{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Women%27s+rights--United+States\u0026f%5Blevel%5D%5B%5D=Collection\u0026view=compact","last":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Women%27s+rights--United+States\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=1\u0026view=compact"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":4,"first_page?":true,"last_page?":true}},"data":[{"id":"viw_repositories_2_resources_8706","type":"collection","attributes":{"title":"Faculty Women's Caucus Records, 1973/1998, bulk 1978/1995","creator":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_8706#creator","type":"document_value","attributes":{"value":"Faculty Women's Caucus","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_8706#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThe collection of the Faculty Women's Caucus at the College of William and Mary includes correspondence from 1973-1996 related to women faculty salaries and tenure; maternity leave and childcare; EEO and Affirmative Action; women's athletics, dealing mostly with Title IX, both within the College of William and Mary and the National Collegiate Athletics Association (NCAA); sexual harassment; campus security; the Women's Studies program; and discriminatory findings. 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Consult Special Collections Research Center staff for assistance. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. 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Playscript, 1967","creator":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_8292#creator","type":"document_value","attributes":{"value":"Styne, Jule, 1905-1994","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_8292#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eHallelujah Baby Musical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_8292#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viw_repositories_2_resources_8292","ead_ssi":"viw_repositories_2_resources_8292","_root_":"viw_repositories_2_resources_8292","_nest_parent_":"viw_repositories_2_resources_8292","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_8292.xml","title_filing_ssi":"Hallelujah, Baby! Playscript","title_ssm":["Hallelujah, Baby! Playscript"],"title_tesim":["Hallelujah, Baby! Playscript"],"unitdate_ssm":["circa 1967"],"unitdate_other_ssim":["circa 1967"],"normalized_date_ssm":["1967"],"normalized_title_ssm":["Hallelujah, Baby! Playscript, 1967"],"text":["Hallelujah, Baby! Playscript, 1967","SC 01571","/repositories/2/resources/8292","Musicals","Race in musical theater","Musical theater","Civil rights movements","Women's rights--United States","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Hallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green","First Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.","ACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.","Ken Mandelbaum- Theguidetomusicaltheater.com","The Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-","English"],"collection_title_tesim":["Hallelujah, Baby! Playscript, 1967"],"collection_ssim":["Hallelujah, Baby! Playscript, 1967"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 01571","/repositories/2/resources/8292"],"unitid_tesim":["SC 01571","/repositories/2/resources/8292"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_ssm":["Styne, Jule, 1905-1994"],"creator_ssim":["Styne, Jule, 1905-1994"],"creator_persname_ssim":["Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-","Special Collections Research Center"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Purchased from Clouds Hill books with funds from the Francis Randolph Howard Endowment, 2018."],"access_subjects_ssim":["Musicals","Race in musical theater","Musical theater","Civil rights movements","Women's rights--United States"],"access_subjects_ssm":["Musicals","Race in musical theater","Musical theater","Civil rights movements","Women's rights--United States"],"has_online_content_ssim":["false"],"extent_ssm":["0.03 Linear Feet"],"extent_tesim":["0.03 Linear Feet"],"date_range_isim":[1967],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"prefercite_html_tesm":["\u003cp\u003eHellelujah, Baby! Playscript, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Hellelujah, Baby! Playscript, Special Collections Research Center, William \u0026 Mary Libraries."],"scopecontent_html_tesm":["\u003cp\u003eHallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green\u003c/p\u003e","\u003cp\u003eFirst Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.\u003c/p\u003e","\u003cp\u003eACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.\u003c/p\u003e","\u003cp\u003eKen Mandelbaum- Theguidetomusicaltheater.com \u003c/p\u003e","\u003cp\u003eThe Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Hallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green","First Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.","ACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.","Ken Mandelbaum- Theguidetomusicaltheater.com","The Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com"],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"persname_ssim":["Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"names_coll_ssim":["Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"names_ssim":["Special Collections Research Center","Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T23:03:51.294Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_8292","ead_ssi":"viw_repositories_2_resources_8292","_root_":"viw_repositories_2_resources_8292","_nest_parent_":"viw_repositories_2_resources_8292","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_8292.xml","title_filing_ssi":"Hallelujah, Baby! Playscript","title_ssm":["Hallelujah, Baby! Playscript"],"title_tesim":["Hallelujah, Baby! Playscript"],"unitdate_ssm":["circa 1967"],"unitdate_other_ssim":["circa 1967"],"normalized_date_ssm":["1967"],"normalized_title_ssm":["Hallelujah, Baby! Playscript, 1967"],"text":["Hallelujah, Baby! Playscript, 1967","SC 01571","/repositories/2/resources/8292","Musicals","Race in musical theater","Musical theater","Civil rights movements","Women's rights--United States","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Hallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green","First Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.","ACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.","Ken Mandelbaum- Theguidetomusicaltheater.com","The Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-","English"],"collection_title_tesim":["Hallelujah, Baby! Playscript, 1967"],"collection_ssim":["Hallelujah, Baby! 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Playscript, Special Collections Research Center, William \u0026 Mary Libraries."],"scopecontent_html_tesm":["\u003cp\u003eHallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green\u003c/p\u003e","\u003cp\u003eFirst Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.\u003c/p\u003e","\u003cp\u003eACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.\u003c/p\u003e","\u003cp\u003eKen Mandelbaum- Theguidetomusicaltheater.com \u003c/p\u003e","\u003cp\u003eThe Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Hallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green","First Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.","ACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.","Ken Mandelbaum- Theguidetomusicaltheater.com","The Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com"],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"persname_ssim":["Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"names_coll_ssim":["Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"names_ssim":["Special Collections Research Center","Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T23:03:51.294Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_8292"}},{"id":"viw_repositories_2_resources_8985","type":"collection","attributes":{"title":"Linda Lavin Papers, 1940/1995, bulk 1940/1995","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_8985#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003ePapers of Linda Lavin which document her career as a Broadway and television actress, and also as an advocate of women's rights and equal opportunity. Newspaper clippings, interviews, news releases, and personal letters record her success as a member of Neil Simon's Broadway play, \"Broadway Bound,\" for which she received a Tony Award, the Drama Desk Award, and the Helen Hayes Award in 1987 as best leading actress.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_8985#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viw_repositories_2_resources_8985","ead_ssi":"viw_repositories_2_resources_8985","_root_":"viw_repositories_2_resources_8985","_nest_parent_":"viw_repositories_2_resources_8985","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_8985.xml","title_filing_ssi":"Lavin, Linda","title_ssm":["Linda Lavin Papers"],"title_tesim":["Linda Lavin Papers"],"unitdate_ssm":["1940-1995","1940-1995"],"unitdate_inclusive_ssm":["1940-1995"],"unitdate_bulk_ssim":["1940-1995"],"normalized_date_ssm":["1940/1995, bulk 1940/1995"],"normalized_title_ssm":["Linda Lavin Papers, 1940/1995, bulk 1940/1995"],"text":["Linda Lavin Papers, 1940/1995, bulk 1940/1995","Mss. 88 L39 and Additions","/repositories/2/resources/8985","College of William and Mary--Alumni and alumnae","Acting","Elections--United States--History","Feminism and the arts","Feminism--United States","Interviews","Women's rights--United States","Actresses--United States","Clippings (information artifacts)","Correspondence","Photographs","Press releases","Publications","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Linda Lavin (born October 15, 1937 in Portland, Maine) is an American singer and Tony Award and Golden Globe Award-winning stage, film and television actress. Born to musically-talented parents, Lavin has been onstage since the age of 5. Upon her graduation from the College of William and Mary she had already received her Actors' Equity Association card. She was a member of the Compass Players in the late 1950s. By the early 1960s Lavin made a name for herself in New York City on Broadway, and her role and fame continued to grow over the course of the next 40 years. Further information about this individual or organization may be available in the Special Collections Research Center Wiki: .","Other Information:","A PDF document of this inventory is available online.","Additional information may be found at http://scrc.swem.wm.edu/findingaids/88_L39_Lavin.pdf","See the University Archives Audiovisual Collection (UA 58) for recordings of Lavin press conferences at the College of William and Mary; Department of Theatre, Speech, and Dance Records (UA 59); Colonial Echo yearbook; The Flat Hat student newspaper; University Archives Photograph Collection (UA 8).","Papers of Linda Lavin which document her career as a Broadway and television actress, and also as an advocate of women's rights and equal opportunity. Newspaper clippings, interviews, news releases, and personal letters record her success as a member of Neil Simon's Broadway play, \"Broadway Bound,\" for which she received a Tony Award, the Drama Desk Award, and the Helen Hayes Award in 1987 as best leading actress.","Newsclippings also record her roles as producer and actress in made for television movies \"Lena: My Hundred Children,\" \"A Place to Call Home,\" \"I Want to go Home,\" and \"Sea of Terror.\"","Invitations, programs, and playbills record the various benefits, lectureships, and ceremonies in which Lavin has participated as a theatrical figure. Material on the Horizon Art Exchange, the Drama League of New York, the National Commission on Working Women of Wider Opportunities for Women, the National Organization for Women, and the National Mother's Day Committee, from which Lavin received the 1987 Outstanding Mother Award, and the Stepfamily Association of America, Inc. are included. Letters from California state legislator Tom Hayden mark Lavin's support in the 1988 Presidential election on behalf of the Democratic Party.","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"collection_title_tesim":["Linda Lavin Papers, 1940/1995, bulk 1940/1995"],"collection_ssim":["Linda Lavin Papers, 1940/1995, bulk 1940/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Mss. 88 L39 and Additions","/repositories/2/resources/8985"],"unitid_tesim":["Mss. 88 L39 and Additions","/repositories/2/resources/8985"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"geogname_ssm":["College of William and Mary--Alumni and alumnae"],"geogname_ssim":["College of William and Mary--Alumni and alumnae"],"places_ssim":["College of William and Mary--Alumni and alumnae"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["All accessions unless otherwise noted were a gift of Linda Lavin. Acc. 1988.09 received on 2/17/1988; Acc. 1988.15 received on 4/18/1988; Acc. 1988.19 received on 5/12/1988; Acc. 1988.21 received on 5/27/1988; Acc. 1988.30 received on 8/19/1988; Acc. 1988.49 received on 12/21/1988; Acc. 1989.07 received on 2/7/1989; Acc. 1989.15 received on 3/30/1989; Acc. 1989.30 received on 6/26/1989; Acc. 1989.34 received on 8/3/1989; Acc. 1989.39 received on 9/14/1989; Acc. 1990.10 received on 3/14/1990; Acc. 1990.14 received on 4/9/1990; Acc. 1990.24 received on 5/24/1990; Acc. 1990.38 received on 9/18/1990; Acc. 1990.41 received on 10/12/1990; Acc. 1991.06 received on 1/16/1991; Acc. 1991.52 received on 9/26/1991; Acc. 1991.56A received on 10/28/1991 from Howard Scammon; Acc. 1992.10 received on 3/18/1992 from William D. Eppes; Acc. 1992.41 received on 8/26/1992; Acc. 1994.29 received on 4/14/1994 from Robert Maccubbin and Martha Hamilton-Phillips; Acc. 1995.38 received on 8/7/1995; Acc. 1995.47 received on 8/21/1995; Acc. 1995.51 received on 9/8/1995; Acc. 2001.02 received on 2/2/2001; Acc. 2001.05 received on 3/3/2001."],"access_subjects_ssim":["Acting","Elections--United States--History","Feminism and the arts","Feminism--United States","Interviews","Women's rights--United States","Actresses--United States","Clippings (information artifacts)","Correspondence","Photographs","Press releases","Publications"],"access_subjects_ssm":["Acting","Elections--United States--History","Feminism and the arts","Feminism--United States","Interviews","Women's rights--United States","Actresses--United States","Clippings (information artifacts)","Correspondence","Photographs","Press releases","Publications"],"has_online_content_ssim":["false"],"extent_ssm":["2.00 Linear Feet"],"extent_tesim":["2.00 Linear Feet"],"genreform_ssim":["Clippings (information artifacts)","Correspondence","Photographs","Press releases","Publications"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access:"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"bioghist_html_tesm":["\u003cp\u003eLinda Lavin (born October 15, 1937 in Portland, Maine) is an American singer and Tony Award and Golden Globe Award-winning stage, film and television actress. Born to musically-talented parents, Lavin has been onstage since the age of 5. Upon her graduation from the College of William and Mary she had already received her Actors' Equity Association card. She was a member of the Compass Players in the late 1950s. By the early 1960s Lavin made a name for herself in New York City on Broadway, and her role and fame continued to grow over the course of the next 40 years. Further information about this individual or organization may be available in the Special Collections Research Center Wiki: \u003cextref href=\"http://scdbwiki.swem.wm.edu/wiki/index.php/Linda_Lavin\" title=\"Linda Lavin\"\u003e\u003c/extref\u003e.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information:"],"bioghist_tesim":["Linda Lavin (born October 15, 1937 in Portland, Maine) is an American singer and Tony Award and Golden Globe Award-winning stage, film and television actress. Born to musically-talented parents, Lavin has been onstage since the age of 5. Upon her graduation from the College of William and Mary she had already received her Actors' Equity Association card. She was a member of the Compass Players in the late 1950s. By the early 1960s Lavin made a name for herself in New York City on Broadway, and her role and fame continued to grow over the course of the next 40 years. Further information about this individual or organization may be available in the Special Collections Research Center Wiki: ."],"odd_html_tesm":["\u003cp\u003eOther Information:\u003c/p\u003e","\u003cp\u003e A PDF document of this inventory is available online.\u003c/p\u003e","\u003cp\u003e Additional information may be found at http://scrc.swem.wm.edu/findingaids/88_L39_Lavin.pdf\u003c/p\u003e  "],"odd_heading_ssm":["General"],"odd_tesim":["Other Information:","A PDF document of this inventory is available online.","Additional information may be found at http://scrc.swem.wm.edu/findingaids/88_L39_Lavin.pdf"],"prefercite_html_tesm":["\u003cp\u003eLinda Lavin Papers, Special Collections Research Center, Swem Library, College of William and Mary.\u003c/p\u003e  "],"prefercite_tesim":["Linda Lavin Papers, Special Collections Research Center, Swem Library, College of William and Mary."],"relatedmaterial_html_tesm":["\u003cp\u003eSee the University Archives Audiovisual Collection (UA 58) for recordings of Lavin press conferences at the College of William and Mary; Department of Theatre, Speech, and Dance Records (UA 59); Colonial Echo yearbook; The Flat Hat student newspaper; University Archives Photograph Collection (UA 8).\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials:"],"relatedmaterial_tesim":["See the University Archives Audiovisual Collection (UA 58) for recordings of Lavin press conferences at the College of William and Mary; Department of Theatre, Speech, and Dance Records (UA 59); Colonial Echo yearbook; The Flat Hat student newspaper; University Archives Photograph Collection (UA 8)."],"scopecontent_html_tesm":["\u003cp\u003ePapers of Linda Lavin which document her career as a Broadway and television actress, and also as an advocate of women's rights and equal opportunity. Newspaper clippings, interviews, news releases, and personal letters record her success as a member of Neil Simon's Broadway play, \"Broadway Bound,\" for which she received a Tony Award, the Drama Desk Award, and the Helen Hayes Award in 1987 as best leading actress.\u003c/p\u003e","\u003cp\u003e Newsclippings also record her roles as producer and actress in made for television movies \"Lena: My Hundred Children,\" \"A Place to Call Home,\" \"I Want to go Home,\" and \"Sea of Terror.\"\u003c/p\u003e","\u003cp\u003e Invitations, programs, and playbills record the various benefits, lectureships, and ceremonies in which Lavin has participated as a theatrical figure. Material on the Horizon Art Exchange, the Drama League of New York, the National Commission on Working Women of Wider Opportunities for Women, the National Organization for Women, and the National Mother's Day Committee, from which Lavin received the 1987 Outstanding Mother Award, and the Stepfamily Association of America, Inc. are included. Letters from California state legislator Tom Hayden mark Lavin's support in the 1988 Presidential election on behalf of the Democratic Party.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Papers of Linda Lavin which document her career as a Broadway and television actress, and also as an advocate of women's rights and equal opportunity. Newspaper clippings, interviews, news releases, and personal letters record her success as a member of Neil Simon's Broadway play, \"Broadway Bound,\" for which she received a Tony Award, the Drama Desk Award, and the Helen Hayes Award in 1987 as best leading actress.","Newsclippings also record her roles as producer and actress in made for television movies \"Lena: My Hundred Children,\" \"A Place to Call Home,\" \"I Want to go Home,\" and \"Sea of Terror.\"","Invitations, programs, and playbills record the various benefits, lectureships, and ceremonies in which Lavin has participated as a theatrical figure. Material on the Horizon Art Exchange, the Drama League of New York, the National Commission on Working Women of Wider Opportunities for Women, the National Organization for Women, and the National Mother's Day Committee, from which Lavin received the 1987 Outstanding Mother Award, and the Stepfamily Association of America, Inc. are included. Letters from California state legislator Tom Hayden mark Lavin's support in the 1988 Presidential election on behalf of the Democratic Party."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use:"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"names_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":122,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T23:04:42.104Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_8985","ead_ssi":"viw_repositories_2_resources_8985","_root_":"viw_repositories_2_resources_8985","_nest_parent_":"viw_repositories_2_resources_8985","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_8985.xml","title_filing_ssi":"Lavin, Linda","title_ssm":["Linda Lavin Papers"],"title_tesim":["Linda Lavin Papers"],"unitdate_ssm":["1940-1995","1940-1995"],"unitdate_inclusive_ssm":["1940-1995"],"unitdate_bulk_ssim":["1940-1995"],"normalized_date_ssm":["1940/1995, bulk 1940/1995"],"normalized_title_ssm":["Linda Lavin Papers, 1940/1995, bulk 1940/1995"],"text":["Linda Lavin Papers, 1940/1995, bulk 1940/1995","Mss. 88 L39 and Additions","/repositories/2/resources/8985","College of William and Mary--Alumni and alumnae","Acting","Elections--United States--History","Feminism and the arts","Feminism--United States","Interviews","Women's rights--United States","Actresses--United States","Clippings (information artifacts)","Correspondence","Photographs","Press releases","Publications","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Linda Lavin (born October 15, 1937 in Portland, Maine) is an American singer and Tony Award and Golden Globe Award-winning stage, film and television actress. Born to musically-talented parents, Lavin has been onstage since the age of 5. Upon her graduation from the College of William and Mary she had already received her Actors' Equity Association card. She was a member of the Compass Players in the late 1950s. By the early 1960s Lavin made a name for herself in New York City on Broadway, and her role and fame continued to grow over the course of the next 40 years. Further information about this individual or organization may be available in the Special Collections Research Center Wiki: .","Other Information:","A PDF document of this inventory is available online.","Additional information may be found at http://scrc.swem.wm.edu/findingaids/88_L39_Lavin.pdf","See the University Archives Audiovisual Collection (UA 58) for recordings of Lavin press conferences at the College of William and Mary; Department of Theatre, Speech, and Dance Records (UA 59); Colonial Echo yearbook; The Flat Hat student newspaper; University Archives Photograph Collection (UA 8).","Papers of Linda Lavin which document her career as a Broadway and television actress, and also as an advocate of women's rights and equal opportunity. Newspaper clippings, interviews, news releases, and personal letters record her success as a member of Neil Simon's Broadway play, \"Broadway Bound,\" for which she received a Tony Award, the Drama Desk Award, and the Helen Hayes Award in 1987 as best leading actress.","Newsclippings also record her roles as producer and actress in made for television movies \"Lena: My Hundred Children,\" \"A Place to Call Home,\" \"I Want to go Home,\" and \"Sea of Terror.\"","Invitations, programs, and playbills record the various benefits, lectureships, and ceremonies in which Lavin has participated as a theatrical figure. Material on the Horizon Art Exchange, the Drama League of New York, the National Commission on Working Women of Wider Opportunities for Women, the National Organization for Women, and the National Mother's Day Committee, from which Lavin received the 1987 Outstanding Mother Award, and the Stepfamily Association of America, Inc. are included. Letters from California state legislator Tom Hayden mark Lavin's support in the 1988 Presidential election on behalf of the Democratic Party.","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"collection_title_tesim":["Linda Lavin Papers, 1940/1995, bulk 1940/1995"],"collection_ssim":["Linda Lavin Papers, 1940/1995, bulk 1940/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Mss. 88 L39 and Additions","/repositories/2/resources/8985"],"unitid_tesim":["Mss. 88 L39 and Additions","/repositories/2/resources/8985"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"geogname_ssm":["College of William and Mary--Alumni and alumnae"],"geogname_ssim":["College of William and Mary--Alumni and alumnae"],"places_ssim":["College of William and Mary--Alumni and alumnae"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["All accessions unless otherwise noted were a gift of Linda Lavin. Acc. 1988.09 received on 2/17/1988; Acc. 1988.15 received on 4/18/1988; Acc. 1988.19 received on 5/12/1988; Acc. 1988.21 received on 5/27/1988; Acc. 1988.30 received on 8/19/1988; Acc. 1988.49 received on 12/21/1988; Acc. 1989.07 received on 2/7/1989; Acc. 1989.15 received on 3/30/1989; Acc. 1989.30 received on 6/26/1989; Acc. 1989.34 received on 8/3/1989; Acc. 1989.39 received on 9/14/1989; Acc. 1990.10 received on 3/14/1990; Acc. 1990.14 received on 4/9/1990; Acc. 1990.24 received on 5/24/1990; Acc. 1990.38 received on 9/18/1990; Acc. 1990.41 received on 10/12/1990; Acc. 1991.06 received on 1/16/1991; Acc. 1991.52 received on 9/26/1991; Acc. 1991.56A received on 10/28/1991 from Howard Scammon; Acc. 1992.10 received on 3/18/1992 from William D. Eppes; Acc. 1992.41 received on 8/26/1992; Acc. 1994.29 received on 4/14/1994 from Robert Maccubbin and Martha Hamilton-Phillips; Acc. 1995.38 received on 8/7/1995; Acc. 1995.47 received on 8/21/1995; Acc. 1995.51 received on 9/8/1995; Acc. 2001.02 received on 2/2/2001; Acc. 2001.05 received on 3/3/2001."],"access_subjects_ssim":["Acting","Elections--United States--History","Feminism and the arts","Feminism--United States","Interviews","Women's rights--United States","Actresses--United States","Clippings (information artifacts)","Correspondence","Photographs","Press releases","Publications"],"access_subjects_ssm":["Acting","Elections--United States--History","Feminism and the arts","Feminism--United States","Interviews","Women's rights--United States","Actresses--United States","Clippings (information artifacts)","Correspondence","Photographs","Press releases","Publications"],"has_online_content_ssim":["false"],"extent_ssm":["2.00 Linear Feet"],"extent_tesim":["2.00 Linear Feet"],"genreform_ssim":["Clippings (information artifacts)","Correspondence","Photographs","Press releases","Publications"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access:"],"accessrestrict_tesim":["Collection is open to all researchers. 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Upon her graduation from the College of William and Mary she had already received her Actors' Equity Association card. She was a member of the Compass Players in the late 1950s. By the early 1960s Lavin made a name for herself in New York City on Broadway, and her role and fame continued to grow over the course of the next 40 years. Further information about this individual or organization may be available in the Special Collections Research Center Wiki: \u003cextref href=\"http://scdbwiki.swem.wm.edu/wiki/index.php/Linda_Lavin\" title=\"Linda Lavin\"\u003e\u003c/extref\u003e.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information:"],"bioghist_tesim":["Linda Lavin (born October 15, 1937 in Portland, Maine) is an American singer and Tony Award and Golden Globe Award-winning stage, film and television actress. Born to musically-talented parents, Lavin has been onstage since the age of 5. Upon her graduation from the College of William and Mary she had already received her Actors' Equity Association card. She was a member of the Compass Players in the late 1950s. By the early 1960s Lavin made a name for herself in New York City on Broadway, and her role and fame continued to grow over the course of the next 40 years. Further information about this individual or organization may be available in the Special Collections Research Center Wiki: ."],"odd_html_tesm":["\u003cp\u003eOther Information:\u003c/p\u003e","\u003cp\u003e A PDF document of this inventory is available online.\u003c/p\u003e","\u003cp\u003e Additional information may be found at http://scrc.swem.wm.edu/findingaids/88_L39_Lavin.pdf\u003c/p\u003e  "],"odd_heading_ssm":["General"],"odd_tesim":["Other Information:","A PDF document of this inventory is available online.","Additional information may be found at http://scrc.swem.wm.edu/findingaids/88_L39_Lavin.pdf"],"prefercite_html_tesm":["\u003cp\u003eLinda Lavin Papers, Special Collections Research Center, Swem Library, College of William and Mary.\u003c/p\u003e  "],"prefercite_tesim":["Linda Lavin Papers, Special Collections Research Center, Swem Library, College of William and Mary."],"relatedmaterial_html_tesm":["\u003cp\u003eSee the University Archives Audiovisual Collection (UA 58) for recordings of Lavin press conferences at the College of William and Mary; Department of Theatre, Speech, and Dance Records (UA 59); Colonial Echo yearbook; The Flat Hat student newspaper; University Archives Photograph Collection (UA 8).\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials:"],"relatedmaterial_tesim":["See the University Archives Audiovisual Collection (UA 58) for recordings of Lavin press conferences at the College of William and Mary; Department of Theatre, Speech, and Dance Records (UA 59); Colonial Echo yearbook; The Flat Hat student newspaper; University Archives Photograph Collection (UA 8)."],"scopecontent_html_tesm":["\u003cp\u003ePapers of Linda Lavin which document her career as a Broadway and television actress, and also as an advocate of women's rights and equal opportunity. 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Material on the Horizon Art Exchange, the Drama League of New York, the National Commission on Working Women of Wider Opportunities for Women, the National Organization for Women, and the National Mother's Day Committee, from which Lavin received the 1987 Outstanding Mother Award, and the Stepfamily Association of America, Inc. are included. Letters from California state legislator Tom Hayden mark Lavin's support in the 1988 Presidential election on behalf of the Democratic Party.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Papers of Linda Lavin which document her career as a Broadway and television actress, and also as an advocate of women's rights and equal opportunity. 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Letters from California state legislator Tom Hayden mark Lavin's support in the 1988 Presidential election on behalf of the Democratic Party."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use:"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"names_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":122,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T23:04:42.104Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_8985"}},{"id":"viw_repositories_2_resources_8063","type":"collection","attributes":{"title":"Social Justice Collection, 2009/2018","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_8063#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eCollection of posters, pamphlets, buttons, booklets, and apparel related to various social movements from 2009-2018. 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