFederal Theatre Project collection\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cextref href=\"https://aspace.gmu.edu/resources/c0205\"\u003eFederal Theatre Project photograph collection\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cextref href=\"https://aspace.gmu.edu/resources/c0227\"\u003eFederal Theatre Project personal papers\u003c/extref\u003e\u003c/p\u003e\n","\u003cp\u003e\u003cextref href=\"https://aspace.gmu.edu/resources/c0153\"\u003eWorks Progress Administration oral histories\u003c/extref\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["George Mason University Libraries records","Federal Theatre Project collection","Federal Theatre Project photograph collection","Federal Theatre Project personal papers","Works Progress Administration oral histories"],"scopecontent_html_tesm":["\u003cp\u003eCollection contains records pertaining to the operation of the the Institute on the Federal Theatre Project (IFTP) and its prior iteration, the Research Center for the Federal Theatre Project (RCFTP). These records include operational, research and correspondence files, materials related to the Institute's outreach, programming, audiovisual and photographic materials and publications. \u003c/p\u003e\n","\u003cp\u003eThe collection is organized within the following series:\u003c/p\u003e\n","\u003cp\u003e\nSeries 1: Administrative Records: These records consist of materials which document the day to day operation of the IFTP, its projects, initiatives, and development.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Correspondence: This series contains manuscript and typewritten correspondence between IFTP personel and their colleagues and outside individuals and groups. \u003c/p\u003e\n","\u003cp\u003eSeries 3: Outreach Activities Records: These materials document the IFTP's efforts to provide external programming to promote and disseminate scholarship pertaining to and public awareness of the FTP throuugh exhibits, talks, and other programming. \u003c/p\u003e\n","\u003cp\u003eSeries 4: IFTP Publications: This series contains pamphlets detailing IFTP programs, organizational brochures and other publications created by IFTP to assist scholars in researching the FTP, Federal One, the newsletter of the RCFTP and IFTP, Free Adult and Uncensored, which details the history of the FTP, and other publications which promote and facilitate understanding of the FTP collection housed at George Mason University. \u003c/p\u003e\n","\u003cp\u003eSeries 5: Photographs: This series contains photographs created or procured by the IFTP. Featured are its personel, events, and programs, copy photographs of original FTP photos, posters, and other graphic items. \u003c/p\u003e\n","\u003cp\u003eSeries 6: Indexes, Inventories, and Collection Control Records: These records document the IFTP and RCFTP's fifteen-year effort to inventory, process, index, and describe the FTP collection.  \u003c/p\u003e\n","\u003cp\u003eSeries 7: Research Materials: These consist of original FTP records descrbing plays and play types, newspaper and magazine articles and clippings, hearing transcripts, and other publications from scholars and government entities  pertaining to FTP and WPA used to study FTP personel and the plays, dance, and music that it produced.  \u003c/p\u003e\n","\u003cp\u003eSeries 8: Audiovisual materials include audio and videotapes of documentaries pertaining to the FTP, programs presented by the IFTP, such as panel discussions, lectures, and symposia, and productions of original FTP plays staged during the 1980s and 1990s.  SCRC staff must be consulted for information regarding access to these records. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Collection contains records pertaining to the operation of the the Institute on the Federal Theatre Project (IFTP) and its prior iteration, the Research Center for the Federal Theatre Project (RCFTP). These records include operational, research and correspondence files, materials related to the Institute's outreach, programming, audiovisual and photographic materials and publications. ","The collection is organized within the following series:","\nSeries 1: Administrative Records: These records consist of materials which document the day to day operation of the IFTP, its projects, initiatives, and development.","Series 2: Correspondence: This series contains manuscript and typewritten correspondence between IFTP personel and their colleagues and outside individuals and groups. ","Series 3: Outreach Activities Records: These materials document the IFTP's efforts to provide external programming to promote and disseminate scholarship pertaining to and public awareness of the FTP throuugh exhibits, talks, and other programming. ","Series 4: IFTP Publications: This series contains pamphlets detailing IFTP programs, organizational brochures and other publications created by IFTP to assist scholars in researching the FTP, Federal One, the newsletter of the RCFTP and IFTP, Free Adult and Uncensored, which details the history of the FTP, and other publications which promote and facilitate understanding of the FTP collection housed at George Mason University. ","Series 5: Photographs: This series contains photographs created or procured by the IFTP. Featured are its personel, events, and programs, copy photographs of original FTP photos, posters, and other graphic items. ","Series 6: Indexes, Inventories, and Collection Control Records: These records document the IFTP and RCFTP's fifteen-year effort to inventory, process, index, and describe the FTP collection.  ","Series 7: Research Materials: These consist of original FTP records descrbing plays and play types, newspaper and magazine articles and clippings, hearing transcripts, and other publications from scholars and government entities  pertaining to FTP and WPA used to study FTP personel and the plays, dance, and music that it produced.  ","Series 8: Audiovisual materials include audio and videotapes of documentaries pertaining to the FTP, programs presented by the IFTP, such as panel discussions, lectures, and symposia, and productions of original FTP plays staged during the 1980s and 1990s.  SCRC staff must be consulted for information regarding access to these records. "],"abstract_html_tesm":["\u003cabstract id=\"aspace_554430af778b5b3433a75c9894961db0\"\u003eThe George Mason University Institute on the Federal Theatre Project and New Deal Culture records describe the operations, research, publications, and outreach of the George Mason University Institute on the Federal Theatre Project and New Deal Culture. Records date from 1935 to 2000.\u003c/abstract\u003e"],"abstract_tesim":["The George Mason University Institute on the Federal Theatre Project and New Deal Culture records describe the operations, research, publications, and outreach of the George Mason University Institute on the Federal Theatre Project and New Deal Culture. Records date from 1935 to 2000."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_d66750c11aa95b4555db32d46e03745b\" label=\"Physical Location\"\u003eSCRC storage area, Rows 81 and 82.\u003c/physloc\u003e"],"physloc_tesim":["SCRC storage area, Rows 81 and 82."],"names_coll_ssim":["Federal Theatre Project (U.S.)","United States. Works Progress Administration"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. Institute on the Federal Theatre Project and New Deal Culture","George Mason University","Federal Theatre Project (U.S.)","United States. Works Progress Administration"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. Institute on the Federal Theatre Project and New Deal Culture","George Mason University","Federal Theatre Project (U.S.)","United States. Works Progress Administration"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":621,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:25:37.310Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_209"}},{"id":"vifgm_repositories_2_resources_432","type":"collection","attributes":{"title":"Larry Schecker playbills and pamphlets collection","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_432#creator","type":"document_value","attributes":{"value":"John F. Kennedy Center for the Performing Arts (U.S.)","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_432#abstract_or_scope","type":"document_value","attributes":{"value":"Playbills and brochures, mainly for Washington, D.C. area institutions, collected by Larry Schecker.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_432#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_432","ead_ssi":"vifgm_repositories_2_resources_432","_root_":"vifgm_repositories_2_resources_432","_nest_parent_":"vifgm_repositories_2_resources_432","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_432.xml","title_ssm":["Larry Schecker playbills and pamphlets collection"],"title_tesim":["Larry Schecker playbills and pamphlets collection"],"unitdate_ssm":["1970s-1999"],"unitdate_inclusive_ssm":["1970s-1999"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0295","/repositories/2/resources/432"],"text":["C0295","/repositories/2/resources/432","Larry Schecker playbills and pamphlets collection","Theater programs","Theater -- Washington (D.C.)","There are no access restrictions.","Playbills and brochures are arranged by theatre company, venue, or region.","Washington, D.C. and the surrounding region is home to numerous major theatre companies and performance venues that have themselves played major roles in American history. Some, such as Ford's Theatre and the National Theatre, have histories dating back to the 19th century, while others, such as the Wolf Trap National Park for the Performing Arts and the John F. Kennedy Center for the Performing Arts, date from the second half of the 20th century.","Processing completed by Liz Beckman in December 2016. EAD markup completed by Liz Beckman in December 2016.","The collection contains playbills from shows at a variety of Washington, D.C. performance venues, including the National Theatre, Ford's Theatre, Wolf Trap, and the Kennedy Center, as well as other smaller D.C. area institutions. It also contains playbills from shows in other cities such as New York and Chicago, as well as exhibit brochures from D.C. area museums.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Playbills and brochures, mainly for Washington, D.C. area institutions, collected by Larry Schecker.","George Mason University. Libraries. Special Collections Research Center","John F. Kennedy Center for the Performing Arts (U.S.)","New National Theatre (Organization : Washington, D.C.)","Schecker, Larry","English \n.    "],"unitid_tesim":["C0295","/repositories/2/resources/432"],"normalized_title_ssm":["Larry Schecker playbills and pamphlets collection"],"collection_title_tesim":["Larry Schecker playbills and pamphlets collection"],"collection_ssim":["Larry Schecker playbills and pamphlets collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["John F. Kennedy Center for the Performing Arts (U.S.)","New National Theatre (Organization : Washington, D.C.)","Schecker, Larry"],"creator_ssim":["John F. Kennedy Center for the Performing Arts (U.S.)","New National Theatre (Organization : Washington, D.C.)","Schecker, Larry"],"creator_persname_ssim":["Schecker, Larry"],"creator_corpname_ssim":["John F. Kennedy Center for the Performing Arts (U.S.)","New National Theatre (Organization : Washington, D.C.)"],"creators_ssim":["Schecker, Larry","John F. Kennedy Center for the Performing Arts (U.S.)","New National Theatre (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Larry Schecker in November 2016."],"access_subjects_ssim":["Theater programs","Theater -- Washington (D.C.)"],"access_subjects_ssm":["Theater programs","Theater -- Washington (D.C.)"],"has_online_content_ssim":["false"],"extent_ssm":["0.75 Linear Feet"],"extent_tesim":["0.75 Linear Feet"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003ePlaybills and brochures are arranged by theatre company, venue, or region.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Playbills and brochures are arranged by theatre company, venue, or region."],"bioghist_html_tesm":["\u003cp\u003eWashington, D.C. and the surrounding region is home to numerous major theatre companies and performance venues that have themselves played major roles in American history. Some, such as Ford's Theatre and the National Theatre, have histories dating back to the 19th century, while others, such as the Wolf Trap National Park for the Performing Arts and the John F. Kennedy Center for the Performing Arts, date from the second half of the 20th century.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Washington, D.C. and the surrounding region is home to numerous major theatre companies and performance venues that have themselves played major roles in American history. Some, such as Ford's Theatre and the National Theatre, have histories dating back to the 19th century, while others, such as the Wolf Trap National Park for the Performing Arts and the John F. Kennedy Center for the Performing Arts, date from the second half of the 20th century."],"prefercite_html_tesm":["\u003cp\u003eLarry Schecker playbills and pamphlets, C0295, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Larry Schecker playbills and pamphlets, C0295, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Liz Beckman in December 2016. EAD markup completed by Liz Beckman in December 2016.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Liz Beckman in December 2016. EAD markup completed by Liz Beckman in December 2016."],"scopecontent_html_tesm":["\u003cp\u003eThe collection contains playbills from shows at a variety of Washington, D.C. performance venues, including the National Theatre, Ford's Theatre, Wolf Trap, and the Kennedy Center, as well as other smaller D.C. area institutions. It also contains playbills from shows in other cities such as New York and Chicago, as well as exhibit brochures from D.C. area museums.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The collection contains playbills from shows at a variety of Washington, D.C. performance venues, including the National Theatre, Ford's Theatre, Wolf Trap, and the Kennedy Center, as well as other smaller D.C. area institutions. It also contains playbills from shows in other cities such as New York and Chicago, as well as exhibit brochures from D.C. area museums."],"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_7cb3a85acaf48a96d4e10c0552fe3e66\" label=\"Abstract\"\u003ePlaybills and brochures, mainly for Washington, D.C. area institutions, collected by Larry Schecker.\u003c/abstract\u003e"],"abstract_tesim":["Playbills and brochures, mainly for Washington, D.C. area institutions, collected by Larry Schecker."],"names_coll_ssim":["John F. Kennedy Center for the Performing Arts (U.S.)","New National Theatre (Organization : Washington, D.C.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","John F. Kennedy Center for the Performing Arts (U.S.)","New National Theatre (Organization : Washington, D.C.)","Schecker, Larry"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","John F. Kennedy Center for the Performing Arts (U.S.)","New National Theatre (Organization : Washington, D.C.)"],"persname_ssim":["Schecker, Larry"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":9,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:27:17.368Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_432","ead_ssi":"vifgm_repositories_2_resources_432","_root_":"vifgm_repositories_2_resources_432","_nest_parent_":"vifgm_repositories_2_resources_432","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_432.xml","title_ssm":["Larry Schecker playbills and pamphlets collection"],"title_tesim":["Larry Schecker playbills and pamphlets collection"],"unitdate_ssm":["1970s-1999"],"unitdate_inclusive_ssm":["1970s-1999"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0295","/repositories/2/resources/432"],"text":["C0295","/repositories/2/resources/432","Larry Schecker playbills and pamphlets collection","Theater programs","Theater -- Washington (D.C.)","There are no access restrictions.","Playbills and brochures are arranged by theatre company, venue, or region.","Washington, D.C. and the surrounding region is home to numerous major theatre companies and performance venues that have themselves played major roles in American history. Some, such as Ford's Theatre and the National Theatre, have histories dating back to the 19th century, while others, such as the Wolf Trap National Park for the Performing Arts and the John F. Kennedy Center for the Performing Arts, date from the second half of the 20th century.","Processing completed by Liz Beckman in December 2016. EAD markup completed by Liz Beckman in December 2016.","The collection contains playbills from shows at a variety of Washington, D.C. performance venues, including the National Theatre, Ford's Theatre, Wolf Trap, and the Kennedy Center, as well as other smaller D.C. area institutions. It also contains playbills from shows in other cities such as New York and Chicago, as well as exhibit brochures from D.C. area museums.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Playbills and brochures, mainly for Washington, D.C. area institutions, collected by Larry Schecker.","George Mason University. Libraries. Special Collections Research Center","John F. Kennedy Center for the Performing Arts (U.S.)","New National Theatre (Organization : Washington, D.C.)","Schecker, Larry","English \n.    "],"unitid_tesim":["C0295","/repositories/2/resources/432"],"normalized_title_ssm":["Larry Schecker playbills and pamphlets collection"],"collection_title_tesim":["Larry Schecker playbills and pamphlets collection"],"collection_ssim":["Larry Schecker playbills and pamphlets collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["John F. Kennedy Center for the Performing Arts (U.S.)","New National Theatre (Organization : Washington, D.C.)","Schecker, Larry"],"creator_ssim":["John F. Kennedy Center for the Performing Arts (U.S.)","New National Theatre (Organization : Washington, D.C.)","Schecker, Larry"],"creator_persname_ssim":["Schecker, Larry"],"creator_corpname_ssim":["John F. Kennedy Center for the Performing Arts (U.S.)","New National Theatre (Organization : Washington, D.C.)"],"creators_ssim":["Schecker, Larry","John F. Kennedy Center for the Performing Arts (U.S.)","New National Theatre (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Larry Schecker in November 2016."],"access_subjects_ssim":["Theater programs","Theater -- Washington (D.C.)"],"access_subjects_ssm":["Theater programs","Theater -- Washington (D.C.)"],"has_online_content_ssim":["false"],"extent_ssm":["0.75 Linear Feet"],"extent_tesim":["0.75 Linear Feet"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003ePlaybills and brochures are arranged by theatre company, venue, or region.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Playbills and brochures are arranged by theatre company, venue, or region."],"bioghist_html_tesm":["\u003cp\u003eWashington, D.C. and the surrounding region is home to numerous major theatre companies and performance venues that have themselves played major roles in American history. Some, such as Ford's Theatre and the National Theatre, have histories dating back to the 19th century, while others, such as the Wolf Trap National Park for the Performing Arts and the John F. Kennedy Center for the Performing Arts, date from the second half of the 20th century.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Washington, D.C. and the surrounding region is home to numerous major theatre companies and performance venues that have themselves played major roles in American history. Some, such as Ford's Theatre and the National Theatre, have histories dating back to the 19th century, while others, such as the Wolf Trap National Park for the Performing Arts and the John F. Kennedy Center for the Performing Arts, date from the second half of the 20th century."],"prefercite_html_tesm":["\u003cp\u003eLarry Schecker playbills and pamphlets, C0295, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Larry Schecker playbills and pamphlets, C0295, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Liz Beckman in December 2016. EAD markup completed by Liz Beckman in December 2016.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Liz Beckman in December 2016. EAD markup completed by Liz Beckman in December 2016."],"scopecontent_html_tesm":["\u003cp\u003eThe collection contains playbills from shows at a variety of Washington, D.C. performance venues, including the National Theatre, Ford's Theatre, Wolf Trap, and the Kennedy Center, as well as other smaller D.C. area institutions. It also contains playbills from shows in other cities such as New York and Chicago, as well as exhibit brochures from D.C. area museums.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The collection contains playbills from shows at a variety of Washington, D.C. performance venues, including the National Theatre, Ford's Theatre, Wolf Trap, and the Kennedy Center, as well as other smaller D.C. area institutions. It also contains playbills from shows in other cities such as New York and Chicago, as well as exhibit brochures from D.C. area museums."],"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_7cb3a85acaf48a96d4e10c0552fe3e66\" label=\"Abstract\"\u003ePlaybills and brochures, mainly for Washington, D.C. area institutions, collected by Larry Schecker.\u003c/abstract\u003e"],"abstract_tesim":["Playbills and brochures, mainly for Washington, D.C. area institutions, collected by Larry Schecker."],"names_coll_ssim":["John F. Kennedy Center for the Performing Arts (U.S.)","New National Theatre (Organization : Washington, D.C.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","John F. Kennedy Center for the Performing Arts (U.S.)","New National Theatre (Organization : Washington, D.C.)","Schecker, Larry"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","John F. Kennedy Center for the Performing Arts (U.S.)","New National Theatre (Organization : Washington, D.C.)"],"persname_ssim":["Schecker, Larry"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":9,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:27:17.368Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_432"}},{"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.","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.","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"],"phystech_heading_ssm":["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."],"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"],"scopecontent_heading_ssm":["Scope and Content"],"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."],"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":"2026-05-08T07:16:03.204Z","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.","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.","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. 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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"],"phystech_heading_ssm":["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."],"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"],"scopecontent_heading_ssm":["Scope and Content"],"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."],"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. 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