{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater+programs\u0026page=3\u0026view=list","prev":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater+programs\u0026page=2\u0026view=list","next":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater+programs\u0026page=4\u0026view=list","last":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater+programs\u0026page=5\u0026view=list"},"meta":{"pages":{"current_page":3,"next_page":4,"prev_page":2,"total_pages":5,"limit_value":10,"offset_value":20,"total_count":41,"first_page?":false,"last_page?":false}},"data":[{"id":"vicahi_vicahi00046","type":"collection","attributes":{"title":"Levy Opera House Programs, \n1888","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vicahi_vicahi00046#abstract_or_scope","type":"document_value","attributes":{"value":"","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vicahi_vicahi00046#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vicahi_vicahi00046","ead_ssi":"vicahi_vicahi00046","_root_":"vicahi_vicahi00046","_nest_parent_":"vicahi_vicahi00046","ead_source_url_ssi":"data/albemarle/vicahi00046.xml","title_ssm":["Levy Opera House Programs, \n1888"],"title_tesim":["Levy Opera House Programs, \n1888"],"normalized_title_ssm":["Levy Opera House Programs, \n1888"],"text":["Levy Opera House Programs, \n1888","MS 312","Levy Opera House (Charlottesville, Va.)","Theater programs",".","The collection is open for research.","The Levy Opera House was built in 1851 at the corner of 350 Park Street in Charlottesville, Virginia. It was constructed as a town hall to seat 600 people. The first opera was staged in 1861. In 1887 the building was purchased by Jefferson Levy. He renovated it and reopened it as an opera house.  It closed as a opera house in 1912.","This is a collection of four programs from various performances at the Levy Opera House. It includes Janauschek (4 October 1888), Pawn Ticket 210 (undated), Sol Smith Russell in Bewitched by Edward E. Kidder (undated), and Staunton Operatic and Dramatic Association in Crimes of Normandy (18 April 1888).","There are no restrictions.","Archive Room File","English"],"collection_title_tesim":["Levy Opera House Programs, \n1888"],"collection_ssim":["Levy Opera House Programs, \n1888"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 312"],"unitid_tesim":["MS 312"],"repository_ssm":["Albemarle Charlottesville Historical Society"],"repository_ssim":["Albemarle Charlottesville Historical Society"],"acqinfo_ssim":["Unknown"],"access_subjects_ssim":["Levy Opera House (Charlottesville, Va.)","Theater programs"],"access_subjects_ssm":["Levy Opera House (Charlottesville, Va.)","Theater programs"],"has_online_content_ssim":["false"],"physdesc_tesim":["."],"extent_ssm":["1 folder"],"extent_tesim":["1 folder"],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\n\u003c/p\u003e\n"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eThe Levy Opera House was built in 1851 at the corner of 350 Park Street in Charlottesville, Virginia. It was constructed as a town hall to seat 600 people. The first opera was staged in 1861. In 1887 the building was purchased by Jefferson Levy. He renovated it and reopened it as an opera house.  It closed as a opera house in 1912.\n\u003c/p\u003e\n"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Levy Opera House was built in 1851 at the corner of 350 Park Street in Charlottesville, Virginia. It was constructed as a town hall to seat 600 people. The first opera was staged in 1861. In 1887 the building was purchased by Jefferson Levy. He renovated it and reopened it as an opera house.  It closed as a opera house in 1912."],"prefercite_html_tesm":["\u003cp\u003e Levy Opera House Programs, MS 312, Albemarle Charlottesville Historical Society, Charlottesville, Virginia\u003c!-- Add your institution's citation information --\u003e\n\u003c/p\u003e\n"],"prefercite_tesim":["Levy Opera House Programs, MS 312, Albemarle Charlottesville Historical Society, Charlottesville, Virginia"],"scopecontent_html_tesm":["\u003cp\u003eThis is a collection of four programs from various performances at the Levy Opera House. It includes Janauschek (4 October 1888), Pawn Ticket 210 (undated), Sol Smith Russell in Bewitched by Edward E. Kidder (undated), and Staunton Operatic and Dramatic Association in Crimes of Normandy (18 April 1888).\n\u003c/p\u003e\n"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This is a collection of four programs from various performances at the Levy Opera House. It includes Janauschek (4 October 1888), Pawn Ticket 210 (undated), Sol Smith Russell in Bewitched by Edward E. 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It was constructed as a town hall to seat 600 people. The first opera was staged in 1861. In 1887 the building was purchased by Jefferson Levy. He renovated it and reopened it as an opera house.  It closed as a opera house in 1912.","This is a collection of four programs from various performances at the Levy Opera House. It includes Janauschek (4 October 1888), Pawn Ticket 210 (undated), Sol Smith Russell in Bewitched by Edward E. Kidder (undated), and Staunton Operatic and Dramatic Association in Crimes of Normandy (18 April 1888).","There are no restrictions.","Archive Room File","English"],"collection_title_tesim":["Levy Opera House Programs, \n1888"],"collection_ssim":["Levy Opera House Programs, \n1888"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 312"],"unitid_tesim":["MS 312"],"repository_ssm":["Albemarle Charlottesville Historical Society"],"repository_ssim":["Albemarle Charlottesville Historical Society"],"acqinfo_ssim":["Unknown"],"access_subjects_ssim":["Levy Opera House (Charlottesville, Va.)","Theater programs"],"access_subjects_ssm":["Levy Opera House (Charlottesville, Va.)","Theater programs"],"has_online_content_ssim":["false"],"physdesc_tesim":["."],"extent_ssm":["1 folder"],"extent_tesim":["1 folder"],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\n\u003c/p\u003e\n"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["The collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eThe Levy Opera House was built in 1851 at the corner of 350 Park Street in Charlottesville, Virginia. It was constructed as a town hall to seat 600 people. The first opera was staged in 1861. In 1887 the building was purchased by Jefferson Levy. He renovated it and reopened it as an opera house.  It closed as a opera house in 1912.\n\u003c/p\u003e\n"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Levy Opera House was built in 1851 at the corner of 350 Park Street in Charlottesville, Virginia. It was constructed as a town hall to seat 600 people. The first opera was staged in 1861. In 1887 the building was purchased by Jefferson Levy. He renovated it and reopened it as an opera house.  It closed as a opera house in 1912."],"prefercite_html_tesm":["\u003cp\u003e Levy Opera House Programs, MS 312, Albemarle Charlottesville Historical Society, Charlottesville, Virginia\u003c!-- Add your institution's citation information --\u003e\n\u003c/p\u003e\n"],"prefercite_tesim":["Levy Opera House Programs, MS 312, Albemarle Charlottesville Historical Society, Charlottesville, Virginia"],"scopecontent_html_tesm":["\u003cp\u003eThis is a collection of four programs from various performances at the Levy Opera House. It includes Janauschek (4 October 1888), Pawn Ticket 210 (undated), Sol Smith Russell in Bewitched by Edward E. Kidder (undated), and Staunton Operatic and Dramatic Association in Crimes of Normandy (18 April 1888).\n\u003c/p\u003e\n"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This is a collection of four programs from various performances at the Levy Opera House. 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Kidder (undated), and Staunton Operatic and Dramatic Association in Crimes of Normandy (18 April 1888)."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e\n"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003e\n\u003c/abstract\u003e\n"],"physloc_html_tesm":["\u003cphysloc label=\"Location\"\u003eArchive Room File\n\u003c/physloc\u003e\n"],"physloc_tesim":["Archive Room File"],"language_ssim":["English"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:50:43.410Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vicahi_vicahi00046"}},{"id":"vifgm_repositories_2_resources_602","type":"collection","attributes":{"title":"Living Stage records, 1965/2001","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_602#abstract_or_scope","type":"document_value","attributes":{"value":"The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_602#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_602","ead_ssi":"vifgm_repositories_2_resources_602","_root_":"vifgm_repositories_2_resources_602","_nest_parent_":"vifgm_repositories_2_resources_602","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_602.xml","title_filing_ssi":"Living Stage records","title_ssm":["Living Stage records"],"title_tesim":["Living Stage records"],"unitdate_ssm":["1965-2001"],"unitdate_inclusive_ssm":["1965-2001"],"normalized_date_ssm":["1965/2001"],"normalized_title_ssm":["Living Stage records, 1965/2001"],"text":["Living Stage records, 1965/2001","C0277","/repositories/2/resources/602","Washington (D.C.)","Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript","There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.","The collection is divided into three series, each of which is divided into subseries.","Series\n      Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\n      Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\n      Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)","The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc.","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage.","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.","The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.","Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.","The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.","The Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Series 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Series 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Copyright 1978","Folder 1 of 2","Folder 2 of 2","Folder 1 of 4","Folder 2 of 4","Folder 3 of 4","Folder 4 of 4","Folder 1 of 2","Folder 2 of 2","Series 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Folder 1 of 2","Folder 2 of 2","Large Box","VO 1 of 2","VO 2 of 2","Completely Unraveled - Large Box","Large Box","Franklin Sherman?","Large Box","Large Box","Continued from October 19, 1977 Tape","Loose","Color?","Large Box","Large Box","Large Box","Large Box","Smells like Vinegar","Semi-Unraveling","Semi-Unraveling","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","XL Roll","Semi-Unraveling","Large Box","Semi-Unraveling","Large Box","Large Box","Semi-Unraveling","Tape 3 of 3","Tape 1 of 3","Tape 2 of 3","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Betamax","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","VHS","U-matic","Betamax","VHS","VHS","VHS","VHS","Betamax","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","Betamax","VHS","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","Betamax","Betamax","VHS","VHS","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","Betamax","VHS","Betamax","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.","R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2","George Mason University. Libraries. Special Collections Research Center","English"],"collection_title_tesim":["Living Stage records, 1965/2001"],"collection_ssim":["Living Stage records, 1965/2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0277","/repositories/2/resources/602"],"unitid_tesim":["C0277","/repositories/2/resources/602"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Washington (D.C.)"],"geogname_ssim":["Washington (D.C.)"],"places_ssim":["Washington (D.C.)"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000."],"access_subjects_ssim":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"access_subjects_ssm":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"has_online_content_ssim":["false"],"extent_ssm":["48.0 Linear Feet 106 boxes"],"extent_tesim":["48.0 Linear Feet 106 boxes"],"genreform_ssim":["Playscript"],"date_range_isim":[1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3."],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into three series, each of which is divided into subseries.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is divided into three series, each of which is divided into subseries.","Series\n      Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\n      Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\n      Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)"],"bioghist_html_tesm":["\u003cp\u003eThe Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. \u003c/p\u003e","\u003cp\u003eThe Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. \u003c/p\u003e","\u003cp\u003eThe projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"\u003c/p\u003e","\u003cp\u003eThe organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc.","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage.","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e  "],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eLiving Stage records, C0277, Special Collections Reserch Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Living Stage records, C0277, Special Collections Reserch Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.\u003c/p\u003e","\u003cp\u003eSeries 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e","\u003cp\u003eSeries 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. \u003c/p\u003e","\u003cp\u003eSeries 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.\u003c/p\u003e  ","\u003cp\u003eSeries 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eSeries 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eCopyright 1978\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 4\u003c/p\u003e","\u003cp\u003eFolder 2 of 4\u003c/p\u003e","\u003cp\u003eFolder 3 of 4\u003c/p\u003e","\u003cp\u003eFolder 4 of 4\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eSeries 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eVO 1 of 2\u003c/p\u003e","\u003cp\u003eVO 2 of 2\u003c/p\u003e","\u003cp\u003eCompletely Unraveled - Large Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eFranklin Sherman?\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eContinued from October 19, 1977 Tape\u003c/p\u003e","\u003cp\u003eLoose\u003c/p\u003e","\u003cp\u003eColor?\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eSmells like 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Tape 1 of 2\u003c/p\u003e","\u003cp\u003eBeta Tape 2 of 2\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Series 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Series 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Copyright 1978","Folder 1 of 2","Folder 2 of 2","Folder 1 of 4","Folder 2 of 4","Folder 3 of 4","Folder 4 of 4","Folder 1 of 2","Folder 2 of 2","Series 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Folder 1 of 2","Folder 2 of 2","Large Box","VO 1 of 2","VO 2 of 2","Completely Unraveled - Large Box","Large Box","Franklin Sherman?","Large Box","Large Box","Continued from October 19, 1977 Tape","Loose","Color?","Large Box","Large Box","Large Box","Large Box","Smells like Vinegar","Semi-Unraveling","Semi-Unraveling","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","XL Roll","Semi-Unraveling","Large Box","Semi-Unraveling","Large Box","Large Box","Semi-Unraveling","Tape 3 of 3","Tape 1 of 3","Tape 2 of 3","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Betamax","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","VHS","U-matic","Betamax","VHS","VHS","VHS","VHS","Betamax","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","Betamax","VHS","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","Betamax","Betamax","VHS","VHS","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","Betamax","VHS","Betamax"],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e176c0c8972614dd614b2ea45cfacaaf\"\u003eR 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2\u003c/physloc\u003e\n    "],"physloc_tesim":["R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1502,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:55:22.308Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_602","ead_ssi":"vifgm_repositories_2_resources_602","_root_":"vifgm_repositories_2_resources_602","_nest_parent_":"vifgm_repositories_2_resources_602","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_602.xml","title_filing_ssi":"Living Stage records","title_ssm":["Living Stage records"],"title_tesim":["Living Stage records"],"unitdate_ssm":["1965-2001"],"unitdate_inclusive_ssm":["1965-2001"],"normalized_date_ssm":["1965/2001"],"normalized_title_ssm":["Living Stage records, 1965/2001"],"text":["Living Stage records, 1965/2001","C0277","/repositories/2/resources/602","Washington (D.C.)","Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript","There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.","The collection is divided into three series, each of which is divided into subseries.","Series\n      Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\n      Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\n      Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)","The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc.","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage.","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.","The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.","Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.","The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.","The Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Series 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Series 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Copyright 1978","Folder 1 of 2","Folder 2 of 2","Folder 1 of 4","Folder 2 of 4","Folder 3 of 4","Folder 4 of 4","Folder 1 of 2","Folder 2 of 2","Series 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Folder 1 of 2","Folder 2 of 2","Large Box","VO 1 of 2","VO 2 of 2","Completely Unraveled - Large Box","Large Box","Franklin Sherman?","Large Box","Large Box","Continued from October 19, 1977 Tape","Loose","Color?","Large Box","Large Box","Large Box","Large Box","Smells like Vinegar","Semi-Unraveling","Semi-Unraveling","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","XL Roll","Semi-Unraveling","Large Box","Semi-Unraveling","Large Box","Large Box","Semi-Unraveling","Tape 3 of 3","Tape 1 of 3","Tape 2 of 3","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Betamax","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","VHS","U-matic","Betamax","VHS","VHS","VHS","VHS","Betamax","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","Betamax","VHS","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","Betamax","Betamax","VHS","VHS","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","Betamax","VHS","Betamax","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.","R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2","George Mason University. Libraries. Special Collections Research Center","English"],"collection_title_tesim":["Living Stage records, 1965/2001"],"collection_ssim":["Living Stage records, 1965/2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0277","/repositories/2/resources/602"],"unitid_tesim":["C0277","/repositories/2/resources/602"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Washington (D.C.)"],"geogname_ssim":["Washington (D.C.)"],"places_ssim":["Washington (D.C.)"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000."],"access_subjects_ssim":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"access_subjects_ssm":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"has_online_content_ssim":["false"],"extent_ssm":["48.0 Linear Feet 106 boxes"],"extent_tesim":["48.0 Linear Feet 106 boxes"],"genreform_ssim":["Playscript"],"date_range_isim":[1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3."],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into three series, each of which is divided into subseries.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is divided into three series, each of which is divided into subseries.","Series\n      Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\n      Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\n      Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)"],"bioghist_html_tesm":["\u003cp\u003eThe Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. \u003c/p\u003e","\u003cp\u003eThe Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. \u003c/p\u003e","\u003cp\u003eThe projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"\u003c/p\u003e","\u003cp\u003eThe organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc.","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage.","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e  "],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eLiving Stage records, C0277, Special Collections Reserch Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Living Stage records, C0277, Special Collections Reserch Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.\u003c/p\u003e","\u003cp\u003eSeries 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e","\u003cp\u003eSeries 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. \u003c/p\u003e","\u003cp\u003eSeries 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.\u003c/p\u003e  ","\u003cp\u003eSeries 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eSeries 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eCopyright 1978\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 4\u003c/p\u003e","\u003cp\u003eFolder 2 of 4\u003c/p\u003e","\u003cp\u003eFolder 3 of 4\u003c/p\u003e","\u003cp\u003eFolder 4 of 4\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eSeries 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eVO 1 of 2\u003c/p\u003e","\u003cp\u003eVO 2 of 2\u003c/p\u003e","\u003cp\u003eCompletely Unraveled - Large Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eFranklin Sherman?\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eContinued from October 19, 1977 Tape\u003c/p\u003e","\u003cp\u003eLoose\u003c/p\u003e","\u003cp\u003eColor?\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eSmells like 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Tape 1 of 2\u003c/p\u003e","\u003cp\u003eBeta Tape 2 of 2\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and 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Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Series 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Series 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Copyright 1978","Folder 1 of 2","Folder 2 of 2","Folder 1 of 4","Folder 2 of 4","Folder 3 of 4","Folder 4 of 4","Folder 1 of 2","Folder 2 of 2","Series 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Folder 1 of 2","Folder 2 of 2","Large Box","VO 1 of 2","VO 2 of 2","Completely Unraveled - Large Box","Large Box","Franklin Sherman?","Large Box","Large Box","Continued from October 19, 1977 Tape","Loose","Color?","Large Box","Large Box","Large Box","Large Box","Smells like Vinegar","Semi-Unraveling","Semi-Unraveling","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","XL Roll","Semi-Unraveling","Large Box","Semi-Unraveling","Large Box","Large Box","Semi-Unraveling","Tape 3 of 3","Tape 1 of 3","Tape 2 of 3","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Betamax","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","VHS","U-matic","Betamax","VHS","VHS","VHS","VHS","Betamax","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","Betamax","VHS","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","Betamax","Betamax","VHS","VHS","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","Betamax","VHS","Betamax"],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e176c0c8972614dd614b2ea45cfacaaf\"\u003eR 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2\u003c/physloc\u003e\n    "],"physloc_tesim":["R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1502,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:55:22.308Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_602"}},{"id":"vifgm_repositories_2_resources_691","type":"collection","attributes":{"title":"Mary Lavigne programs collection","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_691#creator","type":"document_value","attributes":{"value":"Lavigne, Mary","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_691#abstract_or_scope","type":"document_value","attributes":{"value":"A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_691#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_691","ead_ssi":"vifgm_repositories_2_resources_691","_root_":"vifgm_repositories_2_resources_691","_nest_parent_":"vifgm_repositories_2_resources_691","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_691.xml","title_ssm":["Mary Lavigne programs collection"],"title_tesim":["Mary Lavigne programs collection"],"unitdate_ssm":["1950s-1980s"],"unitdate_inclusive_ssm":["1950s-1980s"],"normalized_title_ssm":["Mary Lavigne programs collection"],"text":["Mary Lavigne programs collection","C0417","/repositories/2/resources/691","Broadway (New York, N.Y.)","Richmond (Va.)","Berlin (Germany)","London (England)","Performing arts","Musical Theater","Musical Theater -- New York (State) -- New York","Theater","Theater -- New York (State) -- New York","Theater programs","Theater -- Washington (D.C.)","Ballet","Dance","Opera","Art","Art -- Exhibitions","There are no access restrictions.","This collection is arranged alphabetically by show title and then chronologically.","\"Fascinating History of Theater Programs.\" 2020. The Smith Center. July 13, 2020. https://thesmithcenter.com/explore/smith-center-blog/the-fascinating-history-of-theater-programs/.","Higgins, Sydney. 2009. \"A History of Playbills and Theatre Programs.\" 2009. http://www.ikjordan.plus.com/Players/Playbills/index.html.","Dating back to at least the 18th century, the term \"bill\" has been used to refer to printed advertisements for a theatrical event, starting first with small printed sheets delivered by hand and known as \"handbills.\" By the middle of the 19th century, the word \"bill\" was used to refer to large printed papers that were posted in public places and provided information about a theatrical production. The word \"programme\" or \"program\" came into use in the mid-19th century to refer to short printed pamphlets, containing a cast list, that was handed to audience members attending a theatrical performance. However, by the 1870s, the status of these as one of the only printed papers that were free and widely distributed led to the introduction of advertising into these play \"bills\" or \"programs.\"","Seeing an opportunity, in 1884 New York businessman Frank Vance Strauss created the first company to specialize in printing theatrical programs that would be provided free of charge to New York City's larger playhouses. Introducing the standard format for theatrical programs still in use today, Strauss' company expanded the short printed pamphlets into magazine-style multi-page programs containing short articles, advertisements, and information about the individual productions that changed weekly. Known in 1911 as the \"Strauss Magazine Theatre Program\", the publication would formally adopt the name \"The Playbill\" in 1934. These higher quality programs led to a new practice of keeping and collecting programs as souvenirs, leading to the creation of specially produced \"Souvenir Programs\" that were filled with full-color illustrations, photographs, and more detailed information on the productions and performers.","Processing and finding aid completed by Meghan Glasbrenner from November 2023 - January 2024.","The Special Collections Research Center holds other performing arts collections, including other collections of theatrical programs such as the Charles Rodrigues playbill collection, and the Virginia Nelson playbills collection.","A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne. Programs include a mix of types including colorful souvenir booklets and Broadway Playbill editions. Most programs include various inserts, including cast change notices and newspaper clippings, which have been removed and placed in the folder with the program. A number of the programs were also originally grouped into two small binders. All of these specifics have been noted at the folder level where applicable.","Musical Celebrities: The Concert Magazine, Vol. XXVII, No. 1. Includes \"Revised Program\" insert.","Musical Celebrities: The Concert Magazine, Vol. V, No. 12. Metropolitan Opera New Production. Libretto by A. Ghislanzoni, music by Giuseppe Verdi.","At the Virginia Museum Theatre","Playbill. Written by Marcelle Murette, English adaptation by Guy Bolton. Removed from binder 1 of 2.","Playbill, Vol. 1, No. 8. Written by Jerome Lawrence and Robert E. Lee. Removed from binder 1 of 2.","Playbill. Written by Maxwell Anderson. Removed from binder 1 of 2.","Playbill. Fourth performance by the New York City Opera Company. Includes NY City Center flyer and newspaper clipping about the show.","Musical Celebrities: The Concert Magazine, Vol. XXVIII, No. 9.","Includes ticket stub for Mosque Theatre April 29, 1954","The Barber of Seville, libretto by Cesare Sterbini, music by Gioacchino Rossini. Season 1954-1955.","Item is in German","Playbill. Written by Sandy Wilson. July program includes cast change note insert and was removed from binder 1 of 2.","Playbill. Music and lyrics by Irving Berlin, book by Howard Lindsay and Russel Crouse. Removed from binder 1 of 2.","Playbill. Music and lyrics by Cole Porter, book by Abe Burrows. Removed from binder 1 of 2.","Includes cast change note insert","Playbill. Written by Tennessee Williams. Removed from binder 1 of 2.","Playbill, Vol. 1, No. 4. Written by William Saroyan; Bijou Theatre Series Production No. 3. Removed from binder 1 of 2. Includes 3 newspaper clippings, including one duplicate of a review by Brooks Atkinson.","Playbill. Written by Enid Bagnold. Removed from binder 1 of 2.","Playbill, Vol. 1, No. 8. Written by William Wycherley. Removed from binder 1 of 2.","Written by Arthur Miller","Featuring Emily Frankel and Mark Ryder","Playbill, Vol. 2, No. 5. Written by William Inge. Removed from binder 1 of 2. Includes magazine clipping of a cartoon depicting characters from play.","Playbill. Written by Frances Goodrich and Albert Hackett. Removed from binder 1 of 2.","Libretto by Lorenzo Da Ponte, music by Wolfgang Amadeus Mozart. Season 1957-1958.","\"This is the first exhibition of the original works in wax by Degas from which the series of bronzes were cast by A.-A. Hébrard\". M. Knoedler \u0026 Company, Inc.","Off-B'way Showbill. Written by Samuel Beckett; American Premiere.","Playbill, Vol. 2, No. 9. Written by John Osborne. Removed from binder 1 of 2.","Playbill. Book by S.N. Behrman and Joshua Logan, music and lyrics by Harold Rome. Removed from binder 1 of 2.","Libretto by Jules Barbier and Michel Carré, music by Charles Gounod. Season 1955-1956.","The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin.","Musical Celebrities: The Concert Magazine, Vol. V, No. 2. The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin. Includes ticket stub and flyer; program has handwritten note on front cover.","Written by Tennessee Williams","Werner Singer at the Piano","\"In Honor of Professor Mabel Kate Whiteside, Teacher of Greek, 1904-1954\"","38th Season, 15th Concert. Featuring The Goldman Band, Edwin Franko Goldman, Conductor.","Playbill. Written by John Van Druten. Removed from binder 1 of 2.","Written by Eugene O'Neill","Manson Hall","Smith Memorial Auditorium","Off-B'way Showbill. Includes ticket stubs.","Includes newspaper clipping on Jose Limon's \"Missa Brevis\" from May 18, 1958","Musical Celebrities: The Concert Magazine, Vol. XXX, No. 12. Metropolitan Opera New Production. Libretto by F. M. Piave, music by Giuseppe Verdi. Includes 2 newspaper clippings on A Streetcar Named Desire.","Playbill. Written by Graham Greene. Removed from binder 1 of 2.","Musical Celebrities: The Concert Magazine, Vol. XXVIII, No. 6.","21st Season","Playbill. Written by Eugene O'Neill. Both removed from binder 1 of 2. December 1956 program includes The Actor's Fund donation insert. October 1957 Playbill: Vol. 1, No. 3.","Playbill, Vol. 2, No. 5. Written by John Osborne. Removed from binder 1 of 2. Includes newspaper clipping about the show.","Playbill, Vol. 2, No. 16. Written by Ketti Frings. Removed from binder 1 of 2.","Libretto by Salvatore Cammarano, music by Gaetano Donizetti. Season 1956-1957.","Libretto by Luigi Illica and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958. Includes magazine clipping on the show.","Playbill. Written by George Bernard Shaw. Removed from binder 1 of 2.","Smith Memorial Hall. Repertory by Marcel Marceau.","Playbill, Vol. 2, No. 4","Inscription on last page","Inscription inside front cover","Playbill. Both programs Vol. 2, No. 14.","Institute of Contemporary Arts, Twentieth Anniversary Year. Includes 2 copies of season schedule insert.","Off-B'way Showbill. Written by Friedrich Schiller, new adaptation by Jean Stock Goldstone and John Reich. Includes 2 newspaper clippings about the show.","Playbill. Written by Thornton Wilder. Both removed from binder 1 of 2.","Antal Dorati, Conductor and Gerard Samuel, Assistant Conductor","Playbill. Written by Joshua Logan and Thomas Heggen. Removed from binder 2 of 2.","Playbill, Vol. 1, No. 10. Written by Dorothy and Michael Blankfort. Removed from binder 2 of 2.","Playbill. Book, music, and lyrics by Frank Loesser. Removed from binder 2 of 2. Includes cast change note insert.","Playbill. Lyrics and book/libretto by Alan Jay Lerner, music by Frederick Loewe. Includes two copies of August 1956 program; copy with date written on front and February 1958 programs both removed from binder 2 of 2.","Smith Memorial Hall. Founded by Hans Kindler in 1931, Howard Mitchell Music Director, 26th Season.","Playbill","Playbill, Vol. 1, No. 8 (1957) and Vol. 2, No. 1 (1958). New York City Ballet Company, Winter Season 1957-1958.","Stagebill, Volume III, No. 8","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958). Includes magazine clipping on the show.","One Hundred Sixteenth Season (1957-1958)","Manson Hall","Playbill. Written by Ira Levin. Removed from binder 2 of 2.","Playbill, Vol. 1, No. 8. Written by Noel Coward. Removed from binder 2 of 2. Includes newspaper clipping on the show.","Libretto by Arrigo Boito, music by Guiseppe Verdi. Season 1957-1958. Includes special ticket for Working Rehearsal on March 18 and a magazine and newspaper clipping about the show.","Playbill. Book by George Abbott and Richard Bissell, music and lyrics by Richard Adler, and Jerry Ross. Removed from binder 2 of 2.","Written by Robert E. Sherwood","Musical Celebrities: The Concert Magazine, Vol. V, No. 4. Eugene Ormandy, Music Director-Conductor.","Playbill. Removed from binder 2 of 2.","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Radio Station WRVA presentation.","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Includes Act scene summary insert and inscription on first page.","Smith Memorial Building; with Lucile Turner, Contralto and The Randolph-Macon Glee Club, Jack Moehlenkamp, Pianist.","Robert Shaw, Conductor","Playbill, Vol. 2, No. 4. Written by Morton Wishengrad. Removed from binder 2 of 2.","Formerly the Sadler's Wells Ballet","\"Under the Patronage of His Majesty King Frederik IX of Denmark, First Visit to America of the Royal Danish Ballet\" from the Royal Theatre in Copenhagen","Magazine II. Howard Mitchell, Director.","Musical Celebrities: The Concert Magazine, Vol. V, No. 8","Covent Garden Books No. 9","Playbill. Two plays by Terence Rattigan. Removed from binder 2 of 2.","Playbill. Written by Joseph Kramm. Removed from binder 2 of 2.","Musical Celebrities: The Concert Magazine, Vol. XXVII, No. 3","Playbill. Music by Richard Rodgers, lyrics and book/libretto by Oscar Hammerstein II, book by Joshua Logan. Removed from binder 2 of 2.","Playbill. Written by Robert Anderson. Removed from binder 2 of 2.","Jose Limon and Dance Company with Pauline Koner, at the Virginia Museum Theatre","Music by Kurt Weill, book and lyrics/libretto by Bertolt (listed in program as Bert) Brecht, English adaptation of book and lyrics by Marc Blitzstein. Each program includes a cast change note insert.","Playbill. Written by Jean Giraudoux, translated by Christopher Fry. Removed from binder 2 of 2.","Playbill, Vol. 2, Nos. 4 and 20. Written by Jean Anouilh, English version by Patricia Moyes. Both removed from binder 2 of 2. January program includes magazine clipping of a cartoon depicting characters from play and May program includes a newspaper clipping photo of Helen Hayes.","Libretto by Victorien Sardou, Luigi Illica, and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958.","A New Play by Norman Rose, based on Dostoyevsky's \"The Brothers Karamazov\".","Playbill, Vol. 2, No. 15. Written by William Gibson. Removed from binder 2 of 2.","Two copies","Written by Anton Chekhov, translated by Stark Young. Third production in \"A Cycle of Four Chekhov Plays\".","Playbill. Written by Arthur Miller. Two copies; one removed from binder 2 of 2 and includes a promotional flyer insert on the show.","Adapted and staged by Margaret Perry. Front cover has possible pencil signature from founder and actor Robert Porterfield.","Playbill, Vol. 2, No. 21. Written by Friedrich Duerrenmatt, adapted by Maurice Valency. Removed from binder 2 of 2. Includes newspaper clipping on the show.","Playbill, Vol. 2, No. 4. Book by Arthur Laurents, music by Leonard Bernstein, and lyrics by Stephen Sondheim. Removed from binder 2 of 2. Includes cast change note insert.","Includes pamphlet advertising recordings by Bernstein. Both items in German.","David Stimer at the Piano","Playbill. Written by Agatha Christie. Removed from binder 2 of 2.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne.","R 71, C 1, S 7","George Mason University. Libraries. Special Collections Research Center","Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet","Lavigne, Mary","Graham, Martha","Marceau, Marcel","English\n,       German\n."],"collection_title_tesim":["Mary Lavigne programs collection"],"collection_ssim":["Mary Lavigne programs collection"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0417","/repositories/2/resources/691"],"unitid_tesim":["C0417","/repositories/2/resources/691"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Broadway (New York, N.Y.)","Richmond (Va.)","Berlin (Germany)","London (England)"],"geogname_ssim":["Broadway (New York, N.Y.)","Richmond (Va.)","Berlin (Germany)","London (England)"],"places_ssim":["Broadway (New York, N.Y.)","Richmond (Va.)","Berlin (Germany)","London (England)"],"creator_ssm":["Lavigne, Mary"],"creator_ssim":["Lavigne, Mary"],"creator_persname_ssim":["Lavigne, Mary","Graham, Martha","Marceau, Marcel"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet"],"creators_ssim":["Lavigne, Mary","Graham, Martha","Marceau, Marcel","George Mason University. Libraries. Special Collections Research Center","Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet"],"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 in 2019 by Mary Lavigne."],"access_subjects_ssim":["Performing arts","Musical Theater","Musical Theater -- New York (State) -- New York","Theater","Theater -- New York (State) -- New York","Theater programs","Theater -- Washington (D.C.)","Ballet","Dance","Opera","Art","Art -- Exhibitions"],"access_subjects_ssm":["Performing arts","Musical Theater","Musical Theater -- New York (State) -- New York","Theater","Theater -- New York (State) -- New York","Theater programs","Theater -- Washington (D.C.)","Ballet","Dance","Opera","Art","Art -- Exhibitions"],"has_online_content_ssim":["false"],"extent_ssm":["2 Linear Feet 4 boxes"],"extent_tesim":["2 Linear Feet 4 boxes"],"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 show title and then chronologically.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged alphabetically by show title and then chronologically."],"bibliography_html_tesm":["\u003cp\u003e\"Fascinating History of Theater Programs.\" 2020. The Smith Center. July 13, 2020. https://thesmithcenter.com/explore/smith-center-blog/the-fascinating-history-of-theater-programs/.\u003c/p\u003e","\u003cp\u003eHiggins, Sydney. 2009. \"A History of Playbills and Theatre Programs.\" 2009. http://www.ikjordan.plus.com/Players/Playbills/index.html.\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["\"Fascinating History of Theater Programs.\" 2020. The Smith Center. July 13, 2020. https://thesmithcenter.com/explore/smith-center-blog/the-fascinating-history-of-theater-programs/.","Higgins, Sydney. 2009. \"A History of Playbills and Theatre Programs.\" 2009. http://www.ikjordan.plus.com/Players/Playbills/index.html."],"bioghist_html_tesm":["\u003cp\u003eDating back to at least the 18th century, the term \"bill\" has been used to refer to printed advertisements for a theatrical event, starting first with small printed sheets delivered by hand and known as \"handbills.\" By the middle of the 19th century, the word \"bill\" was used to refer to large printed papers that were posted in public places and provided information about a theatrical production. The word \"programme\" or \"program\" came into use in the mid-19th century to refer to short printed pamphlets, containing a cast list, that was handed to audience members attending a theatrical performance. However, by the 1870s, the status of these as one of the only printed papers that were free and widely distributed led to the introduction of advertising into these play \"bills\" or \"programs.\"\u003c/p\u003e","\u003cp\u003eSeeing an opportunity, in 1884 New York businessman Frank Vance Strauss created the first company to specialize in printing theatrical programs that would be provided free of charge to New York City's larger playhouses. Introducing the standard format for theatrical programs still in use today, Strauss' company expanded the short printed pamphlets into magazine-style multi-page programs containing short articles, advertisements, and information about the individual productions that changed weekly. Known in 1911 as the \"Strauss Magazine Theatre Program\", the publication would formally adopt the name \"The Playbill\" in 1934. These higher quality programs led to a new practice of keeping and collecting programs as souvenirs, leading to the creation of specially produced \"Souvenir Programs\" that were filled with full-color illustrations, photographs, and more detailed information on the productions and performers.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Dating back to at least the 18th century, the term \"bill\" has been used to refer to printed advertisements for a theatrical event, starting first with small printed sheets delivered by hand and known as \"handbills.\" By the middle of the 19th century, the word \"bill\" was used to refer to large printed papers that were posted in public places and provided information about a theatrical production. The word \"programme\" or \"program\" came into use in the mid-19th century to refer to short printed pamphlets, containing a cast list, that was handed to audience members attending a theatrical performance. However, by the 1870s, the status of these as one of the only printed papers that were free and widely distributed led to the introduction of advertising into these play \"bills\" or \"programs.\"","Seeing an opportunity, in 1884 New York businessman Frank Vance Strauss created the first company to specialize in printing theatrical programs that would be provided free of charge to New York City's larger playhouses. Introducing the standard format for theatrical programs still in use today, Strauss' company expanded the short printed pamphlets into magazine-style multi-page programs containing short articles, advertisements, and information about the individual productions that changed weekly. Known in 1911 as the \"Strauss Magazine Theatre Program\", the publication would formally adopt the name \"The Playbill\" in 1934. These higher quality programs led to a new practice of keeping and collecting programs as souvenirs, leading to the creation of specially produced \"Souvenir Programs\" that were filled with full-color illustrations, photographs, and more detailed information on the productions and performers."],"prefercite_html_tesm":["\u003cp\u003eMary Lavigne programs collection, C0417, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e  "],"prefercite_tesim":["Mary Lavigne programs collection, C0417, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessing and finding aid completed by Meghan Glasbrenner from November 2023 - January 2024.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and finding aid completed by Meghan Glasbrenner from November 2023 - January 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other performing arts collections, including other collections of theatrical programs such as the \u003ca href=\"https://aspace.gmu.edu/resources/c0184\"\u003eCharles Rodrigues playbill collection\u003c/a\u003e, and the \u003ca href=\"https://aspace.gmu.edu/resources/c0015\"\u003eVirginia Nelson playbills collection\u003c/a\u003e.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds other performing arts collections, including other collections of theatrical programs such as the Charles Rodrigues playbill collection, and the Virginia Nelson playbills collection."],"scopecontent_html_tesm":["\u003cp\u003eA collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne. Programs include a mix of types including colorful souvenir booklets and Broadway \u003ctitle\u003ePlaybill\u003c/title\u003e editions. Most programs include various inserts, including cast change notices and newspaper clippings, which have been removed and placed in the folder with the program. A number of the programs were also originally grouped into two small binders. All of these specifics have been noted at the folder level where applicable.\u003c/p\u003e  ","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXVII, No. 1. Includes \"Revised Program\" insert.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. V, No. 12. Metropolitan Opera New Production. Libretto by A. Ghislanzoni, music by Giuseppe Verdi.\u003c/p\u003e","\u003cp\u003eAt the Virginia Museum Theatre\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Marcelle Murette, English adaptation by Guy Bolton. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 8. Written by Jerome Lawrence and Robert E. Lee. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Maxwell Anderson. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Fourth performance by the New York City Opera Company. Includes NY City Center flyer and newspaper clipping about the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXVIII, No. 9.\u003c/p\u003e","\u003cp\u003eIncludes ticket stub for Mosque Theatre April 29, 1954\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eThe Barber of Seville\u003c/title\u003e, libretto by Cesare Sterbini, music by Gioacchino Rossini. Season 1954-1955.\u003c/p\u003e","\u003cp\u003eItem is in German\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Sandy Wilson. July program includes cast change note insert and was removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Music and lyrics by Irving Berlin, book by Howard Lindsay and Russel Crouse. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Music and lyrics by Cole Porter, book by Abe Burrows. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eIncludes cast change note insert\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Tennessee Williams. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 4. Written by William Saroyan; Bijou Theatre Series Production No. 3. Removed from binder 1 of 2. Includes 3 newspaper clippings, including one duplicate of a review by Brooks Atkinson.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Enid Bagnold. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 8. Written by William Wycherley. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eWritten by Arthur Miller\u003c/p\u003e","\u003cp\u003eFeaturing Emily Frankel and Mark Ryder\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 5. Written by William Inge. Removed from binder 1 of 2. Includes magazine clipping of a cartoon depicting characters from play.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Frances Goodrich and Albert Hackett. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eLibretto by Lorenzo Da Ponte, music by Wolfgang Amadeus Mozart. Season 1957-1958.\u003c/p\u003e","\u003cp\u003e\"This is the first exhibition of the original works in wax by Degas from which the series of bronzes were cast by A.-A. Hébrard\". M. Knoedler \u0026amp; Company, Inc.\u003c/p\u003e","\u003cp\u003eOff-B'way Showbill. Written by Samuel Beckett; American Premiere.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 9. Written by John Osborne. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Book by S.N. Behrman and Joshua Logan, music and lyrics by Harold Rome. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eLibretto by Jules Barbier and Michel Carré, music by Charles Gounod. Season 1955-1956.\u003c/p\u003e","\u003cp\u003eThe Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. V, No. 2. The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin. Includes ticket stub and flyer; program has handwritten note on front cover.\u003c/p\u003e","\u003cp\u003eWritten by Tennessee Williams\u003c/p\u003e","\u003cp\u003eWerner Singer at the Piano\u003c/p\u003e","\u003cp\u003e\"In Honor of Professor Mabel Kate Whiteside, Teacher of Greek, 1904-1954\"\u003c/p\u003e","\u003cp\u003e38th Season, 15th Concert. Featuring The Goldman Band, Edwin Franko Goldman, Conductor.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by John Van Druten. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eWritten by Eugene O'Neill\u003c/p\u003e","\u003cp\u003eManson Hall\u003c/p\u003e","\u003cp\u003eSmith Memorial Auditorium\u003c/p\u003e","\u003cp\u003eOff-B'way Showbill. Includes ticket stubs.\u003c/p\u003e","\u003cp\u003eIncludes newspaper clipping on Jose Limon's \"Missa Brevis\" from May 18, 1958\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXX, No. 12. Metropolitan Opera New Production. Libretto by F. M. Piave, music by Giuseppe Verdi. Includes 2 newspaper clippings on \u003ctitle\u003eA Streetcar Named Desire\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Graham Greene. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXVIII, No. 6.\u003c/p\u003e","\u003cp\u003e21st Season\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Eugene O'Neill. Both removed from binder 1 of 2. December 1956 program includes The Actor's Fund donation insert. October 1957 \u003ctitle\u003ePlaybill\u003c/title\u003e: Vol. 1, No. 3.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 5. Written by John Osborne. Removed from binder 1 of 2. Includes newspaper clipping about the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 16. Written by Ketti Frings. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eLibretto by Salvatore Cammarano, music by Gaetano Donizetti. Season 1956-1957.\u003c/p\u003e","\u003cp\u003eLibretto by Luigi Illica and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958. Includes magazine clipping on the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by George Bernard Shaw. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eSmith Memorial Hall. Repertory by Marcel Marceau.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 4\u003c/p\u003e","\u003cp\u003eInscription on last page\u003c/p\u003e","\u003cp\u003eInscription inside front cover\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Both programs Vol. 2, No. 14.\u003c/p\u003e","\u003cp\u003eInstitute of Contemporary Arts, Twentieth Anniversary Year. Includes 2 copies of season schedule insert.\u003c/p\u003e","\u003cp\u003eOff-B'way Showbill. Written by Friedrich Schiller, new adaptation by Jean Stock Goldstone and John Reich. Includes 2 newspaper clippings about the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Thornton Wilder. Both removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eAntal Dorati, Conductor and Gerard Samuel, Assistant Conductor\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Joshua Logan and Thomas Heggen. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 10. Written by Dorothy and Michael Blankfort. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Book, music, and lyrics by Frank Loesser. Removed from binder 2 of 2. Includes cast change note insert.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Lyrics and book/libretto by Alan Jay Lerner, music by Frederick Loewe. Includes two copies of August 1956 program; copy with date written on front and February 1958 programs both removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eSmith Memorial Hall. Founded by Hans Kindler in 1931, Howard Mitchell Music Director, 26th Season.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 8 (1957) and Vol. 2, No. 1 (1958). New York City Ballet Company, Winter Season 1957-1958.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eStagebill\u003c/title\u003e, Volume III, No. 8\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958). Includes magazine clipping on the show.\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eManson Hall\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Ira Levin. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 8. Written by Noel Coward. Removed from binder 2 of 2. Includes newspaper clipping on the show.\u003c/p\u003e","\u003cp\u003eLibretto by Arrigo Boito, music by Guiseppe Verdi. Season 1957-1958. Includes special ticket for Working Rehearsal on March 18 and a magazine and newspaper clipping about the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Book by George Abbott and Richard Bissell, music and lyrics by Richard Adler, and Jerry Ross. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eWritten by Robert E. Sherwood\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. V, No. 4. Eugene Ormandy, Music Director-Conductor.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eMusic by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin\u003c/p\u003e","\u003cp\u003eMusic by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Radio Station WRVA presentation.\u003c/p\u003e","\u003cp\u003eMusic by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Includes Act scene summary insert and inscription on first page.\u003c/p\u003e","\u003cp\u003eSmith Memorial Building; with Lucile Turner, Contralto and The Randolph-Macon Glee Club, Jack Moehlenkamp, Pianist.\u003c/p\u003e","\u003cp\u003eRobert Shaw, Conductor\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 4. Written by Morton Wishengrad. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eFormerly the Sadler's Wells Ballet\u003c/p\u003e","\u003cp\u003e\"Under the Patronage of His Majesty King Frederik IX of Denmark, First Visit to America of the Royal Danish Ballet\" from the Royal Theatre in Copenhagen\u003c/p\u003e","\u003cp\u003eMagazine II. Howard Mitchell, Director.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. V, No. 8\u003c/p\u003e","\u003cp\u003eCovent Garden Books No. 9\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Two plays by Terence Rattigan. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Joseph Kramm. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXVII, No. 3\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Music by Richard Rodgers, lyrics and book/libretto by Oscar Hammerstein II, book by Joshua Logan. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Robert Anderson. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eJose Limon and Dance Company with Pauline Koner, at the Virginia Museum Theatre\u003c/p\u003e","\u003cp\u003eMusic by Kurt Weill, book and lyrics/libretto by Bertolt (listed in program as Bert) Brecht, English adaptation of book and lyrics by Marc Blitzstein. Each program includes a cast change note insert.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Jean Giraudoux, translated by Christopher Fry. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, Nos. 4 and 20. Written by Jean Anouilh, English version by Patricia Moyes. Both removed from binder 2 of 2. January program includes magazine clipping of a cartoon depicting characters from play and May program includes a newspaper clipping photo of Helen Hayes.\u003c/p\u003e","\u003cp\u003eLibretto by Victorien Sardou, Luigi Illica, and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958.\u003c/p\u003e","\u003cp\u003eA New Play by Norman Rose, based on Dostoyevsky's \"The Brothers Karamazov\".\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 15. Written by William Gibson. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eTwo copies\u003c/p\u003e","\u003cp\u003eWritten by Anton Chekhov, translated by Stark Young. Third production in \"A Cycle of Four Chekhov Plays\".\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Arthur Miller. Two copies; one removed from binder 2 of 2 and includes a promotional flyer insert on the show.\u003c/p\u003e","\u003cp\u003eAdapted and staged by Margaret Perry. Front cover has possible pencil signature from founder and actor Robert Porterfield.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 21. Written by Friedrich Duerrenmatt, adapted by Maurice Valency. Removed from binder 2 of 2. Includes newspaper clipping on the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 4. Book by Arthur Laurents, music by Leonard Bernstein, and lyrics by Stephen Sondheim. Removed from binder 2 of 2. Includes cast change note insert.\u003c/p\u003e","\u003cp\u003eIncludes pamphlet advertising recordings by Bernstein. Both items in German.\u003c/p\u003e","\u003cp\u003eDavid Stimer at the Piano\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Agatha Christie. Removed from binder 2 of 2.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content"],"scopecontent_tesim":["A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne. Programs include a mix of types including colorful souvenir booklets and Broadway Playbill editions. Most programs include various inserts, including cast change notices and newspaper clippings, which have been removed and placed in the folder with the program. A number of the programs were also originally grouped into two small binders. All of these specifics have been noted at the folder level where applicable.","Musical Celebrities: The Concert Magazine, Vol. XXVII, No. 1. Includes \"Revised Program\" insert.","Musical Celebrities: The Concert Magazine, Vol. V, No. 12. Metropolitan Opera New Production. Libretto by A. Ghislanzoni, music by Giuseppe Verdi.","At the Virginia Museum Theatre","Playbill. Written by Marcelle Murette, English adaptation by Guy Bolton. Removed from binder 1 of 2.","Playbill, Vol. 1, No. 8. Written by Jerome Lawrence and Robert E. Lee. Removed from binder 1 of 2.","Playbill. Written by Maxwell Anderson. Removed from binder 1 of 2.","Playbill. Fourth performance by the New York City Opera Company. Includes NY City Center flyer and newspaper clipping about the show.","Musical Celebrities: The Concert Magazine, Vol. XXVIII, No. 9.","Includes ticket stub for Mosque Theatre April 29, 1954","The Barber of Seville, libretto by Cesare Sterbini, music by Gioacchino Rossini. Season 1954-1955.","Item is in German","Playbill. Written by Sandy Wilson. July program includes cast change note insert and was removed from binder 1 of 2.","Playbill. Music and lyrics by Irving Berlin, book by Howard Lindsay and Russel Crouse. Removed from binder 1 of 2.","Playbill. Music and lyrics by Cole Porter, book by Abe Burrows. Removed from binder 1 of 2.","Includes cast change note insert","Playbill. Written by Tennessee Williams. Removed from binder 1 of 2.","Playbill, Vol. 1, No. 4. Written by William Saroyan; Bijou Theatre Series Production No. 3. Removed from binder 1 of 2. Includes 3 newspaper clippings, including one duplicate of a review by Brooks Atkinson.","Playbill. Written by Enid Bagnold. Removed from binder 1 of 2.","Playbill, Vol. 1, No. 8. Written by William Wycherley. Removed from binder 1 of 2.","Written by Arthur Miller","Featuring Emily Frankel and Mark Ryder","Playbill, Vol. 2, No. 5. Written by William Inge. Removed from binder 1 of 2. Includes magazine clipping of a cartoon depicting characters from play.","Playbill. Written by Frances Goodrich and Albert Hackett. Removed from binder 1 of 2.","Libretto by Lorenzo Da Ponte, music by Wolfgang Amadeus Mozart. Season 1957-1958.","\"This is the first exhibition of the original works in wax by Degas from which the series of bronzes were cast by A.-A. Hébrard\". M. Knoedler \u0026 Company, Inc.","Off-B'way Showbill. Written by Samuel Beckett; American Premiere.","Playbill, Vol. 2, No. 9. Written by John Osborne. Removed from binder 1 of 2.","Playbill. Book by S.N. Behrman and Joshua Logan, music and lyrics by Harold Rome. Removed from binder 1 of 2.","Libretto by Jules Barbier and Michel Carré, music by Charles Gounod. Season 1955-1956.","The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin.","Musical Celebrities: The Concert Magazine, Vol. V, No. 2. The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin. Includes ticket stub and flyer; program has handwritten note on front cover.","Written by Tennessee Williams","Werner Singer at the Piano","\"In Honor of Professor Mabel Kate Whiteside, Teacher of Greek, 1904-1954\"","38th Season, 15th Concert. Featuring The Goldman Band, Edwin Franko Goldman, Conductor.","Playbill. Written by John Van Druten. Removed from binder 1 of 2.","Written by Eugene O'Neill","Manson Hall","Smith Memorial Auditorium","Off-B'way Showbill. Includes ticket stubs.","Includes newspaper clipping on Jose Limon's \"Missa Brevis\" from May 18, 1958","Musical Celebrities: The Concert Magazine, Vol. XXX, No. 12. Metropolitan Opera New Production. Libretto by F. M. Piave, music by Giuseppe Verdi. Includes 2 newspaper clippings on A Streetcar Named Desire.","Playbill. Written by Graham Greene. Removed from binder 1 of 2.","Musical Celebrities: The Concert Magazine, Vol. XXVIII, No. 6.","21st Season","Playbill. Written by Eugene O'Neill. Both removed from binder 1 of 2. December 1956 program includes The Actor's Fund donation insert. October 1957 Playbill: Vol. 1, No. 3.","Playbill, Vol. 2, No. 5. Written by John Osborne. Removed from binder 1 of 2. Includes newspaper clipping about the show.","Playbill, Vol. 2, No. 16. Written by Ketti Frings. Removed from binder 1 of 2.","Libretto by Salvatore Cammarano, music by Gaetano Donizetti. Season 1956-1957.","Libretto by Luigi Illica and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958. Includes magazine clipping on the show.","Playbill. Written by George Bernard Shaw. Removed from binder 1 of 2.","Smith Memorial Hall. Repertory by Marcel Marceau.","Playbill, Vol. 2, No. 4","Inscription on last page","Inscription inside front cover","Playbill. Both programs Vol. 2, No. 14.","Institute of Contemporary Arts, Twentieth Anniversary Year. Includes 2 copies of season schedule insert.","Off-B'way Showbill. Written by Friedrich Schiller, new adaptation by Jean Stock Goldstone and John Reich. Includes 2 newspaper clippings about the show.","Playbill. Written by Thornton Wilder. Both removed from binder 1 of 2.","Antal Dorati, Conductor and Gerard Samuel, Assistant Conductor","Playbill. Written by Joshua Logan and Thomas Heggen. Removed from binder 2 of 2.","Playbill, Vol. 1, No. 10. Written by Dorothy and Michael Blankfort. Removed from binder 2 of 2.","Playbill. Book, music, and lyrics by Frank Loesser. Removed from binder 2 of 2. Includes cast change note insert.","Playbill. Lyrics and book/libretto by Alan Jay Lerner, music by Frederick Loewe. Includes two copies of August 1956 program; copy with date written on front and February 1958 programs both removed from binder 2 of 2.","Smith Memorial Hall. Founded by Hans Kindler in 1931, Howard Mitchell Music Director, 26th Season.","Playbill","Playbill, Vol. 1, No. 8 (1957) and Vol. 2, No. 1 (1958). New York City Ballet Company, Winter Season 1957-1958.","Stagebill, Volume III, No. 8","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958). Includes magazine clipping on the show.","One Hundred Sixteenth Season (1957-1958)","Manson Hall","Playbill. Written by Ira Levin. Removed from binder 2 of 2.","Playbill, Vol. 1, No. 8. Written by Noel Coward. Removed from binder 2 of 2. Includes newspaper clipping on the show.","Libretto by Arrigo Boito, music by Guiseppe Verdi. Season 1957-1958. Includes special ticket for Working Rehearsal on March 18 and a magazine and newspaper clipping about the show.","Playbill. Book by George Abbott and Richard Bissell, music and lyrics by Richard Adler, and Jerry Ross. Removed from binder 2 of 2.","Written by Robert E. Sherwood","Musical Celebrities: The Concert Magazine, Vol. V, No. 4. Eugene Ormandy, Music Director-Conductor.","Playbill. Removed from binder 2 of 2.","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Radio Station WRVA presentation.","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Includes Act scene summary insert and inscription on first page.","Smith Memorial Building; with Lucile Turner, Contralto and The Randolph-Macon Glee Club, Jack Moehlenkamp, Pianist.","Robert Shaw, Conductor","Playbill, Vol. 2, No. 4. Written by Morton Wishengrad. Removed from binder 2 of 2.","Formerly the Sadler's Wells Ballet","\"Under the Patronage of His Majesty King Frederik IX of Denmark, First Visit to America of the Royal Danish Ballet\" from the Royal Theatre in Copenhagen","Magazine II. Howard Mitchell, Director.","Musical Celebrities: The Concert Magazine, Vol. V, No. 8","Covent Garden Books No. 9","Playbill. Two plays by Terence Rattigan. Removed from binder 2 of 2.","Playbill. Written by Joseph Kramm. Removed from binder 2 of 2.","Musical Celebrities: The Concert Magazine, Vol. XXVII, No. 3","Playbill. Music by Richard Rodgers, lyrics and book/libretto by Oscar Hammerstein II, book by Joshua Logan. Removed from binder 2 of 2.","Playbill. Written by Robert Anderson. Removed from binder 2 of 2.","Jose Limon and Dance Company with Pauline Koner, at the Virginia Museum Theatre","Music by Kurt Weill, book and lyrics/libretto by Bertolt (listed in program as Bert) Brecht, English adaptation of book and lyrics by Marc Blitzstein. Each program includes a cast change note insert.","Playbill. Written by Jean Giraudoux, translated by Christopher Fry. Removed from binder 2 of 2.","Playbill, Vol. 2, Nos. 4 and 20. Written by Jean Anouilh, English version by Patricia Moyes. Both removed from binder 2 of 2. January program includes magazine clipping of a cartoon depicting characters from play and May program includes a newspaper clipping photo of Helen Hayes.","Libretto by Victorien Sardou, Luigi Illica, and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958.","A New Play by Norman Rose, based on Dostoyevsky's \"The Brothers Karamazov\".","Playbill, Vol. 2, No. 15. Written by William Gibson. Removed from binder 2 of 2.","Two copies","Written by Anton Chekhov, translated by Stark Young. Third production in \"A Cycle of Four Chekhov Plays\".","Playbill. Written by Arthur Miller. Two copies; one removed from binder 2 of 2 and includes a promotional flyer insert on the show.","Adapted and staged by Margaret Perry. Front cover has possible pencil signature from founder and actor Robert Porterfield.","Playbill, Vol. 2, No. 21. Written by Friedrich Duerrenmatt, adapted by Maurice Valency. Removed from binder 2 of 2. Includes newspaper clipping on the show.","Playbill, Vol. 2, No. 4. Book by Arthur Laurents, music by Leonard Bernstein, and lyrics by Stephen Sondheim. Removed from binder 2 of 2. Includes cast change note insert.","Includes pamphlet advertising recordings by Bernstein. Both items in German.","David Stimer at the Piano","Playbill. Written by Agatha Christie. Removed from binder 2 of 2."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_a8c54c9980d86e35454eaa6e8fcb0ba6\"\u003eA collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne.\u003c/abstract\u003e\n    "],"abstract_tesim":["A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_d4e66d1c2241266f9e38d78e5e3d12eb\"\u003eR 71, C 1, S 7\u003c/physloc\u003e\n    "],"physloc_tesim":["R 71, C 1, S 7"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet"],"names_coll_ssim":["Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet","Graham, Martha","Marceau, Marcel"],"persname_ssim":["Lavigne, Mary","Graham, Martha","Marceau, Marcel"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet","Lavigne, Mary","Graham, Martha","Marceau, Marcel"],"language_ssim":["English\n,       German\n."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":131,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:55:37.302Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_691","ead_ssi":"vifgm_repositories_2_resources_691","_root_":"vifgm_repositories_2_resources_691","_nest_parent_":"vifgm_repositories_2_resources_691","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_691.xml","title_ssm":["Mary Lavigne programs collection"],"title_tesim":["Mary Lavigne programs collection"],"unitdate_ssm":["1950s-1980s"],"unitdate_inclusive_ssm":["1950s-1980s"],"normalized_title_ssm":["Mary Lavigne programs collection"],"text":["Mary Lavigne programs collection","C0417","/repositories/2/resources/691","Broadway (New York, N.Y.)","Richmond (Va.)","Berlin (Germany)","London (England)","Performing arts","Musical Theater","Musical Theater -- New York (State) -- New York","Theater","Theater -- New York (State) -- New York","Theater programs","Theater -- Washington (D.C.)","Ballet","Dance","Opera","Art","Art -- Exhibitions","There are no access restrictions.","This collection is arranged alphabetically by show title and then chronologically.","\"Fascinating History of Theater Programs.\" 2020. The Smith Center. July 13, 2020. https://thesmithcenter.com/explore/smith-center-blog/the-fascinating-history-of-theater-programs/.","Higgins, Sydney. 2009. \"A History of Playbills and Theatre Programs.\" 2009. http://www.ikjordan.plus.com/Players/Playbills/index.html.","Dating back to at least the 18th century, the term \"bill\" has been used to refer to printed advertisements for a theatrical event, starting first with small printed sheets delivered by hand and known as \"handbills.\" By the middle of the 19th century, the word \"bill\" was used to refer to large printed papers that were posted in public places and provided information about a theatrical production. The word \"programme\" or \"program\" came into use in the mid-19th century to refer to short printed pamphlets, containing a cast list, that was handed to audience members attending a theatrical performance. However, by the 1870s, the status of these as one of the only printed papers that were free and widely distributed led to the introduction of advertising into these play \"bills\" or \"programs.\"","Seeing an opportunity, in 1884 New York businessman Frank Vance Strauss created the first company to specialize in printing theatrical programs that would be provided free of charge to New York City's larger playhouses. Introducing the standard format for theatrical programs still in use today, Strauss' company expanded the short printed pamphlets into magazine-style multi-page programs containing short articles, advertisements, and information about the individual productions that changed weekly. Known in 1911 as the \"Strauss Magazine Theatre Program\", the publication would formally adopt the name \"The Playbill\" in 1934. These higher quality programs led to a new practice of keeping and collecting programs as souvenirs, leading to the creation of specially produced \"Souvenir Programs\" that were filled with full-color illustrations, photographs, and more detailed information on the productions and performers.","Processing and finding aid completed by Meghan Glasbrenner from November 2023 - January 2024.","The Special Collections Research Center holds other performing arts collections, including other collections of theatrical programs such as the Charles Rodrigues playbill collection, and the Virginia Nelson playbills collection.","A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne. Programs include a mix of types including colorful souvenir booklets and Broadway Playbill editions. Most programs include various inserts, including cast change notices and newspaper clippings, which have been removed and placed in the folder with the program. A number of the programs were also originally grouped into two small binders. All of these specifics have been noted at the folder level where applicable.","Musical Celebrities: The Concert Magazine, Vol. XXVII, No. 1. Includes \"Revised Program\" insert.","Musical Celebrities: The Concert Magazine, Vol. V, No. 12. Metropolitan Opera New Production. Libretto by A. Ghislanzoni, music by Giuseppe Verdi.","At the Virginia Museum Theatre","Playbill. Written by Marcelle Murette, English adaptation by Guy Bolton. Removed from binder 1 of 2.","Playbill, Vol. 1, No. 8. Written by Jerome Lawrence and Robert E. Lee. Removed from binder 1 of 2.","Playbill. Written by Maxwell Anderson. Removed from binder 1 of 2.","Playbill. Fourth performance by the New York City Opera Company. Includes NY City Center flyer and newspaper clipping about the show.","Musical Celebrities: The Concert Magazine, Vol. XXVIII, No. 9.","Includes ticket stub for Mosque Theatre April 29, 1954","The Barber of Seville, libretto by Cesare Sterbini, music by Gioacchino Rossini. Season 1954-1955.","Item is in German","Playbill. Written by Sandy Wilson. July program includes cast change note insert and was removed from binder 1 of 2.","Playbill. Music and lyrics by Irving Berlin, book by Howard Lindsay and Russel Crouse. Removed from binder 1 of 2.","Playbill. Music and lyrics by Cole Porter, book by Abe Burrows. Removed from binder 1 of 2.","Includes cast change note insert","Playbill. Written by Tennessee Williams. Removed from binder 1 of 2.","Playbill, Vol. 1, No. 4. Written by William Saroyan; Bijou Theatre Series Production No. 3. Removed from binder 1 of 2. Includes 3 newspaper clippings, including one duplicate of a review by Brooks Atkinson.","Playbill. Written by Enid Bagnold. Removed from binder 1 of 2.","Playbill, Vol. 1, No. 8. Written by William Wycherley. Removed from binder 1 of 2.","Written by Arthur Miller","Featuring Emily Frankel and Mark Ryder","Playbill, Vol. 2, No. 5. Written by William Inge. Removed from binder 1 of 2. Includes magazine clipping of a cartoon depicting characters from play.","Playbill. Written by Frances Goodrich and Albert Hackett. Removed from binder 1 of 2.","Libretto by Lorenzo Da Ponte, music by Wolfgang Amadeus Mozart. Season 1957-1958.","\"This is the first exhibition of the original works in wax by Degas from which the series of bronzes were cast by A.-A. Hébrard\". M. Knoedler \u0026 Company, Inc.","Off-B'way Showbill. Written by Samuel Beckett; American Premiere.","Playbill, Vol. 2, No. 9. Written by John Osborne. Removed from binder 1 of 2.","Playbill. Book by S.N. Behrman and Joshua Logan, music and lyrics by Harold Rome. Removed from binder 1 of 2.","Libretto by Jules Barbier and Michel Carré, music by Charles Gounod. Season 1955-1956.","The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin.","Musical Celebrities: The Concert Magazine, Vol. V, No. 2. The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin. Includes ticket stub and flyer; program has handwritten note on front cover.","Written by Tennessee Williams","Werner Singer at the Piano","\"In Honor of Professor Mabel Kate Whiteside, Teacher of Greek, 1904-1954\"","38th Season, 15th Concert. Featuring The Goldman Band, Edwin Franko Goldman, Conductor.","Playbill. Written by John Van Druten. Removed from binder 1 of 2.","Written by Eugene O'Neill","Manson Hall","Smith Memorial Auditorium","Off-B'way Showbill. Includes ticket stubs.","Includes newspaper clipping on Jose Limon's \"Missa Brevis\" from May 18, 1958","Musical Celebrities: The Concert Magazine, Vol. XXX, No. 12. Metropolitan Opera New Production. Libretto by F. M. Piave, music by Giuseppe Verdi. Includes 2 newspaper clippings on A Streetcar Named Desire.","Playbill. Written by Graham Greene. Removed from binder 1 of 2.","Musical Celebrities: The Concert Magazine, Vol. XXVIII, No. 6.","21st Season","Playbill. Written by Eugene O'Neill. Both removed from binder 1 of 2. December 1956 program includes The Actor's Fund donation insert. October 1957 Playbill: Vol. 1, No. 3.","Playbill, Vol. 2, No. 5. Written by John Osborne. Removed from binder 1 of 2. Includes newspaper clipping about the show.","Playbill, Vol. 2, No. 16. Written by Ketti Frings. Removed from binder 1 of 2.","Libretto by Salvatore Cammarano, music by Gaetano Donizetti. Season 1956-1957.","Libretto by Luigi Illica and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958. Includes magazine clipping on the show.","Playbill. Written by George Bernard Shaw. Removed from binder 1 of 2.","Smith Memorial Hall. Repertory by Marcel Marceau.","Playbill, Vol. 2, No. 4","Inscription on last page","Inscription inside front cover","Playbill. Both programs Vol. 2, No. 14.","Institute of Contemporary Arts, Twentieth Anniversary Year. Includes 2 copies of season schedule insert.","Off-B'way Showbill. Written by Friedrich Schiller, new adaptation by Jean Stock Goldstone and John Reich. Includes 2 newspaper clippings about the show.","Playbill. Written by Thornton Wilder. Both removed from binder 1 of 2.","Antal Dorati, Conductor and Gerard Samuel, Assistant Conductor","Playbill. Written by Joshua Logan and Thomas Heggen. Removed from binder 2 of 2.","Playbill, Vol. 1, No. 10. Written by Dorothy and Michael Blankfort. Removed from binder 2 of 2.","Playbill. Book, music, and lyrics by Frank Loesser. Removed from binder 2 of 2. Includes cast change note insert.","Playbill. Lyrics and book/libretto by Alan Jay Lerner, music by Frederick Loewe. Includes two copies of August 1956 program; copy with date written on front and February 1958 programs both removed from binder 2 of 2.","Smith Memorial Hall. Founded by Hans Kindler in 1931, Howard Mitchell Music Director, 26th Season.","Playbill","Playbill, Vol. 1, No. 8 (1957) and Vol. 2, No. 1 (1958). New York City Ballet Company, Winter Season 1957-1958.","Stagebill, Volume III, No. 8","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958). Includes magazine clipping on the show.","One Hundred Sixteenth Season (1957-1958)","Manson Hall","Playbill. Written by Ira Levin. Removed from binder 2 of 2.","Playbill, Vol. 1, No. 8. Written by Noel Coward. Removed from binder 2 of 2. Includes newspaper clipping on the show.","Libretto by Arrigo Boito, music by Guiseppe Verdi. Season 1957-1958. Includes special ticket for Working Rehearsal on March 18 and a magazine and newspaper clipping about the show.","Playbill. Book by George Abbott and Richard Bissell, music and lyrics by Richard Adler, and Jerry Ross. Removed from binder 2 of 2.","Written by Robert E. Sherwood","Musical Celebrities: The Concert Magazine, Vol. V, No. 4. Eugene Ormandy, Music Director-Conductor.","Playbill. Removed from binder 2 of 2.","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Radio Station WRVA presentation.","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Includes Act scene summary insert and inscription on first page.","Smith Memorial Building; with Lucile Turner, Contralto and The Randolph-Macon Glee Club, Jack Moehlenkamp, Pianist.","Robert Shaw, Conductor","Playbill, Vol. 2, No. 4. Written by Morton Wishengrad. Removed from binder 2 of 2.","Formerly the Sadler's Wells Ballet","\"Under the Patronage of His Majesty King Frederik IX of Denmark, First Visit to America of the Royal Danish Ballet\" from the Royal Theatre in Copenhagen","Magazine II. Howard Mitchell, Director.","Musical Celebrities: The Concert Magazine, Vol. V, No. 8","Covent Garden Books No. 9","Playbill. Two plays by Terence Rattigan. Removed from binder 2 of 2.","Playbill. Written by Joseph Kramm. Removed from binder 2 of 2.","Musical Celebrities: The Concert Magazine, Vol. XXVII, No. 3","Playbill. Music by Richard Rodgers, lyrics and book/libretto by Oscar Hammerstein II, book by Joshua Logan. Removed from binder 2 of 2.","Playbill. Written by Robert Anderson. Removed from binder 2 of 2.","Jose Limon and Dance Company with Pauline Koner, at the Virginia Museum Theatre","Music by Kurt Weill, book and lyrics/libretto by Bertolt (listed in program as Bert) Brecht, English adaptation of book and lyrics by Marc Blitzstein. Each program includes a cast change note insert.","Playbill. Written by Jean Giraudoux, translated by Christopher Fry. Removed from binder 2 of 2.","Playbill, Vol. 2, Nos. 4 and 20. Written by Jean Anouilh, English version by Patricia Moyes. Both removed from binder 2 of 2. January program includes magazine clipping of a cartoon depicting characters from play and May program includes a newspaper clipping photo of Helen Hayes.","Libretto by Victorien Sardou, Luigi Illica, and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958.","A New Play by Norman Rose, based on Dostoyevsky's \"The Brothers Karamazov\".","Playbill, Vol. 2, No. 15. Written by William Gibson. Removed from binder 2 of 2.","Two copies","Written by Anton Chekhov, translated by Stark Young. Third production in \"A Cycle of Four Chekhov Plays\".","Playbill. Written by Arthur Miller. Two copies; one removed from binder 2 of 2 and includes a promotional flyer insert on the show.","Adapted and staged by Margaret Perry. Front cover has possible pencil signature from founder and actor Robert Porterfield.","Playbill, Vol. 2, No. 21. Written by Friedrich Duerrenmatt, adapted by Maurice Valency. Removed from binder 2 of 2. Includes newspaper clipping on the show.","Playbill, Vol. 2, No. 4. Book by Arthur Laurents, music by Leonard Bernstein, and lyrics by Stephen Sondheim. Removed from binder 2 of 2. Includes cast change note insert.","Includes pamphlet advertising recordings by Bernstein. Both items in German.","David Stimer at the Piano","Playbill. Written by Agatha Christie. Removed from binder 2 of 2.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne.","R 71, C 1, S 7","George Mason University. Libraries. Special Collections Research Center","Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet","Lavigne, Mary","Graham, Martha","Marceau, Marcel","English\n,       German\n."],"collection_title_tesim":["Mary Lavigne programs collection"],"collection_ssim":["Mary Lavigne programs collection"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0417","/repositories/2/resources/691"],"unitid_tesim":["C0417","/repositories/2/resources/691"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Broadway (New York, N.Y.)","Richmond (Va.)","Berlin (Germany)","London (England)"],"geogname_ssim":["Broadway (New York, N.Y.)","Richmond (Va.)","Berlin (Germany)","London (England)"],"places_ssim":["Broadway (New York, N.Y.)","Richmond (Va.)","Berlin (Germany)","London (England)"],"creator_ssm":["Lavigne, Mary"],"creator_ssim":["Lavigne, Mary"],"creator_persname_ssim":["Lavigne, Mary","Graham, Martha","Marceau, Marcel"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet"],"creators_ssim":["Lavigne, Mary","Graham, Martha","Marceau, Marcel","George Mason University. Libraries. Special Collections Research Center","Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet"],"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 in 2019 by Mary Lavigne."],"access_subjects_ssim":["Performing arts","Musical Theater","Musical Theater -- New York (State) -- New York","Theater","Theater -- New York (State) -- New York","Theater programs","Theater -- Washington (D.C.)","Ballet","Dance","Opera","Art","Art -- Exhibitions"],"access_subjects_ssm":["Performing arts","Musical Theater","Musical Theater -- New York (State) -- New York","Theater","Theater -- New York (State) -- New York","Theater programs","Theater -- Washington (D.C.)","Ballet","Dance","Opera","Art","Art -- Exhibitions"],"has_online_content_ssim":["false"],"extent_ssm":["2 Linear Feet 4 boxes"],"extent_tesim":["2 Linear Feet 4 boxes"],"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 show title and then chronologically.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged alphabetically by show title and then chronologically."],"bibliography_html_tesm":["\u003cp\u003e\"Fascinating History of Theater Programs.\" 2020. The Smith Center. July 13, 2020. https://thesmithcenter.com/explore/smith-center-blog/the-fascinating-history-of-theater-programs/.\u003c/p\u003e","\u003cp\u003eHiggins, Sydney. 2009. \"A History of Playbills and Theatre Programs.\" 2009. http://www.ikjordan.plus.com/Players/Playbills/index.html.\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["\"Fascinating History of Theater Programs.\" 2020. The Smith Center. July 13, 2020. https://thesmithcenter.com/explore/smith-center-blog/the-fascinating-history-of-theater-programs/.","Higgins, Sydney. 2009. \"A History of Playbills and Theatre Programs.\" 2009. http://www.ikjordan.plus.com/Players/Playbills/index.html."],"bioghist_html_tesm":["\u003cp\u003eDating back to at least the 18th century, the term \"bill\" has been used to refer to printed advertisements for a theatrical event, starting first with small printed sheets delivered by hand and known as \"handbills.\" By the middle of the 19th century, the word \"bill\" was used to refer to large printed papers that were posted in public places and provided information about a theatrical production. The word \"programme\" or \"program\" came into use in the mid-19th century to refer to short printed pamphlets, containing a cast list, that was handed to audience members attending a theatrical performance. However, by the 1870s, the status of these as one of the only printed papers that were free and widely distributed led to the introduction of advertising into these play \"bills\" or \"programs.\"\u003c/p\u003e","\u003cp\u003eSeeing an opportunity, in 1884 New York businessman Frank Vance Strauss created the first company to specialize in printing theatrical programs that would be provided free of charge to New York City's larger playhouses. Introducing the standard format for theatrical programs still in use today, Strauss' company expanded the short printed pamphlets into magazine-style multi-page programs containing short articles, advertisements, and information about the individual productions that changed weekly. Known in 1911 as the \"Strauss Magazine Theatre Program\", the publication would formally adopt the name \"The Playbill\" in 1934. These higher quality programs led to a new practice of keeping and collecting programs as souvenirs, leading to the creation of specially produced \"Souvenir Programs\" that were filled with full-color illustrations, photographs, and more detailed information on the productions and performers.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Dating back to at least the 18th century, the term \"bill\" has been used to refer to printed advertisements for a theatrical event, starting first with small printed sheets delivered by hand and known as \"handbills.\" By the middle of the 19th century, the word \"bill\" was used to refer to large printed papers that were posted in public places and provided information about a theatrical production. The word \"programme\" or \"program\" came into use in the mid-19th century to refer to short printed pamphlets, containing a cast list, that was handed to audience members attending a theatrical performance. However, by the 1870s, the status of these as one of the only printed papers that were free and widely distributed led to the introduction of advertising into these play \"bills\" or \"programs.\"","Seeing an opportunity, in 1884 New York businessman Frank Vance Strauss created the first company to specialize in printing theatrical programs that would be provided free of charge to New York City's larger playhouses. Introducing the standard format for theatrical programs still in use today, Strauss' company expanded the short printed pamphlets into magazine-style multi-page programs containing short articles, advertisements, and information about the individual productions that changed weekly. Known in 1911 as the \"Strauss Magazine Theatre Program\", the publication would formally adopt the name \"The Playbill\" in 1934. These higher quality programs led to a new practice of keeping and collecting programs as souvenirs, leading to the creation of specially produced \"Souvenir Programs\" that were filled with full-color illustrations, photographs, and more detailed information on the productions and performers."],"prefercite_html_tesm":["\u003cp\u003eMary Lavigne programs collection, C0417, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e  "],"prefercite_tesim":["Mary Lavigne programs collection, C0417, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessing and finding aid completed by Meghan Glasbrenner from November 2023 - January 2024.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and finding aid completed by Meghan Glasbrenner from November 2023 - January 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other performing arts collections, including other collections of theatrical programs such as the \u003ca href=\"https://aspace.gmu.edu/resources/c0184\"\u003eCharles Rodrigues playbill collection\u003c/a\u003e, and the \u003ca href=\"https://aspace.gmu.edu/resources/c0015\"\u003eVirginia Nelson playbills collection\u003c/a\u003e.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds other performing arts collections, including other collections of theatrical programs such as the Charles Rodrigues playbill collection, and the Virginia Nelson playbills collection."],"scopecontent_html_tesm":["\u003cp\u003eA collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne. Programs include a mix of types including colorful souvenir booklets and Broadway \u003ctitle\u003ePlaybill\u003c/title\u003e editions. Most programs include various inserts, including cast change notices and newspaper clippings, which have been removed and placed in the folder with the program. A number of the programs were also originally grouped into two small binders. All of these specifics have been noted at the folder level where applicable.\u003c/p\u003e  ","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXVII, No. 1. Includes \"Revised Program\" insert.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. V, No. 12. Metropolitan Opera New Production. Libretto by A. Ghislanzoni, music by Giuseppe Verdi.\u003c/p\u003e","\u003cp\u003eAt the Virginia Museum Theatre\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Marcelle Murette, English adaptation by Guy Bolton. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 8. Written by Jerome Lawrence and Robert E. Lee. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Maxwell Anderson. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Fourth performance by the New York City Opera Company. Includes NY City Center flyer and newspaper clipping about the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXVIII, No. 9.\u003c/p\u003e","\u003cp\u003eIncludes ticket stub for Mosque Theatre April 29, 1954\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eThe Barber of Seville\u003c/title\u003e, libretto by Cesare Sterbini, music by Gioacchino Rossini. Season 1954-1955.\u003c/p\u003e","\u003cp\u003eItem is in German\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Sandy Wilson. July program includes cast change note insert and was removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Music and lyrics by Irving Berlin, book by Howard Lindsay and Russel Crouse. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Music and lyrics by Cole Porter, book by Abe Burrows. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eIncludes cast change note insert\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Tennessee Williams. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 4. Written by William Saroyan; Bijou Theatre Series Production No. 3. Removed from binder 1 of 2. Includes 3 newspaper clippings, including one duplicate of a review by Brooks Atkinson.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Enid Bagnold. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 8. Written by William Wycherley. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eWritten by Arthur Miller\u003c/p\u003e","\u003cp\u003eFeaturing Emily Frankel and Mark Ryder\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 5. Written by William Inge. Removed from binder 1 of 2. Includes magazine clipping of a cartoon depicting characters from play.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Frances Goodrich and Albert Hackett. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eLibretto by Lorenzo Da Ponte, music by Wolfgang Amadeus Mozart. Season 1957-1958.\u003c/p\u003e","\u003cp\u003e\"This is the first exhibition of the original works in wax by Degas from which the series of bronzes were cast by A.-A. Hébrard\". M. Knoedler \u0026amp; Company, Inc.\u003c/p\u003e","\u003cp\u003eOff-B'way Showbill. Written by Samuel Beckett; American Premiere.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 9. Written by John Osborne. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Book by S.N. Behrman and Joshua Logan, music and lyrics by Harold Rome. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eLibretto by Jules Barbier and Michel Carré, music by Charles Gounod. Season 1955-1956.\u003c/p\u003e","\u003cp\u003eThe Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. V, No. 2. The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin. Includes ticket stub and flyer; program has handwritten note on front cover.\u003c/p\u003e","\u003cp\u003eWritten by Tennessee Williams\u003c/p\u003e","\u003cp\u003eWerner Singer at the Piano\u003c/p\u003e","\u003cp\u003e\"In Honor of Professor Mabel Kate Whiteside, Teacher of Greek, 1904-1954\"\u003c/p\u003e","\u003cp\u003e38th Season, 15th Concert. Featuring The Goldman Band, Edwin Franko Goldman, Conductor.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by John Van Druten. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eWritten by Eugene O'Neill\u003c/p\u003e","\u003cp\u003eManson Hall\u003c/p\u003e","\u003cp\u003eSmith Memorial Auditorium\u003c/p\u003e","\u003cp\u003eOff-B'way Showbill. Includes ticket stubs.\u003c/p\u003e","\u003cp\u003eIncludes newspaper clipping on Jose Limon's \"Missa Brevis\" from May 18, 1958\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXX, No. 12. Metropolitan Opera New Production. Libretto by F. M. Piave, music by Giuseppe Verdi. Includes 2 newspaper clippings on \u003ctitle\u003eA Streetcar Named Desire\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Graham Greene. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXVIII, No. 6.\u003c/p\u003e","\u003cp\u003e21st Season\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Eugene O'Neill. Both removed from binder 1 of 2. December 1956 program includes The Actor's Fund donation insert. October 1957 \u003ctitle\u003ePlaybill\u003c/title\u003e: Vol. 1, No. 3.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 5. Written by John Osborne. Removed from binder 1 of 2. Includes newspaper clipping about the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 16. Written by Ketti Frings. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eLibretto by Salvatore Cammarano, music by Gaetano Donizetti. Season 1956-1957.\u003c/p\u003e","\u003cp\u003eLibretto by Luigi Illica and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958. Includes magazine clipping on the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by George Bernard Shaw. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eSmith Memorial Hall. Repertory by Marcel Marceau.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 4\u003c/p\u003e","\u003cp\u003eInscription on last page\u003c/p\u003e","\u003cp\u003eInscription inside front cover\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Both programs Vol. 2, No. 14.\u003c/p\u003e","\u003cp\u003eInstitute of Contemporary Arts, Twentieth Anniversary Year. Includes 2 copies of season schedule insert.\u003c/p\u003e","\u003cp\u003eOff-B'way Showbill. Written by Friedrich Schiller, new adaptation by Jean Stock Goldstone and John Reich. Includes 2 newspaper clippings about the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Thornton Wilder. Both removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eAntal Dorati, Conductor and Gerard Samuel, Assistant Conductor\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Joshua Logan and Thomas Heggen. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 10. Written by Dorothy and Michael Blankfort. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Book, music, and lyrics by Frank Loesser. Removed from binder 2 of 2. Includes cast change note insert.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Lyrics and book/libretto by Alan Jay Lerner, music by Frederick Loewe. Includes two copies of August 1956 program; copy with date written on front and February 1958 programs both removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eSmith Memorial Hall. Founded by Hans Kindler in 1931, Howard Mitchell Music Director, 26th Season.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 8 (1957) and Vol. 2, No. 1 (1958). New York City Ballet Company, Winter Season 1957-1958.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eStagebill\u003c/title\u003e, Volume III, No. 8\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958). Includes magazine clipping on the show.\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eManson Hall\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Ira Levin. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 8. Written by Noel Coward. Removed from binder 2 of 2. Includes newspaper clipping on the show.\u003c/p\u003e","\u003cp\u003eLibretto by Arrigo Boito, music by Guiseppe Verdi. Season 1957-1958. Includes special ticket for Working Rehearsal on March 18 and a magazine and newspaper clipping about the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Book by George Abbott and Richard Bissell, music and lyrics by Richard Adler, and Jerry Ross. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eWritten by Robert E. Sherwood\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. V, No. 4. Eugene Ormandy, Music Director-Conductor.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eMusic by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin\u003c/p\u003e","\u003cp\u003eMusic by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Radio Station WRVA presentation.\u003c/p\u003e","\u003cp\u003eMusic by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Includes Act scene summary insert and inscription on first page.\u003c/p\u003e","\u003cp\u003eSmith Memorial Building; with Lucile Turner, Contralto and The Randolph-Macon Glee Club, Jack Moehlenkamp, Pianist.\u003c/p\u003e","\u003cp\u003eRobert Shaw, Conductor\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 4. Written by Morton Wishengrad. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eFormerly the Sadler's Wells Ballet\u003c/p\u003e","\u003cp\u003e\"Under the Patronage of His Majesty King Frederik IX of Denmark, First Visit to America of the Royal Danish Ballet\" from the Royal Theatre in Copenhagen\u003c/p\u003e","\u003cp\u003eMagazine II. Howard Mitchell, Director.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. V, No. 8\u003c/p\u003e","\u003cp\u003eCovent Garden Books No. 9\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Two plays by Terence Rattigan. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Joseph Kramm. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXVII, No. 3\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Music by Richard Rodgers, lyrics and book/libretto by Oscar Hammerstein II, book by Joshua Logan. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Robert Anderson. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eJose Limon and Dance Company with Pauline Koner, at the Virginia Museum Theatre\u003c/p\u003e","\u003cp\u003eMusic by Kurt Weill, book and lyrics/libretto by Bertolt (listed in program as Bert) Brecht, English adaptation of book and lyrics by Marc Blitzstein. Each program includes a cast change note insert.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Jean Giraudoux, translated by Christopher Fry. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, Nos. 4 and 20. Written by Jean Anouilh, English version by Patricia Moyes. Both removed from binder 2 of 2. January program includes magazine clipping of a cartoon depicting characters from play and May program includes a newspaper clipping photo of Helen Hayes.\u003c/p\u003e","\u003cp\u003eLibretto by Victorien Sardou, Luigi Illica, and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958.\u003c/p\u003e","\u003cp\u003eA New Play by Norman Rose, based on Dostoyevsky's \"The Brothers Karamazov\".\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 15. Written by William Gibson. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eTwo copies\u003c/p\u003e","\u003cp\u003eWritten by Anton Chekhov, translated by Stark Young. Third production in \"A Cycle of Four Chekhov Plays\".\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Arthur Miller. Two copies; one removed from binder 2 of 2 and includes a promotional flyer insert on the show.\u003c/p\u003e","\u003cp\u003eAdapted and staged by Margaret Perry. Front cover has possible pencil signature from founder and actor Robert Porterfield.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 21. Written by Friedrich Duerrenmatt, adapted by Maurice Valency. Removed from binder 2 of 2. Includes newspaper clipping on the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 4. Book by Arthur Laurents, music by Leonard Bernstein, and lyrics by Stephen Sondheim. Removed from binder 2 of 2. Includes cast change note insert.\u003c/p\u003e","\u003cp\u003eIncludes pamphlet advertising recordings by Bernstein. Both items in German.\u003c/p\u003e","\u003cp\u003eDavid Stimer at the Piano\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Agatha Christie. Removed from binder 2 of 2.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content"],"scopecontent_tesim":["A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne. Programs include a mix of types including colorful souvenir booklets and Broadway Playbill editions. Most programs include various inserts, including cast change notices and newspaper clippings, which have been removed and placed in the folder with the program. A number of the programs were also originally grouped into two small binders. All of these specifics have been noted at the folder level where applicable.","Musical Celebrities: The Concert Magazine, Vol. XXVII, No. 1. Includes \"Revised Program\" insert.","Musical Celebrities: The Concert Magazine, Vol. V, No. 12. Metropolitan Opera New Production. Libretto by A. Ghislanzoni, music by Giuseppe Verdi.","At the Virginia Museum Theatre","Playbill. Written by Marcelle Murette, English adaptation by Guy Bolton. Removed from binder 1 of 2.","Playbill, Vol. 1, No. 8. Written by Jerome Lawrence and Robert E. Lee. Removed from binder 1 of 2.","Playbill. Written by Maxwell Anderson. Removed from binder 1 of 2.","Playbill. Fourth performance by the New York City Opera Company. Includes NY City Center flyer and newspaper clipping about the show.","Musical Celebrities: The Concert Magazine, Vol. XXVIII, No. 9.","Includes ticket stub for Mosque Theatre April 29, 1954","The Barber of Seville, libretto by Cesare Sterbini, music by Gioacchino Rossini. Season 1954-1955.","Item is in German","Playbill. Written by Sandy Wilson. July program includes cast change note insert and was removed from binder 1 of 2.","Playbill. Music and lyrics by Irving Berlin, book by Howard Lindsay and Russel Crouse. Removed from binder 1 of 2.","Playbill. Music and lyrics by Cole Porter, book by Abe Burrows. Removed from binder 1 of 2.","Includes cast change note insert","Playbill. Written by Tennessee Williams. Removed from binder 1 of 2.","Playbill, Vol. 1, No. 4. Written by William Saroyan; Bijou Theatre Series Production No. 3. Removed from binder 1 of 2. Includes 3 newspaper clippings, including one duplicate of a review by Brooks Atkinson.","Playbill. Written by Enid Bagnold. Removed from binder 1 of 2.","Playbill, Vol. 1, No. 8. Written by William Wycherley. Removed from binder 1 of 2.","Written by Arthur Miller","Featuring Emily Frankel and Mark Ryder","Playbill, Vol. 2, No. 5. Written by William Inge. Removed from binder 1 of 2. Includes magazine clipping of a cartoon depicting characters from play.","Playbill. Written by Frances Goodrich and Albert Hackett. Removed from binder 1 of 2.","Libretto by Lorenzo Da Ponte, music by Wolfgang Amadeus Mozart. Season 1957-1958.","\"This is the first exhibition of the original works in wax by Degas from which the series of bronzes were cast by A.-A. Hébrard\". M. Knoedler \u0026 Company, Inc.","Off-B'way Showbill. Written by Samuel Beckett; American Premiere.","Playbill, Vol. 2, No. 9. Written by John Osborne. Removed from binder 1 of 2.","Playbill. Book by S.N. Behrman and Joshua Logan, music and lyrics by Harold Rome. Removed from binder 1 of 2.","Libretto by Jules Barbier and Michel Carré, music by Charles Gounod. Season 1955-1956.","The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin.","Musical Celebrities: The Concert Magazine, Vol. V, No. 2. The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin. Includes ticket stub and flyer; program has handwritten note on front cover.","Written by Tennessee Williams","Werner Singer at the Piano","\"In Honor of Professor Mabel Kate Whiteside, Teacher of Greek, 1904-1954\"","38th Season, 15th Concert. Featuring The Goldman Band, Edwin Franko Goldman, Conductor.","Playbill. Written by John Van Druten. Removed from binder 1 of 2.","Written by Eugene O'Neill","Manson Hall","Smith Memorial Auditorium","Off-B'way Showbill. Includes ticket stubs.","Includes newspaper clipping on Jose Limon's \"Missa Brevis\" from May 18, 1958","Musical Celebrities: The Concert Magazine, Vol. XXX, No. 12. Metropolitan Opera New Production. Libretto by F. M. Piave, music by Giuseppe Verdi. Includes 2 newspaper clippings on A Streetcar Named Desire.","Playbill. Written by Graham Greene. Removed from binder 1 of 2.","Musical Celebrities: The Concert Magazine, Vol. XXVIII, No. 6.","21st Season","Playbill. Written by Eugene O'Neill. Both removed from binder 1 of 2. December 1956 program includes The Actor's Fund donation insert. October 1957 Playbill: Vol. 1, No. 3.","Playbill, Vol. 2, No. 5. Written by John Osborne. Removed from binder 1 of 2. Includes newspaper clipping about the show.","Playbill, Vol. 2, No. 16. Written by Ketti Frings. Removed from binder 1 of 2.","Libretto by Salvatore Cammarano, music by Gaetano Donizetti. Season 1956-1957.","Libretto by Luigi Illica and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958. Includes magazine clipping on the show.","Playbill. Written by George Bernard Shaw. Removed from binder 1 of 2.","Smith Memorial Hall. Repertory by Marcel Marceau.","Playbill, Vol. 2, No. 4","Inscription on last page","Inscription inside front cover","Playbill. Both programs Vol. 2, No. 14.","Institute of Contemporary Arts, Twentieth Anniversary Year. Includes 2 copies of season schedule insert.","Off-B'way Showbill. Written by Friedrich Schiller, new adaptation by Jean Stock Goldstone and John Reich. Includes 2 newspaper clippings about the show.","Playbill. Written by Thornton Wilder. Both removed from binder 1 of 2.","Antal Dorati, Conductor and Gerard Samuel, Assistant Conductor","Playbill. Written by Joshua Logan and Thomas Heggen. Removed from binder 2 of 2.","Playbill, Vol. 1, No. 10. Written by Dorothy and Michael Blankfort. Removed from binder 2 of 2.","Playbill. Book, music, and lyrics by Frank Loesser. Removed from binder 2 of 2. Includes cast change note insert.","Playbill. Lyrics and book/libretto by Alan Jay Lerner, music by Frederick Loewe. Includes two copies of August 1956 program; copy with date written on front and February 1958 programs both removed from binder 2 of 2.","Smith Memorial Hall. Founded by Hans Kindler in 1931, Howard Mitchell Music Director, 26th Season.","Playbill","Playbill, Vol. 1, No. 8 (1957) and Vol. 2, No. 1 (1958). New York City Ballet Company, Winter Season 1957-1958.","Stagebill, Volume III, No. 8","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958). Includes magazine clipping on the show.","One Hundred Sixteenth Season (1957-1958)","Manson Hall","Playbill. Written by Ira Levin. Removed from binder 2 of 2.","Playbill, Vol. 1, No. 8. Written by Noel Coward. Removed from binder 2 of 2. Includes newspaper clipping on the show.","Libretto by Arrigo Boito, music by Guiseppe Verdi. Season 1957-1958. Includes special ticket for Working Rehearsal on March 18 and a magazine and newspaper clipping about the show.","Playbill. Book by George Abbott and Richard Bissell, music and lyrics by Richard Adler, and Jerry Ross. Removed from binder 2 of 2.","Written by Robert E. Sherwood","Musical Celebrities: The Concert Magazine, Vol. V, No. 4. Eugene Ormandy, Music Director-Conductor.","Playbill. Removed from binder 2 of 2.","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Radio Station WRVA presentation.","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Includes Act scene summary insert and inscription on first page.","Smith Memorial Building; with Lucile Turner, Contralto and The Randolph-Macon Glee Club, Jack Moehlenkamp, Pianist.","Robert Shaw, Conductor","Playbill, Vol. 2, No. 4. Written by Morton Wishengrad. Removed from binder 2 of 2.","Formerly the Sadler's Wells Ballet","\"Under the Patronage of His Majesty King Frederik IX of Denmark, First Visit to America of the Royal Danish Ballet\" from the Royal Theatre in Copenhagen","Magazine II. Howard Mitchell, Director.","Musical Celebrities: The Concert Magazine, Vol. V, No. 8","Covent Garden Books No. 9","Playbill. Two plays by Terence Rattigan. Removed from binder 2 of 2.","Playbill. Written by Joseph Kramm. Removed from binder 2 of 2.","Musical Celebrities: The Concert Magazine, Vol. XXVII, No. 3","Playbill. Music by Richard Rodgers, lyrics and book/libretto by Oscar Hammerstein II, book by Joshua Logan. Removed from binder 2 of 2.","Playbill. Written by Robert Anderson. Removed from binder 2 of 2.","Jose Limon and Dance Company with Pauline Koner, at the Virginia Museum Theatre","Music by Kurt Weill, book and lyrics/libretto by Bertolt (listed in program as Bert) Brecht, English adaptation of book and lyrics by Marc Blitzstein. Each program includes a cast change note insert.","Playbill. Written by Jean Giraudoux, translated by Christopher Fry. Removed from binder 2 of 2.","Playbill, Vol. 2, Nos. 4 and 20. Written by Jean Anouilh, English version by Patricia Moyes. Both removed from binder 2 of 2. January program includes magazine clipping of a cartoon depicting characters from play and May program includes a newspaper clipping photo of Helen Hayes.","Libretto by Victorien Sardou, Luigi Illica, and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958.","A New Play by Norman Rose, based on Dostoyevsky's \"The Brothers Karamazov\".","Playbill, Vol. 2, No. 15. Written by William Gibson. Removed from binder 2 of 2.","Two copies","Written by Anton Chekhov, translated by Stark Young. Third production in \"A Cycle of Four Chekhov Plays\".","Playbill. Written by Arthur Miller. Two copies; one removed from binder 2 of 2 and includes a promotional flyer insert on the show.","Adapted and staged by Margaret Perry. Front cover has possible pencil signature from founder and actor Robert Porterfield.","Playbill, Vol. 2, No. 21. Written by Friedrich Duerrenmatt, adapted by Maurice Valency. Removed from binder 2 of 2. Includes newspaper clipping on the show.","Playbill, Vol. 2, No. 4. Book by Arthur Laurents, music by Leonard Bernstein, and lyrics by Stephen Sondheim. Removed from binder 2 of 2. Includes cast change note insert.","Includes pamphlet advertising recordings by Bernstein. Both items in German.","David Stimer at the Piano","Playbill. Written by Agatha Christie. Removed from binder 2 of 2."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_a8c54c9980d86e35454eaa6e8fcb0ba6\"\u003eA collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne.\u003c/abstract\u003e\n    "],"abstract_tesim":["A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_d4e66d1c2241266f9e38d78e5e3d12eb\"\u003eR 71, C 1, S 7\u003c/physloc\u003e\n    "],"physloc_tesim":["R 71, C 1, S 7"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet"],"names_coll_ssim":["Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet","Graham, Martha","Marceau, Marcel"],"persname_ssim":["Lavigne, Mary","Graham, Martha","Marceau, Marcel"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet","Lavigne, Mary","Graham, Martha","Marceau, Marcel"],"language_ssim":["English\n,       German\n."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":131,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:55:37.302Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_691"}},{"id":"vifgm_repositories_2_resources_180","type":"collection","attributes":{"title":"Mildred Davenport dance ephemera collection, 1936/1940","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_180#creator","type":"document_value","attributes":{"value":"Davenport, Mildred, 1900-1990","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_180#abstract_or_scope","type":"document_value","attributes":{"value":"Content warning: outdated racial language to describe African Americans. Three programs and one pamphlet documenting the dance career of African American dancer Mildred Davenport, 1936 - 1940.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_180#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_180","ead_ssi":"vifgm_repositories_2_resources_180","_root_":"vifgm_repositories_2_resources_180","_nest_parent_":"vifgm_repositories_2_resources_180","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_180.xml","title_ssm":["Mildred Davenport dance ephemera collection"],"title_tesim":["Mildred Davenport dance ephemera collection"],"unitdate_ssm":["1936 - 1940"],"unitdate_inclusive_ssm":["1936 - 1940"],"normalized_date_ssm":["1936/1940"],"normalized_title_ssm":["Mildred Davenport dance ephemera collection, 1936/1940"],"text":["Mildred Davenport dance ephemera collection, 1936/1940","C0189","/repositories/2/resources/180","African Americans","Dance -- United States","Performing arts","Dance","African American women","Theater programs","There are no access restrictions.","This is a single folder collection.","Gilson, Grace. \"Mildred Davenport was a force on the stage and the war front,\" February 6, 2022. Boston Globe. Accessed January 5, 2022. https://www.bostonglobe.com/2022/02/06/metro/mildred-davenport-was-force-stage-war-front/.","Mildred Davenport was an African American dancer and instructor of dance. Born in 1900, the main portion of Davenport's career took place in Massachusetts, specifically the Boston area. Davenport danced in many shows and reviews throughout her career, including shows on Broadway, and eventually ran two studios, the Davenport School of Dance and Silver Box Studio. Her dance career ended when she enrolled in the Women's Auxiliary Army Corps during World War II, making her one of the first Black women in the Corps (Gilson). Davenport's later life was dedicated to civic service to the Black community of Boston. Davenport passed away in 1990.","Processing and finding aid completed by Amanda Menjivar in January 2023.","The Special Collections Research Center holds many other collections on","Special Collections and Archives, University of California, Irvine holds the","University Archives and Special Collections at the University of Massachusetts Boston holds the","Content warning: outdated racial language to describe African Americans.","Three programs and one pamphlet documenting the dance career of African American dancer Mildred Davenport.","The first program, dated circa May 29, 1936, is titled \"Annual May Pageant and Dance of Miss Mildred Davenport and Pupils in 'The Feast of Apollo' and Divertissements.\" The performance was held at Brattle Hall in Cambridge, Massachusetts. The cover features a headshot of Davenport in 1930s dance costume.","The second program, dated May 26, 1939, is titled \"Twentieth Anniversary Souvenir Programme Booklet of Mildred Davenport and her Pupils - Bronze Rhapsody of 1939.\" The performance was held at Jordan Hall in Boston, Massachusetts, one of the premiere classical performance venues in the area. Inside the program are pictures of Davenport's students of varying ages, from elementary school age to young adult.","The third program, dated May 24, 1940, is titled \"Bronze Rhapsody of 1940.\" The performance was held at Jordan Hall in Boston, Massachusetts. Davenport and students from her dance studio, Davenport School of Dance, performed.","The pamphlet, titled \"Mildred Davenport Evangelist of the Dance,\" promotes Davenport's teaching at her dance studio. The cover features an Art Deco photograph/illustration collage of her mid-dance, and a short biography and credentials are provided inside. Created circa late 1930s.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Content warning: outdated racial language to describe African Americans.\nThree programs and one pamphlet documenting the dance career of African American dancer Mildred Davenport, 1936 - 1940.","R 44, C 1, S 2","George Mason University. Libraries. Special Collections Research Center","Davenport, Mildred, 1900-1990","English"],"collection_title_tesim":["Mildred Davenport dance ephemera collection, 1936/1940"],"collection_ssim":["Mildred Davenport dance ephemera collection, 1936/1940"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0189","/repositories/2/resources/180"],"unitid_tesim":["C0189","/repositories/2/resources/180"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Davenport, Mildred, 1900-1990"],"creator_ssim":["Davenport, Mildred, 1900-1990"],"creator_persname_ssim":["Davenport, Mildred, 1900-1990"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creators_ssim":["Davenport, Mildred, 1900-1990","George Mason University. Libraries. Special Collections Research Center"],"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":["Purchased from Lorne Blair Rare Books, Manuscripts, \u0026 Ephemera in February 2011."],"access_subjects_ssim":["African Americans","Dance -- United States","Performing arts","Dance","African American women","Theater programs"],"access_subjects_ssm":["African Americans","Dance -- United States","Performing arts","Dance","African American women","Theater programs"],"has_online_content_ssim":["false"],"extent_ssm":[".01 Linear Feet 4 items"],"extent_tesim":[".01 Linear Feet 4 items"],"date_range_isim":[1936,1937,1938,1939,1940],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis is a single folder collection.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This is a single folder collection."],"bibliography_html_tesm":["\u003cp\u003eGilson, Grace. \"Mildred Davenport was a force on the stage and the war front,\" February 6, 2022. Boston Globe. Accessed January 5, 2022. https://www.bostonglobe.com/2022/02/06/metro/mildred-davenport-was-force-stage-war-front/.\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Gilson, Grace. \"Mildred Davenport was a force on the stage and the war front,\" February 6, 2022. Boston Globe. Accessed January 5, 2022. https://www.bostonglobe.com/2022/02/06/metro/mildred-davenport-was-force-stage-war-front/."],"bioghist_html_tesm":["\u003cp\u003eMildred Davenport was an African American dancer and instructor of dance. Born in 1900, the main portion of Davenport's career took place in Massachusetts, specifically the Boston area. Davenport danced in many shows and reviews throughout her career, including shows on Broadway, and eventually ran two studios, the Davenport School of Dance and Silver Box Studio. Her dance career ended when she enrolled in the Women's Auxiliary Army Corps during World War II, making her one of the first Black women in the Corps (Gilson). Davenport's later life was dedicated to civic service to the Black community of Boston. Davenport passed away in 1990.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Mildred Davenport was an African American dancer and instructor of dance. Born in 1900, the main portion of Davenport's career took place in Massachusetts, specifically the Boston area. Davenport danced in many shows and reviews throughout her career, including shows on Broadway, and eventually ran two studios, the Davenport School of Dance and Silver Box Studio. Her dance career ended when she enrolled in the Women's Auxiliary Army Corps during World War II, making her one of the first Black women in the Corps (Gilson). Davenport's later life was dedicated to civic service to the Black community of Boston. Davenport passed away in 1990."],"prefercite_html_tesm":["\u003cp\u003eMildred Davenport dance ephemera collection, C0189, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Mildred Davenport dance ephemera collection, C0189, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing and finding aid completed by Amanda Menjivar in January 2023.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and finding aid completed by Amanda Menjivar in January 2023."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds many other collections on \u003cextptr show=\"new\" title=\"dance and the performing arts.\" href=\"https://aspace.gmu.edu/search?utf8=%E2%9C%93\u0026amp;op%5B%5D=\u0026amp;q%5B%5D=dance\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","\u003cp\u003e\nSpecial Collections and Archives, University of California, Irvine holds the \u003cextptr show=\"new\" title=\"Mildred Davenport dance programs and dance school materials.\" href=\"https://oac.cdlib.org/findaid/ark:/13030/tf4s200680/entire_text/%20\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e\nUniversity Archives and Special Collections at the University of Massachusetts Boston holds the \u003cextptr show=\"new\" title=\"Mildred Davenport papers.\" href=\"https://openarchives.umb.edu/digital/collection/p15774coll8/id/477/\"\u003e\u003c/extptr\u003e\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds many other collections on","Special Collections and Archives, University of California, Irvine holds the","University Archives and Special Collections at the University of Massachusetts Boston holds the"],"scopecontent_html_tesm":["\u003cp\u003eContent warning: outdated racial language to describe African Americans.\u003c/p\u003e","\u003cp\u003eThree programs and one pamphlet documenting the dance career of African American dancer Mildred Davenport. \u003c/p\u003e","\u003cp\u003eThe first program, dated circa May 29, 1936, is titled \"Annual May Pageant and Dance of Miss Mildred Davenport and Pupils in 'The Feast of Apollo' and Divertissements.\" The performance was held at Brattle Hall in Cambridge, Massachusetts. The cover features a headshot of Davenport in 1930s dance costume.\u003c/p\u003e","\u003cp\u003eThe second program, dated May 26, 1939, is titled \"Twentieth Anniversary Souvenir Programme Booklet of Mildred Davenport and her Pupils - Bronze Rhapsody of 1939.\" The performance was held at Jordan Hall in Boston, Massachusetts, one of the premiere classical performance venues in the area. Inside the program are pictures of Davenport's students of varying ages, from elementary school age to young adult.\u003c/p\u003e","\u003cp\u003eThe third program, dated May 24, 1940, is titled \"Bronze Rhapsody of 1940.\" The performance was held at Jordan Hall in Boston, Massachusetts. Davenport and students from her dance studio, Davenport School of Dance, performed.\u003c/p\u003e","\u003cp\u003eThe pamphlet, titled \"Mildred Davenport Evangelist of the Dance,\" promotes Davenport's teaching at her dance studio. The cover features an Art Deco photograph/illustration collage of her mid-dance, and a short biography and credentials are provided inside. Created circa late 1930s.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Content warning: outdated racial language to describe African Americans.","Three programs and one pamphlet documenting the dance career of African American dancer Mildred Davenport.","The first program, dated circa May 29, 1936, is titled \"Annual May Pageant and Dance of Miss Mildred Davenport and Pupils in 'The Feast of Apollo' and Divertissements.\" The performance was held at Brattle Hall in Cambridge, Massachusetts. The cover features a headshot of Davenport in 1930s dance costume.","The second program, dated May 26, 1939, is titled \"Twentieth Anniversary Souvenir Programme Booklet of Mildred Davenport and her Pupils - Bronze Rhapsody of 1939.\" The performance was held at Jordan Hall in Boston, Massachusetts, one of the premiere classical performance venues in the area. Inside the program are pictures of Davenport's students of varying ages, from elementary school age to young adult.","The third program, dated May 24, 1940, is titled \"Bronze Rhapsody of 1940.\" The performance was held at Jordan Hall in Boston, Massachusetts. Davenport and students from her dance studio, Davenport School of Dance, performed.","The pamphlet, titled \"Mildred Davenport Evangelist of the Dance,\" promotes Davenport's teaching at her dance studio. The cover features an Art Deco photograph/illustration collage of her mid-dance, and a short biography and credentials are provided inside. Created circa late 1930s."],"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":["Conditions Governing Use"],"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_213fbc6f1d0644429d80ad9a9acd9282\"\u003eContent warning: outdated racial language to describe African Americans.\nThree programs and one pamphlet documenting the dance career of African American dancer Mildred Davenport, 1936 - 1940.\u003c/abstract\u003e\n    "],"abstract_tesim":["Content warning: outdated racial language to describe African Americans.\nThree programs and one pamphlet documenting the dance career of African American dancer Mildred Davenport, 1936 - 1940."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_579499b1c539d272d3c1baa4a6d06532\"\u003eR 44, C 1, S 2\u003c/physloc\u003e\n    "],"physloc_tesim":["R 44, C 1, S 2"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Davenport, Mildred, 1900-1990"],"names_coll_ssim":["Davenport, Mildred, 1900-1990"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Davenport, Mildred, 1900-1990"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:53:08.491Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_180","ead_ssi":"vifgm_repositories_2_resources_180","_root_":"vifgm_repositories_2_resources_180","_nest_parent_":"vifgm_repositories_2_resources_180","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_180.xml","title_ssm":["Mildred Davenport dance ephemera collection"],"title_tesim":["Mildred Davenport dance ephemera collection"],"unitdate_ssm":["1936 - 1940"],"unitdate_inclusive_ssm":["1936 - 1940"],"normalized_date_ssm":["1936/1940"],"normalized_title_ssm":["Mildred Davenport dance ephemera collection, 1936/1940"],"text":["Mildred Davenport dance ephemera collection, 1936/1940","C0189","/repositories/2/resources/180","African Americans","Dance -- United States","Performing arts","Dance","African American women","Theater programs","There are no access restrictions.","This is a single folder collection.","Gilson, Grace. \"Mildred Davenport was a force on the stage and the war front,\" February 6, 2022. Boston Globe. Accessed January 5, 2022. https://www.bostonglobe.com/2022/02/06/metro/mildred-davenport-was-force-stage-war-front/.","Mildred Davenport was an African American dancer and instructor of dance. Born in 1900, the main portion of Davenport's career took place in Massachusetts, specifically the Boston area. Davenport danced in many shows and reviews throughout her career, including shows on Broadway, and eventually ran two studios, the Davenport School of Dance and Silver Box Studio. Her dance career ended when she enrolled in the Women's Auxiliary Army Corps during World War II, making her one of the first Black women in the Corps (Gilson). Davenport's later life was dedicated to civic service to the Black community of Boston. Davenport passed away in 1990.","Processing and finding aid completed by Amanda Menjivar in January 2023.","The Special Collections Research Center holds many other collections on","Special Collections and Archives, University of California, Irvine holds the","University Archives and Special Collections at the University of Massachusetts Boston holds the","Content warning: outdated racial language to describe African Americans.","Three programs and one pamphlet documenting the dance career of African American dancer Mildred Davenport.","The first program, dated circa May 29, 1936, is titled \"Annual May Pageant and Dance of Miss Mildred Davenport and Pupils in 'The Feast of Apollo' and Divertissements.\" The performance was held at Brattle Hall in Cambridge, Massachusetts. The cover features a headshot of Davenport in 1930s dance costume.","The second program, dated May 26, 1939, is titled \"Twentieth Anniversary Souvenir Programme Booklet of Mildred Davenport and her Pupils - Bronze Rhapsody of 1939.\" The performance was held at Jordan Hall in Boston, Massachusetts, one of the premiere classical performance venues in the area. Inside the program are pictures of Davenport's students of varying ages, from elementary school age to young adult.","The third program, dated May 24, 1940, is titled \"Bronze Rhapsody of 1940.\" The performance was held at Jordan Hall in Boston, Massachusetts. Davenport and students from her dance studio, Davenport School of Dance, performed.","The pamphlet, titled \"Mildred Davenport Evangelist of the Dance,\" promotes Davenport's teaching at her dance studio. The cover features an Art Deco photograph/illustration collage of her mid-dance, and a short biography and credentials are provided inside. Created circa late 1930s.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Content warning: outdated racial language to describe African Americans.\nThree programs and one pamphlet documenting the dance career of African American dancer Mildred Davenport, 1936 - 1940.","R 44, C 1, S 2","George Mason University. Libraries. 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Special Collections Research Center"],"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":["Purchased from Lorne Blair Rare Books, Manuscripts, \u0026 Ephemera in February 2011."],"access_subjects_ssim":["African Americans","Dance -- United States","Performing arts","Dance","African American women","Theater programs"],"access_subjects_ssm":["African Americans","Dance -- United States","Performing arts","Dance","African American women","Theater programs"],"has_online_content_ssim":["false"],"extent_ssm":[".01 Linear Feet 4 items"],"extent_tesim":[".01 Linear Feet 4 items"],"date_range_isim":[1936,1937,1938,1939,1940],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis is a single folder collection.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This is a single folder collection."],"bibliography_html_tesm":["\u003cp\u003eGilson, Grace. \"Mildred Davenport was a force on the stage and the war front,\" February 6, 2022. Boston Globe. Accessed January 5, 2022. https://www.bostonglobe.com/2022/02/06/metro/mildred-davenport-was-force-stage-war-front/.\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Gilson, Grace. \"Mildred Davenport was a force on the stage and the war front,\" February 6, 2022. Boston Globe. Accessed January 5, 2022. https://www.bostonglobe.com/2022/02/06/metro/mildred-davenport-was-force-stage-war-front/."],"bioghist_html_tesm":["\u003cp\u003eMildred Davenport was an African American dancer and instructor of dance. Born in 1900, the main portion of Davenport's career took place in Massachusetts, specifically the Boston area. Davenport danced in many shows and reviews throughout her career, including shows on Broadway, and eventually ran two studios, the Davenport School of Dance and Silver Box Studio. Her dance career ended when she enrolled in the Women's Auxiliary Army Corps during World War II, making her one of the first Black women in the Corps (Gilson). Davenport's later life was dedicated to civic service to the Black community of Boston. Davenport passed away in 1990.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Mildred Davenport was an African American dancer and instructor of dance. Born in 1900, the main portion of Davenport's career took place in Massachusetts, specifically the Boston area. Davenport danced in many shows and reviews throughout her career, including shows on Broadway, and eventually ran two studios, the Davenport School of Dance and Silver Box Studio. Her dance career ended when she enrolled in the Women's Auxiliary Army Corps during World War II, making her one of the first Black women in the Corps (Gilson). Davenport's later life was dedicated to civic service to the Black community of Boston. Davenport passed away in 1990."],"prefercite_html_tesm":["\u003cp\u003eMildred Davenport dance ephemera collection, C0189, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Mildred Davenport dance ephemera collection, C0189, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing and finding aid completed by Amanda Menjivar in January 2023.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and finding aid completed by Amanda Menjivar in January 2023."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds many other collections on \u003cextptr show=\"new\" title=\"dance and the performing arts.\" href=\"https://aspace.gmu.edu/search?utf8=%E2%9C%93\u0026amp;op%5B%5D=\u0026amp;q%5B%5D=dance\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","\u003cp\u003e\nSpecial Collections and Archives, University of California, Irvine holds the \u003cextptr show=\"new\" title=\"Mildred Davenport dance programs and dance school materials.\" href=\"https://oac.cdlib.org/findaid/ark:/13030/tf4s200680/entire_text/%20\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e\nUniversity Archives and Special Collections at the University of Massachusetts Boston holds the \u003cextptr show=\"new\" title=\"Mildred Davenport papers.\" href=\"https://openarchives.umb.edu/digital/collection/p15774coll8/id/477/\"\u003e\u003c/extptr\u003e\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds many other collections on","Special Collections and Archives, University of California, Irvine holds the","University Archives and Special Collections at the University of Massachusetts Boston holds the"],"scopecontent_html_tesm":["\u003cp\u003eContent warning: outdated racial language to describe African Americans.\u003c/p\u003e","\u003cp\u003eThree programs and one pamphlet documenting the dance career of African American dancer Mildred Davenport. \u003c/p\u003e","\u003cp\u003eThe first program, dated circa May 29, 1936, is titled \"Annual May Pageant and Dance of Miss Mildred Davenport and Pupils in 'The Feast of Apollo' and Divertissements.\" The performance was held at Brattle Hall in Cambridge, Massachusetts. The cover features a headshot of Davenport in 1930s dance costume.\u003c/p\u003e","\u003cp\u003eThe second program, dated May 26, 1939, is titled \"Twentieth Anniversary Souvenir Programme Booklet of Mildred Davenport and her Pupils - Bronze Rhapsody of 1939.\" The performance was held at Jordan Hall in Boston, Massachusetts, one of the premiere classical performance venues in the area. Inside the program are pictures of Davenport's students of varying ages, from elementary school age to young adult.\u003c/p\u003e","\u003cp\u003eThe third program, dated May 24, 1940, is titled \"Bronze Rhapsody of 1940.\" The performance was held at Jordan Hall in Boston, Massachusetts. Davenport and students from her dance studio, Davenport School of Dance, performed.\u003c/p\u003e","\u003cp\u003eThe pamphlet, titled \"Mildred Davenport Evangelist of the Dance,\" promotes Davenport's teaching at her dance studio. The cover features an Art Deco photograph/illustration collage of her mid-dance, and a short biography and credentials are provided inside. Created circa late 1930s.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Content warning: outdated racial language to describe African Americans.","Three programs and one pamphlet documenting the dance career of African American dancer Mildred Davenport.","The first program, dated circa May 29, 1936, is titled \"Annual May Pageant and Dance of Miss Mildred Davenport and Pupils in 'The Feast of Apollo' and Divertissements.\" The performance was held at Brattle Hall in Cambridge, Massachusetts. The cover features a headshot of Davenport in 1930s dance costume.","The second program, dated May 26, 1939, is titled \"Twentieth Anniversary Souvenir Programme Booklet of Mildred Davenport and her Pupils - Bronze Rhapsody of 1939.\" The performance was held at Jordan Hall in Boston, Massachusetts, one of the premiere classical performance venues in the area. Inside the program are pictures of Davenport's students of varying ages, from elementary school age to young adult.","The third program, dated May 24, 1940, is titled \"Bronze Rhapsody of 1940.\" The performance was held at Jordan Hall in Boston, Massachusetts. Davenport and students from her dance studio, Davenport School of Dance, performed.","The pamphlet, titled \"Mildred Davenport Evangelist of the Dance,\" promotes Davenport's teaching at her dance studio. The cover features an Art Deco photograph/illustration collage of her mid-dance, and a short biography and credentials are provided inside. Created circa late 1930s."],"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":["Conditions Governing Use"],"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_213fbc6f1d0644429d80ad9a9acd9282\"\u003eContent warning: outdated racial language to describe African Americans.\nThree programs and one pamphlet documenting the dance career of African American dancer Mildred Davenport, 1936 - 1940.\u003c/abstract\u003e\n    "],"abstract_tesim":["Content warning: outdated racial language to describe African Americans.\nThree programs and one pamphlet documenting the dance career of African American dancer Mildred Davenport, 1936 - 1940."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_579499b1c539d272d3c1baa4a6d06532\"\u003eR 44, C 1, S 2\u003c/physloc\u003e\n    "],"physloc_tesim":["R 44, C 1, S 2"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Davenport, Mildred, 1900-1990"],"names_coll_ssim":["Davenport, Mildred, 1900-1990"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Davenport, Mildred, 1900-1990"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:53:08.491Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_180"}},{"id":"vihart_repositories_4_resources_606","type":"collection","attributes":{"title":"Pearl Haldeman Stickley Papers, 1910/1962, bulk 1910/1915","creator":{"id":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_606#creator","type":"document_value","attributes":{"value":"Stickley, Anna Pearl Haldeman, 1892-1991","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_606#abstract_or_scope","type":"document_value","attributes":{"value":"The Pearl Haldeman Stickley Papers, 1910-1962 (bulk 1910-1915), document Stickley's time as a student at and alumni of the State Normal and Industrial School for Women at Harrisonburg. The collection comprises two scrapbooks and loose ephemera.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_606#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vihart_repositories_4_resources_606","ead_ssi":"vihart_repositories_4_resources_606","_root_":"vihart_repositories_4_resources_606","_nest_parent_":"vihart_repositories_4_resources_606","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_606.xml","title_ssm":["Pearl Haldeman Stickley Papers"],"title_tesim":["Pearl Haldeman Stickley Papers"],"unitdate_ssm":["1910-1962","1910-1915"],"unitdate_inclusive_ssm":["1910-1962"],"unitdate_bulk_ssim":["1910-1915"],"normalized_date_ssm":["1910/1962, bulk 1910/1915"],"normalized_title_ssm":["Pearl Haldeman Stickley Papers, 1910/1962, bulk 1910/1915"],"text":["Pearl Haldeman Stickley Papers, 1910/1962, bulk 1910/1915","SC 0295","/repositories/4/resources/606","Harrisonburg (Va.) -- History","Scrapbooks","Photographs","Printed Ephemera","Programs (documents)","Report Cards","Concert programs","Theater programs","Letters (correspondence)","Collection is open for research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","The collection is arranged chronologically.","The Schoolma'am, 1912. Harrisonburg (Va.): State Normal and Industrial School for Women.","Glass, Esther Eby, Amos Charles Baer, and Bertie Baer Shenk. Jacob Metz and His Descendants Including Some of His Ancestors. Freeman, SD: Pine Hill Press, 1974.","Anna Pearl Haldeman Stickley (1892-1991) was born to Jacob Shem Haldeman and Anna Metz Haldeman at Evandale, near Winchester, Virginia. She matriculated at the State Normal and Industrial School at Harrisonburg in 1909 and graduated in 1912 after completing the kindergarten training curriculum. During her time at the Harrisonburg Normal School, Pearl was a member of the Pinquet Tennis Club, Senior Basketball Team, Glee Club, Kindergarten Club, Lee Literary Society and YWCA, serving as its secretary from 1911-1912. Pearl married Claude Benjamin Stickley in 1921. She received her M.A. from Columbia University and was a teacher and librarian. She was an active alumni and returned to campus many times after graduation as is documented in this collection. Pearl's sister, Emily Haldeman Beck, and sister-in-law, Marguerite Goodman Haldeman, also graduated from the State Normal School.","The Pearl Haldeman Stickley Papers, 1910-1962 (bulk 1910-1915), document Stickley's time as a student at and alumni of the State Normal and Industrial School for Women at Harrisonburg.","Two scrapbooks, referred to by Pearl as a Memory Book and Good Times Book respectively, include concert and recital programs, theater programs including Shakespeare performances by the Coburn Players, commencement programs, student handbooks, program and report cards, cards and letters, invitations, ticket stubs, napkins, materials related to the Harrisonburg Presbyterian Church, newspaper clippings, and other assorted ephemera. Many of the items are annotated with funny musings by Pearl. Some of the printed ephemera is from Winchester, Pearl's hometown, and likely documents events she attended while visiting friends or family while a student in Harrisonburg and also after she returned home after graduation. Programs from the Fort Loudon Seminary and Empire Theater are included.","Items of interest include a list of senior class privileges dated October 23, 1911, located in the 1910-1912 scrapbook. Additionally, the 1912-1914 scrapbook, which post-dates Pearl's graduation and primarily documents as an alumni, includes a shard of glass from the bottle that was used to christen Dormitory No. 1 in June 1913. This christening was part of the ceremony changing the name of Dormitory No. 1 to Burruss Hall. Julian Burruss objected to the name, asserting that campus buildings should not be named honorifically after a living person, and the dorm was named Jackson Hall in 1918. This same scrapbook includes a program documenting the June 8, 1914 laying of the corner stone for the Student's Building (Harrison Hall). Pearl noted in her scrapbook that the sun was particularly hot that day, but attendees were not allowed to wear hats or hold parasols. Pearl returned to campus in 1915 and, as a representative of the class of 1912, gave her personal reminiscences as part of the June 7 Alumnae Banquet. The banquet program and Pearl's speech are included. Materials related to Pearl's involvement in the Women's Christian Temperance Union (WCTU), including her membership card, are also located in the 1912-1914 scrapbook.","A folder of loose ephemera comprises photographs (including a portrait photograph of Pearl Haldeman Stickley), correspondence, event programs, and other sundry ephemera.","Four copies of The Schoolma'am, 1910-1913, were removed and added to Special Collections yearbook holdings. One copy of the 1912 Normal Bulletin was removed and added to Special Collections' holdings. Jacob Metz and His Descendants (1974) was removed from the collection and cataloged separately as part of Special Collections rare book holdings.","The copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","The Pearl Haldeman Stickley Papers, 1910-1962 (bulk 1910-1915), document Stickley's time as a student at and alumni of the State Normal and Industrial School for Women at Harrisonburg. The collection comprises two scrapbooks and loose ephemera.","James Madison University Libraries Special Collections","State Normal and Industrial School for Women (Harrisonburg, Va.) -- History","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Alumni and alumnae","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students -- Social life and customs","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Buildings","James Madison University -- Students -- History","Stickley, Anna Pearl Haldeman, 1892-1991","Beck, William M.","English"],"collection_title_tesim":["Pearl Haldeman Stickley Papers, 1910/1962, bulk 1910/1915"],"collection_ssim":["Pearl Haldeman Stickley Papers, 1910/1962, bulk 1910/1915"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 0295","/repositories/4/resources/606"],"unitid_tesim":["SC 0295","/repositories/4/resources/606"],"repository_ssm":["James Madison University"],"repository_ssim":["James Madison University"],"geogname_ssm":["Harrisonburg (Va.) -- History"],"geogname_ssim":["Harrisonburg (Va.) -- History"],"places_ssim":["Harrisonburg (Va.) -- History"],"creator_ssm":["Stickley, Anna Pearl Haldeman, 1892-1991","Beck, William M."],"creator_ssim":["Stickley, Anna Pearl Haldeman, 1892-1991","Beck, William M."],"creator_persname_ssim":["Stickley, Anna Pearl Haldeman, 1892-1991","Beck, William M."],"creator_corpname_ssim":["James Madison University Libraries Special Collections","State Normal and Industrial School for Women (Harrisonburg, Va.) -- History","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Alumni and alumnae","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students -- Social life and customs","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Buildings","James Madison University -- Students -- History"],"creators_ssim":["Stickley, Anna Pearl Haldeman, 1892-1991","Beck, William M.","James Madison University Libraries Special Collections","State Normal and Industrial School for Women (Harrisonburg, Va.) -- History","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Alumni and alumnae","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students -- Social life and customs","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Buildings","James Madison University -- Students -- History"],"access_terms_ssm":["The copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"acqinfo_ssim":["The collection was donated in June 2019 by William M. Beck, great nephew of Pearl Haldeman Stickley."],"access_subjects_ssim":["Scrapbooks","Photographs","Printed Ephemera","Programs (documents)","Report Cards","Concert programs","Theater programs","Letters (correspondence)"],"access_subjects_ssm":["Scrapbooks","Photographs","Printed Ephemera","Programs (documents)","Report Cards","Concert programs","Theater programs","Letters (correspondence)"],"has_online_content_ssim":["false"],"extent_ssm":["0.33 cubic feet 1 box"],"extent_tesim":["0.33 cubic feet 1 box"],"genreform_ssim":["Scrapbooks","Photographs","Printed Ephemera","Programs (documents)","Report Cards","Concert programs","Theater programs","Letters (correspondence)"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open for research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open for research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged chronologically.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged chronologically."],"bibliography_html_tesm":["\u003cbibref\u003e\u003cemph render=\"italic\"\u003eThe Schoolma'am\u003c/emph\u003e, 1912. Harrisonburg (Va.): State Normal and Industrial School for Women.\u003c/bibref\u003e\n    ","\u003cbibref\u003eGlass, Esther Eby, Amos Charles Baer, and Bertie Baer Shenk. \u003cemph render=\"italic\"\u003eJacob Metz and His Descendants Including Some of His Ancestors\u003c/emph\u003e. Freeman, SD: Pine Hill Press, 1974.\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["The Schoolma'am, 1912. Harrisonburg (Va.): State Normal and Industrial School for Women.","Glass, Esther Eby, Amos Charles Baer, and Bertie Baer Shenk. Jacob Metz and His Descendants Including Some of His Ancestors. Freeman, SD: Pine Hill Press, 1974."],"bioghist_html_tesm":["\u003cp\u003eAnna Pearl Haldeman Stickley (1892-1991) was born to Jacob Shem Haldeman and Anna Metz Haldeman at Evandale, near Winchester, Virginia. She matriculated at the State Normal and Industrial School at Harrisonburg in 1909 and graduated in 1912 after completing the kindergarten training curriculum. During her time at the Harrisonburg Normal School, Pearl was a member of the Pinquet Tennis Club, Senior Basketball Team, Glee Club, Kindergarten Club, Lee Literary Society and YWCA, serving as its secretary from 1911-1912. Pearl married Claude Benjamin Stickley in 1921. She received her M.A. from Columbia University and was a teacher and librarian. She was an active alumni and returned to campus many times after graduation as is documented in this collection. Pearl's sister, Emily Haldeman Beck, and sister-in-law, Marguerite Goodman Haldeman, also graduated from the State Normal School.\u003c/p\u003e  "],"bioghist_heading_ssm":["Bio/Historical Note"],"bioghist_tesim":["Anna Pearl Haldeman Stickley (1892-1991) was born to Jacob Shem Haldeman and Anna Metz Haldeman at Evandale, near Winchester, Virginia. She matriculated at the State Normal and Industrial School at Harrisonburg in 1909 and graduated in 1912 after completing the kindergarten training curriculum. During her time at the Harrisonburg Normal School, Pearl was a member of the Pinquet Tennis Club, Senior Basketball Team, Glee Club, Kindergarten Club, Lee Literary Society and YWCA, serving as its secretary from 1911-1912. Pearl married Claude Benjamin Stickley in 1921. She received her M.A. from Columbia University and was a teacher and librarian. She was an active alumni and returned to campus many times after graduation as is documented in this collection. Pearl's sister, Emily Haldeman Beck, and sister-in-law, Marguerite Goodman Haldeman, also graduated from the State Normal School."],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Pearl Haldeman Stickley Papers, 1910-1962 (bulk 1910-1915), SC 0295, Special Collections, Carrier Library, James Madison University, Harrisonburg, Va.\u003c/p\u003e  "],"prefercite_tesim":["[identification of item], [box #, folder #], Pearl Haldeman Stickley Papers, 1910-1962 (bulk 1910-1915), SC 0295, Special Collections, Carrier Library, James Madison University, Harrisonburg, Va."],"scopecontent_html_tesm":["\u003cp\u003eThe Pearl Haldeman Stickley Papers, 1910-1962 (bulk 1910-1915), document Stickley's time as a student at and alumni of the State Normal and Industrial School for Women at Harrisonburg.\u003c/p\u003e","\u003cp\u003eTwo scrapbooks, referred to by Pearl as a Memory Book and Good Times Book respectively, include concert and recital programs, theater programs including Shakespeare performances by the Coburn Players, commencement programs, student handbooks, program and report cards, cards and letters, invitations, ticket stubs, napkins, materials related to the Harrisonburg Presbyterian Church, newspaper clippings, and other assorted ephemera. Many of the items are annotated with funny musings by Pearl. Some of the printed ephemera is from Winchester, Pearl's hometown, and likely documents events she attended while visiting friends or family while a student in Harrisonburg and also after she returned home after graduation. Programs from the Fort Loudon Seminary and Empire Theater are included.\u003c/p\u003e","\u003cp\u003eItems of interest include a list of senior class privileges dated October 23, 1911, located in the 1910-1912 scrapbook. Additionally, the 1912-1914 scrapbook, which post-dates Pearl's graduation and primarily documents as an alumni, includes a shard of glass from the bottle that was used to christen Dormitory No. 1 in June 1913. This christening was part of the ceremony changing the name of Dormitory No. 1 to Burruss Hall. Julian Burruss objected to the name, asserting that campus buildings should not be named honorifically after a living person, and the dorm was named Jackson Hall in 1918. This same scrapbook includes a program documenting the June 8, 1914 laying of the corner stone for the Student's Building (Harrison Hall). Pearl noted in her scrapbook that the sun was particularly hot that day, but attendees were not allowed to wear hats or hold parasols. Pearl returned to campus in 1915 and, as a representative of the class of 1912, gave her personal reminiscences as part of the June 7 Alumnae Banquet. The banquet program and Pearl's speech are included. Materials related to Pearl's involvement in the Women's Christian Temperance Union (WCTU), including her membership card, are also located in the 1912-1914 scrapbook.\u003c/p\u003e","\u003cp\u003eA folder of loose ephemera comprises photographs (including a portrait photograph of Pearl Haldeman Stickley), correspondence, event programs, and other sundry ephemera. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Pearl Haldeman Stickley Papers, 1910-1962 (bulk 1910-1915), document Stickley's time as a student at and alumni of the State Normal and Industrial School for Women at Harrisonburg.","Two scrapbooks, referred to by Pearl as a Memory Book and Good Times Book respectively, include concert and recital programs, theater programs including Shakespeare performances by the Coburn Players, commencement programs, student handbooks, program and report cards, cards and letters, invitations, ticket stubs, napkins, materials related to the Harrisonburg Presbyterian Church, newspaper clippings, and other assorted ephemera. Many of the items are annotated with funny musings by Pearl. Some of the printed ephemera is from Winchester, Pearl's hometown, and likely documents events she attended while visiting friends or family while a student in Harrisonburg and also after she returned home after graduation. Programs from the Fort Loudon Seminary and Empire Theater are included.","Items of interest include a list of senior class privileges dated October 23, 1911, located in the 1910-1912 scrapbook. Additionally, the 1912-1914 scrapbook, which post-dates Pearl's graduation and primarily documents as an alumni, includes a shard of glass from the bottle that was used to christen Dormitory No. 1 in June 1913. This christening was part of the ceremony changing the name of Dormitory No. 1 to Burruss Hall. Julian Burruss objected to the name, asserting that campus buildings should not be named honorifically after a living person, and the dorm was named Jackson Hall in 1918. This same scrapbook includes a program documenting the June 8, 1914 laying of the corner stone for the Student's Building (Harrison Hall). Pearl noted in her scrapbook that the sun was particularly hot that day, but attendees were not allowed to wear hats or hold parasols. Pearl returned to campus in 1915 and, as a representative of the class of 1912, gave her personal reminiscences as part of the June 7 Alumnae Banquet. The banquet program and Pearl's speech are included. Materials related to Pearl's involvement in the Women's Christian Temperance Union (WCTU), including her membership card, are also located in the 1912-1914 scrapbook.","A folder of loose ephemera comprises photographs (including a portrait photograph of Pearl Haldeman Stickley), correspondence, event programs, and other sundry ephemera."],"separatedmaterial_html_tesm":["\u003cp\u003eFour copies of \u003cemph render=\"italic\"\u003eThe Schoolma'am\u003c/emph\u003e, 1910-1913, were removed and added to Special Collections yearbook holdings. One copy of the 1912 Normal Bulletin was removed and added to Special Collections' holdings. \u003cemph render=\"italic\"\u003eJacob Metz and His Descendants\u003c/emph\u003e (1974) was removed from the collection and cataloged separately as part of Special Collections rare book holdings.\u003c/p\u003e  "],"separatedmaterial_heading_ssm":["Separated Material"],"separatedmaterial_tesim":["Four copies of The Schoolma'am, 1910-1913, were removed and added to Special Collections yearbook holdings. One copy of the 1912 Normal Bulletin was removed and added to Special Collections' holdings. Jacob Metz and His Descendants (1974) was removed from the collection and cataloged separately as part of Special Collections rare book holdings."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_a22da3653911322f65a4362898911d45\"\u003eThe Pearl Haldeman Stickley Papers, 1910-1962 (bulk 1910-1915), document Stickley's time as a student at and alumni of the State Normal and Industrial School for Women at Harrisonburg. The collection comprises two scrapbooks and loose ephemera.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Pearl Haldeman Stickley Papers, 1910-1962 (bulk 1910-1915), document Stickley's time as a student at and alumni of the State Normal and Industrial School for Women at Harrisonburg. The collection comprises two scrapbooks and loose ephemera."],"corpname_ssim":["James Madison University Libraries Special Collections","State Normal and Industrial School for Women (Harrisonburg, Va.) -- History","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Alumni and alumnae","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students -- Social life and customs","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Buildings","James Madison University -- Students -- History"],"names_coll_ssim":["State Normal and Industrial School for Women (Harrisonburg, Va.) -- History","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Alumni and alumnae","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students -- Social life and customs","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Buildings","James Madison University -- Students -- History","Beck, William M."],"persname_ssim":["Stickley, Anna Pearl Haldeman, 1892-1991","Beck, William M."],"names_ssim":["James Madison University Libraries Special Collections","State Normal and Industrial School for Women (Harrisonburg, Va.) -- History","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Alumni and alumnae","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students -- Social life and customs","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Buildings","James Madison University -- Students -- History","Stickley, Anna Pearl Haldeman, 1892-1991","Beck, William M."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:57:53.919Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vihart_repositories_4_resources_606","ead_ssi":"vihart_repositories_4_resources_606","_root_":"vihart_repositories_4_resources_606","_nest_parent_":"vihart_repositories_4_resources_606","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_606.xml","title_ssm":["Pearl Haldeman Stickley Papers"],"title_tesim":["Pearl Haldeman Stickley Papers"],"unitdate_ssm":["1910-1962","1910-1915"],"unitdate_inclusive_ssm":["1910-1962"],"unitdate_bulk_ssim":["1910-1915"],"normalized_date_ssm":["1910/1962, bulk 1910/1915"],"normalized_title_ssm":["Pearl Haldeman Stickley Papers, 1910/1962, bulk 1910/1915"],"text":["Pearl Haldeman Stickley Papers, 1910/1962, bulk 1910/1915","SC 0295","/repositories/4/resources/606","Harrisonburg (Va.) -- History","Scrapbooks","Photographs","Printed Ephemera","Programs (documents)","Report Cards","Concert programs","Theater programs","Letters (correspondence)","Collection is open for research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","The collection is arranged chronologically.","The Schoolma'am, 1912. Harrisonburg (Va.): State Normal and Industrial School for Women.","Glass, Esther Eby, Amos Charles Baer, and Bertie Baer Shenk. Jacob Metz and His Descendants Including Some of His Ancestors. Freeman, SD: Pine Hill Press, 1974.","Anna Pearl Haldeman Stickley (1892-1991) was born to Jacob Shem Haldeman and Anna Metz Haldeman at Evandale, near Winchester, Virginia. She matriculated at the State Normal and Industrial School at Harrisonburg in 1909 and graduated in 1912 after completing the kindergarten training curriculum. During her time at the Harrisonburg Normal School, Pearl was a member of the Pinquet Tennis Club, Senior Basketball Team, Glee Club, Kindergarten Club, Lee Literary Society and YWCA, serving as its secretary from 1911-1912. Pearl married Claude Benjamin Stickley in 1921. She received her M.A. from Columbia University and was a teacher and librarian. She was an active alumni and returned to campus many times after graduation as is documented in this collection. Pearl's sister, Emily Haldeman Beck, and sister-in-law, Marguerite Goodman Haldeman, also graduated from the State Normal School.","The Pearl Haldeman Stickley Papers, 1910-1962 (bulk 1910-1915), document Stickley's time as a student at and alumni of the State Normal and Industrial School for Women at Harrisonburg.","Two scrapbooks, referred to by Pearl as a Memory Book and Good Times Book respectively, include concert and recital programs, theater programs including Shakespeare performances by the Coburn Players, commencement programs, student handbooks, program and report cards, cards and letters, invitations, ticket stubs, napkins, materials related to the Harrisonburg Presbyterian Church, newspaper clippings, and other assorted ephemera. Many of the items are annotated with funny musings by Pearl. Some of the printed ephemera is from Winchester, Pearl's hometown, and likely documents events she attended while visiting friends or family while a student in Harrisonburg and also after she returned home after graduation. Programs from the Fort Loudon Seminary and Empire Theater are included.","Items of interest include a list of senior class privileges dated October 23, 1911, located in the 1910-1912 scrapbook. Additionally, the 1912-1914 scrapbook, which post-dates Pearl's graduation and primarily documents as an alumni, includes a shard of glass from the bottle that was used to christen Dormitory No. 1 in June 1913. This christening was part of the ceremony changing the name of Dormitory No. 1 to Burruss Hall. Julian Burruss objected to the name, asserting that campus buildings should not be named honorifically after a living person, and the dorm was named Jackson Hall in 1918. This same scrapbook includes a program documenting the June 8, 1914 laying of the corner stone for the Student's Building (Harrison Hall). Pearl noted in her scrapbook that the sun was particularly hot that day, but attendees were not allowed to wear hats or hold parasols. Pearl returned to campus in 1915 and, as a representative of the class of 1912, gave her personal reminiscences as part of the June 7 Alumnae Banquet. The banquet program and Pearl's speech are included. Materials related to Pearl's involvement in the Women's Christian Temperance Union (WCTU), including her membership card, are also located in the 1912-1914 scrapbook.","A folder of loose ephemera comprises photographs (including a portrait photograph of Pearl Haldeman Stickley), correspondence, event programs, and other sundry ephemera.","Four copies of The Schoolma'am, 1910-1913, were removed and added to Special Collections yearbook holdings. One copy of the 1912 Normal Bulletin was removed and added to Special Collections' holdings. Jacob Metz and His Descendants (1974) was removed from the collection and cataloged separately as part of Special Collections rare book holdings.","The copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","The Pearl Haldeman Stickley Papers, 1910-1962 (bulk 1910-1915), document Stickley's time as a student at and alumni of the State Normal and Industrial School for Women at Harrisonburg. 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For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"acqinfo_ssim":["The collection was donated in June 2019 by William M. Beck, great nephew of Pearl Haldeman Stickley."],"access_subjects_ssim":["Scrapbooks","Photographs","Printed Ephemera","Programs (documents)","Report Cards","Concert programs","Theater programs","Letters (correspondence)"],"access_subjects_ssm":["Scrapbooks","Photographs","Printed Ephemera","Programs (documents)","Report Cards","Concert programs","Theater programs","Letters (correspondence)"],"has_online_content_ssim":["false"],"extent_ssm":["0.33 cubic feet 1 box"],"extent_tesim":["0.33 cubic feet 1 box"],"genreform_ssim":["Scrapbooks","Photographs","Printed Ephemera","Programs (documents)","Report Cards","Concert programs","Theater programs","Letters (correspondence)"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open for research. 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Harrisonburg (Va.): State Normal and Industrial School for Women.\u003c/bibref\u003e\n    ","\u003cbibref\u003eGlass, Esther Eby, Amos Charles Baer, and Bertie Baer Shenk. \u003cemph render=\"italic\"\u003eJacob Metz and His Descendants Including Some of His Ancestors\u003c/emph\u003e. Freeman, SD: Pine Hill Press, 1974.\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["The Schoolma'am, 1912. Harrisonburg (Va.): State Normal and Industrial School for Women.","Glass, Esther Eby, Amos Charles Baer, and Bertie Baer Shenk. Jacob Metz and His Descendants Including Some of His Ancestors. Freeman, SD: Pine Hill Press, 1974."],"bioghist_html_tesm":["\u003cp\u003eAnna Pearl Haldeman Stickley (1892-1991) was born to Jacob Shem Haldeman and Anna Metz Haldeman at Evandale, near Winchester, Virginia. She matriculated at the State Normal and Industrial School at Harrisonburg in 1909 and graduated in 1912 after completing the kindergarten training curriculum. During her time at the Harrisonburg Normal School, Pearl was a member of the Pinquet Tennis Club, Senior Basketball Team, Glee Club, Kindergarten Club, Lee Literary Society and YWCA, serving as its secretary from 1911-1912. Pearl married Claude Benjamin Stickley in 1921. She received her M.A. from Columbia University and was a teacher and librarian. She was an active alumni and returned to campus many times after graduation as is documented in this collection. Pearl's sister, Emily Haldeman Beck, and sister-in-law, Marguerite Goodman Haldeman, also graduated from the State Normal School.\u003c/p\u003e  "],"bioghist_heading_ssm":["Bio/Historical Note"],"bioghist_tesim":["Anna Pearl Haldeman Stickley (1892-1991) was born to Jacob Shem Haldeman and Anna Metz Haldeman at Evandale, near Winchester, Virginia. She matriculated at the State Normal and Industrial School at Harrisonburg in 1909 and graduated in 1912 after completing the kindergarten training curriculum. During her time at the Harrisonburg Normal School, Pearl was a member of the Pinquet Tennis Club, Senior Basketball Team, Glee Club, Kindergarten Club, Lee Literary Society and YWCA, serving as its secretary from 1911-1912. Pearl married Claude Benjamin Stickley in 1921. She received her M.A. from Columbia University and was a teacher and librarian. She was an active alumni and returned to campus many times after graduation as is documented in this collection. Pearl's sister, Emily Haldeman Beck, and sister-in-law, Marguerite Goodman Haldeman, also graduated from the State Normal School."],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Pearl Haldeman Stickley Papers, 1910-1962 (bulk 1910-1915), SC 0295, Special Collections, Carrier Library, James Madison University, Harrisonburg, Va.\u003c/p\u003e  "],"prefercite_tesim":["[identification of item], [box #, folder #], Pearl Haldeman Stickley Papers, 1910-1962 (bulk 1910-1915), SC 0295, Special Collections, Carrier Library, James Madison University, Harrisonburg, Va."],"scopecontent_html_tesm":["\u003cp\u003eThe Pearl Haldeman Stickley Papers, 1910-1962 (bulk 1910-1915), document Stickley's time as a student at and alumni of the State Normal and Industrial School for Women at Harrisonburg.\u003c/p\u003e","\u003cp\u003eTwo scrapbooks, referred to by Pearl as a Memory Book and Good Times Book respectively, include concert and recital programs, theater programs including Shakespeare performances by the Coburn Players, commencement programs, student handbooks, program and report cards, cards and letters, invitations, ticket stubs, napkins, materials related to the Harrisonburg Presbyterian Church, newspaper clippings, and other assorted ephemera. Many of the items are annotated with funny musings by Pearl. Some of the printed ephemera is from Winchester, Pearl's hometown, and likely documents events she attended while visiting friends or family while a student in Harrisonburg and also after she returned home after graduation. Programs from the Fort Loudon Seminary and Empire Theater are included.\u003c/p\u003e","\u003cp\u003eItems of interest include a list of senior class privileges dated October 23, 1911, located in the 1910-1912 scrapbook. Additionally, the 1912-1914 scrapbook, which post-dates Pearl's graduation and primarily documents as an alumni, includes a shard of glass from the bottle that was used to christen Dormitory No. 1 in June 1913. This christening was part of the ceremony changing the name of Dormitory No. 1 to Burruss Hall. Julian Burruss objected to the name, asserting that campus buildings should not be named honorifically after a living person, and the dorm was named Jackson Hall in 1918. This same scrapbook includes a program documenting the June 8, 1914 laying of the corner stone for the Student's Building (Harrison Hall). Pearl noted in her scrapbook that the sun was particularly hot that day, but attendees were not allowed to wear hats or hold parasols. Pearl returned to campus in 1915 and, as a representative of the class of 1912, gave her personal reminiscences as part of the June 7 Alumnae Banquet. The banquet program and Pearl's speech are included. Materials related to Pearl's involvement in the Women's Christian Temperance Union (WCTU), including her membership card, are also located in the 1912-1914 scrapbook.\u003c/p\u003e","\u003cp\u003eA folder of loose ephemera comprises photographs (including a portrait photograph of Pearl Haldeman Stickley), correspondence, event programs, and other sundry ephemera. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Pearl Haldeman Stickley Papers, 1910-1962 (bulk 1910-1915), document Stickley's time as a student at and alumni of the State Normal and Industrial School for Women at Harrisonburg.","Two scrapbooks, referred to by Pearl as a Memory Book and Good Times Book respectively, include concert and recital programs, theater programs including Shakespeare performances by the Coburn Players, commencement programs, student handbooks, program and report cards, cards and letters, invitations, ticket stubs, napkins, materials related to the Harrisonburg Presbyterian Church, newspaper clippings, and other assorted ephemera. Many of the items are annotated with funny musings by Pearl. Some of the printed ephemera is from Winchester, Pearl's hometown, and likely documents events she attended while visiting friends or family while a student in Harrisonburg and also after she returned home after graduation. Programs from the Fort Loudon Seminary and Empire Theater are included.","Items of interest include a list of senior class privileges dated October 23, 1911, located in the 1910-1912 scrapbook. Additionally, the 1912-1914 scrapbook, which post-dates Pearl's graduation and primarily documents as an alumni, includes a shard of glass from the bottle that was used to christen Dormitory No. 1 in June 1913. This christening was part of the ceremony changing the name of Dormitory No. 1 to Burruss Hall. Julian Burruss objected to the name, asserting that campus buildings should not be named honorifically after a living person, and the dorm was named Jackson Hall in 1918. This same scrapbook includes a program documenting the June 8, 1914 laying of the corner stone for the Student's Building (Harrison Hall). Pearl noted in her scrapbook that the sun was particularly hot that day, but attendees were not allowed to wear hats or hold parasols. Pearl returned to campus in 1915 and, as a representative of the class of 1912, gave her personal reminiscences as part of the June 7 Alumnae Banquet. The banquet program and Pearl's speech are included. Materials related to Pearl's involvement in the Women's Christian Temperance Union (WCTU), including her membership card, are also located in the 1912-1914 scrapbook.","A folder of loose ephemera comprises photographs (including a portrait photograph of Pearl Haldeman Stickley), correspondence, event programs, and other sundry ephemera."],"separatedmaterial_html_tesm":["\u003cp\u003eFour copies of \u003cemph render=\"italic\"\u003eThe Schoolma'am\u003c/emph\u003e, 1910-1913, were removed and added to Special Collections yearbook holdings. One copy of the 1912 Normal Bulletin was removed and added to Special Collections' holdings. \u003cemph render=\"italic\"\u003eJacob Metz and His Descendants\u003c/emph\u003e (1974) was removed from the collection and cataloged separately as part of Special Collections rare book holdings.\u003c/p\u003e  "],"separatedmaterial_heading_ssm":["Separated Material"],"separatedmaterial_tesim":["Four copies of The Schoolma'am, 1910-1913, were removed and added to Special Collections yearbook holdings. One copy of the 1912 Normal Bulletin was removed and added to Special Collections' holdings. Jacob Metz and His Descendants (1974) was removed from the collection and cataloged separately as part of Special Collections rare book holdings."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_a22da3653911322f65a4362898911d45\"\u003eThe Pearl Haldeman Stickley Papers, 1910-1962 (bulk 1910-1915), document Stickley's time as a student at and alumni of the State Normal and Industrial School for Women at Harrisonburg. The collection comprises two scrapbooks and loose ephemera.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Pearl Haldeman Stickley Papers, 1910-1962 (bulk 1910-1915), document Stickley's time as a student at and alumni of the State Normal and Industrial School for Women at Harrisonburg. The collection comprises two scrapbooks and loose ephemera."],"corpname_ssim":["James Madison University Libraries Special Collections","State Normal and Industrial School for Women (Harrisonburg, Va.) -- History","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Alumni and alumnae","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students -- Social life and customs","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Buildings","James Madison University -- Students -- History"],"names_coll_ssim":["State Normal and Industrial School for Women (Harrisonburg, Va.) -- History","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Alumni and alumnae","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students -- Social life and customs","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Buildings","James Madison University -- Students -- History","Beck, William M."],"persname_ssim":["Stickley, Anna Pearl Haldeman, 1892-1991","Beck, William M."],"names_ssim":["James Madison University Libraries Special Collections","State Normal and Industrial School for Women (Harrisonburg, Va.) -- History","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Alumni and alumnae","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students -- Social life and customs","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Buildings","James Madison University -- Students -- History","Stickley, Anna Pearl Haldeman, 1892-1991","Beck, William M."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:57:53.919Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_606"}},{"id":"vilxw_repositories_5_resources_226","type":"collection","attributes":{"title":"Polly and Charles Turner Collection","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vilxw_repositories_5_resources_226#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vilxw_repositories_5_resources_226","ead_ssi":"vilxw_repositories_5_resources_226","_root_":"vilxw_repositories_5_resources_226","_nest_parent_":"vilxw_repositories_5_resources_226","ead_source_url_ssi":"data/oai/WLU/repositories_5_resources_226.xml","title_ssm":["Polly and Charles Turner Collection"],"title_tesim":["Polly and Charles Turner Collection"],"unitdate_ssm":["Date Not Yet Determined"],"unitdate_other_ssim":["Date Not Yet Determined"],"normalized_title_ssm":["Polly and Charles Turner Collection"],"text":["Polly and Charles Turner Collection","WLU.Coll.0381","/repositories/5/resources/226","Theater programs","Playbills","This collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.","Washington and Lee University, University Library Special Collections and Archives","Turner, Charles (David Charles Stuart)","Turner, Polly (Pauline Swartz ), 1920-2019","English"],"collection_title_tesim":["Polly and Charles Turner Collection"],"collection_ssim":["Polly and Charles Turner Collection"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["WLU.Coll.0381","/repositories/5/resources/226"],"unitid_tesim":["WLU.Coll.0381","/repositories/5/resources/226"],"repository_ssm":["Washington and Lee University, Leyburn Library"],"repository_ssim":["Washington and Lee University, Leyburn Library"],"creator_persname_ssim":["Turner, Charles (David Charles Stuart)","Turner, Polly (Pauline Swartz ), 1920-2019"],"creator_corpname_ssim":["Washington and Lee University, University Library Special Collections and Archives"],"creators_ssim":["Turner, Charles (David Charles Stuart)","Turner, Polly (Pauline Swartz ), 1920-2019","Washington and Lee University, University Library Special Collections and Archives"],"access_terms_ssm":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"access_subjects_ssim":["Theater programs","Playbills"],"access_subjects_ssm":["Theater programs","Playbills"],"has_online_content_ssim":["false"],"extent_ssm":["1 Linear Feet"],"extent_tesim":["1 Linear Feet"],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is not yet processed. Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information."],"prefercite_html_tesm":["\u003cp\u003ePreferred citation: [Identification of item], Polly and Charles Turner Collection, WLU Coll. 0381, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA. In some cases the citation format may vary. Please contact Special Collections staff to verify the appropriate format.\u003c/p\u003e  "],"prefercite_tesim":["Preferred citation: [Identification of item], Polly and Charles Turner Collection, WLU Coll. 0381, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA. In some cases the citation format may vary. Please contact Special Collections staff to verify the appropriate format."],"userestrict_html_tesm":["\u003cp\u003eThe materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  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Use of the collection is granted on a case by case basis. Please contact the Head of Special Collections at 540-458-8649 for more information.","The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  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The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"persname_ssim":["Graham, John Alexander"],"names_ssim":["Graham, John Alexander"],"access_subjects_ssim":["Programs","Theater programs"],"access_subjects_ssm":["Programs","Theater programs"],"language_ssim":["English"],"date_range_isim":[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],"scopecontent_html_tesm":["\u003cp\u003ePrograms from 'Clan Graham,' 'An Evening of Musical Compositions by John Graham,' and 'A Program of Music by John A. 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Graham.'"],"_nest_path_":"/components#184","timestamp":"2026-06-23T07:01:08.296Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vilxw_repositories_5_resources_187","ead_ssi":"vilxw_repositories_5_resources_187","_root_":"vilxw_repositories_5_resources_187","_nest_parent_":"vilxw_repositories_5_resources_187","ead_source_url_ssi":"data/oai/WLU/repositories_5_resources_187.xml","title_ssm":["John Alexander Graham Papers"],"title_tesim":["John Alexander Graham Papers"],"unitdate_ssm":["Inclusive 1910-1947","Bulk 1915-1947"],"unitdate_inclusive_ssm":["Inclusive 1910-1947"],"unitdate_bulk_ssim":["Bulk 1915-1947"],"normalized_date_ssm":["1910/1947, bulk 1915/1947"],"normalized_title_ssm":["John Alexander Graham Papers, 1910/1947, bulk 1915/1947"],"text":["John Alexander Graham Papers, 1910/1947, bulk 1915/1947","WLU.Coll.0307","/repositories/5/resources/187","Sheet music","Correspondence","World War (1914-1918)","Universities and colleges -- Faculty","Graham was a member of the Washington and Lee University Class of 1914, a professor of Romance Languages at Washington and Lee University from 1919-1947, a composer, and a director a Presbyterian church choir for 25 years.","Blue sheet prepared by Betty Kondayan (02/14/08)","This collection includes Graham's compositions, World War I papers and correspondence, memorabilia of Washington and Lee University activities, scores, sheet music, notebooks, and other correspondence.","'Oh Professor!' was revised by Graham from an earlier edition of the musical comedy, 'Let's Dance.'","This file includes programs from The Troubadours of Washington and Lee, the Virginia Symphony Orchestra, and the Virginia State Choral Festival.","The letter is addressed to 'James.'","This file consists of orignals and of the published work.","This file consists of published copies of the piece as well as original copies made for James G. Leyburn and Mary Monroe Penick. The piece was written for The Children's Choir of The Presbyterian Church of Lexington, Va. It also contains copies for violin, violin II, viola, and cello.","This song was composed for Eric Rath and the Hollins Choir.","The piece was arranged and dedicated to Alfred Finch and the Glee Club of Sweet Briar College. The file consists of two original copies and three printed copies. One of the copies is signed by John A. Graham.","This file consists of one original and four copies. The piece was for the choir of the Lexington Presbyterian Church.","This file consists of one copy of the piece. It was arranged for the Madrigal Club of Lexington, Va.","This file consists of music written in pencil. The name 'Hugh Thomson Kerr' is written on the front.","Graham dedicated the piece to Miss Edna Schaeffer and the Glee Club of the State Teacher's College, Harrisburg, Va.","This music was arranged for the Washington and Lee Glee Club.","This piece was dedicated to Miss Edna T. Shaeffer and the Glee Club of Madison College, Harrisonburg, Va.","This piece was composed for The Madrigal Club of Lexington, Va.","The piece was for the choir of Trinity Episcopal Church, Staunton, Va.","John A. Graham wrote the descant on the sheet of music.","John A. Graham wrote the descant on the sheet of music.","John A. Graham wrote the descant on the sheet of music.","John A. Graham wrote the descant on the sheet of music.","John A. Graham wrote the descant on the sheet of music.","John A. Graham wrote the descant on the sheet of music.","Graham arranged the music for the choir of the Lexington Presbyterian Church.","John A. Graham wrote the descant on the sheet of music.","John A. Graham abridged and arranged the music for a violin duet with piano accompaniment","This file includes arrangements for violin I, violin II, viola, and cello.","This piece was arranged by Graham for a cello.","Graham composed the work for Miss MacDonald, Mr. Leyburn, and two pianos.","This file includes the master copy.","This file includes copies for each violin and piano part. The sonata was written for and dedicated to Francis Rouclebush and James G. Leyburn.","This file consists of two notebooks with the music for 'Sonata for Violin and Piano.'","This file contains the violin I and II, viola, and cello music for Graham's 'String Quartet.'","Graham wrote and dedicated the music to Anne MacDonald and James G. Leyburn.","The music was written for Mr. Ammerman.","This file consists of sheet music from Washington and Lee's Troubadours' prouduction of 'The Lady in Green.'","This file consists of sheet music from the musicomedy 'Mlle Gaby' presented by Washington and Lee Troubadours.","The work is dedicated to Mr. Clifton Hall.","Dedicated to the Lexington Presbyterian Choir","'Be with us through the night' is an evening anthem or a quartet or chorus of male voices.","Dedeicated to Miss Mary Monroe Penick and the Choir of the Presbyterian Church.","Written for the Choir of the Presbyterian Church, Lexington, Va","'Savior, breathe an evening blessing' is an evening anthem for soprano voices.","This file consists of sheet music to 'Fight, Fight Blue and White' also referred to as 'Hail to Our Alma Mater.' The song was written for Washington and Lee University and dedicated to R.H. Carr, cheer leader.","This file consists of hand-written sheet music for 'Fight, Fight Blue and White.'","This file consists of sheet music for 'The Blue Ridge' for male chorus, dedicated to the Glee Club of Washington and Lee.","This file was written for male chorus and dedicated to the Glee Club of Washington and Lee University.","The song was originally written for C. W. Karraker, Jr.","Graham arranged this song for a male chorus with tenor and baritone solos or with violin or flute obbligato.","This is a choral ballad written for a chorus of women's voices with piano forte accompaniment. Graham wrote and dedicated the work to Miss Virginia Egol and the Choral Club of Hollins College.","Mary Monroe Penick wrote on an envelope the story of how Graham wrote the accompanying music to Mrs. Perkin's poems.","'I never knew' is a solo for mezzo-soprano with pianoforte accompaniment.","'Hebrew Lullaby' was dedicated to Mrs. Walter Forrester.","This has a baritone solo and chrorus for the Washington and Lee Glee Club.","Graham sent a card to Mary Monroe with a short song he wrote about how she was missed.","Graham dedicated this to W. S. Hastings.","'The Night Will Never Stay' was for Charles William Karraker, Jr.","Graham created this piece for Walter Scott Hastings by request.","The file includes a description of the piece.","This song was arranged for the Madrigal Club of Lexington, Va.","One of the copies is signed by James G. Leyburn and has a message from John A. Graham on it.","This song was from 'The Lady in Green' presented by The Troubadours at Washington and Lee University.","This file consists of mostly German cipher material.","This file consists of official documents, such as merandums, official business letters, and reciepts, from John Aleander Graham's war years.","This file consists of programs of Independence Day and Thanksgiving services, a theatre progam, a photograph, and Graham's certificate of identification.","Letter to John from his father about news in Lexington.","This file consists of wartime letters from John's three siblings reporting mostly of news at home, school, etc. It also contains a photograph of 'The Lexington Crew.' It appears to be written in Mercer's handwriting.","This file consists of correspondence from family and friends, in particular Mrs. Graham. There are also letters concerning teaching positions and graduate school scholarships.","This file consists of Graham's war memoirs.","This file consists of a newspaper article about a speech given by George Denny in 1910 about William Graham. It also contains a photograph of the bronze plaque at Graham's grave and photogaphs most likely from the moving of his remains to Lexington.","This file consists of Mercer and John's certificates from grade school and of materials from John's time at Washington and Lee. His report cards, football ticket, and matriculation reciept.","This file consists of newspaper clippings, Graham's Laissez, a correspondence with the editor of Choral Publications, and a photograph of Graham.","This file includes a music record sent to Robert Stewart, nwespaper clippings, and a bill passed by the United States Senate.","This file consists of poetry written by John Alexander Graham. The title of the collection of poems is 'Sadistic Songs for Arrant Egoists.'","This file consists of a record collection index. It is inscribed 'James Otis Trulove, Washington and Lee University, Lexington, Va.'","Programs from 'Clan Graham,' 'An Evening of Musical Compositions by John Graham,' and 'A Program of Music by John A. Graham.'","This file includes sheet music for 'Fight, Fight Blue and White' and 'Washington and Lee Swing.'","One of the letters to Mary Monroe asks about John. William writes the next day after hearing of John's death. He proposes doing something to spread John's music.","This file consists of a letter written by Graham to 'James,' most likely James G. Leyburn.","This file consists of designs information about commemorative plates for Washington and Lee University.","This file consists of letters written to Mary Monroe Penick about the music festival in memory of John Alexander Graham. Also included are newspaper articles about the event and programs.","This file consists of correspondence between various people and Mary Monroe Penick regarding preparations for the music festival in memory of John Alexander Graham.","This file includes correspondence written by Mary Monroe Pennick about the details of the music festival in memory of John Graham. It also includes biographies of the musicians who participated in the event, an invitation list, and other information that was used in the planning of the event.","This file consists of Washington and Lee Glee Club programs. Many of the Glee Club's concerts were join concerts with Hollins College or Sweet Briar College.","This file consists of glee club programs from universities other than Washington and Lee. Included are programas from the Intercollegiate Glee Club Contest, Emory University, Sweet Briar, Hollins College, Westminster Choir, University of Virginia, and Iowa State University.","This file consists of opera programs. One of the programs is from the Chicago Civic Opera Company Grand Opera Season 1929-1930. The other three are from the Metropolitan Opera House Philedelphia, seasons 1912-1913, 1913-1914, and 1915-1916.","This file consists of a copy of The Music Club Magazine, part of The Virginia Musician, South Atlantic Intercollegiate Glee Club Association Bulletin #10, September 29, 1932, Intercollegiate Musical Council Bulletin, October 1932, and correspondence between Alvin C. Busse and Graham about reprinting rights of the Alma Mater or New York University.","This file consists of vocal and piano music that belonged to Graham.","This file consists of two issues of The Etude and music belonging to Graham.","This file consists of three issues of The Etude, a music magazine, and miscellaneous music.","This file consists of miscellaneous music belonging to Graham and The New York Times Book Review, February 26, 1956.","This file consists of the libretto, or opera text, of the opera Aida that was written by request of the Viceroy of Egypt in 1871.","This file consists of the contexts of several operas. Included is an index of the operas mentioned.","This file includes 'No. 3 - Rue de Buci (en face la rue de l'Abbaye),' 1926, and 'No. 7 - Rue d'Odessa (Sortie du cinéma, 1916),' 1926. They are both mezzotint and aquatint with hand coloring.","This file consists of two card file indexes of John Alexander Graham's compositions. One of the files is organized alphabetically and the other is by subject.","The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.","Washington and Lee University, University Library Special Collections and Archives","Washington and Lee University","Hollins College","Lexington Presbyterian Church (Lexington, Va.)","New Monmouth Presbyterian Church (Lexington, Va.)","Ann Smith Academy","Virginia Symphony","G. Ricordi \u0026 Co.","Hollins University","Sweet Briar College","Virginia. State Teachers College at Harrisonburg (Harrisonburg, Va.)","Madison College","Trinity Episcopal Church (Staunton, Va.)","Johns Hopkins University","Emory University","Mary Baldwin College","Westminster Choir","University of Virginia","Iowa State University","Chicago Civic Opera (Chicago, Ill.)","New York Times Company","Graham family","Graham, John Alexander","Penick, Mary Monroe","Leyburn, James Graham","Kerr, Hugh Thomson","Southwell, Robert, Saint","Chesterton, G. K. (Gilbert Keith)","Lathbury, Mary A. (Mary Artemisia)","Mason, Lowell","Watts, Isaac","Bates, Katherine Lee","Ward, Samuel A.","Reed, Andrew","Gottschalk, Louis Moreau","Maker, F. C.","Whittier, John Greenleaf","Tucker, Mary","Ammerman, Richard C.","Rice, Cale Young","Gill, Carl Everett Leonard","Carr, Robert H.","Preston, Margaret Junkin","Chubb, Thomas Caldecot","Nelson, Evelyn","Karraker, Charles William, Jr.","Egolf, Virginia","Perkins, Sally Shepherd","Forrester, Walter, Mrs.","Merriam, Lillie Fuller","Farjeon, Eleanor","Tennyson, Alfred Tennyson, Baron","Hastings, Walter Scott","Castelnau, Edouard de Curieres de","Graham, Ned, Jr. (Edward L.)","Graham, Samuel Mercer","Graham, Mary Louisa","Denny, George Hutcheson","Graham, William","Graham, Edward","Graham, Louisa Garnett Eoff","Jordan, John","Stewart, Robert","West, Marshall Penick","Trulove, James Otis","Robbins, Clarence A.","Allen, Thornton W.","Sheafe, Mark W.","Lewis, Mildred","Daura, Louise","Velte, Marjorie","Munger, Betty E","Munger, Robert Sylvester","Harding, Vera","Williamson, Olympia","Drake, Winbourne Magruder","Boatwright, Helen","Bell, Mary Lou","Rogers, Milton Borbee","Welles, Betty Galt","Brown, Stanley Coleman","Peters, Frances","Criminale, Leonard Rex","McMurran, Lewis A., Jr.","McNeil, Ruth","Graves, Edward S.","Moore, Stuart","Dennis, Betty","Shaeffer, Edna T.","Caskie, James R.","Desha, Lucius Junius","Cushing, Kay","Casselman, Eugene","Busse, Alvin C.","Mozart, Wolfgang Amadeus (1756-1791)","Clerambault, Louis-Nicolas","Verdi, Giuseppe","Corvel, Georges","English"],"collection_title_tesim":["John Alexander Graham Papers, 1910/1947, bulk 1915/1947"],"collection_ssim":["John Alexander Graham Papers, 1910/1947, bulk 1915/1947"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["WLU.Coll.0307","/repositories/5/resources/187"],"unitid_tesim":["WLU.Coll.0307","/repositories/5/resources/187"],"repository_ssm":["Washington and Lee University, Leyburn Library"],"repository_ssim":["Washington and Lee University, Leyburn Library"],"creator_ssm":["Graham, John Alexander","Penick, Mary Monroe"],"creator_ssim":["Graham, John Alexander","Penick, Mary Monroe"],"creator_persname_ssim":["Graham, John Alexander","Penick, Mary Monroe","Leyburn, James Graham","Kerr, Hugh Thomson","Southwell, Robert, Saint","Chesterton, G. K. (Gilbert Keith)","Lathbury, Mary A. (Mary Artemisia)","Mason, Lowell","Watts, Isaac","Bates, Katherine Lee","Ward, Samuel A.","Reed, Andrew","Gottschalk, Louis Moreau","Maker, F. C.","Whittier, John Greenleaf","Tucker, Mary","Ammerman, Richard C.","Rice, Cale Young","Gill, Carl Everett Leonard","Carr, Robert H.","Preston, Margaret Junkin","Chubb, Thomas Caldecot","Nelson, Evelyn","Karraker, Charles William, Jr.","Egolf, Virginia","Perkins, Sally Shepherd","Forrester, Walter, Mrs.","Merriam, Lillie Fuller","Farjeon, Eleanor","Tennyson, Alfred Tennyson, Baron","Hastings, Walter Scott","Castelnau, Edouard de Curieres de","Graham, Ned, Jr. (Edward L.)","Graham, Samuel Mercer","Graham, Mary Louisa","Denny, George Hutcheson","Graham, William","Graham, Edward","Graham, Louisa Garnett Eoff","Jordan, John","Stewart, Robert","West, Marshall Penick","Trulove, James Otis","Robbins, Clarence A.","Allen, Thornton W.","Sheafe, Mark W.","Lewis, Mildred","Daura, Louise","Velte, Marjorie","Munger, Betty E","Munger, Robert Sylvester","Harding, Vera","Williamson, Olympia","Drake, Winbourne Magruder","Boatwright, Helen","Bell, Mary Lou","Rogers, Milton Borbee","Welles, Betty Galt","Brown, Stanley Coleman","Peters, Frances","Criminale, Leonard Rex","McMurran, Lewis A., Jr.","McNeil, Ruth","Graves, Edward S.","Moore, Stuart","Dennis, Betty","Shaeffer, Edna T.","Caskie, James R.","Desha, Lucius Junius","Cushing, Kay","Casselman, Eugene","Busse, Alvin C.","Mozart, Wolfgang Amadeus (1756-1791)","Clerambault, Louis-Nicolas","Verdi, Giuseppe","Corvel, Georges"],"creator_corpname_ssim":["Washington and Lee University, University Library Special Collections and Archives","Washington and Lee University","Hollins College","Lexington Presbyterian Church (Lexington, Va.)","New Monmouth Presbyterian Church (Lexington, Va.)","Ann Smith Academy","Virginia Symphony","G. Ricordi \u0026 Co.","Hollins University","Sweet Briar College","Virginia. State Teachers College at Harrisonburg (Harrisonburg, Va.)","Madison College","Trinity Episcopal Church (Staunton, Va.)","Johns Hopkins University","Emory University","Mary Baldwin College","Westminster Choir","University of Virginia","Iowa State University","Chicago Civic Opera (Chicago, Ill.)","New York Times Company"],"creator_famname_ssim":["Graham family"],"creators_ssim":["Graham, John Alexander","Penick, Mary Monroe","Leyburn, James Graham","Kerr, Hugh Thomson","Southwell, Robert, Saint","Chesterton, G. K. (Gilbert Keith)","Lathbury, Mary A. (Mary Artemisia)","Mason, Lowell","Watts, Isaac","Bates, Katherine Lee","Ward, Samuel A.","Reed, Andrew","Gottschalk, Louis Moreau","Maker, F. C.","Whittier, John Greenleaf","Tucker, Mary","Ammerman, Richard C.","Rice, Cale Young","Gill, Carl Everett Leonard","Carr, Robert H.","Preston, Margaret Junkin","Chubb, Thomas Caldecot","Nelson, Evelyn","Karraker, Charles William, Jr.","Egolf, Virginia","Perkins, Sally Shepherd","Forrester, Walter, Mrs.","Merriam, Lillie Fuller","Farjeon, Eleanor","Tennyson, Alfred Tennyson, Baron","Hastings, Walter Scott","Castelnau, Edouard de Curieres de","Graham, Ned, Jr. (Edward L.)","Graham, Samuel Mercer","Graham, Mary Louisa","Denny, George Hutcheson","Graham, William","Graham, Edward","Graham, Louisa Garnett Eoff","Jordan, John","Stewart, Robert","West, Marshall Penick","Trulove, James Otis","Robbins, Clarence A.","Allen, Thornton W.","Sheafe, Mark W.","Lewis, Mildred","Daura, Louise","Velte, Marjorie","Munger, Betty E","Munger, Robert Sylvester","Harding, Vera","Williamson, Olympia","Drake, Winbourne Magruder","Boatwright, Helen","Bell, Mary Lou","Rogers, Milton Borbee","Welles, Betty Galt","Brown, Stanley Coleman","Peters, Frances","Criminale, Leonard Rex","McMurran, Lewis A., Jr.","McNeil, Ruth","Graves, Edward S.","Moore, Stuart","Dennis, Betty","Shaeffer, Edna T.","Caskie, James R.","Desha, Lucius Junius","Cushing, Kay","Casselman, Eugene","Busse, Alvin C.","Mozart, Wolfgang Amadeus (1756-1791)","Clerambault, Louis-Nicolas","Verdi, Giuseppe","Corvel, Georges","Washington and Lee University, University Library Special Collections and Archives","Washington and Lee University","Hollins College","Lexington Presbyterian Church (Lexington, Va.)","New Monmouth Presbyterian Church (Lexington, Va.)","Ann Smith Academy","Virginia Symphony","G. Ricordi \u0026 Co.","Hollins University","Sweet Briar College","Virginia. State Teachers College at Harrisonburg (Harrisonburg, Va.)","Madison College","Trinity Episcopal Church (Staunton, Va.)","Johns Hopkins University","Emory University","Mary Baldwin College","Westminster Choir","University of Virginia","Iowa State University","Chicago Civic Opera (Chicago, Ill.)","New York Times Company","Graham family"],"access_terms_ssm":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"access_subjects_ssim":["Sheet music","Correspondence","World War (1914-1918)","Universities and colleges -- Faculty"],"access_subjects_ssm":["Sheet music","Correspondence","World War (1914-1918)","Universities and colleges -- Faculty"],"has_online_content_ssim":["false"],"extent_ssm":["8 Linear Feet"],"extent_tesim":["8 Linear Feet"],"date_range_isim":[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],"bioghist_html_tesm":["\u003cp\u003eGraham was a member of the Washington and Lee University Class of 1914, a professor of Romance Languages at Washington and Lee University from 1919-1947, a composer, and a director a Presbyterian church choir for 25 years.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Graham was a member of the Washington and Lee University Class of 1914, a professor of Romance Languages at Washington and Lee University from 1919-1947, a composer, and a director a Presbyterian church choir for 25 years."],"prefercite_html_tesm":["\u003cp\u003ePreferred citation: [Identification of item], John Alexander Graham Papers, WLU Coll. 0307, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA. In some cases the citation format may vary. Please contact Special Collections staff to verify the appropriate format.\u003c/p\u003e  "],"prefercite_tesim":["Preferred citation: [Identification of item], John Alexander Graham Papers, WLU Coll. 0307, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA. In some cases the citation format may vary. Please contact Special Collections staff to verify the appropriate format."],"processinfo_html_tesm":["\u003cp\u003eBlue sheet prepared by Betty Kondayan (02/14/08)\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Blue sheet prepared by Betty Kondayan (02/14/08)"],"scopecontent_html_tesm":["\u003cp\u003eThis collection includes Graham's compositions, World War I papers and correspondence, memorabilia of Washington and Lee University activities, scores, sheet music, notebooks, and other correspondence.\u003c/p\u003e  ","\u003cp\u003e'Oh Professor!' was revised by Graham from an earlier edition of the musical comedy, 'Let's Dance.'\u003c/p\u003e","\u003cp\u003eThis file includes programs from The Troubadours of Washington and Lee, the Virginia Symphony Orchestra, and the Virginia State Choral Festival.\u003c/p\u003e","\u003cp\u003eThe letter is addressed to 'James.'\u003c/p\u003e","\u003cp\u003eThis file consists of orignals and of the published work.\u003c/p\u003e","\u003cp\u003eThis file consists of published copies of the piece as well as original copies made for James G. Leyburn and Mary Monroe Penick. The piece was written for The Children's Choir of The Presbyterian Church of Lexington, Va. It also contains copies for violin, violin II, viola, and cello.\u003c/p\u003e","\u003cp\u003eThis song was composed for Eric Rath and the Hollins Choir.\u003c/p\u003e","\u003cp\u003eThe piece was arranged and dedicated to Alfred Finch and the Glee Club of Sweet Briar College. The file consists of two original copies and three printed copies. One of the copies is signed by John A. Graham.\u003c/p\u003e","\u003cp\u003eThis file consists of one original and four copies. The piece was for the choir of the Lexington Presbyterian Church.\u003c/p\u003e","\u003cp\u003eThis file consists of one copy of the piece. It was arranged for the Madrigal Club of Lexington, Va.\u003c/p\u003e","\u003cp\u003eThis file consists of music written in pencil. The name 'Hugh Thomson Kerr' is written on the front.\u003c/p\u003e","\u003cp\u003eGraham dedicated the piece to Miss Edna Schaeffer and the Glee Club of the State Teacher's College, Harrisburg, Va.\u003c/p\u003e","\u003cp\u003eThis music was arranged for the Washington and Lee Glee Club.\u003c/p\u003e","\u003cp\u003eThis piece was dedicated to Miss Edna T. Shaeffer and the Glee Club of Madison College, Harrisonburg, Va.\u003c/p\u003e","\u003cp\u003eThis piece was composed for The Madrigal Club of Lexington, Va.\u003c/p\u003e","\u003cp\u003eThe piece was for the choir of Trinity Episcopal Church, Staunton, Va.\u003c/p\u003e","\u003cp\u003eJohn A. Graham wrote the descant on the sheet of music.\u003c/p\u003e","\u003cp\u003eJohn A. Graham wrote the descant on the sheet of music.\u003c/p\u003e","\u003cp\u003eJohn A. Graham wrote the descant on the sheet of music.\u003c/p\u003e","\u003cp\u003eJohn A. Graham wrote the descant on the sheet of music.\u003c/p\u003e","\u003cp\u003eJohn A. Graham wrote the descant on the sheet of music.\u003c/p\u003e","\u003cp\u003eJohn A. Graham wrote the descant on the sheet of music.\u003c/p\u003e","\u003cp\u003eGraham arranged the music for the choir of the Lexington Presbyterian Church.\u003c/p\u003e","\u003cp\u003eJohn A. Graham wrote the descant on the sheet of music.\u003c/p\u003e","\u003cp\u003eJohn A. Graham abridged and arranged the music for a violin duet with piano accompaniment\u003c/p\u003e","\u003cp\u003eThis file includes arrangements for violin I, violin II, viola, and cello.\u003c/p\u003e","\u003cp\u003eThis piece was arranged by Graham for a cello.\u003c/p\u003e","\u003cp\u003eGraham composed the work for Miss MacDonald, Mr. Leyburn, and two pianos.\u003c/p\u003e","\u003cp\u003eThis file includes the master copy.\u003c/p\u003e","\u003cp\u003eThis file includes copies for each violin and piano part. The sonata was written for and dedicated to Francis Rouclebush and James G. Leyburn.\u003c/p\u003e","\u003cp\u003eThis file consists of two notebooks with the music for 'Sonata for Violin and Piano.'\u003c/p\u003e","\u003cp\u003eThis file contains the violin I and II, viola, and cello music for Graham's 'String Quartet.'\u003c/p\u003e","\u003cp\u003eGraham wrote and dedicated the music to Anne MacDonald and James G. Leyburn.\u003c/p\u003e","\u003cp\u003eThe music was written for Mr. Ammerman.\u003c/p\u003e","\u003cp\u003eThis file consists of sheet music from Washington and Lee's Troubadours' prouduction of 'The Lady in Green.'\u003c/p\u003e","\u003cp\u003eThis file consists of sheet music from the musicomedy 'Mlle Gaby' presented by Washington and Lee Troubadours.\u003c/p\u003e","\u003cp\u003eThe work is dedicated to Mr. Clifton Hall.\u003c/p\u003e","\u003cp\u003eDedicated to the Lexington Presbyterian Choir\u003c/p\u003e","\u003cp\u003e'Be with us through the night' is an evening anthem or a quartet or chorus of male voices.\u003c/p\u003e","\u003cp\u003eDedeicated to Miss Mary Monroe Penick and the Choir of the Presbyterian Church.\u003c/p\u003e","\u003cp\u003eWritten for the Choir of the Presbyterian Church, Lexington, Va\u003c/p\u003e","\u003cp\u003e'Savior, breathe an evening blessing' is an evening anthem for soprano voices.\u003c/p\u003e","\u003cp\u003eThis file consists of sheet music to 'Fight, Fight Blue and White' also referred to as 'Hail to Our Alma Mater.' The song was written for Washington and Lee University and dedicated to R.H. Carr, cheer leader.\u003c/p\u003e","\u003cp\u003eThis file consists of hand-written sheet music for 'Fight, Fight Blue and White.'\u003c/p\u003e","\u003cp\u003eThis file consists of sheet music for 'The Blue Ridge' for male chorus, dedicated to the Glee Club of Washington and Lee.\u003c/p\u003e","\u003cp\u003eThis file was written for male chorus and dedicated to the Glee Club of Washington and Lee University.\u003c/p\u003e","\u003cp\u003eThe song was originally written for C. W. Karraker, Jr.\u003c/p\u003e","\u003cp\u003eGraham arranged this song for a male chorus with tenor and baritone solos or with violin or flute obbligato.\u003c/p\u003e","\u003cp\u003eThis is a choral ballad written for a chorus of women's voices with piano forte accompaniment. Graham wrote and dedicated the work to Miss Virginia Egol and the Choral Club of Hollins College.\u003c/p\u003e","\u003cp\u003eMary Monroe Penick wrote on an envelope the story of how Graham wrote the accompanying music to Mrs. Perkin's poems.\u003c/p\u003e","\u003cp\u003e'I never knew' is a solo for mezzo-soprano with pianoforte accompaniment.\u003c/p\u003e","\u003cp\u003e'Hebrew Lullaby' was dedicated to Mrs. Walter Forrester.\u003c/p\u003e","\u003cp\u003eThis has a baritone solo and chrorus for the Washington and Lee Glee Club.\u003c/p\u003e","\u003cp\u003eGraham sent a card to Mary Monroe with a short song he wrote about how she was missed.\u003c/p\u003e","\u003cp\u003eGraham dedicated this to W. S. Hastings.\u003c/p\u003e","\u003cp\u003e'The Night Will Never Stay' was for Charles William Karraker, Jr.\u003c/p\u003e","\u003cp\u003eGraham created this piece for Walter Scott Hastings by request.\u003c/p\u003e","\u003cp\u003eThe file includes a description of the piece.\u003c/p\u003e","\u003cp\u003eThis song was arranged for the Madrigal Club of Lexington, Va.\u003c/p\u003e","\u003cp\u003eOne of the copies is signed by James G. Leyburn and has a message from John A. Graham on it.\u003c/p\u003e","\u003cp\u003eThis song was from 'The Lady in Green' presented by The Troubadours at Washington and Lee University.\u003c/p\u003e","\u003cp\u003eThis file consists of mostly German cipher material.\u003c/p\u003e","\u003cp\u003eThis file consists of official documents, such as merandums, official business letters, and reciepts, from John Aleander Graham's war years.\u003c/p\u003e","\u003cp\u003eThis file consists of programs of Independence Day and Thanksgiving services, a theatre progam, a photograph, and Graham's certificate of identification.\u003c/p\u003e","\u003cp\u003eLetter to John from his father about news in Lexington.\u003c/p\u003e","\u003cp\u003eThis file consists of wartime letters from John's three siblings reporting mostly of news at home, school, etc. It also contains a photograph of 'The Lexington Crew.' It appears to be written in Mercer's handwriting.\u003c/p\u003e","\u003cp\u003eThis file consists of correspondence from family and friends, in particular Mrs. Graham. There are also letters concerning teaching positions and graduate school scholarships.\u003c/p\u003e","\u003cp\u003eThis file consists of Graham's war memoirs.\u003c/p\u003e","\u003cp\u003eThis file consists of a newspaper article about a speech given by George Denny in 1910 about William Graham. It also contains a photograph of the bronze plaque at Graham's grave and photogaphs most likely from the moving of his remains to Lexington.\u003c/p\u003e","\u003cp\u003eThis file consists of Mercer and John's certificates from grade school and of materials from John's time at Washington and Lee. His report cards, football ticket, and matriculation reciept.\u003c/p\u003e","\u003cp\u003eThis file consists of newspaper clippings, Graham's Laissez, a correspondence with the editor of Choral Publications, and a photograph of Graham.\u003c/p\u003e","\u003cp\u003eThis file includes a music record sent to Robert Stewart, nwespaper clippings, and a bill passed by the United States Senate.\u003c/p\u003e","\u003cp\u003eThis file consists of poetry written by John Alexander Graham. The title of the collection of poems is 'Sadistic Songs for Arrant Egoists.'\u003c/p\u003e","\u003cp\u003eThis file consists of a record collection index. It is inscribed 'James Otis Trulove, Washington and Lee University, Lexington, Va.'\u003c/p\u003e","\u003cp\u003ePrograms from 'Clan Graham,' 'An Evening of Musical Compositions by John Graham,' and 'A Program of Music by John A. Graham.'\u003c/p\u003e","\u003cp\u003eThis file includes sheet music for 'Fight, Fight Blue and White' and 'Washington and Lee Swing.'\u003c/p\u003e","\u003cp\u003eOne of the letters to Mary Monroe asks about John. William writes the next day after hearing of John's death. He proposes doing something to spread John's music.\u003c/p\u003e","\u003cp\u003eThis file consists of a letter written by Graham to 'James,' most likely James G. Leyburn.\u003c/p\u003e","\u003cp\u003eThis file consists of designs information about commemorative plates for Washington and Lee University.\u003c/p\u003e","\u003cp\u003eThis file consists of letters written to Mary Monroe Penick about the music festival in memory of John Alexander Graham. Also included are newspaper articles about the event and programs.\u003c/p\u003e","\u003cp\u003eThis file consists of correspondence between various people and Mary Monroe Penick regarding preparations for the music festival in memory of John Alexander Graham.\u003c/p\u003e","\u003cp\u003eThis file includes correspondence written by Mary Monroe Pennick about the details of the music festival in memory of John Graham. It also includes biographies of the musicians who participated in the event, an invitation list, and other information that was used in the planning of the event.\u003c/p\u003e","\u003cp\u003eThis file consists of Washington and Lee Glee Club programs. Many of the Glee Club's concerts were join concerts with Hollins College or Sweet Briar College.\u003c/p\u003e","\u003cp\u003eThis file consists of glee club programs from universities other than Washington and Lee. Included are programas from the Intercollegiate Glee Club Contest, Emory University, Sweet Briar, Hollins College, Westminster Choir, University of Virginia, and Iowa State University.\u003c/p\u003e","\u003cp\u003eThis file consists of opera programs. One of the programs is from the Chicago Civic Opera Company Grand Opera Season 1929-1930. The other three are from the Metropolitan Opera House Philedelphia, seasons 1912-1913, 1913-1914, and 1915-1916.\u003c/p\u003e","\u003cp\u003eThis file consists of a copy of The Music Club Magazine, part of The Virginia Musician, South Atlantic Intercollegiate Glee Club Association Bulletin #10, September 29, 1932, Intercollegiate Musical Council Bulletin, October 1932, and correspondence between Alvin C. Busse and Graham about reprinting rights of the Alma Mater or New York University.\u003c/p\u003e","\u003cp\u003eThis file consists of vocal and piano music that belonged to Graham.\u003c/p\u003e","\u003cp\u003eThis file consists of two issues of The Etude and music belonging to Graham.\u003c/p\u003e","\u003cp\u003eThis file consists of three issues of The Etude, a music magazine, and miscellaneous music.\u003c/p\u003e","\u003cp\u003eThis file consists of miscellaneous music belonging to Graham and The New York Times Book Review, February 26, 1956.\u003c/p\u003e","\u003cp\u003eThis file consists of the libretto, or opera text, of the opera Aida that was written by request of the Viceroy of Egypt in 1871.\u003c/p\u003e","\u003cp\u003eThis file consists of the contexts of several operas. Included is an index of the operas mentioned.\u003c/p\u003e","\u003cp\u003eThis file includes 'No. 3 - Rue de Buci (en face la rue de l'Abbaye),' 1926, and 'No. 7 - Rue d'Odessa (Sortie du cinéma, 1916),' 1926. They are both mezzotint and aquatint with hand coloring.\u003c/p\u003e","\u003cp\u003eThis file consists of two card file indexes of John Alexander Graham's compositions. One of the files is organized alphabetically and the other is by subject.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection includes Graham's compositions, World War I papers and correspondence, memorabilia of Washington and Lee University activities, scores, sheet music, notebooks, and other correspondence.","'Oh Professor!' was revised by Graham from an earlier edition of the musical comedy, 'Let's Dance.'","This file includes programs from The Troubadours of Washington and Lee, the Virginia Symphony Orchestra, and the Virginia State Choral Festival.","The letter is addressed to 'James.'","This file consists of orignals and of the published work.","This file consists of published copies of the piece as well as original copies made for James G. Leyburn and Mary Monroe Penick. The piece was written for The Children's Choir of The Presbyterian Church of Lexington, Va. It also contains copies for violin, violin II, viola, and cello.","This song was composed for Eric Rath and the Hollins Choir.","The piece was arranged and dedicated to Alfred Finch and the Glee Club of Sweet Briar College. The file consists of two original copies and three printed copies. One of the copies is signed by John A. Graham.","This file consists of one original and four copies. The piece was for the choir of the Lexington Presbyterian Church.","This file consists of one copy of the piece. It was arranged for the Madrigal Club of Lexington, Va.","This file consists of music written in pencil. The name 'Hugh Thomson Kerr' is written on the front.","Graham dedicated the piece to Miss Edna Schaeffer and the Glee Club of the State Teacher's College, Harrisburg, Va.","This music was arranged for the Washington and Lee Glee Club.","This piece was dedicated to Miss Edna T. Shaeffer and the Glee Club of Madison College, Harrisonburg, Va.","This piece was composed for The Madrigal Club of Lexington, Va.","The piece was for the choir of Trinity Episcopal Church, Staunton, Va.","John A. Graham wrote the descant on the sheet of music.","John A. Graham wrote the descant on the sheet of music.","John A. Graham wrote the descant on the sheet of music.","John A. Graham wrote the descant on the sheet of music.","John A. Graham wrote the descant on the sheet of music.","John A. Graham wrote the descant on the sheet of music.","Graham arranged the music for the choir of the Lexington Presbyterian Church.","John A. Graham wrote the descant on the sheet of music.","John A. Graham abridged and arranged the music for a violin duet with piano accompaniment","This file includes arrangements for violin I, violin II, viola, and cello.","This piece was arranged by Graham for a cello.","Graham composed the work for Miss MacDonald, Mr. Leyburn, and two pianos.","This file includes the master copy.","This file includes copies for each violin and piano part. The sonata was written for and dedicated to Francis Rouclebush and James G. Leyburn.","This file consists of two notebooks with the music for 'Sonata for Violin and Piano.'","This file contains the violin I and II, viola, and cello music for Graham's 'String Quartet.'","Graham wrote and dedicated the music to Anne MacDonald and James G. Leyburn.","The music was written for Mr. Ammerman.","This file consists of sheet music from Washington and Lee's Troubadours' prouduction of 'The Lady in Green.'","This file consists of sheet music from the musicomedy 'Mlle Gaby' presented by Washington and Lee Troubadours.","The work is dedicated to Mr. Clifton Hall.","Dedicated to the Lexington Presbyterian Choir","'Be with us through the night' is an evening anthem or a quartet or chorus of male voices.","Dedeicated to Miss Mary Monroe Penick and the Choir of the Presbyterian Church.","Written for the Choir of the Presbyterian Church, Lexington, Va","'Savior, breathe an evening blessing' is an evening anthem for soprano voices.","This file consists of sheet music to 'Fight, Fight Blue and White' also referred to as 'Hail to Our Alma Mater.' The song was written for Washington and Lee University and dedicated to R.H. Carr, cheer leader.","This file consists of hand-written sheet music for 'Fight, Fight Blue and White.'","This file consists of sheet music for 'The Blue Ridge' for male chorus, dedicated to the Glee Club of Washington and Lee.","This file was written for male chorus and dedicated to the Glee Club of Washington and Lee University.","The song was originally written for C. W. Karraker, Jr.","Graham arranged this song for a male chorus with tenor and baritone solos or with violin or flute obbligato.","This is a choral ballad written for a chorus of women's voices with piano forte accompaniment. Graham wrote and dedicated the work to Miss Virginia Egol and the Choral Club of Hollins College.","Mary Monroe Penick wrote on an envelope the story of how Graham wrote the accompanying music to Mrs. Perkin's poems.","'I never knew' is a solo for mezzo-soprano with pianoforte accompaniment.","'Hebrew Lullaby' was dedicated to Mrs. Walter Forrester.","This has a baritone solo and chrorus for the Washington and Lee Glee Club.","Graham sent a card to Mary Monroe with a short song he wrote about how she was missed.","Graham dedicated this to W. S. Hastings.","'The Night Will Never Stay' was for Charles William Karraker, Jr.","Graham created this piece for Walter Scott Hastings by request.","The file includes a description of the piece.","This song was arranged for the Madrigal Club of Lexington, Va.","One of the copies is signed by James G. Leyburn and has a message from John A. Graham on it.","This song was from 'The Lady in Green' presented by The Troubadours at Washington and Lee University.","This file consists of mostly German cipher material.","This file consists of official documents, such as merandums, official business letters, and reciepts, from John Aleander Graham's war years.","This file consists of programs of Independence Day and Thanksgiving services, a theatre progam, a photograph, and Graham's certificate of identification.","Letter to John from his father about news in Lexington.","This file consists of wartime letters from John's three siblings reporting mostly of news at home, school, etc. It also contains a photograph of 'The Lexington Crew.' It appears to be written in Mercer's handwriting.","This file consists of correspondence from family and friends, in particular Mrs. Graham. There are also letters concerning teaching positions and graduate school scholarships.","This file consists of Graham's war memoirs.","This file consists of a newspaper article about a speech given by George Denny in 1910 about William Graham. It also contains a photograph of the bronze plaque at Graham's grave and photogaphs most likely from the moving of his remains to Lexington.","This file consists of Mercer and John's certificates from grade school and of materials from John's time at Washington and Lee. His report cards, football ticket, and matriculation reciept.","This file consists of newspaper clippings, Graham's Laissez, a correspondence with the editor of Choral Publications, and a photograph of Graham.","This file includes a music record sent to Robert Stewart, nwespaper clippings, and a bill passed by the United States Senate.","This file consists of poetry written by John Alexander Graham. The title of the collection of poems is 'Sadistic Songs for Arrant Egoists.'","This file consists of a record collection index. It is inscribed 'James Otis Trulove, Washington and Lee University, Lexington, Va.'","Programs from 'Clan Graham,' 'An Evening of Musical Compositions by John Graham,' and 'A Program of Music by John A. Graham.'","This file includes sheet music for 'Fight, Fight Blue and White' and 'Washington and Lee Swing.'","One of the letters to Mary Monroe asks about John. William writes the next day after hearing of John's death. He proposes doing something to spread John's music.","This file consists of a letter written by Graham to 'James,' most likely James G. Leyburn.","This file consists of designs information about commemorative plates for Washington and Lee University.","This file consists of letters written to Mary Monroe Penick about the music festival in memory of John Alexander Graham. Also included are newspaper articles about the event and programs.","This file consists of correspondence between various people and Mary Monroe Penick regarding preparations for the music festival in memory of John Alexander Graham.","This file includes correspondence written by Mary Monroe Pennick about the details of the music festival in memory of John Graham. It also includes biographies of the musicians who participated in the event, an invitation list, and other information that was used in the planning of the event.","This file consists of Washington and Lee Glee Club programs. Many of the Glee Club's concerts were join concerts with Hollins College or Sweet Briar College.","This file consists of glee club programs from universities other than Washington and Lee. Included are programas from the Intercollegiate Glee Club Contest, Emory University, Sweet Briar, Hollins College, Westminster Choir, University of Virginia, and Iowa State University.","This file consists of opera programs. One of the programs is from the Chicago Civic Opera Company Grand Opera Season 1929-1930. The other three are from the Metropolitan Opera House Philedelphia, seasons 1912-1913, 1913-1914, and 1915-1916.","This file consists of a copy of The Music Club Magazine, part of The Virginia Musician, South Atlantic Intercollegiate Glee Club Association Bulletin #10, September 29, 1932, Intercollegiate Musical Council Bulletin, October 1932, and correspondence between Alvin C. Busse and Graham about reprinting rights of the Alma Mater or New York University.","This file consists of vocal and piano music that belonged to Graham.","This file consists of two issues of The Etude and music belonging to Graham.","This file consists of three issues of The Etude, a music magazine, and miscellaneous music.","This file consists of miscellaneous music belonging to Graham and The New York Times Book Review, February 26, 1956.","This file consists of the libretto, or opera text, of the opera Aida that was written by request of the Viceroy of Egypt in 1871.","This file consists of the contexts of several operas. Included is an index of the operas mentioned.","This file includes 'No. 3 - Rue de Buci (en face la rue de l'Abbaye),' 1926, and 'No. 7 - Rue d'Odessa (Sortie du cinéma, 1916),' 1926. They are both mezzotint and aquatint with hand coloring.","This file consists of two card file indexes of John Alexander Graham's compositions. One of the files is organized alphabetically and the other is by subject."],"userestrict_html_tesm":["\u003cp\u003eThe materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"corpname_ssim":["Washington and Lee University, University Library Special Collections and Archives","Washington and Lee University","Hollins College","Lexington Presbyterian Church (Lexington, Va.)","New Monmouth Presbyterian Church (Lexington, Va.)","Ann Smith Academy","Virginia Symphony","G. Ricordi \u0026 Co.","Hollins University","Sweet Briar College","Virginia. 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The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"geogname_ssim":["Virginia -- Richmond"],"geogname_ssm":["Virginia -- Richmond"],"places_ssim":["Virginia -- Richmond"],"access_subjects_ssim":["Theater programs"],"access_subjects_ssm":["Theater programs"],"language_ssim":["English"],"scopecontent_html_tesm":["\u003cp\u003eThe program for 'Captain Swift' was for three nights, commencing Monday, April 14 (no year given).\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The program for 'Captain Swift' was for three nights, commencing Monday, April 14 (no year given)."],"_nest_path_":"/components#63","timestamp":"2026-06-23T07:01:37.512Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vilxw_repositories_5_resources_457","ead_ssi":"vilxw_repositories_5_resources_457","_root_":"vilxw_repositories_5_resources_457","_nest_parent_":"vilxw_repositories_5_resources_457","ead_source_url_ssi":"data/oai/WLU/repositories_5_resources_457.xml","title_ssm":["Charles Manson Crutchfield Collection of Memorabilia"],"title_tesim":["Charles Manson Crutchfield Collection of Memorabilia"],"unitdate_ssm":["Inclusive 1882-1914","Bulk 1880-1889"],"unitdate_inclusive_ssm":["Inclusive 1882-1914"],"unitdate_bulk_ssim":["Bulk 1880-1889"],"normalized_date_ssm":["1882/1914, bulk 1880/1889"],"normalized_title_ssm":["Charles Manson Crutchfield Collection of Memorabilia, 1882/1914, bulk 1880/1889"],"text":["Charles Manson Crutchfield Collection of Memorabilia, 1882/1914, bulk 1880/1889","WLU.Coll.0088","/repositories/5/resources/457","Virginia -- Lexington","United States -- Confederate States of America","Postcards","Generals","Portraits","Armies -- Officers","Photographs","Includes 82 items collected by Charles Manson Crutchfield, including 38 photographs some of which are of Confederate generals and were taken by Michael Miley, postcards and printed materials, most of which concern Washington and Lee University and the surrounding city of Lexington, Virginia during the 1880's","Photo of Confederate memorabilia given to C.M. 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Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.","Washington and Lee University, University Library Special Collections and Archives","Confederate States of America","Virginia Military Institute","Washington and Lee University","Washington and Lee University. Chapel","Young Men's Christian Associations of North America","Democratic Party (U.S.)","Miley, Michael, 1841-1918","Lee, George Washington Custis","Lee, William Henry Fitzhugh, 1837-1891","Davis, Jefferson, 1808-1889","Lee, Robert E. (Robert Edward), 1807-1870","Jackson, Thomas Jonathan (Stonewall)","Hill, A. P.  (A. Powell)","Pendleton, William Nelson, 1809-1883","Smith, Francis H., Colonel (Francis Henney)","Robinson, George W.","Nelson, Alexander Lockhart, 1827-1910","White, James J. 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Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"acqinfo_ssim":["Gift of Mr. James Manson Crutchfield in 1975."],"access_subjects_ssim":["Postcards","Generals","Portraits","Armies -- Officers","Photographs"],"access_subjects_ssm":["Postcards","Generals","Portraits","Armies -- Officers","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["4.4 Linear Feet"],"extent_tesim":["4.4 Linear Feet"],"genreform_ssim":["Photographs"],"date_range_isim":[1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914],"prefercite_html_tesm":["\u003cp\u003ePreferred citation: [Identification of item], Charles Manson Crutchfield Collection of Memorabilia, WLU Coll. 0088, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA.  In some cases the citation format may vary. Please contact Special Collections' staff to verify the appropriate format.\u003c/p\u003e  "],"prefercite_tesim":["Preferred citation: [Identification of item], Charles Manson Crutchfield Collection of Memorabilia, WLU Coll. 0088, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA.  In some cases the citation format may vary. Please contact Special Collections' staff to verify the appropriate format."],"scopecontent_html_tesm":["\u003cp\u003eIncludes 82 items collected by Charles Manson Crutchfield, including 38 photographs some of which are of Confederate generals and were taken by Michael Miley, postcards and printed materials, most of which concern Washington and Lee University and the surrounding city of Lexington, Virginia during the 1880's\u003c/p\u003e  ","\u003cp\u003ePhoto of Confederate memorabilia given to C.M. Crutchfield by J. L. 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Crutchfield by J. L. Cox, Oct. 1898","Photo by Buhn and Cummins, Baltimore","Photo by New York Art Gallery, Richmond, Va.","Includes R. E. Lee Church and some of Lexington","Photo by D. P. Thomson, Kansas City, Mo.","Postcard by McCrum Drug Co.","Postcard by McCrum Drug Co.","Postcard by McCrum Drug Co.","Postcard by McCrum Drug Co.","Postcard by McCrum Drug Co.","Postcard by McCrum Drug Co.","Postcard by McCrum Drug Co.","Postcard by McCrum Drug Co.","Postcard by McCrum Drug Co.","Postcard by McCrum Drug Co.","Postcard by McCrum Drug Co.","Includes a news-letter to the alumni","Vol. 32, No. 8, June, 1900\nVol. 46, No. 3, February 1914\nVol. 46, No. 2, December, 1913\nVol. 46, No. 4, April, 1914","This file consists of Commencement Day programs from Washington and Lee. There are two from June 27, 1883 and two from June 16, 1886.","This file consists of matriculation and tuition receipts from Washington and Lee University. There is also a receipt from 'The State' Newspaper in Richmond, Va.","Three ribbons including one from the 15th Biennial Sigma Chi Fraternity Convention, one from Washington and Lee University, and one marked 'COMMITTEE.'","The pamphlet was published in 1899 by Rand, McNally, and Co., Publishers","The program for 'Captain Swift' was for three nights, commencing Monday, April 14 (no year given).","The calendar was designed and printed by E. A. Wright, Phila.","The calendar was printed by Whittet \u0026 Shepperson, Printers, Richmond, Va."],"userestrict_html_tesm":["\u003cp\u003eThe materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"corpname_ssim":["Washington and Lee University, University Library Special Collections and Archives","Confederate States of America","Virginia Military Institute","Washington and Lee University","Washington and Lee University. Chapel","Young Men's Christian Associations of North America","Democratic Party (U.S.)"],"names_coll_ssim":["Confederate States of America"],"persname_ssim":["Miley, Michael, 1841-1918","Lee, George Washington Custis","Lee, William Henry Fitzhugh, 1837-1891","Davis, Jefferson, 1808-1889","Lee, Robert E. (Robert Edward), 1807-1870","Jackson, Thomas Jonathan (Stonewall)","Hill, A. P.  (A. Powell)","Pendleton, William Nelson, 1809-1883","Smith, Francis H., Colonel (Francis Henney)","Robinson, George W.","Nelson, Alexander Lockhart, 1827-1910","White, James J. (James Jones)","Tucker, John Randolph","Harrison, James Albert","Lee, Fitzhugh, 1835-1905"],"names_ssim":["Washington and Lee University, University Library Special Collections and Archives","Confederate States of America","Virginia Military Institute","Washington and Lee University","Washington and Lee University. Chapel","Young Men's Christian Associations of North America","Democratic Party (U.S.)","Miley, Michael, 1841-1918","Lee, George Washington Custis","Lee, William Henry Fitzhugh, 1837-1891","Davis, Jefferson, 1808-1889","Lee, Robert E. (Robert Edward), 1807-1870","Jackson, Thomas Jonathan (Stonewall)","Hill, A. P.  (A. Powell)","Pendleton, William Nelson, 1809-1883","Smith, Francis H., Colonel (Francis Henney)","Robinson, George W.","Nelson, Alexander Lockhart, 1827-1910","White, James J. (James Jones)","Tucker, John Randolph","Harrison, James Albert","Lee, Fitzhugh, 1835-1905"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":66,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:01:37.512Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vilxw_repositories_5_resources_457_c64"}},{"id":"vifgm_repositories_2_resources_521","type":"collection","attributes":{"title":"Robert and Wilva Breen papers, 1831/2000","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_521#creator","type":"document_value","attributes":{"value":"Breen, Robert","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_521#abstract_or_scope","type":"document_value","attributes":{"value":"The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_521#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_521","ead_ssi":"vifgm_repositories_2_resources_521","_root_":"vifgm_repositories_2_resources_521","_nest_parent_":"vifgm_repositories_2_resources_521","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_521.xml","title_ssm":["Robert and Wilva Breen papers"],"title_tesim":["Robert and Wilva Breen papers"],"unitdate_ssm":["1834, 1933-2000s"],"unitdate_inclusive_ssm":["1834, 1933-2000s"],"normalized_date_ssm":["1831/2000"],"normalized_title_ssm":["Robert and Wilva Breen papers, 1831/2000"],"text":["Robert and Wilva Breen papers, 1831/2000","C0004","/repositories/2/resources/521","Helsingør (Denmark)","Broadway (New York, N.Y.)","Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs","Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions.","Selections from the Robert and Wilva Breen papers are also available digitally on","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.","The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.","Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018).","Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.","Part of the Robert and Wilva Breen papers was donated to The Ohio State University.","The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.","Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.","Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.","R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","English"],"collection_title_tesim":["Robert and Wilva Breen papers, 1831/2000"],"collection_ssim":["Robert and Wilva Breen papers, 1831/2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0004","/repositories/2/resources/521"],"unitid_tesim":["C0004","/repositories/2/resources/521"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"geogname_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"places_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"creator_ssm":["Breen, Robert","Breen, Wilva"],"creator_ssim":["Breen, Robert","Breen, Wilva"],"creator_persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"creators_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"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":["This collection was donated by the trustees of the Robert and Wilva Breen papers in 1988, and Wilva Breen and The Ohio State University in 1989. There were multiple accessions of materials throughout the 1990s. Additional materials were donated by Diana Lawrence and Mike Timoney in 2011."],"access_subjects_ssim":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"access_subjects_ssm":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["80.5 Linear Feet 207 boxes, 1 map case"],"extent_tesim":["80.5 Linear Feet 207 boxes, 1 map case"],"genreform_ssim":["Theatrical posters","Photographs"],"date_range_isim":[1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eBox 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.\u003c/p\u003e","\u003cp\u003eBox 89, Folder 8 and 9 are restricted due to personally identifiable information.\u003c/p\u003e","\u003cp\u003eThere are no other access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions."],"altformavail_html_tesm":["\u003cp\u003eSelections from the Robert and Wilva Breen papers are also available digitally on \u003cextptr href=\"http://mars.gmu.edu/handle/1920/4609\" title=\"Mason Archival Respository Service (MARS).\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003eIn 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Selections from the Robert and Wilva Breen papers are also available digitally on","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room."],"arrangement_html_tesm":["\u003cp\u003eThe collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center."],"bibliography_html_tesm":["\u003cp\u003eStrom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com. \u003cbibref\u003e\u003cextptr href=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" title=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eOliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com. \u003cbibref\u003e\u003cextptr href=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" title=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eRiedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com. \u003cbibref\u003e\u003cextptr href=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" title=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA. \u003cbibref\u003e\u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018)."],"bioghist_html_tesm":["\u003cp\u003eRobert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.\u003c/p\u003e","\u003cp\u003e The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.\u003c/p\u003e","\u003cp\u003e Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.\u003c/p\u003e","\u003cp\u003e Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.\u003c/p\u003e","\u003cp\u003e Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.\u003c/p\u003e","\u003cp\u003e ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical and Historical Note"],"bioghist_tesim":["Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region."],"custodhist_html_tesm":["\u003cp\u003ePart of the Robert and Wilva Breen papers was donated to The Ohio State University.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Part of the Robert and Wilva Breen papers was donated to The Ohio State University."],"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 Robert and Wilva Breen papers. 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 play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eRobert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Robert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center also holds the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0145\" title=\"Porgy and Bess poster collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0002\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0043\" title=\"Robert C. Schnitzer papers\" show=\"new\"\u003e\u003c/extptr\u003e, and many other \u003cextptr href=\"https://scrc.gmu.edu/collections-subject.php#THEATRE\" title=\"performing arts collections.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the \u003cextptr href=\"https://library.osu.edu/collections/spec.tri.rb\" title=\"Robert Breen and Wilva papers.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The UCLA Library Special Collections, Charles E. Young Research Library holds the \u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"ANTA West records.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the"],"scopecontent_html_tesm":["\u003cp\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_ddb931edc4f44bf997d326b2923a7505\"\u003eR2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1\u003c/physloc\u003e\n    "],"physloc_tesim":["R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"names_coll_ssim":["American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Porterfield, Robert, 1905-1971"],"persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3014,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:55:07.784Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_521","ead_ssi":"vifgm_repositories_2_resources_521","_root_":"vifgm_repositories_2_resources_521","_nest_parent_":"vifgm_repositories_2_resources_521","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_521.xml","title_ssm":["Robert and Wilva Breen papers"],"title_tesim":["Robert and Wilva Breen papers"],"unitdate_ssm":["1834, 1933-2000s"],"unitdate_inclusive_ssm":["1834, 1933-2000s"],"normalized_date_ssm":["1831/2000"],"normalized_title_ssm":["Robert and Wilva Breen papers, 1831/2000"],"text":["Robert and Wilva Breen papers, 1831/2000","C0004","/repositories/2/resources/521","Helsingør (Denmark)","Broadway (New York, N.Y.)","Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs","Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions.","Selections from the Robert and Wilva Breen papers are also available digitally on","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.","The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.","Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018).","Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.","Part of the Robert and Wilva Breen papers was donated to The Ohio State University.","The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.","Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.","Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.","R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","English"],"collection_title_tesim":["Robert and Wilva Breen papers, 1831/2000"],"collection_ssim":["Robert and Wilva Breen papers, 1831/2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0004","/repositories/2/resources/521"],"unitid_tesim":["C0004","/repositories/2/resources/521"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"geogname_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"places_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"creator_ssm":["Breen, Robert","Breen, Wilva"],"creator_ssim":["Breen, Robert","Breen, Wilva"],"creator_persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"creators_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"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":["This collection was donated by the trustees of the Robert and Wilva Breen papers in 1988, and Wilva Breen and The Ohio State University in 1989. There were multiple accessions of materials throughout the 1990s. Additional materials were donated by Diana Lawrence and Mike Timoney in 2011."],"access_subjects_ssim":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"access_subjects_ssm":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["80.5 Linear Feet 207 boxes, 1 map case"],"extent_tesim":["80.5 Linear Feet 207 boxes, 1 map case"],"genreform_ssim":["Theatrical posters","Photographs"],"date_range_isim":[1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eBox 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.\u003c/p\u003e","\u003cp\u003eBox 89, Folder 8 and 9 are restricted due to personally identifiable information.\u003c/p\u003e","\u003cp\u003eThere are no other access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions."],"altformavail_html_tesm":["\u003cp\u003eSelections from the Robert and Wilva Breen papers are also available digitally on \u003cextptr href=\"http://mars.gmu.edu/handle/1920/4609\" title=\"Mason Archival Respository Service (MARS).\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003eIn 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Selections from the Robert and Wilva Breen papers are also available digitally on","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room."],"arrangement_html_tesm":["\u003cp\u003eThe collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center."],"bibliography_html_tesm":["\u003cp\u003eStrom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com. \u003cbibref\u003e\u003cextptr href=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" title=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eOliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com. \u003cbibref\u003e\u003cextptr href=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" title=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eRiedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com. \u003cbibref\u003e\u003cextptr href=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" title=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA. \u003cbibref\u003e\u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018)."],"bioghist_html_tesm":["\u003cp\u003eRobert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.\u003c/p\u003e","\u003cp\u003e The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.\u003c/p\u003e","\u003cp\u003e Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.\u003c/p\u003e","\u003cp\u003e Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.\u003c/p\u003e","\u003cp\u003e Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.\u003c/p\u003e","\u003cp\u003e ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical and Historical Note"],"bioghist_tesim":["Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region."],"custodhist_html_tesm":["\u003cp\u003ePart of the Robert and Wilva Breen papers was donated to The Ohio State University.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Part of the Robert and Wilva Breen papers was donated to The Ohio State University."],"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 Robert and Wilva Breen papers. 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 play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eRobert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Robert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center also holds the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0145\" title=\"Porgy and Bess poster collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0002\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0043\" title=\"Robert C. Schnitzer papers\" show=\"new\"\u003e\u003c/extptr\u003e, and many other \u003cextptr href=\"https://scrc.gmu.edu/collections-subject.php#THEATRE\" title=\"performing arts collections.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the \u003cextptr href=\"https://library.osu.edu/collections/spec.tri.rb\" title=\"Robert Breen and Wilva papers.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The UCLA Library Special Collections, Charles E. Young Research Library holds the \u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"ANTA West records.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the"],"scopecontent_html_tesm":["\u003cp\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_ddb931edc4f44bf997d326b2923a7505\"\u003eR2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1\u003c/physloc\u003e\n    "],"physloc_tesim":["R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"names_coll_ssim":["American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Porterfield, Robert, 1905-1971"],"persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3014,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:55:07.784Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_521"}},{"id":"vifgm_repositories_2_resources_156","type":"collection","attributes":{"title":"Robert C. Schnitzer papers","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_156#creator","type":"document_value","attributes":{"value":"Schnitzer, Robert C.","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_156#abstract_or_scope","type":"document_value","attributes":{"value":"Included in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play \u003cspan\u003eSkin of Our Teeth\u003c/span\u003e starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_156#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_156","ead_ssi":"vifgm_repositories_2_resources_156","_root_":"vifgm_repositories_2_resources_156","_nest_parent_":"vifgm_repositories_2_resources_156","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_156.xml","title_filing_ssi":"Robert C. Schnitzer papers","title_ssm":["Robert C. Schnitzer papers"],"title_tesim":["Robert C. Schnitzer papers"],"unitdate_ssm":["1950-1980"],"unitdate_inclusive_ssm":["1950-1980"],"normalized_title_ssm":["Robert C. Schnitzer papers"],"text":["Robert C. Schnitzer papers","C0043","/repositories/2/resources/156","Theater","Theater -- Production and direction","Theater -- Europe","Performing arts","Theater programs","Performing arts posters","There are no access restrictions.","This collection is arranged according to subject.","Robert C. Schnitzer is a former actor, producer, educator, and theater administrator. As a young actor in New York City, Schnitzer appeared in or stage managed The Brothers Karamazov, Hamlet, An Enemy of the People, Richelieu, Henry V, Richard III, Caponsacchi, Macbeth, and Cyrano de Bergerac. From 1936 to 1939, Schnitzer was Delaware's State Director and Deputy National Director of the WPA's Federal Theatre Project.","Schnitzer later joined the American National Theater and Academy (ANTA) as general manager for the Experimental Theater in New York, which returned to the New York theater scene under the auspices of ANTA in 1947. The ANTA-sponsored performances managed by Mr. Schnitzer included the first American production of Hamlet to be presented at Elsinore, Denmark; the first European tour of the American Ballet Theatre in 1950; and from 1951 to 1953, three Berlin festivals that showcased American talent such as the Theatre Guild's Oklahoma!, the Hall Johnson Choir, and the Julliard String Quartet.","In 1954, Mr. Schnitzer took over as general manager for the International Exchange Program through which ANTA helped promote and sponsor cultural exchanges in cooperation with the U.S. State Department. The hundreds of overseas productions arranged by Mr. Schnitzer ran the gamut from college choirs and athletes to notables such as Marian Anderson, the Dave Brubeck Quartet, and the New York Philharmonic Orchestra under the direction of Leonard Bernstein. Many of these performers played to audiences in Berlin, Moscow, and other locations behind the Iron Curtain.","In 1960, Mr. Schnitzer became the general manager for the American Repertory Company, set up by the Theatre Guild at the request of the U.S. Government to export the best in American theater. He arranged for three plays - The Skin of Our Teeth, The Miracle Worker, and The Glass Menagerie - to tour 28 countries in Europe and South America in 1961. The company included the actress Helen Hayes. During the 1970s Schnitzer was head of the University of Michigan's Professional Theatre Program. Schnitzer died on January 2, 2008.","Processed by Special Collections Research Center staff. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009. Finding aid updated by Amanda Menjivar in June 2023.","The Special Collections Research Center also holds the  and many collections on the","Included in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play Skin of Our Teeth starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.","Youskeuitch, I., Meister, B., Kaye, N., Chapin, Lerie, N., Alouso, Schnitzer, R., Cannon","Ginder, C., Westermarm, T., Res, Breen, Doliymfle, J.","Cliou, H., Johnson, H.","Claire, L., Seldes, M., Lawrence, E., Anderson, J., McClintic, G., dal Porto, L., Breen, Res, Doliymfle, Gossner, Johnson, H.","Holm, C., McClintick, G., Anderson, J., McCloy, J.","Johnson, P., Holm, C., Asond, R., Marlo, M.,Grinder,P., Libmoll, M., Mathewson, Anderson, J.,","Schmoll, W., Johnson, P., Rawlings, J., Austin, H., Platz, Res, Enters, A.,Doliymfle, J.","Anderson, J., Res","Innes-Brown, V.,","Dowling, R., Inner-Brown, V.","Cirmey and Schnitzer","Havoc, J., Julien, A., Dillon, Schnitzer, Cizney","Breen, R.","Farewell, I., Schnitzer, W.","Litori, Heller, Cisney, Schnitzer, Williams, C., Ilinski, J.","Dalnymple, J., Res","Daleymfle, J.","Denwent, C., Schonceit,L., Breen, R., Callowdway, C., Schnitzer, R., Hayes, H., Anderson, J.,Holm, C., Martin, M.,Ormandy, E.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Included in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play Skin of Our Teeth starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.","R20, C3, S1 \nR20, C3, S4-S7","George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","University of Michigan. Professional Theatre Program","Schnitzer, Robert C.","English"],"collection_title_tesim":["Robert C. Schnitzer papers"],"collection_ssim":["Robert C. Schnitzer papers"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0043","/repositories/2/resources/156"],"unitid_tesim":["C0043","/repositories/2/resources/156"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Schnitzer, Robert C."],"creator_ssim":["Schnitzer, Robert C."],"creator_persname_ssim":["Schnitzer, Robert C."],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","University of Michigan. Professional Theatre Program"],"creators_ssim":["Schnitzer, Robert C.","George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","University of Michigan. Professional Theatre Program"],"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 Robert Schnitzer in 1995-1996."],"access_subjects_ssim":["Theater","Theater -- Production and direction","Theater -- Europe","Performing arts","Theater programs","Performing arts posters"],"access_subjects_ssm":["Theater","Theater -- Production and direction","Theater -- Europe","Performing arts","Theater programs","Performing arts posters"],"has_online_content_ssim":["false"],"extent_ssm":["6.75 Linear Feet 9 boxes"],"extent_tesim":["6.75 Linear Feet 9 boxes"],"genreform_ssim":["Performing arts posters"],"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 according to subject.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged according to subject."],"bioghist_html_tesm":["\u003cp\u003eRobert C. Schnitzer is a former actor, producer, educator, and theater administrator. As a young actor in New York City, Schnitzer appeared in or stage managed \u003ctitle\u003eThe Brothers Karamazov\u003c/title\u003e, \u003ctitle\u003eHamlet,\u003c/title\u003e \u003ctitle\u003eAn Enemy of the People,\u003c/title\u003e \u003ctitle\u003eRichelieu,\u003c/title\u003e \u003ctitle\u003eHenry V,\u003c/title\u003e \u003ctitle\u003eRichard III,\u003c/title\u003e \u003ctitle\u003eCaponsacchi,\u003c/title\u003e \u003ctitle\u003eMacbeth,\u003c/title\u003e and \u003ctitle\u003eCyrano de Bergerac.\u003c/title\u003e From 1936 to 1939, Schnitzer was Delaware's State Director and Deputy National Director of the WPA's Federal Theatre Project. \u003c/p\u003e","\u003cp\u003eSchnitzer later joined the American National Theater and Academy (ANTA) as general manager for the Experimental Theater in New York, which returned to the New York theater scene under the auspices of ANTA in 1947. The ANTA-sponsored performances managed by Mr. Schnitzer included the first American production of \u003ctitle\u003eHamlet\u003c/title\u003e to be presented at Elsinore, Denmark; the first European tour of the American Ballet Theatre in 1950; and from 1951 to 1953, three Berlin festivals that showcased American talent such as the Theatre Guild's \u003ctitle\u003eOklahoma!,\u003c/title\u003e the Hall Johnson Choir, and the Julliard String Quartet. \u003c/p\u003e","\u003cp\u003eIn 1954, Mr. Schnitzer took over as general manager for the International Exchange Program through which ANTA helped promote and sponsor cultural exchanges in cooperation with the U.S. State Department. The hundreds of overseas productions arranged by Mr. Schnitzer ran the gamut from college choirs and athletes to notables such as Marian Anderson, the Dave Brubeck Quartet, and the New York Philharmonic Orchestra under the direction of Leonard Bernstein. Many of these performers played to audiences in Berlin, Moscow, and other locations behind the Iron Curtain. \u003c/p\u003e","\u003cp\u003eIn 1960, Mr. Schnitzer became the general manager for the American Repertory Company, set up by the Theatre Guild at the request of the U.S. Government to export the best in American theater. He arranged for three plays - \u003ctitle\u003eThe Skin of Our Teeth,\u003c/title\u003e \u003ctitle\u003eThe Miracle Worker,\u003c/title\u003e and \u003ctitle\u003eThe Glass Menagerie\u003c/title\u003e - to tour 28 countries in Europe and South America in 1961. The company included the actress Helen Hayes. During the 1970s Schnitzer was head of the University of Michigan's Professional Theatre Program. Schnitzer died on January 2, 2008.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Robert C. Schnitzer is a former actor, producer, educator, and theater administrator. As a young actor in New York City, Schnitzer appeared in or stage managed The Brothers Karamazov, Hamlet, An Enemy of the People, Richelieu, Henry V, Richard III, Caponsacchi, Macbeth, and Cyrano de Bergerac. From 1936 to 1939, Schnitzer was Delaware's State Director and Deputy National Director of the WPA's Federal Theatre Project.","Schnitzer later joined the American National Theater and Academy (ANTA) as general manager for the Experimental Theater in New York, which returned to the New York theater scene under the auspices of ANTA in 1947. The ANTA-sponsored performances managed by Mr. Schnitzer included the first American production of Hamlet to be presented at Elsinore, Denmark; the first European tour of the American Ballet Theatre in 1950; and from 1951 to 1953, three Berlin festivals that showcased American talent such as the Theatre Guild's Oklahoma!, the Hall Johnson Choir, and the Julliard String Quartet.","In 1954, Mr. Schnitzer took over as general manager for the International Exchange Program through which ANTA helped promote and sponsor cultural exchanges in cooperation with the U.S. State Department. The hundreds of overseas productions arranged by Mr. Schnitzer ran the gamut from college choirs and athletes to notables such as Marian Anderson, the Dave Brubeck Quartet, and the New York Philharmonic Orchestra under the direction of Leonard Bernstein. 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Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play Skin of Our Teeth starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.","Youskeuitch, I., Meister, B., Kaye, N., Chapin, Lerie, N., Alouso, Schnitzer, R., Cannon","Ginder, C., Westermarm, T., Res, Breen, Doliymfle, J.","Cliou, H., Johnson, H.","Claire, L., Seldes, M., Lawrence, E., Anderson, J., McClintic, G., dal Porto, L., Breen, Res, Doliymfle, Gossner, Johnson, H.","Holm, C., McClintick, G., Anderson, J., McCloy, J.","Johnson, P., Holm, C., Asond, R., Marlo, M.,Grinder,P., Libmoll, M., Mathewson, Anderson, J.,","Schmoll, W., Johnson, P., Rawlings, J., Austin, H., Platz, Res, Enters, A.,Doliymfle, J.","Anderson, J., Res","Innes-Brown, V.,","Dowling, R., Inner-Brown, V.","Cirmey and Schnitzer","Havoc, J., Julien, A., Dillon, Schnitzer, Cizney","Breen, R.","Farewell, I., Schnitzer, W.","Litori, Heller, Cisney, Schnitzer, Williams, C., Ilinski, J.","Dalnymple, J., Res","Daleymfle, J.","Denwent, C., Schonceit,L., Breen, R., Callowdway, C., Schnitzer, R., Hayes, H., Anderson, J.,Holm, C., Martin, M.,Ormandy, E."],"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_f2ec5bd4a4c2e74a55aa2ab956513da0\" label=\"Abstract\"\u003eIncluded in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play \u003ctitle\u003eSkin of Our Teeth\u003c/title\u003e starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.\u003c/abstract\u003e\n    "],"abstract_tesim":["Included in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play Skin of Our Teeth starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_d7d3d62f64fdecd482169ffa47533e2a\"\u003eR20, C3, S1 \nR20, C3, S4-S7\u003c/physloc\u003e\n    "],"physloc_tesim":["R20, C3, S1 \nR20, C3, S4-S7"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","University of Michigan. Professional Theatre Program"],"names_coll_ssim":["ANTA (Organization)","University of Michigan. 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From 1936 to 1939, Schnitzer was Delaware's State Director and Deputy National Director of the WPA's Federal Theatre Project.","Schnitzer later joined the American National Theater and Academy (ANTA) as general manager for the Experimental Theater in New York, which returned to the New York theater scene under the auspices of ANTA in 1947. The ANTA-sponsored performances managed by Mr. Schnitzer included the first American production of Hamlet to be presented at Elsinore, Denmark; the first European tour of the American Ballet Theatre in 1950; and from 1951 to 1953, three Berlin festivals that showcased American talent such as the Theatre Guild's Oklahoma!, the Hall Johnson Choir, and the Julliard String Quartet.","In 1954, Mr. Schnitzer took over as general manager for the International Exchange Program through which ANTA helped promote and sponsor cultural exchanges in cooperation with the U.S. State Department. 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