{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1992\u0026facet.sort=count\u0026page=4360","prev":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1992\u0026facet.sort=count\u0026page=4359","next":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1992\u0026facet.sort=count\u0026page=4361","last":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1992\u0026facet.sort=count\u0026page=4368"},"meta":{"pages":{"current_page":4360,"next_page":4361,"prev_page":4359,"total_pages":4368,"limit_value":10,"offset_value":43590,"total_count":43671,"first_page?":false,"last_page?":false}},"data":[{"id":"vifgm_arenastage_c04_c01_c17","type":"File","attributes":{"title":"Yerma,","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_arenastage_c04_c01_c17#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003e\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_arenastage_c04_c01_c17#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_arenastage_c04_c01_c17","ref_ssm":["vifgm_arenastage_c04_c01_c17"],"id":"vifgm_arenastage_c04_c01_c17","ead_ssi":"vifgm_arenastage","_root_":"vifgm_arenastage","_nest_parent_":"vifgm_arenastage_c04_c01","parent_ssi":"vifgm_arenastage_c04_c01","parent_ssim":["vifgm_arenastage","vifgm_arenastage_c04","vifgm_arenastage_c04_c01"],"parent_ids_ssim":["vifgm_arenastage","vifgm_arenastage_c04","vifgm_arenastage_c04_c01"],"parent_unittitles_ssm":["Arena Stage records","Series 4: Oversize materials,","Subseries 4.1: Braille programs,"],"parent_unittitles_tesim":["Arena Stage records","Series 4: Oversize materials,","Subseries 4.1: Braille programs,"],"text":["Arena Stage records","Series 4: Oversize materials,","Subseries 4.1: Braille programs,","Yerma,","Box 641","Folder 15",""],"title_filing_ssi":"Yerma, \n","title_ssm":["Yerma, \n"],"title_tesim":["Yerma, \n"],"unitdate_other_ssim":["1991-1992\n"],"normalized_date_ssm":["1991/1992"],"normalized_title_ssm":["Yerma,"],"component_level_isim":[3],"repository_ssim":["George Mason University"],"collection_ssim":["Arena Stage records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":7720,"parent_access_restrict_tesm":["Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"parent_access_terms_tesm":["There are no restrictions."],"date_range_isim":[1991,1992],"containers_ssim":["Box 641","Folder 15"],"scopecontent_html_tesm":["\u003cp/\u003e"],"scopecontent_tesim":[""],"_nest_path_":"/components#3/components#0/components#16","timestamp":"2026-05-01T00:52:17.185Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_arenastage","ead_ssi":"vifgm_arenastage","_root_":"vifgm_arenastage","_nest_parent_":"vifgm_arenastage","ead_source_url_ssi":"data/gmu/arenastage.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/arenastage.html","title_ssm":["Arena Stage records"],"title_tesim":["Arena Stage records"],"unitdate_ssm":["1949-2010"],"unitdate_inclusive_ssm":["1949-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0017"],"text":["C0017","Arena Stage records","Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings.","Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","The collection is arranged into five series, each of which is further divided into subseries:","Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)",""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.","","From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.","The Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.","Processed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016.","Special Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections.","The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.  ","There are no restrictions.","The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)","English\n            "],"unitid_tesim":["C0017"],"normalized_title_ssm":["Arena Stage records"],"collection_title_tesim":["Arena Stage records"],"collection_ssim":["Arena Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage"],"creator_ssim":["Arena Stage"],"creator_corpname_ssim":["Arena Stage"],"creators_ssim":["Arena Stage"],"access_terms_ssm":["There are no restrictions."],"acqinfo_ssim":["Donated by Arena Stage in 2000-2011."],"access_subjects_ssim":["Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings."],"access_subjects_ssm":["Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings."],"has_online_content_ssim":["false"],"extent_ssm":["739 boxes"],"extent_tesim":["739 boxes"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Administrative records, 1949-2007 (Boxes 1-196)\u003c/item\u003e\n        \u003citem\u003eSeries 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\u003c/item\u003e\n        \u003citem\u003eSeries 3: Photographs, 1950-1991 (Boxes 589-639)\u003c/item\u003e\n        \u003citem\u003eSeries 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\u003c/item\u003e\n        \u003citem\u003eSeries 5: Audiovisual materials, 1970-2007 (Boxes 721-739)\u003c/item\u003e\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series, each of which is further divided into subseries:","Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)"],"bibliography_html_tesm":["\u003cp\u003e\n        \u003cextptr type=\"simple\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\" href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\"\u003e\u003c/extptr\u003e\n      \u003c/p\u003e","\u003cp\u003e Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.\u003c/p\u003e","\u003cp\u003e\n        \u003cextptr type=\"simple\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\" href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\"\u003e\u003c/extptr\u003e\n      \u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":[""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.",""],"bioghist_html_tesm":["\u003cp\u003eFrom its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.\u003c/p\u003e","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.\u003c/p\u003e","\u003cp\u003eDuring the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.\u003c/p\u003e","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.\u003c/p\u003e","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.\u003c/p\u003e","\u003cp\u003eThe early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.\u003c/p\u003e","\u003cp\u003e1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.\u003c/p\u003e","\u003cp\u003eMany now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eArena Stage records, C0017, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Arena Stage records, C0017, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections."],"scopecontent_html_tesm":["\u003cp\u003eThe Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.\u003c/p\u003e","\u003cp\u003eSeries 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.\u003c/p\u003e","\u003cp\u003eSeries 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.\u003c/p\u003e","\u003cp\u003eSeries 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e","\u003cp\u003eSeries 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.\u003c/p\u003e","\u003cp\u003eSeries 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.  \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.  "],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract id=\"ref2\" label=\"Abstract\"\u003eThe Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.\u003c/abstract\u003e"],"abstract_tesim":["The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"language_ssim":["English\n            "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:52:17.185Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_arenastage_c04_c01_c17"}},{"id":"vifgm_arenastage_c05_c01_c199","type":"File","attributes":{"title":"Yerma,","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_arenastage_c05_c01_c199#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003e\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_arenastage_c05_c01_c199#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_arenastage_c05_c01_c199","ref_ssm":["vifgm_arenastage_c05_c01_c199"],"id":"vifgm_arenastage_c05_c01_c199","ead_ssi":"vifgm_arenastage","_root_":"vifgm_arenastage","_nest_parent_":"vifgm_arenastage_c05_c01","parent_ssi":"vifgm_arenastage_c05_c01","parent_ssim":["vifgm_arenastage","vifgm_arenastage_c05","vifgm_arenastage_c05_c01"],"parent_ids_ssim":["vifgm_arenastage","vifgm_arenastage_c05","vifgm_arenastage_c05_c01"],"parent_unittitles_ssm":["Arena Stage records","Series 5: Audiovisual materials,","Subseries 5.1: Performances on VHS,"],"parent_unittitles_tesim":["Arena Stage records","Series 5: Audiovisual materials,","Subseries 5.1: Performances on VHS,"],"text":["Arena Stage records","Series 5: Audiovisual materials,","Subseries 5.1: Performances on VHS,","Yerma,","Box 729",""],"title_filing_ssi":"Yerma, \n","title_ssm":["Yerma, \n"],"title_tesim":["Yerma, \n"],"unitdate_other_ssim":["1991-1992\n"],"normalized_date_ssm":["1991/1992"],"normalized_title_ssm":["Yerma,"],"component_level_isim":[3],"repository_ssim":["George Mason University"],"collection_ssim":["Arena Stage records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":8182,"parent_access_restrict_tesm":["Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"parent_access_terms_tesm":["There are no restrictions."],"date_range_isim":[1991,1992],"containers_ssim":["Box 729"],"scopecontent_html_tesm":["\u003cp/\u003e"],"scopecontent_tesim":[""],"_nest_path_":"/components#4/components#0/components#198","timestamp":"2026-05-01T00:52:17.185Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_arenastage","ead_ssi":"vifgm_arenastage","_root_":"vifgm_arenastage","_nest_parent_":"vifgm_arenastage","ead_source_url_ssi":"data/gmu/arenastage.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/arenastage.html","title_ssm":["Arena Stage records"],"title_tesim":["Arena Stage records"],"unitdate_ssm":["1949-2010"],"unitdate_inclusive_ssm":["1949-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0017"],"text":["C0017","Arena Stage records","Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings.","Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","The collection is arranged into five series, each of which is further divided into subseries:","Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)",""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.","","From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.","The Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.","Processed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016.","Special Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections.","The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.  ","There are no restrictions.","The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)","English\n            "],"unitid_tesim":["C0017"],"normalized_title_ssm":["Arena Stage records"],"collection_title_tesim":["Arena Stage records"],"collection_ssim":["Arena Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage"],"creator_ssim":["Arena Stage"],"creator_corpname_ssim":["Arena Stage"],"creators_ssim":["Arena Stage"],"access_terms_ssm":["There are no restrictions."],"acqinfo_ssim":["Donated by Arena Stage in 2000-2011."],"access_subjects_ssim":["Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings."],"access_subjects_ssm":["Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings."],"has_online_content_ssim":["false"],"extent_ssm":["739 boxes"],"extent_tesim":["739 boxes"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Administrative records, 1949-2007 (Boxes 1-196)\u003c/item\u003e\n        \u003citem\u003eSeries 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\u003c/item\u003e\n        \u003citem\u003eSeries 3: Photographs, 1950-1991 (Boxes 589-639)\u003c/item\u003e\n        \u003citem\u003eSeries 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\u003c/item\u003e\n        \u003citem\u003eSeries 5: Audiovisual materials, 1970-2007 (Boxes 721-739)\u003c/item\u003e\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series, each of which is further divided into subseries:","Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)"],"bibliography_html_tesm":["\u003cp\u003e\n        \u003cextptr type=\"simple\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\" href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\"\u003e\u003c/extptr\u003e\n      \u003c/p\u003e","\u003cp\u003e Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.\u003c/p\u003e","\u003cp\u003e\n        \u003cextptr type=\"simple\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\" href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\"\u003e\u003c/extptr\u003e\n      \u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":[""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.",""],"bioghist_html_tesm":["\u003cp\u003eFrom its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.\u003c/p\u003e","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.\u003c/p\u003e","\u003cp\u003eDuring the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.\u003c/p\u003e","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.\u003c/p\u003e","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.\u003c/p\u003e","\u003cp\u003eThe early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.\u003c/p\u003e","\u003cp\u003e1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.\u003c/p\u003e","\u003cp\u003eMany now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eArena Stage records, C0017, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Arena Stage records, C0017, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections."],"scopecontent_html_tesm":["\u003cp\u003eThe Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.\u003c/p\u003e","\u003cp\u003eSeries 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.\u003c/p\u003e","\u003cp\u003eSeries 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.\u003c/p\u003e","\u003cp\u003eSeries 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e","\u003cp\u003eSeries 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.\u003c/p\u003e","\u003cp\u003eSeries 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.  \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.  "],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract id=\"ref2\" label=\"Abstract\"\u003eThe Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.\u003c/abstract\u003e"],"abstract_tesim":["The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"language_ssim":["English\n            "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:52:17.185Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_arenastage_c05_c01_c199"}},{"id":"vifgm_repositories_2_resources_416_c04_c01_c17","type":"File","attributes":{"title":"Yerma","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416_c04_c01_c17#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_416_c04_c01_c17","ref_ssm":["vifgm_repositories_2_resources_416_c04_c01_c17"],"id":"vifgm_repositories_2_resources_416_c04_c01_c17","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416_c04_c01","parent_ssi":"vifgm_repositories_2_resources_416_c04_c01","parent_ssim":["vifgm_repositories_2_resources_416","vifgm_repositories_2_resources_416_c04","vifgm_repositories_2_resources_416_c04_c01"],"parent_ids_ssim":["vifgm_repositories_2_resources_416","vifgm_repositories_2_resources_416_c04","vifgm_repositories_2_resources_416_c04_c01"],"parent_unittitles_ssm":["Arena Stage records","Series 4: Oversize materials","Subseries 4.1: Braille programs"],"parent_unittitles_tesim":["Arena Stage records","Series 4: Oversize materials","Subseries 4.1: Braille programs"],"text":["Arena Stage records","Series 4: Oversize materials","Subseries 4.1: Braille programs","Yerma","box 641","folder 15"],"title_filing_ssi":"Yerma","title_ssm":["Yerma"],"title_tesim":["Yerma"],"unitdate_other_ssim":["1991-1992"],"normalized_date_ssm":["1991/1992"],"normalized_title_ssm":["Yerma"],"component_level_isim":[3],"repository_ssim":["George Mason University"],"collection_ssim":["Arena Stage records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":7720,"parent_access_restrict_tesm":["Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1991,1992],"containers_ssim":["box 641","folder 15"],"scopecontent_heading_ssm":["Scope and Contents note"],"_nest_path_":"/components#3/components#0/components#16","timestamp":"2026-05-01T00:23:25.700Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_416","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_416.xml","title_ssm":["Arena Stage records"],"title_tesim":["Arena Stage records"],"unitdate_ssm":["1949 - 2010"],"unitdate_inclusive_ssm":["1949 - 2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0017","/repositories/2/resources/416"],"text":["C0017","/repositories/2/resources/416","Arena Stage records","Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints","Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","Accruals to this collection are expected.","The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)",""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.","","From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.","The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.","Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.","The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.","The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016","English"],"unitid_tesim":["C0017","/repositories/2/resources/416"],"normalized_title_ssm":["Arena Stage records"],"collection_title_tesim":["Arena Stage records"],"collection_ssim":["Arena Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage (Organization : Washington, D.C.)"],"creator_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creator_corpname_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000-2024.","This collection has additional unprocessed accessions 2023.040-C and 2024.088-C, and therefore this finding aid may not be fully up to date. Please contact SCRC for more information."],"access_subjects_ssim":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"access_subjects_ssm":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"has_online_content_ssim":["false"],"extent_ssm":["369.5 Linear Feet 739 boxes"],"extent_tesim":["369.5 Linear Feet 739 boxes"],"genreform_ssim":["Video recordings","Sound recordings","Photographic prints"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"accruals_html_tesm":["\u003cp\u003eAccruals to this collection are expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Accruals to this collection are expected."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative records, 1949-2007 (Boxes 1-196)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, 1950-1991 (Boxes 589-639)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Audiovisual materials, 1970-2007 (Boxes 721-739)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)"],"bibliography_html_tesm":["\u003cp\u003e\u003cextptr href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e","\u003cp\u003e Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.\u003c/p\u003e","\u003cp\u003e \u003cextptr href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":[""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.",""],"bioghist_html_tesm":["\u003cp\u003eFrom its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.\u003c/p\u003e\n","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's \u003citalic\u003eShe Stoops to Conquer.\u003c/italic\u003e Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.\u003c/p\u003e\n","\u003cp\u003eDuring the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.\u003c/p\u003e\n","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: \u003citalic\u003eThe Great White Hope.\u003c/italic\u003e \u003citalic\u003eThe Great White Hope\u003c/italic\u003e included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like \u003citalic\u003eKing Lear\u003c/italic\u003e and \u003citalic\u003eThe Threepenny Opera\u003c/italic\u003e, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.\u003c/p\u003e\n","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, \u003citalic\u003eOur Town\u003c/italic\u003e and \u003citalic\u003eInherit the Wind\u003c/italic\u003e to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of \u003citalic\u003eInherit the Wind\u003c/italic\u003e at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.\u003c/p\u003e\n","\u003cp\u003eThe early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of \u003citalic\u003eK2\u003c/italic\u003e, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of \u003citalic\u003eThe Crucible\u003c/italic\u003e at the Israel Festival.\u003c/p\u003e\n","\u003cp\u003e1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.\u003c/p\u003e\n","\u003cp\u003eMany now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eArena Stage records, C0017, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Arena Stage records, C0017, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.\u003c/p\u003e\n","\u003cp\u003eSeries 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e\n","\u003cp\u003eSeries 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.\u003c/p\u003e\n","\u003cp\u003eSeries 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. "],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_ec96c412f915842d3012676b73803163\" label=\"Abstract\"\u003eThe Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.\u003c/abstract\u003e"],"abstract_tesim":["The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_22f8958322c3fdee6366a384bb686980\"\u003e\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5\u003c/physloc\u003e"],"physloc_tesim":["\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"names_coll_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"persname_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:23:25.700Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416_c04_c01_c17"}},{"id":"vifgm_repositories_2_resources_416_c05_c01_c199","type":"File","attributes":{"title":"Yerma","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416_c05_c01_c199#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_416_c05_c01_c199","ref_ssm":["vifgm_repositories_2_resources_416_c05_c01_c199"],"id":"vifgm_repositories_2_resources_416_c05_c01_c199","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416_c05_c01","parent_ssi":"vifgm_repositories_2_resources_416_c05_c01","parent_ssim":["vifgm_repositories_2_resources_416","vifgm_repositories_2_resources_416_c05","vifgm_repositories_2_resources_416_c05_c01"],"parent_ids_ssim":["vifgm_repositories_2_resources_416","vifgm_repositories_2_resources_416_c05","vifgm_repositories_2_resources_416_c05_c01"],"parent_unittitles_ssm":["Arena Stage records","Series 5: Audiovisual materials","Subseries 5.1: Performances on VHS"],"parent_unittitles_tesim":["Arena Stage records","Series 5: Audiovisual materials","Subseries 5.1: Performances on VHS"],"text":["Arena Stage records","Series 5: Audiovisual materials","Subseries 5.1: Performances on VHS","Yerma","box 729"],"title_filing_ssi":"Yerma","title_ssm":["Yerma"],"title_tesim":["Yerma"],"unitdate_other_ssim":["1991-1992"],"normalized_date_ssm":["1991/1992"],"normalized_title_ssm":["Yerma"],"component_level_isim":[3],"repository_ssim":["George Mason University"],"collection_ssim":["Arena Stage records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":8182,"parent_access_restrict_tesm":["Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1991,1992],"containers_ssim":["box 729"],"scopecontent_heading_ssm":["Scope and Contents note"],"_nest_path_":"/components#4/components#0/components#198","timestamp":"2026-05-01T00:23:25.700Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_416","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_416.xml","title_ssm":["Arena Stage records"],"title_tesim":["Arena Stage records"],"unitdate_ssm":["1949 - 2010"],"unitdate_inclusive_ssm":["1949 - 2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0017","/repositories/2/resources/416"],"text":["C0017","/repositories/2/resources/416","Arena Stage records","Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints","Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","Accruals to this collection are expected.","The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)",""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.","","From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.","The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.","Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.","The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.","The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016","English"],"unitid_tesim":["C0017","/repositories/2/resources/416"],"normalized_title_ssm":["Arena Stage records"],"collection_title_tesim":["Arena Stage records"],"collection_ssim":["Arena Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage (Organization : Washington, D.C.)"],"creator_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creator_corpname_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000-2024.","This collection has additional unprocessed accessions 2023.040-C and 2024.088-C, and therefore this finding aid may not be fully up to date. Please contact SCRC for more information."],"access_subjects_ssim":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"access_subjects_ssm":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"has_online_content_ssim":["false"],"extent_ssm":["369.5 Linear Feet 739 boxes"],"extent_tesim":["369.5 Linear Feet 739 boxes"],"genreform_ssim":["Video recordings","Sound recordings","Photographic prints"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"accruals_html_tesm":["\u003cp\u003eAccruals to this collection are expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Accruals to this collection are expected."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative records, 1949-2007 (Boxes 1-196)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, 1950-1991 (Boxes 589-639)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Audiovisual materials, 1970-2007 (Boxes 721-739)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)"],"bibliography_html_tesm":["\u003cp\u003e\u003cextptr href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e","\u003cp\u003e Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.\u003c/p\u003e","\u003cp\u003e \u003cextptr href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":[""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.",""],"bioghist_html_tesm":["\u003cp\u003eFrom its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.\u003c/p\u003e\n","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's \u003citalic\u003eShe Stoops to Conquer.\u003c/italic\u003e Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.\u003c/p\u003e\n","\u003cp\u003eDuring the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.\u003c/p\u003e\n","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: \u003citalic\u003eThe Great White Hope.\u003c/italic\u003e \u003citalic\u003eThe Great White Hope\u003c/italic\u003e included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like \u003citalic\u003eKing Lear\u003c/italic\u003e and \u003citalic\u003eThe Threepenny Opera\u003c/italic\u003e, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.\u003c/p\u003e\n","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, \u003citalic\u003eOur Town\u003c/italic\u003e and \u003citalic\u003eInherit the Wind\u003c/italic\u003e to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of \u003citalic\u003eInherit the Wind\u003c/italic\u003e at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.\u003c/p\u003e\n","\u003cp\u003eThe early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of \u003citalic\u003eK2\u003c/italic\u003e, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of \u003citalic\u003eThe Crucible\u003c/italic\u003e at the Israel Festival.\u003c/p\u003e\n","\u003cp\u003e1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.\u003c/p\u003e\n","\u003cp\u003eMany now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eArena Stage records, C0017, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Arena Stage records, C0017, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.\u003c/p\u003e\n","\u003cp\u003eSeries 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e\n","\u003cp\u003eSeries 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.\u003c/p\u003e\n","\u003cp\u003eSeries 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. "],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_ec96c412f915842d3012676b73803163\" label=\"Abstract\"\u003eThe Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.\u003c/abstract\u003e"],"abstract_tesim":["The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_22f8958322c3fdee6366a384bb686980\"\u003e\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5\u003c/physloc\u003e"],"physloc_tesim":["\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"names_coll_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"persname_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:23:25.700Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416_c05_c01_c199"}},{"id":"vifgm_arenastage_c04_c02_c47","type":"File","attributes":{"title":"Yerma - Large Print Programs,","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_arenastage_c04_c02_c47#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003e\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_arenastage_c04_c02_c47#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_arenastage_c04_c02_c47","ref_ssm":["vifgm_arenastage_c04_c02_c47"],"id":"vifgm_arenastage_c04_c02_c47","ead_ssi":"vifgm_arenastage","_root_":"vifgm_arenastage","_nest_parent_":"vifgm_arenastage_c04_c02","parent_ssi":"vifgm_arenastage_c04_c02","parent_ssim":["vifgm_arenastage","vifgm_arenastage_c04","vifgm_arenastage_c04_c02"],"parent_ids_ssim":["vifgm_arenastage","vifgm_arenastage_c04","vifgm_arenastage_c04_c02"],"parent_unittitles_ssm":["Arena Stage records","Series 4: Oversize materials,","Subseries 4.2: Miscellaneous artwork and programs,"],"parent_unittitles_tesim":["Arena Stage records","Series 4: Oversize materials,","Subseries 4.2: Miscellaneous artwork and programs,"],"text":["Arena Stage records","Series 4: Oversize materials,","Subseries 4.2: Miscellaneous artwork and programs,","Yerma - Large Print Programs,","Box 711","Folder 3",""],"title_filing_ssi":"Yerma - Large Print Programs, \n","title_ssm":["Yerma - Large Print Programs, \n"],"title_tesim":["Yerma - Large Print Programs, \n"],"unitdate_other_ssim":["1991-1992\n"],"normalized_date_ssm":["1991/1992"],"normalized_title_ssm":["Yerma - Large Print Programs,"],"component_level_isim":[3],"repository_ssim":["George Mason University"],"collection_ssim":["Arena Stage records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":7835,"parent_access_restrict_tesm":["Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"parent_access_terms_tesm":["There are no restrictions."],"date_range_isim":[1991,1992],"containers_ssim":["Box 711","Folder 3"],"scopecontent_html_tesm":["\u003cp/\u003e"],"scopecontent_tesim":[""],"_nest_path_":"/components#3/components#1/components#46","timestamp":"2026-05-01T00:52:17.185Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_arenastage","ead_ssi":"vifgm_arenastage","_root_":"vifgm_arenastage","_nest_parent_":"vifgm_arenastage","ead_source_url_ssi":"data/gmu/arenastage.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/arenastage.html","title_ssm":["Arena Stage records"],"title_tesim":["Arena Stage records"],"unitdate_ssm":["1949-2010"],"unitdate_inclusive_ssm":["1949-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0017"],"text":["C0017","Arena Stage records","Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings.","Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","The collection is arranged into five series, each of which is further divided into subseries:","Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)",""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.","","From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.","The Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.","Processed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016.","Special Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections.","The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.  ","There are no restrictions.","The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)","English\n            "],"unitid_tesim":["C0017"],"normalized_title_ssm":["Arena Stage records"],"collection_title_tesim":["Arena Stage records"],"collection_ssim":["Arena Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage"],"creator_ssim":["Arena Stage"],"creator_corpname_ssim":["Arena Stage"],"creators_ssim":["Arena Stage"],"access_terms_ssm":["There are no restrictions."],"acqinfo_ssim":["Donated by Arena Stage in 2000-2011."],"access_subjects_ssim":["Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings."],"access_subjects_ssm":["Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings."],"has_online_content_ssim":["false"],"extent_ssm":["739 boxes"],"extent_tesim":["739 boxes"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Administrative records, 1949-2007 (Boxes 1-196)\u003c/item\u003e\n        \u003citem\u003eSeries 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\u003c/item\u003e\n        \u003citem\u003eSeries 3: Photographs, 1950-1991 (Boxes 589-639)\u003c/item\u003e\n        \u003citem\u003eSeries 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\u003c/item\u003e\n        \u003citem\u003eSeries 5: Audiovisual materials, 1970-2007 (Boxes 721-739)\u003c/item\u003e\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series, each of which is further divided into subseries:","Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)"],"bibliography_html_tesm":["\u003cp\u003e\n        \u003cextptr type=\"simple\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\" href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\"\u003e\u003c/extptr\u003e\n      \u003c/p\u003e","\u003cp\u003e Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.\u003c/p\u003e","\u003cp\u003e\n        \u003cextptr type=\"simple\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\" href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\"\u003e\u003c/extptr\u003e\n      \u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":[""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.",""],"bioghist_html_tesm":["\u003cp\u003eFrom its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.\u003c/p\u003e","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.\u003c/p\u003e","\u003cp\u003eDuring the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.\u003c/p\u003e","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.\u003c/p\u003e","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.\u003c/p\u003e","\u003cp\u003eThe early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.\u003c/p\u003e","\u003cp\u003e1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.\u003c/p\u003e","\u003cp\u003eMany now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eArena Stage records, C0017, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Arena Stage records, C0017, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections."],"scopecontent_html_tesm":["\u003cp\u003eThe Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.\u003c/p\u003e","\u003cp\u003eSeries 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.\u003c/p\u003e","\u003cp\u003eSeries 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.\u003c/p\u003e","\u003cp\u003eSeries 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e","\u003cp\u003eSeries 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.\u003c/p\u003e","\u003cp\u003eSeries 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.  \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.  "],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract id=\"ref2\" label=\"Abstract\"\u003eThe Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.\u003c/abstract\u003e"],"abstract_tesim":["The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"language_ssim":["English\n            "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:52:17.185Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_arenastage_c04_c02_c47"}},{"id":"vifgm_repositories_2_resources_416_c04_c02_c47","type":"File","attributes":{"title":"Yerma - Large Print Programs","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416_c04_c02_c47#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_416_c04_c02_c47","ref_ssm":["vifgm_repositories_2_resources_416_c04_c02_c47"],"id":"vifgm_repositories_2_resources_416_c04_c02_c47","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416_c04_c02","parent_ssi":"vifgm_repositories_2_resources_416_c04_c02","parent_ssim":["vifgm_repositories_2_resources_416","vifgm_repositories_2_resources_416_c04","vifgm_repositories_2_resources_416_c04_c02"],"parent_ids_ssim":["vifgm_repositories_2_resources_416","vifgm_repositories_2_resources_416_c04","vifgm_repositories_2_resources_416_c04_c02"],"parent_unittitles_ssm":["Arena Stage records","Series 4: Oversize materials","Subseries 4.2: Miscellaneous artwork and programs"],"parent_unittitles_tesim":["Arena Stage records","Series 4: Oversize materials","Subseries 4.2: Miscellaneous artwork and programs"],"text":["Arena Stage records","Series 4: Oversize materials","Subseries 4.2: Miscellaneous artwork and programs","Yerma - Large Print Programs","box 711","folder 3"],"title_filing_ssi":"Yerma - Large Print Programs","title_ssm":["Yerma - Large Print Programs"],"title_tesim":["Yerma - Large Print Programs"],"unitdate_other_ssim":["1991-1992"],"normalized_date_ssm":["1991/1992"],"normalized_title_ssm":["Yerma - Large Print Programs"],"component_level_isim":[3],"repository_ssim":["George Mason University"],"collection_ssim":["Arena Stage records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":7835,"parent_access_restrict_tesm":["Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1991,1992],"containers_ssim":["box 711","folder 3"],"scopecontent_heading_ssm":["Scope and Contents note"],"_nest_path_":"/components#3/components#1/components#46","timestamp":"2026-05-01T00:23:25.700Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_416","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_416.xml","title_ssm":["Arena Stage records"],"title_tesim":["Arena Stage records"],"unitdate_ssm":["1949 - 2010"],"unitdate_inclusive_ssm":["1949 - 2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0017","/repositories/2/resources/416"],"text":["C0017","/repositories/2/resources/416","Arena Stage records","Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints","Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","Accruals to this collection are expected.","The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)",""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.","","From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.","The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.","Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.","The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.","The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016","English"],"unitid_tesim":["C0017","/repositories/2/resources/416"],"normalized_title_ssm":["Arena Stage records"],"collection_title_tesim":["Arena Stage records"],"collection_ssim":["Arena Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage (Organization : Washington, D.C.)"],"creator_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creator_corpname_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000-2024.","This collection has additional unprocessed accessions 2023.040-C and 2024.088-C, and therefore this finding aid may not be fully up to date. Please contact SCRC for more information."],"access_subjects_ssim":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"access_subjects_ssm":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"has_online_content_ssim":["false"],"extent_ssm":["369.5 Linear Feet 739 boxes"],"extent_tesim":["369.5 Linear Feet 739 boxes"],"genreform_ssim":["Video recordings","Sound recordings","Photographic prints"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"accruals_html_tesm":["\u003cp\u003eAccruals to this collection are expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Accruals to this collection are expected."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative records, 1949-2007 (Boxes 1-196)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, 1950-1991 (Boxes 589-639)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Audiovisual materials, 1970-2007 (Boxes 721-739)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)"],"bibliography_html_tesm":["\u003cp\u003e\u003cextptr href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e","\u003cp\u003e Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.\u003c/p\u003e","\u003cp\u003e \u003cextptr href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":[""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.",""],"bioghist_html_tesm":["\u003cp\u003eFrom its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.\u003c/p\u003e\n","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's \u003citalic\u003eShe Stoops to Conquer.\u003c/italic\u003e Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.\u003c/p\u003e\n","\u003cp\u003eDuring the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.\u003c/p\u003e\n","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: \u003citalic\u003eThe Great White Hope.\u003c/italic\u003e \u003citalic\u003eThe Great White Hope\u003c/italic\u003e included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like \u003citalic\u003eKing Lear\u003c/italic\u003e and \u003citalic\u003eThe Threepenny Opera\u003c/italic\u003e, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.\u003c/p\u003e\n","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, \u003citalic\u003eOur Town\u003c/italic\u003e and \u003citalic\u003eInherit the Wind\u003c/italic\u003e to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of \u003citalic\u003eInherit the Wind\u003c/italic\u003e at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.\u003c/p\u003e\n","\u003cp\u003eThe early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of \u003citalic\u003eK2\u003c/italic\u003e, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of \u003citalic\u003eThe Crucible\u003c/italic\u003e at the Israel Festival.\u003c/p\u003e\n","\u003cp\u003e1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.\u003c/p\u003e\n","\u003cp\u003eMany now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eArena Stage records, C0017, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Arena Stage records, C0017, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.\u003c/p\u003e\n","\u003cp\u003eSeries 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e\n","\u003cp\u003eSeries 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.\u003c/p\u003e\n","\u003cp\u003eSeries 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. "],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_ec96c412f915842d3012676b73803163\" label=\"Abstract\"\u003eThe Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.\u003c/abstract\u003e"],"abstract_tesim":["The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_22f8958322c3fdee6366a384bb686980\"\u003e\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5\u003c/physloc\u003e"],"physloc_tesim":["\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"names_coll_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"persname_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:23:25.700Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416_c04_c02_c47"}},{"id":"vilxw_repositories_5_resources_969_c43","type":"File","attributes":{"title":"(YES) Correspondence","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vilxw_repositories_5_resources_969_c43#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vilxw_repositories_5_resources_969_c43","ref_ssm":["vilxw_repositories_5_resources_969_c43"],"id":"vilxw_repositories_5_resources_969_c43","ead_ssi":"vilxw_repositories_5_resources_969","_root_":"vilxw_repositories_5_resources_969","_nest_parent_":"vilxw_repositories_5_resources_969","parent_ssi":"vilxw_repositories_5_resources_969","parent_ssim":["vilxw_repositories_5_resources_969"],"parent_ids_ssim":["vilxw_repositories_5_resources_969"],"parent_unittitles_ssm":["William Gladstone Collection"],"parent_unittitles_tesim":["William Gladstone Collection"],"text":["William Gladstone Collection","(YES) Correspondence","United States. Congress. Senate","Graham, Bob (Daniel Robert), 1936","Gladstone, William E. , 1930-2015","Graham, Bob (Daniel Robert), 1936","English .","box 1","folder 42"],"title_filing_ssi":"(YES) Correspondence ","title_ssm":["(YES) Correspondence "],"title_tesim":["(YES) Correspondence "],"unitdate_inclusive_ssm":["1992-1994"],"normalized_date_ssm":["1992/1994"],"normalized_title_ssm":["(YES) Correspondence"],"component_level_isim":[1],"repository_ssim":["Washington and Lee University, Leyburn Library"],"collection_ssim":["William Gladstone Collection"],"creator_ssim":["United States. Congress. Senate","Gladstone, William E. , 1930-2015"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":43,"parent_access_terms_tesm":["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."],"date_range_isim":[1992,1993,1994],"names_ssim":["United States. Congress. Senate","Graham, Bob (Daniel Robert), 1936","Gladstone, William E. , 1930-2015","Graham, Bob (Daniel Robert), 1936"],"corpname_ssim":["United States. Congress. Senate"],"persname_ssim":["Gladstone, William E. , 1930-2015","Graham, Bob (Daniel Robert), 1936"],"language_ssim":["English ."],"containers_ssim":["box 1","folder 42"],"_nest_path_":"/components#42","timestamp":"2026-04-30T21:51:23.517Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vilxw_repositories_5_resources_969","ead_ssi":"vilxw_repositories_5_resources_969","_root_":"vilxw_repositories_5_resources_969","_nest_parent_":"vilxw_repositories_5_resources_969","ead_source_url_ssi":"data/oai/WLU/repositories_5_resources_969.xml","title_ssm":["William Gladstone Collection"],"title_tesim":["William Gladstone Collection"],"unitdate_ssm":["1980-2015"],"unitdate_bulk_ssim":["1980-2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["WLU.Coll.0678","/repositories/5/resources/969"],"text":["WLU.Coll.0678","/repositories/5/resources/969","William Gladstone Collection","Juvenile courts","Crime -- Children","Juvenile justice, Administration of -- Government policy","William E. Gladstone was born in Birmingham, Alabama in 1930 and graduated cum laude from Washington and Lee University in 1952. Three years later, he received his Juris Doctor degree from Yale Law School. For the next thirty years, Gladstone practiced law in Dade County, Florida at August, Nimkoff and Gladstone. In 1973, he was elected Circuit Judge for the 11th Judicial Circuit, Florida. Subsequently, he focused on the juvenile and family divisions. From 1982 to 1983, Gladstone served as Special Advisor on matters of juvenile justice and youthful offenders from the judiciary to the Governor and Secretaries of Health Rehabilitative Services and Corrections of the State of Florida. Retiring as full time judge in 1993, Gladstone spent a year with U.S. Senator Bob Graham as Special Advisor and in the meantime designed the Youth Environmental Service. In 1994, he returned to Florida to sit as Senior Judge until 2011, when he fully retired. For more details regarding his career and contributions, please his curriculum vitae which is featured in the control folder.","This collection primarily contains a series of memoranda, correspondence, newspaper articles, and transcripts regarding William Gladstone and his service to the state of Florida. In addition, the collection included a book showcasing Gladstone's judicial activism, and has since been transferred within the Special Collections Department. A collection of great breadth within the juvenile criminal justice system, it features several policy efforts supported by William Gladstone, including the Youth Environmental Service Program in the state of Florida.","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","American Academy of Pediatrics (1930)","American Broadcasting Company (1944)","Miami Herald Publishing Company","National Council of Juvenile and Family Court Judges","Southern Legislators Conference on Children and Youth","Youth Environmental Service Program","Associated Marine Institutes, Inc.","Florida. Circuit Court","National CASA Association","CHARLEE's Gladstone Center for Girls","Detroit Free Press Co.","New York Times Company","Times Publishing Company (St. Petersburg, Fla.)","Boys \u0026 Girls Clubs of America","Alston Wilkes Society","Florida. Commission on Juvenile Justice","Florida. Foster Care Review","Florida. House of Representatives","United States. Congress. Senate","Verner, Liipfert, Bernhard, McPherson, and Hand, Chartered","Florida. Guardian Ad Litem Program","Virginia.  Circuit Court","University of Miami, School of Medicine","William and Tina Rosenberg Foundation","National Council of Juvenile \u0026 Family Court Judges","Naples Daily News","The Miami News","Cortlandt Group","Miami-Dade Community College. Mitchell Wolfson New World Center Campus","National Adolescent Conference","Florida. Department of Health and Rehabilitative Services","Coalition for Juvenile Justice (U.S.)","The Wall Street Journal","Miami Sister City Program, Inc. ","Florida. Supreme Court","American Medical Association","Children's Defense Fund (U.S.)","University of Miami, School of Law","Washington and Lee University--Alumni  and alumnae"," Los Angeles Times (Firm)","United States. Department of Agriculture","United States. Department of the Interior","U.S. Fish and Wildlife Service","United States. National Park Service","United States. Department of Justice","Gladstone, William E. , 1930-2015","Graham, Bob (Daniel Robert), 1936","MacKay, , Buddy (Kenneth Hood)","Chiles , Lawton, 1930-1998","Biden, Joseph R","Leyburn, James Graham","Friedman, Milton, 1912-2006","Bush, Jeb (John Ellis)","English \n.    "],"unitid_tesim":["WLU.Coll.0678","/repositories/5/resources/969"],"normalized_title_ssm":["William Gladstone Collection"],"collection_title_tesim":["William Gladstone Collection"],"collection_ssim":["William Gladstone Collection"],"repository_ssm":["Washington and Lee University, Leyburn Library"],"repository_ssim":["Washington and Lee University, Leyburn Library"],"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":["Juvenile courts","Crime -- Children","Juvenile justice, Administration of -- Government policy"],"access_subjects_ssm":["Juvenile courts","Crime -- Children","Juvenile justice, Administration of -- Government policy"],"has_online_content_ssim":["false"],"extent_ssm":["1 Box forty-five file folders"],"extent_tesim":["1 Box forty-five file folders"],"date_range_isim":[1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015],"bioghist_html_tesm":["\u003cp\u003eWilliam E. Gladstone was born in Birmingham, Alabama in 1930 and graduated cum laude from Washington and Lee University in 1952. Three years later, he received his Juris Doctor degree from Yale Law School. For the next thirty years, Gladstone practiced law in Dade County, Florida at August, Nimkoff and Gladstone. In 1973, he was elected Circuit Judge for the 11th Judicial Circuit, Florida. Subsequently, he focused on the juvenile and family divisions. From 1982 to 1983, Gladstone served as Special Advisor on matters of juvenile justice and youthful offenders from the judiciary to the Governor and Secretaries of Health Rehabilitative Services and Corrections of the State of Florida. Retiring as full time judge in 1993, Gladstone spent a year with U.S. Senator Bob Graham as Special Advisor and in the meantime designed the Youth Environmental Service. In 1994, he returned to Florida to sit as Senior Judge until 2011, when he fully retired. For more details regarding his career and contributions, please his curriculum vitae which is featured in the control folder.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["William E. Gladstone was born in Birmingham, Alabama in 1930 and graduated cum laude from Washington and Lee University in 1952. Three years later, he received his Juris Doctor degree from Yale Law School. For the next thirty years, Gladstone practiced law in Dade County, Florida at August, Nimkoff and Gladstone. In 1973, he was elected Circuit Judge for the 11th Judicial Circuit, Florida. Subsequently, he focused on the juvenile and family divisions. From 1982 to 1983, Gladstone served as Special Advisor on matters of juvenile justice and youthful offenders from the judiciary to the Governor and Secretaries of Health Rehabilitative Services and Corrections of the State of Florida. Retiring as full time judge in 1993, Gladstone spent a year with U.S. Senator Bob Graham as Special Advisor and in the meantime designed the Youth Environmental Service. In 1994, he returned to Florida to sit as Senior Judge until 2011, when he fully retired. For more details regarding his career and contributions, please his curriculum vitae which is featured in the control folder."],"prefercite_html_tesm":["\u003cp\u003ePreferred citation: [Identification of item], William Gladstone Collection, WLU Coll. 0678, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA\u003cp\u003eIn some cases the citation format may vary. Please contact Special Collections' staff to verify the appropriate format.\u003c/p\u003e\u003c/p\u003e"],"prefercite_tesim":["Preferred citation: [Identification of item], William Gladstone Collection, WLU Coll. 0678, 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\u003eThis collection primarily contains a series of memoranda, correspondence, newspaper articles, and transcripts regarding William Gladstone and his service to the state of Florida. In addition, the collection included a book showcasing Gladstone's judicial activism, and has since been transferred within the Special Collections Department. A collection of great breadth within the juvenile criminal justice system, it features several policy efforts supported by William Gladstone, including the Youth Environmental Service Program in the state of Florida.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection primarily contains a series of memoranda, correspondence, newspaper articles, and transcripts regarding William Gladstone and his service to the state of Florida. In addition, the collection included a book showcasing Gladstone's judicial activism, and has since been transferred within the Special Collections Department. A collection of great breadth within the juvenile criminal justice system, it features several policy efforts supported by William Gladstone, including the Youth Environmental Service Program in the state of Florida."],"userestrict_html_tesm":["\u003cp\u003eThe materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"names_coll_ssim":["Washington and Lee University","American Academy of Pediatrics (1930)","American Broadcasting Company (1944)","Miami Herald Publishing Company","National Council of Juvenile and Family Court Judges","Southern Legislators Conference on Children and Youth","Youth Environmental Service Program","Gladstone, William E. , 1930-2015","Graham, Bob (Daniel Robert), 1936"],"names_ssim":["Washington and Lee University, University Library Special Collections and Archives","Washington and Lee University","American Academy of Pediatrics (1930)","American Broadcasting Company (1944)","Miami Herald Publishing Company","National Council of Juvenile and Family Court Judges","Southern Legislators Conference on Children and Youth","Youth Environmental Service Program","Associated Marine Institutes, Inc.","Florida. Circuit Court","National CASA Association","CHARLEE's Gladstone Center for Girls","Detroit Free Press Co.","New York Times Company","Times Publishing Company (St. Petersburg, Fla.)","Boys \u0026 Girls Clubs of America","Alston Wilkes Society","Florida. Commission on Juvenile Justice","Florida. Foster Care Review","Florida. House of Representatives","United States. Congress. Senate","Verner, Liipfert, Bernhard, McPherson, and Hand, Chartered","Florida. Guardian Ad Litem Program","Virginia.  Circuit Court","University of Miami, School of Medicine","William and Tina Rosenberg Foundation","National Council of Juvenile \u0026 Family Court Judges","Naples Daily News","The Miami News","Cortlandt Group","Miami-Dade Community College. Mitchell Wolfson New World Center Campus","National Adolescent Conference","Florida. Department of Health and Rehabilitative Services","Coalition for Juvenile Justice (U.S.)","The Wall Street Journal","Miami Sister City Program, Inc. ","Florida. Supreme Court","American Medical Association","Children's Defense Fund (U.S.)","University of Miami, School of Law","Washington and Lee University--Alumni  and alumnae"," Los Angeles Times (Firm)","United States. Department of Agriculture","United States. Department of the Interior","U.S. Fish and Wildlife Service","United States. National Park Service","United States. Department of Justice","Gladstone, William E. , 1930-2015","Graham, Bob (Daniel Robert), 1936","MacKay, , Buddy (Kenneth Hood)","Chiles , Lawton, 1930-1998","Biden, Joseph R","Leyburn, James Graham","Friedman, Milton, 1912-2006","Bush, Jeb (John Ellis)"],"corpname_ssim":["Washington and Lee University, University Library Special Collections and Archives","Washington and Lee University","American Academy of Pediatrics (1930)","American Broadcasting Company (1944)","Miami Herald Publishing Company","National Council of Juvenile and Family Court Judges","Southern Legislators Conference on Children and Youth","Youth Environmental Service Program","Associated Marine Institutes, Inc.","Florida. Circuit Court","National CASA Association","CHARLEE's Gladstone Center for Girls","Detroit Free Press Co.","New York Times Company","Times Publishing Company (St. Petersburg, Fla.)","Boys \u0026 Girls Clubs of America","Alston Wilkes Society","Florida. Commission on Juvenile Justice","Florida. Foster Care Review","Florida. House of Representatives","United States. Congress. Senate","Verner, Liipfert, Bernhard, McPherson, and Hand, Chartered","Florida. Guardian Ad Litem Program","Virginia.  Circuit Court","University of Miami, School of Medicine","William and Tina Rosenberg Foundation","National Council of Juvenile \u0026 Family Court Judges","Naples Daily News","The Miami News","Cortlandt Group","Miami-Dade Community College. Mitchell Wolfson New World Center Campus","National Adolescent Conference","Florida. Department of Health and Rehabilitative Services","Coalition for Juvenile Justice (U.S.)","The Wall Street Journal","Miami Sister City Program, Inc. ","Florida. Supreme Court","American Medical Association","Children's Defense Fund (U.S.)","University of Miami, School of Law","Washington and Lee University--Alumni  and alumnae"," Los Angeles Times (Firm)","United States. Department of Agriculture","United States. Department of the Interior","U.S. Fish and Wildlife Service","United States. National Park Service","United States. Department of Justice"],"persname_ssim":["Gladstone, William E. , 1930-2015","Graham, Bob (Daniel Robert), 1936","MacKay, , Buddy (Kenneth Hood)","Chiles , Lawton, 1930-1998","Biden, Joseph R","Leyburn, James Graham","Friedman, Milton, 1912-2006","Bush, Jeb (John Ellis)"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":46,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T21:51:23.517Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vilxw_repositories_5_resources_969_c43"}},{"id":"vifgm_repositories_2_resources_367_c05_c01_c571","type":"File","attributes":{"title":"Yeshiva University, NY","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_367_c05_c01_c571#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_367_c05_c01_c571","ref_ssm":["vifgm_repositories_2_resources_367_c05_c01_c571"],"id":"vifgm_repositories_2_resources_367_c05_c01_c571","ead_ssi":"vifgm_repositories_2_resources_367","_root_":"vifgm_repositories_2_resources_367","_nest_parent_":"vifgm_repositories_2_resources_367_c05_c01","parent_ssi":"vifgm_repositories_2_resources_367_c05_c01","parent_ssim":["vifgm_repositories_2_resources_367","vifgm_repositories_2_resources_367_c05","vifgm_repositories_2_resources_367_c05_c01"],"parent_ids_ssim":["vifgm_repositories_2_resources_367","vifgm_repositories_2_resources_367_c05","vifgm_repositories_2_resources_367_c05_c01"],"parent_unittitles_ssm":["James M. Buchanan papers","Series 5: Professional service","Subseries 1: Conferences and events"],"parent_unittitles_tesim":["James M. Buchanan papers","Series 5: Professional service","Subseries 1: Conferences and events"],"text":["James M. Buchanan papers","Series 5: Professional service","Subseries 1: Conferences and events","Yeshiva University, NY","box 296","folder 7"],"title_filing_ssi":"Yeshiva University, NY","title_ssm":["Yeshiva University, NY"],"title_tesim":["Yeshiva University, NY"],"unitdate_inclusive_ssm":["1991-1992"],"normalized_date_ssm":["1991/1992"],"normalized_title_ssm":["Yeshiva University, NY"],"component_level_isim":[3],"repository_ssim":["George Mason University"],"collection_ssim":["James M. Buchanan papers"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":4908,"parent_access_restrict_tesm":["\nIMPORTANT ACCESS INFORMATION: To schedule an appointment to view materials from the James M. Buchanan papers in the SCRC reading room, please fill out the  You can request up to 12 boxes per appointment (day). Appointments will be scheduled on a first-come, first-served basis. \n","\nPlease note, due to the high demand for this collection, we will be prioritizing on-site requests over remote requests. Virtual reference will be limited to 30 minutes of research per request. If your request requires more research support, we recommend hiring someone to assist you on-site. Remote digitization requests will be evaluated based on the material content and our ability to provide copies.\n","\nCertain materials in the collection are restricted due to FERPA requirements and personally identifiable information. Letters of recommendation are restricted for 40 years from creation.\n"],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/) Materials created prior to 1931 are in the Public Domain. These materials have no known restrictions."],"date_range_isim":[1991,1992],"containers_ssim":["box 296","folder 7"],"_nest_path_":"/components#4/components#0/components#570","timestamp":"2026-05-01T00:30:39.946Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_367","ead_ssi":"vifgm_repositories_2_resources_367","_root_":"vifgm_repositories_2_resources_367","_nest_parent_":"vifgm_repositories_2_resources_367","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_367.xml","aspace_url_ssi":"C0246","title_ssm":["James M. Buchanan papers"],"title_tesim":["James M. Buchanan papers"],"unitdate_ssm":["circa 1800s, 1930-2014"],"unitdate_inclusive_ssm":["circa 1800s, 1930-2014"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0246","/repositories/2/resources/367"],"text":["C0246","/repositories/2/resources/367","James M. Buchanan papers","Economics","Economists -- United States","Nobel Prize winners","Social choice","Correspondence","Manuscripts","Typescripts","Video recordings","\nIMPORTANT ACCESS INFORMATION: To schedule an appointment to view materials from the James M. Buchanan papers in the SCRC reading room, please fill out the   You can request up to 12 boxes per appointment (day). Appointments will be scheduled on a first-come, first-served basis. \n","\nPlease note, due to the high demand for this collection, we will be prioritizing on-site requests over remote requests. Virtual reference will be limited to 30 minutes of research per request. If your request requires more research support, we recommend hiring someone to assist you on-site. Remote digitization requests will be evaluated based on the material content and our ability to provide copies.\n","\nCertain materials in the collection are restricted due to FERPA requirements and personally identifiable information. Letters of recommendation are restricted for 40 years from creation.\n","The collection is arranged in nine series.","Series Series 1: Biographical materials Series 2: Correspondence Series 3: Writings Series 4: Academia Series 5: Professional service Series 6: Betty Tillman papers Series 7: Jo Ann Burgess papers Series 8: Writings by others Series 9: Audiovisual and born-digital materials","James McGill Buchanan, Jr. was born on October 3, 1919 in Gum, Tennessee to Lila Scott (1889-1953) and James McGill Buchanan, Sr. (1888-1979). He had two younger sisters, Lila Scott Buchanan Graue (1922-2020) and Elizabeth Bradley. His paternal grandfather, John P. Buchanan (1847-1930), was a one-term governor of Tennessee from 1891 to 1893. James M. Buchanan attended Buchanan High School. He triple-majored in English, mathematics, and economics at Middle Tennessee State University from 1936 to 1940. He received a Master's of the Arts in economics from the University of Tennessee, Knoxville in 1941. Buchanan then attended the Naval War College and served on the operations staff of Admiral Chester W. Nimitz from 1941 to 1945. In that role, he was stationed in Pearl Harbor, Hawaii, and Guam. He met his wife, Ann Bakke (August 21, 1909-November 14, 2005) in 1943. She was born in Jamestown, North Dakota. She served with the Army Air Transport Command at Hickham Field, Oahu. In 1945 the couple married in San Francisco, California. ","From 1946 to 1948 Buchanan attended the University of Chicago, where he graduated with a Ph.D. in economics. After graduation, he taught at the University of Tennessee, Knoxville as an associate professor from 1948 to 1951, and then as a full professor at Florida State University, Tallahassee from 1951 to 1956. In 1955 he was awarded a Fulbright fellowship to study in Italy for a year. In 1956 he was hired at the University of Virginia as the chair of the economics department. It was there that he co-founded the Thomas Jefferson Center for Studies in Political Economy in 1958. That same year, he published  Public Principles of Public Debt . In 1962, Buchanan and co-author Gordon Tullock published  The Calculus of Consent . ","Buchanan worked at the University of California, Los Angeles (UCLA) for one academic year (1968-1969) as a professor of economics. In 1969 he was hired at Virginia Polytechnic Institute (VPI, now known as Virginia Tech), as a University Distinguished Professor. He became general director of the Center for Study of Public Choice, the successor institution to the Thomas Jefferson Center for Political Economy. Buchanan continued to publish books during his time at VPI, including  Cost and Choice  (1969),  Academia in Anarchy  with Nicos Devletoglou (1970),  The Limits of Liberty  (1975), and  The Power to Tax  with Geoffrey Brennan (1980). ","In 1983, Buchanan and the Center for the Study of Public Choice moved from VPI to George Mason University in Fairfax, Virginia. After the move, he split his time between Fairfax and his farm in Blacksburg, Virginia. In 1986, Buchanan was awarded the Nobel Memorial Prize in economics. While at Mason, he published  The Reason of Rules  (1985),  Better than Plowing  (1992), and  Politics by Principle, Not Interest  with Roger Congleton (1998). He formally retired from Mason in September 1999 but continued to work both at Mason and Virginia Tech until his death on January 9, 2013. ","Buchanan was known for his contribution to the field of public choice, which uses economic principles to analyze the rules and actions of government and public sector. It was this theory which led to his Nobel award. ","Born on March 19, 1927, Betty Jane Hall Tillman (also known as Betty Ross from 1977 to 1984) received an associate's degree from The Jefferson School of Commerce at Charlottesville, Virginia in 1945. She worked for Buchanan at the University of Virginia from August 14, 1961 to August 1969, at VPI from September 1, 1969 to June 1983, and at George Mason University from July 1, 1983 until her retirement in April 2007. Tillman had multiple responsibilities including handling Buchanan's correspondence, scheduling his events, coordinating Liberty Fund conferences, organizing activities at the Center for Study of Public Choice, and assisting graduate students and faculty associated with the Center. At the time of her retirement her position was administrative director of the Center for Study of Public Choice. She had three children. Tillman died on October 2, 2013.  ","Jo Ann Burgess was born on June 27, 1948. She began work at the Center for the Study of Public Choice at George Mason University in 1989. Previously, Burgess lived around the world working for the State Department and the U.S military. She had four children with her husband, Roger. Burgess had many varied responsibilities at the Center including organizing Buchanan's archival papers, and administrative duties for the Public Choice Society. She edited Buchanan's published work in the 1990s and 2000s, including editing  The Collected Works of James Buchanan  and  The Selected Works of Gordon Tullock  for the Liberty Fund. After Tillman's retirement, Burgess took on additional responsibilities related to handling Buchanan's correspondence and scheduling, and additional administrative duties at the Center. Burgess retired in the summer of 2014. She died on March 19, 2020.","This collection was processed by Rebecca Thayer as part of a National Endowment for the Humanities (NEH) grant project from March 2021 to March 2023.","Initial processing of the collection was begun after James M. Buchanan's death in 2013, while the papers were at Buchanan House (also known as Roberts House), where the offices of Buchanan, Betty Tillman, Jo Ann Burgess, and the Center for Study of Public Choice were then located. Processing at this time was done by Greta Suiter, then-Processing Coordinator at the Special Collections Research Center (SCRC), and Solomon Stein, then-economics PhD student at Mason. Stein and Suiter established an initial arrangement scheme and began foldering and sorting materials accordingly. Elizabeth Beckman, then-Processing Coordinator, continued arrangement and refoldering work alongside Stein at Buchanan House from 2014 to 2016. 145 linear feet of materials were ultimately arranged during this time. The following series were created: Correspondence, Academic (Subseries: Courses taken and Courses taught), Conferences (Subseries: Conferences attended and Conferences held), Writings, Articles Read, and Administrative.","Materials were boxed up and brought to Fenwick in Spring 2017. Beckman completed EAD markup of a preliminary finding aid with the processed materials in June 2017. Processing was paused in 2017 to apply for a NEH grant to hire a dedicated processing archivist. The grant was approved to start in 2020 but was delayed for several months due to the COVID-19 pandemic.","Rebecca Thayer was hired in March 2021 to process the collection. She surveyed the arranged part of the collection (145 linear feet) and the unprocessed part (147 linear feet) to create a processing plan. This plan included adjustments to the original arrangement scheme based on material in the unprocessed section of the papers. A large number of the eventual Jo Ann Burgess papers series materials were in the unprocessed section of the collection, although the unprocessed section did contain materials from all series. ","The prior arrangement scheme did not preserve Tillman and Burgess' files as discrete series, so it is likely that some materials created by Tillman or Burgess were dispersed into the various other series. Some materials in the correspondence series especially which were obviously correspondence involving only Tillman, Burgess, or Ann Bakke Buchanan, were removed to their respective series and subseries. However, Thayer did not attempt a systematic review of materials in other series such as Professional Services and Academia in order to separate out Tillman and Burgess-created files from Buchanan-created files. This has resulted in some significant overlap between those series and the Betty Tillman papers and Jo Ann Burgess papers series. This does reflect the significant overlap in work responsibilities of Tillman, Burgess, Buchanan, and the Center as seen in the materials. ","Processors prior to the NEH grant appear to have filed out materials that were originally grouped in large miscellaneous folders. Buchanan, Tillman, and Burgess do not seem to have created many files with only one or two emails or letters, preferring larger bulk folders. However, in the collection there are now many individual folders with correspondents that seem to have been created from larger files. No additional filing out of material was done under the NEH grant.","Thayer arranged the unprocessed materials and reprocessed the previously arranged materials, combining the two. Mason Graduate Research Assistant Rachel Barton and undergraduate assistants Colin McDonald and Vilma Chicas Garcia assisted with arrangement, reboxing, and inventory creation. Amanda Menjivar, Manuscripts and Archives Librarian, assisted with finding aid data entry and publishing.","The James M. Buchanan papers largely consist of correspondence, writings, and administrative files created between the years 1930-2014. The collection contains 9 series.","Series 1: Biographical materials (circa 1800s, 1944-2012) contains information about James M. Buchanan's life and career. It is further divided into four subseries. Subseries 1.1: Ann Bakke Buchanan papers contains materials created by Ann Bakke Buchanan, James M. Buchanan's wife. Materials include correspondence, recipe cards, notebooks, calendars, and photographs. Some of the correspondence is in Norwegian, and some addressed to both James and Ann as a couple. Subseries 1.2: Awards contains newspapers clippings, congratulatory letters, photographs, and memorabilia relating to awards Buchanan received during his career. The majority of the materials relate to the Nobel Memorial Prize in Economics. Subseries 1.3: Education contains study notes, essays, syllabi, and research notes from Buchanan's education, mostly from his PhD study at the University of Chicago. Subseries 1.4: Clippings contains newspaper and magazine clippings about Buchanan, including articles about his work, interviews, and reports on events he attended.","Series 2: Correspondence (1951-2014) contains letters, emails, memoranda, cards, and other forms of written communication, mostly dealing with Buchanan's professional career. Subseries 2.1: Alphabetical correspondence contains the bulk of the correspondence, filed alphabetically by correspondent, subject, or name of an organization. Subseries 2.2: Chronological correspondence is a small amount of unrelated correspondence that was grouped together in date ranges, likely by either Buchanan himself, or his assistants Betty Tillman and Jo Ann Burgess.","Series 3: Writings (1946-2012) contains drafts, typescripts, photocopies, notes, and reprints of Buchanan's books, articles, speaking lectures, and unpublished material. There are also research files relating to some of his writing projects, and some correspondence with publishers, coauthors, and reviewers.","Series 4: Academia (1946-2013) contains correspondence, reports, planning documents, and grant files relating to Buchanan's work at various universities, primarily University of Virginia, Virginia Polytechnic Institute (now Virginia Tech), and George Mason University. Subseries 4.1: Administration contains reports, memoranda, correspondence, photographs, calendars, and planning documents relating to department and university business. Subseries 4.2: Teaching contains lecture notes, drafts, syllabi, exams, and readings relating to classes taught by Buchanan over the course of his career. Subseries 4.3: Grants contains correspondence and applications for grant projects undertaken by Buchanan and collaborators. Subseries 4.4: Thomas Jefferson Center for Studies in Political Economy contains annual reports, photographs, and correspondence from the University of Virginia's Thomas Jefferson Center, which was active from 1958 to 1968. Subseries 4.5: Center for Study of Public Choice contains annual reports, conference information, grants, planning documents, board meeting minutes, and correspondence relating to the Center, an academic unit at Virginia Polytechnic Institute from 1968 to 1983 and at George Mason University from 1983 onwards.","Series 5: Professional Service (1958-2013) This series contains materials relating to Buchanan's professional activities outside of his university responsibilities. Subseries 5.1: Conferences and events contains correspondence, schedules, planning documents, papers and lecture notes, and travel documents from conferences, speaking engagements, and other events attended by Buchanan during his career. Subseries 5.2: Consulting and organizations contains annual reports and correspondence relating to Buchanan's work with various organizations outside of his work as a university professor. ","Series 6: Betty Tillman papers (1968-2008) contains files created by Betty Tillman, administrative assistant to Buchanan and administrative director of the Center for Study of Public Choice. Subseries 6.1: Correspondence contains letters, emails, memoranda, and cards sent and received by Tillman. Subseries 6.2: Office administration contains planning documents, organizational files, and other materials relating to Tillman's handling of Buchanan's and Center for the Study of Public Choice office functions. Subseries 6.3: Conferences, events and travel contains correspondence, calendars, schedules, and travel documents relating to events attended by Buchanan, coordinated by Tillman. It also contains materials created by Tillman as the conference coordinator for the Liberty Fund and Center conferences and events.","Series 7: Jo Ann Burgess papers (1972-2014) contains files created by Jo Ann Burgess, administrative assistant and editor to Buchanan and secretary for the Public Choice Society. Subseries 7.1: Correspondence contains emails, letters, cards, notes, and memoranda, both personal and relating to Burgess' work with Buchanan and the Center for Study of Public Choice. Subseries 7.2: Office administration contains correspondence, calendars, notes, program files, and edited drafts created as part of Burgess' duties working for the Center for Study of Public Choice and as an assistant to Buchanan. Subseries 7.3: Liberty Fund editorial work contains planning documents, correspondence, and drafts created as part of Burgess' work editing  The Collected Works of James M. Buchanan  and  The Selected Works of Gordon Tullock  on behalf of the Liberty Fund. Subseries 7.4: Public Choice Society contains correspondence, conference planning documents, and administrative files created as part of Burgess' work as the secretary of the Public Choice Society, a professional organization. ","Series 8: Writings by others (1930-2014) contains articles, book drafts, and other writings by authors other than Buchanan. Some materials have notes and annotations. Some writings are about Buchanan and his ideas. ","Series 9: Audiovisual and born-digital materials (circa 1970s-2013) contains audiocassettes, videotapes, CDs, DVDs, floppy disks, and associated paper materials. Topics include recordings of the Nobel ceremony and press coverage; interviews and lectures by Buchanan and others and Center for Study of Public Choice events.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/) Materials created prior to 1931 are in the Public Domain. These materials have no known restrictions.","The James M. Buchanan papers consist of materials created primarily by economist James M. Buchanan (1919-2013) from the years 1936-2014. There are also materials created by the Center for Study of Public Choice, an academic unit associated with Virginia Tech (1969-1983) and George Mason University (1983-). The papers document Buchanan's career and academic output, primarily in the field of public choice economics and political economy.","\nR 101 - 102\n\nOS R 1, C 3, S 3-5\nMap Case 24.1","George Mason University. Libraries. Special Collections Research Center","George Mason University. Center for Study of Public Choice","Public Choice Society","Buchanan, Ann Bakke","Buchanan, James M.","Burgess, Jo Ann S.","Tillman, Betty H.","The bulk of the materials are in English. Additional languages in the collection include German, Italian, French, Spanish, Norwegian, Dutch, Turkish, Japanese, Korean, and Chinese."],"unitid_tesim":["C0246","/repositories/2/resources/367"],"normalized_title_ssm":["James M. Buchanan papers"],"collection_title_tesim":["James M. Buchanan papers"],"collection_ssim":["James M. Buchanan papers"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Buchanan, Ann Bakke","Buchanan, James M.","Burgess, Jo Ann S.","Tillman, Betty H."],"creator_ssim":["Buchanan, Ann Bakke","Buchanan, James M.","Burgess, Jo Ann S.","Tillman, Betty H."],"creator_persname_ssim":["Buchanan, Ann Bakke","Buchanan, James M.","Burgess, Jo Ann S.","Tillman, Betty H."],"creators_ssim":["Buchanan, Ann Bakke","Buchanan, James M.","Burgess, Jo Ann S.","Tillman, Betty H."],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/) Materials created prior to 1931 are in the Public Domain. These materials have no known restrictions."],"acqinfo_ssim":["Acquired by George Mason University Special Collections Research Center in September 2016. Additional materials acquired in April 2021."],"access_subjects_ssim":["Economics","Economists -- United States","Nobel Prize winners","Social choice","Correspondence","Manuscripts","Typescripts","Video recordings"],"access_subjects_ssm":["Economics","Economists -- United States","Nobel Prize winners","Social choice","Correspondence","Manuscripts","Typescripts","Video recordings"],"has_online_content_ssim":["false"],"extent_ssm":["270 Linear Feet 546 boxes, one map case"],"extent_tesim":["270 Linear Feet 546 boxes, one map case"],"genreform_ssim":["Correspondence","Manuscripts","Typescripts","Video recordings"],"date_range_isim":[1800,1801,1802,1803,1804,1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014],"accessrestrict_html_tesm":["\u003cp\u003e\nIMPORTANT ACCESS INFORMATION: To schedule an appointment to view materials from the James M. Buchanan papers in the SCRC reading room, please fill out the \u003cextptr show=\"new\" title=\"Appointment Request Form.\" href=\"https://docs.google.com/forms/d/e/1FAIpQLSdHUG7aGultbMH3bLgyLWZmAqsdLAYpErUjBiv5Yb968aHkTA/viewform\"\u003e\u003c/extptr\u003e You can request up to 12 boxes per appointment (day). Appointments will be scheduled on a first-come, first-served basis. \n\u003c/p\u003e","\u003cp\u003e\nPlease note, due to the high demand for this collection, we will be prioritizing on-site requests over remote requests. Virtual reference will be limited to 30 minutes of research per request. If your request requires more research support, we recommend hiring someone to assist you on-site. Remote digitization requests will be evaluated based on the material content and our ability to provide copies.\n\u003c/p\u003e","\u003cp\u003e\nCertain materials in the collection are restricted due to FERPA requirements and personally identifiable information. Letters of recommendation are restricted for 40 years from creation.\n\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["\nIMPORTANT ACCESS INFORMATION: To schedule an appointment to view materials from the James M. Buchanan papers in the SCRC reading room, please fill out the   You can request up to 12 boxes per appointment (day). Appointments will be scheduled on a first-come, first-served basis. \n","\nPlease note, due to the high demand for this collection, we will be prioritizing on-site requests over remote requests. Virtual reference will be limited to 30 minutes of research per request. If your request requires more research support, we recommend hiring someone to assist you on-site. Remote digitization requests will be evaluated based on the material content and our ability to provide copies.\n","\nCertain materials in the collection are restricted due to FERPA requirements and personally identifiable information. Letters of recommendation are restricted for 40 years from creation.\n"],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in nine series.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Biographical materials\u003c/item\u003e\n      \u003citem\u003eSeries 2: Correspondence\u003c/item\u003e\n      \u003citem\u003eSeries 3: Writings\u003c/item\u003e\n      \u003citem\u003eSeries 4: Academia\u003c/item\u003e\n      \u003citem\u003eSeries 5: Professional service\u003c/item\u003e\n      \u003citem\u003eSeries 6: Betty Tillman papers\u003c/item\u003e\n      \u003citem\u003eSeries 7: Jo Ann Burgess papers\u003c/item\u003e\n      \u003citem\u003eSeries 8: Writings by others\u003c/item\u003e\n      \u003citem\u003eSeries 9: Audiovisual and born-digital materials\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in nine series.","Series Series 1: Biographical materials Series 2: Correspondence Series 3: Writings Series 4: Academia Series 5: Professional service Series 6: Betty Tillman papers Series 7: Jo Ann Burgess papers Series 8: Writings by others Series 9: Audiovisual and born-digital materials"],"bioghist_html_tesm":["\u003cp\u003eJames McGill Buchanan, Jr. was born on October 3, 1919 in Gum, Tennessee to Lila Scott (1889-1953) and James McGill Buchanan, Sr. (1888-1979). He had two younger sisters, Lila Scott Buchanan Graue (1922-2020) and Elizabeth Bradley. His paternal grandfather, John P. Buchanan (1847-1930), was a one-term governor of Tennessee from 1891 to 1893. James M. Buchanan attended Buchanan High School. He triple-majored in English, mathematics, and economics at Middle Tennessee State University from 1936 to 1940. He received a Master's of the Arts in economics from the University of Tennessee, Knoxville in 1941. Buchanan then attended the Naval War College and served on the operations staff of Admiral Chester W. Nimitz from 1941 to 1945. In that role, he was stationed in Pearl Harbor, Hawaii, and Guam. He met his wife, Ann Bakke (August 21, 1909-November 14, 2005) in 1943. She was born in Jamestown, North Dakota. She served with the Army Air Transport Command at Hickham Field, Oahu. In 1945 the couple married in San Francisco, California. \u003c/p\u003e\n","\u003cp\u003eFrom 1946 to 1948 Buchanan attended the University of Chicago, where he graduated with a Ph.D. in economics. After graduation, he taught at the University of Tennessee, Knoxville as an associate professor from 1948 to 1951, and then as a full professor at Florida State University, Tallahassee from 1951 to 1956. In 1955 he was awarded a Fulbright fellowship to study in Italy for a year. In 1956 he was hired at the University of Virginia as the chair of the economics department. It was there that he co-founded the Thomas Jefferson Center for Studies in Political Economy in 1958. That same year, he published \u003ctitle\u003ePublic Principles of Public Debt\u003c/title\u003e. In 1962, Buchanan and co-author Gordon Tullock published \u003ctitle\u003eThe Calculus of Consent\u003c/title\u003e. \u003c/p\u003e\n","\u003cp\u003eBuchanan worked at the University of California, Los Angeles (UCLA) for one academic year (1968-1969) as a professor of economics. In 1969 he was hired at Virginia Polytechnic Institute (VPI, now known as Virginia Tech), as a University Distinguished Professor. He became general director of the Center for Study of Public Choice, the successor institution to the Thomas Jefferson Center for Political Economy. Buchanan continued to publish books during his time at VPI, including \u003ctitle\u003eCost and Choice\u003c/title\u003e (1969), \u003ctitle\u003eAcademia in Anarchy\u003c/title\u003e with Nicos Devletoglou (1970), \u003ctitle\u003eThe Limits of Liberty\u003c/title\u003e (1975), and \u003ctitle\u003eThe Power to Tax\u003c/title\u003e with Geoffrey Brennan (1980). \u003c/p\u003e\n","\u003cp\u003eIn 1983, Buchanan and the Center for the Study of Public Choice moved from VPI to George Mason University in Fairfax, Virginia. After the move, he split his time between Fairfax and his farm in Blacksburg, Virginia. In 1986, Buchanan was awarded the Nobel Memorial Prize in economics. While at Mason, he published \u003ctitle\u003eThe Reason of Rules\u003c/title\u003e (1985), \u003ctitle\u003eBetter than Plowing\u003c/title\u003e (1992), and \u003ctitle\u003ePolitics by Principle, Not Interest\u003c/title\u003e with Roger Congleton (1998). He formally retired from Mason in September 1999 but continued to work both at Mason and Virginia Tech until his death on January 9, 2013. \u003c/p\u003e\n","\u003cp\u003eBuchanan was known for his contribution to the field of public choice, which uses economic principles to analyze the rules and actions of government and public sector. It was this theory which led to his Nobel award. \u003c/p\u003e\n","\u003cp\u003eBorn on March 19, 1927, Betty Jane Hall Tillman (also known as Betty Ross from 1977 to 1984) received an associate's degree from The Jefferson School of Commerce at Charlottesville, Virginia in 1945. She worked for Buchanan at the University of Virginia from August 14, 1961 to August 1969, at VPI from September 1, 1969 to June 1983, and at George Mason University from July 1, 1983 until her retirement in April 2007. Tillman had multiple responsibilities including handling Buchanan's correspondence, scheduling his events, coordinating Liberty Fund conferences, organizing activities at the Center for Study of Public Choice, and assisting graduate students and faculty associated with the Center. At the time of her retirement her position was administrative director of the Center for Study of Public Choice. She had three children. Tillman died on October 2, 2013.  \u003c/p\u003e\n","\u003cp\u003eJo Ann Burgess was born on June 27, 1948. She began work at the Center for the Study of Public Choice at George Mason University in 1989. Previously, Burgess lived around the world working for the State Department and the U.S military. She had four children with her husband, Roger. Burgess had many varied responsibilities at the Center including organizing Buchanan's archival papers, and administrative duties for the Public Choice Society. She edited Buchanan's published work in the 1990s and 2000s, including editing \u003ctitle\u003eThe Collected Works of James Buchanan\u003c/title\u003e and \u003ctitle\u003eThe Selected Works of Gordon Tullock\u003c/title\u003e for the Liberty Fund. After Tillman's retirement, Burgess took on additional responsibilities related to handling Buchanan's correspondence and scheduling, and additional administrative duties at the Center. Burgess retired in the summer of 2014. She died on March 19, 2020.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical and Historical Information"],"bioghist_tesim":["James McGill Buchanan, Jr. was born on October 3, 1919 in Gum, Tennessee to Lila Scott (1889-1953) and James McGill Buchanan, Sr. (1888-1979). He had two younger sisters, Lila Scott Buchanan Graue (1922-2020) and Elizabeth Bradley. His paternal grandfather, John P. Buchanan (1847-1930), was a one-term governor of Tennessee from 1891 to 1893. James M. Buchanan attended Buchanan High School. He triple-majored in English, mathematics, and economics at Middle Tennessee State University from 1936 to 1940. He received a Master's of the Arts in economics from the University of Tennessee, Knoxville in 1941. Buchanan then attended the Naval War College and served on the operations staff of Admiral Chester W. Nimitz from 1941 to 1945. In that role, he was stationed in Pearl Harbor, Hawaii, and Guam. He met his wife, Ann Bakke (August 21, 1909-November 14, 2005) in 1943. She was born in Jamestown, North Dakota. She served with the Army Air Transport Command at Hickham Field, Oahu. In 1945 the couple married in San Francisco, California. ","From 1946 to 1948 Buchanan attended the University of Chicago, where he graduated with a Ph.D. in economics. After graduation, he taught at the University of Tennessee, Knoxville as an associate professor from 1948 to 1951, and then as a full professor at Florida State University, Tallahassee from 1951 to 1956. In 1955 he was awarded a Fulbright fellowship to study in Italy for a year. In 1956 he was hired at the University of Virginia as the chair of the economics department. It was there that he co-founded the Thomas Jefferson Center for Studies in Political Economy in 1958. That same year, he published  Public Principles of Public Debt . In 1962, Buchanan and co-author Gordon Tullock published  The Calculus of Consent . ","Buchanan worked at the University of California, Los Angeles (UCLA) for one academic year (1968-1969) as a professor of economics. In 1969 he was hired at Virginia Polytechnic Institute (VPI, now known as Virginia Tech), as a University Distinguished Professor. He became general director of the Center for Study of Public Choice, the successor institution to the Thomas Jefferson Center for Political Economy. Buchanan continued to publish books during his time at VPI, including  Cost and Choice  (1969),  Academia in Anarchy  with Nicos Devletoglou (1970),  The Limits of Liberty  (1975), and  The Power to Tax  with Geoffrey Brennan (1980). ","In 1983, Buchanan and the Center for the Study of Public Choice moved from VPI to George Mason University in Fairfax, Virginia. After the move, he split his time between Fairfax and his farm in Blacksburg, Virginia. In 1986, Buchanan was awarded the Nobel Memorial Prize in economics. While at Mason, he published  The Reason of Rules  (1985),  Better than Plowing  (1992), and  Politics by Principle, Not Interest  with Roger Congleton (1998). He formally retired from Mason in September 1999 but continued to work both at Mason and Virginia Tech until his death on January 9, 2013. ","Buchanan was known for his contribution to the field of public choice, which uses economic principles to analyze the rules and actions of government and public sector. It was this theory which led to his Nobel award. ","Born on March 19, 1927, Betty Jane Hall Tillman (also known as Betty Ross from 1977 to 1984) received an associate's degree from The Jefferson School of Commerce at Charlottesville, Virginia in 1945. She worked for Buchanan at the University of Virginia from August 14, 1961 to August 1969, at VPI from September 1, 1969 to June 1983, and at George Mason University from July 1, 1983 until her retirement in April 2007. Tillman had multiple responsibilities including handling Buchanan's correspondence, scheduling his events, coordinating Liberty Fund conferences, organizing activities at the Center for Study of Public Choice, and assisting graduate students and faculty associated with the Center. At the time of her retirement her position was administrative director of the Center for Study of Public Choice. She had three children. Tillman died on October 2, 2013.  ","Jo Ann Burgess was born on June 27, 1948. She began work at the Center for the Study of Public Choice at George Mason University in 1989. Previously, Burgess lived around the world working for the State Department and the U.S military. She had four children with her husband, Roger. Burgess had many varied responsibilities at the Center including organizing Buchanan's archival papers, and administrative duties for the Public Choice Society. She edited Buchanan's published work in the 1990s and 2000s, including editing  The Collected Works of James Buchanan  and  The Selected Works of Gordon Tullock  for the Liberty Fund. After Tillman's retirement, Burgess took on additional responsibilities related to handling Buchanan's correspondence and scheduling, and additional administrative duties at the Center. Burgess retired in the summer of 2014. She died on March 19, 2020."],"prefercite_html_tesm":["\u003cp\u003eJames M. Buchanan papers, C0246, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["James M. Buchanan papers, C0246, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eThis collection was processed by Rebecca Thayer as part of a National Endowment for the Humanities (NEH) grant project from March 2021 to March 2023.\u003c/p\u003e","\u003cp\u003eInitial processing of the collection was begun after James M. Buchanan's death in 2013, while the papers were at Buchanan House (also known as Roberts House), where the offices of Buchanan, Betty Tillman, Jo Ann Burgess, and the Center for Study of Public Choice were then located. Processing at this time was done by Greta Suiter, then-Processing Coordinator at the Special Collections Research Center (SCRC), and Solomon Stein, then-economics PhD student at Mason. Stein and Suiter established an initial arrangement scheme and began foldering and sorting materials accordingly. Elizabeth Beckman, then-Processing Coordinator, continued arrangement and refoldering work alongside Stein at Buchanan House from 2014 to 2016. 145 linear feet of materials were ultimately arranged during this time. The following series were created: Correspondence, Academic (Subseries: Courses taken and Courses taught), Conferences (Subseries: Conferences attended and Conferences held), Writings, Articles Read, and Administrative.\u003c/p\u003e","\u003cp\u003eMaterials were boxed up and brought to Fenwick in Spring 2017. Beckman completed EAD markup of a preliminary finding aid with the processed materials in June 2017. Processing was paused in 2017 to apply for a NEH grant to hire a dedicated processing archivist. The grant was approved to start in 2020 but was delayed for several months due to the COVID-19 pandemic.\u003c/p\u003e","\u003cp\u003eRebecca Thayer was hired in March 2021 to process the collection. She surveyed the arranged part of the collection (145 linear feet) and the unprocessed part (147 linear feet) to create a processing plan. This plan included adjustments to the original arrangement scheme based on material in the unprocessed section of the papers. A large number of the eventual Jo Ann Burgess papers series materials were in the unprocessed section of the collection, although the unprocessed section did contain materials from all series. \u003c/p\u003e","\u003cp\u003eThe prior arrangement scheme did not preserve Tillman and Burgess' files as discrete series, so it is likely that some materials created by Tillman or Burgess were dispersed into the various other series. Some materials in the correspondence series especially which were obviously correspondence involving only Tillman, Burgess, or Ann Bakke Buchanan, were removed to their respective series and subseries. However, Thayer did not attempt a systematic review of materials in other series such as Professional Services and Academia in order to separate out Tillman and Burgess-created files from Buchanan-created files. This has resulted in some significant overlap between those series and the Betty Tillman papers and Jo Ann Burgess papers series. This does reflect the significant overlap in work responsibilities of Tillman, Burgess, Buchanan, and the Center as seen in the materials. \u003c/p\u003e","\u003cp\u003eProcessors prior to the NEH grant appear to have filed out materials that were originally grouped in large miscellaneous folders. Buchanan, Tillman, and Burgess do not seem to have created many files with only one or two emails or letters, preferring larger bulk folders. However, in the collection there are now many individual folders with correspondents that seem to have been created from larger files. No additional filing out of material was done under the NEH grant.\u003c/p\u003e","\u003cp\u003eThayer arranged the unprocessed materials and reprocessed the previously arranged materials, combining the two. Mason Graduate Research Assistant Rachel Barton and undergraduate assistants Colin McDonald and Vilma Chicas Garcia assisted with arrangement, reboxing, and inventory creation. Amanda Menjivar, Manuscripts and Archives Librarian, assisted with finding aid data entry and publishing.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection was processed by Rebecca Thayer as part of a National Endowment for the Humanities (NEH) grant project from March 2021 to March 2023.","Initial processing of the collection was begun after James M. Buchanan's death in 2013, while the papers were at Buchanan House (also known as Roberts House), where the offices of Buchanan, Betty Tillman, Jo Ann Burgess, and the Center for Study of Public Choice were then located. Processing at this time was done by Greta Suiter, then-Processing Coordinator at the Special Collections Research Center (SCRC), and Solomon Stein, then-economics PhD student at Mason. Stein and Suiter established an initial arrangement scheme and began foldering and sorting materials accordingly. Elizabeth Beckman, then-Processing Coordinator, continued arrangement and refoldering work alongside Stein at Buchanan House from 2014 to 2016. 145 linear feet of materials were ultimately arranged during this time. The following series were created: Correspondence, Academic (Subseries: Courses taken and Courses taught), Conferences (Subseries: Conferences attended and Conferences held), Writings, Articles Read, and Administrative.","Materials were boxed up and brought to Fenwick in Spring 2017. Beckman completed EAD markup of a preliminary finding aid with the processed materials in June 2017. Processing was paused in 2017 to apply for a NEH grant to hire a dedicated processing archivist. The grant was approved to start in 2020 but was delayed for several months due to the COVID-19 pandemic.","Rebecca Thayer was hired in March 2021 to process the collection. She surveyed the arranged part of the collection (145 linear feet) and the unprocessed part (147 linear feet) to create a processing plan. This plan included adjustments to the original arrangement scheme based on material in the unprocessed section of the papers. A large number of the eventual Jo Ann Burgess papers series materials were in the unprocessed section of the collection, although the unprocessed section did contain materials from all series. ","The prior arrangement scheme did not preserve Tillman and Burgess' files as discrete series, so it is likely that some materials created by Tillman or Burgess were dispersed into the various other series. Some materials in the correspondence series especially which were obviously correspondence involving only Tillman, Burgess, or Ann Bakke Buchanan, were removed to their respective series and subseries. However, Thayer did not attempt a systematic review of materials in other series such as Professional Services and Academia in order to separate out Tillman and Burgess-created files from Buchanan-created files. This has resulted in some significant overlap between those series and the Betty Tillman papers and Jo Ann Burgess papers series. This does reflect the significant overlap in work responsibilities of Tillman, Burgess, Buchanan, and the Center as seen in the materials. ","Processors prior to the NEH grant appear to have filed out materials that were originally grouped in large miscellaneous folders. Buchanan, Tillman, and Burgess do not seem to have created many files with only one or two emails or letters, preferring larger bulk folders. However, in the collection there are now many individual folders with correspondents that seem to have been created from larger files. No additional filing out of material was done under the NEH grant.","Thayer arranged the unprocessed materials and reprocessed the previously arranged materials, combining the two. Mason Graduate Research Assistant Rachel Barton and undergraduate assistants Colin McDonald and Vilma Chicas Garcia assisted with arrangement, reboxing, and inventory creation. Amanda Menjivar, Manuscripts and Archives Librarian, assisted with finding aid data entry and publishing."],"scopecontent_html_tesm":["\u003cp\u003eThe James M. Buchanan papers largely consist of correspondence, writings, and administrative files created between the years 1930-2014. The collection contains 9 series.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Biographical materials (circa 1800s, 1944-2012) contains information about James M. Buchanan's life and career. It is further divided into four subseries. Subseries 1.1: Ann Bakke Buchanan papers contains materials created by Ann Bakke Buchanan, James M. Buchanan's wife. Materials include correspondence, recipe cards, notebooks, calendars, and photographs. Some of the correspondence is in Norwegian, and some addressed to both James and Ann as a couple. Subseries 1.2: Awards contains newspapers clippings, congratulatory letters, photographs, and memorabilia relating to awards Buchanan received during his career. The majority of the materials relate to the Nobel Memorial Prize in Economics. Subseries 1.3: Education contains study notes, essays, syllabi, and research notes from Buchanan's education, mostly from his PhD study at the University of Chicago. Subseries 1.4: Clippings contains newspaper and magazine clippings about Buchanan, including articles about his work, interviews, and reports on events he attended.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Correspondence (1951-2014) contains letters, emails, memoranda, cards, and other forms of written communication, mostly dealing with Buchanan's professional career. Subseries 2.1: Alphabetical correspondence contains the bulk of the correspondence, filed alphabetically by correspondent, subject, or name of an organization. Subseries 2.2: Chronological correspondence is a small amount of unrelated correspondence that was grouped together in date ranges, likely by either Buchanan himself, or his assistants Betty Tillman and Jo Ann Burgess.\u003c/p\u003e\n","\u003cp\u003eSeries 3: Writings (1946-2012) contains drafts, typescripts, photocopies, notes, and reprints of Buchanan's books, articles, speaking lectures, and unpublished material. There are also research files relating to some of his writing projects, and some correspondence with publishers, coauthors, and reviewers.\u003c/p\u003e\n","\u003cp\u003eSeries 4: Academia (1946-2013) contains correspondence, reports, planning documents, and grant files relating to Buchanan's work at various universities, primarily University of Virginia, Virginia Polytechnic Institute (now Virginia Tech), and George Mason University. Subseries 4.1: Administration contains reports, memoranda, correspondence, photographs, calendars, and planning documents relating to department and university business. Subseries 4.2: Teaching contains lecture notes, drafts, syllabi, exams, and readings relating to classes taught by Buchanan over the course of his career. Subseries 4.3: Grants contains correspondence and applications for grant projects undertaken by Buchanan and collaborators. Subseries 4.4: Thomas Jefferson Center for Studies in Political Economy contains annual reports, photographs, and correspondence from the University of Virginia's Thomas Jefferson Center, which was active from 1958 to 1968. Subseries 4.5: Center for Study of Public Choice contains annual reports, conference information, grants, planning documents, board meeting minutes, and correspondence relating to the Center, an academic unit at Virginia Polytechnic Institute from 1968 to 1983 and at George Mason University from 1983 onwards.\u003c/p\u003e\n","\u003cp\u003eSeries 5: Professional Service (1958-2013) This series contains materials relating to Buchanan's professional activities outside of his university responsibilities. Subseries 5.1: Conferences and events contains correspondence, schedules, planning documents, papers and lecture notes, and travel documents from conferences, speaking engagements, and other events attended by Buchanan during his career. Subseries 5.2: Consulting and organizations contains annual reports and correspondence relating to Buchanan's work with various organizations outside of his work as a university professor. \u003c/p\u003e\n","\u003cp\u003eSeries 6: Betty Tillman papers (1968-2008) contains files created by Betty Tillman, administrative assistant to Buchanan and administrative director of the Center for Study of Public Choice. Subseries 6.1: Correspondence contains letters, emails, memoranda, and cards sent and received by Tillman. Subseries 6.2: Office administration contains planning documents, organizational files, and other materials relating to Tillman's handling of Buchanan's and Center for the Study of Public Choice office functions. Subseries 6.3: Conferences, events and travel contains correspondence, calendars, schedules, and travel documents relating to events attended by Buchanan, coordinated by Tillman. It also contains materials created by Tillman as the conference coordinator for the Liberty Fund and Center conferences and events.\u003c/p\u003e\n","\u003cp\u003eSeries 7: Jo Ann Burgess papers (1972-2014) contains files created by Jo Ann Burgess, administrative assistant and editor to Buchanan and secretary for the Public Choice Society. Subseries 7.1: Correspondence contains emails, letters, cards, notes, and memoranda, both personal and relating to Burgess' work with Buchanan and the Center for Study of Public Choice. Subseries 7.2: Office administration contains correspondence, calendars, notes, program files, and edited drafts created as part of Burgess' duties working for the Center for Study of Public Choice and as an assistant to Buchanan. Subseries 7.3: Liberty Fund editorial work contains planning documents, correspondence, and drafts created as part of Burgess' work editing \u003citalic\u003eThe Collected Works of James M. Buchanan\u003c/italic\u003e and \u003citalic\u003eThe Selected Works of Gordon Tullock\u003c/italic\u003e on behalf of the Liberty Fund. Subseries 7.4: Public Choice Society contains correspondence, conference planning documents, and administrative files created as part of Burgess' work as the secretary of the Public Choice Society, a professional organization. \u003c/p\u003e\n","\u003cp\u003eSeries 8: Writings by others (1930-2014) contains articles, book drafts, and other writings by authors other than Buchanan. Some materials have notes and annotations. Some writings are about Buchanan and his ideas. \u003c/p\u003e\n","\u003cp\u003eSeries 9: Audiovisual and born-digital materials (circa 1970s-2013) contains audiocassettes, videotapes, CDs, DVDs, floppy disks, and associated paper materials. Topics include recordings of the Nobel ceremony and press coverage; interviews and lectures by Buchanan and others and Center for Study of Public Choice events.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The James M. Buchanan papers largely consist of correspondence, writings, and administrative files created between the years 1930-2014. The collection contains 9 series.","Series 1: Biographical materials (circa 1800s, 1944-2012) contains information about James M. Buchanan's life and career. It is further divided into four subseries. Subseries 1.1: Ann Bakke Buchanan papers contains materials created by Ann Bakke Buchanan, James M. Buchanan's wife. Materials include correspondence, recipe cards, notebooks, calendars, and photographs. Some of the correspondence is in Norwegian, and some addressed to both James and Ann as a couple. Subseries 1.2: Awards contains newspapers clippings, congratulatory letters, photographs, and memorabilia relating to awards Buchanan received during his career. The majority of the materials relate to the Nobel Memorial Prize in Economics. Subseries 1.3: Education contains study notes, essays, syllabi, and research notes from Buchanan's education, mostly from his PhD study at the University of Chicago. Subseries 1.4: Clippings contains newspaper and magazine clippings about Buchanan, including articles about his work, interviews, and reports on events he attended.","Series 2: Correspondence (1951-2014) contains letters, emails, memoranda, cards, and other forms of written communication, mostly dealing with Buchanan's professional career. Subseries 2.1: Alphabetical correspondence contains the bulk of the correspondence, filed alphabetically by correspondent, subject, or name of an organization. Subseries 2.2: Chronological correspondence is a small amount of unrelated correspondence that was grouped together in date ranges, likely by either Buchanan himself, or his assistants Betty Tillman and Jo Ann Burgess.","Series 3: Writings (1946-2012) contains drafts, typescripts, photocopies, notes, and reprints of Buchanan's books, articles, speaking lectures, and unpublished material. There are also research files relating to some of his writing projects, and some correspondence with publishers, coauthors, and reviewers.","Series 4: Academia (1946-2013) contains correspondence, reports, planning documents, and grant files relating to Buchanan's work at various universities, primarily University of Virginia, Virginia Polytechnic Institute (now Virginia Tech), and George Mason University. Subseries 4.1: Administration contains reports, memoranda, correspondence, photographs, calendars, and planning documents relating to department and university business. Subseries 4.2: Teaching contains lecture notes, drafts, syllabi, exams, and readings relating to classes taught by Buchanan over the course of his career. Subseries 4.3: Grants contains correspondence and applications for grant projects undertaken by Buchanan and collaborators. Subseries 4.4: Thomas Jefferson Center for Studies in Political Economy contains annual reports, photographs, and correspondence from the University of Virginia's Thomas Jefferson Center, which was active from 1958 to 1968. Subseries 4.5: Center for Study of Public Choice contains annual reports, conference information, grants, planning documents, board meeting minutes, and correspondence relating to the Center, an academic unit at Virginia Polytechnic Institute from 1968 to 1983 and at George Mason University from 1983 onwards.","Series 5: Professional Service (1958-2013) This series contains materials relating to Buchanan's professional activities outside of his university responsibilities. Subseries 5.1: Conferences and events contains correspondence, schedules, planning documents, papers and lecture notes, and travel documents from conferences, speaking engagements, and other events attended by Buchanan during his career. Subseries 5.2: Consulting and organizations contains annual reports and correspondence relating to Buchanan's work with various organizations outside of his work as a university professor. ","Series 6: Betty Tillman papers (1968-2008) contains files created by Betty Tillman, administrative assistant to Buchanan and administrative director of the Center for Study of Public Choice. Subseries 6.1: Correspondence contains letters, emails, memoranda, and cards sent and received by Tillman. Subseries 6.2: Office administration contains planning documents, organizational files, and other materials relating to Tillman's handling of Buchanan's and Center for the Study of Public Choice office functions. Subseries 6.3: Conferences, events and travel contains correspondence, calendars, schedules, and travel documents relating to events attended by Buchanan, coordinated by Tillman. It also contains materials created by Tillman as the conference coordinator for the Liberty Fund and Center conferences and events.","Series 7: Jo Ann Burgess papers (1972-2014) contains files created by Jo Ann Burgess, administrative assistant and editor to Buchanan and secretary for the Public Choice Society. Subseries 7.1: Correspondence contains emails, letters, cards, notes, and memoranda, both personal and relating to Burgess' work with Buchanan and the Center for Study of Public Choice. Subseries 7.2: Office administration contains correspondence, calendars, notes, program files, and edited drafts created as part of Burgess' duties working for the Center for Study of Public Choice and as an assistant to Buchanan. Subseries 7.3: Liberty Fund editorial work contains planning documents, correspondence, and drafts created as part of Burgess' work editing  The Collected Works of James M. Buchanan  and  The Selected Works of Gordon Tullock  on behalf of the Liberty Fund. Subseries 7.4: Public Choice Society contains correspondence, conference planning documents, and administrative files created as part of Burgess' work as the secretary of the Public Choice Society, a professional organization. ","Series 8: Writings by others (1930-2014) contains articles, book drafts, and other writings by authors other than Buchanan. Some materials have notes and annotations. Some writings are about Buchanan and his ideas. ","Series 9: Audiovisual and born-digital materials (circa 1970s-2013) contains audiocassettes, videotapes, CDs, DVDs, floppy disks, and associated paper materials. Topics include recordings of the Nobel ceremony and press coverage; interviews and lectures by Buchanan and others and Center for Study of Public Choice events."],"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/) Materials created prior to 1931 are in the Public Domain. These materials have no known restrictions.\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/) Materials created prior to 1931 are in the Public Domain. These materials have no known restrictions."],"abstract_html_tesm":["\u003cabstract id=\"aspace_0bc2473150c319436276a1da8ef369a9\" label=\"Abstract\"\u003eThe James M. Buchanan papers consist of materials created primarily by economist James M. Buchanan (1919-2013) from the years 1936-2014. There are also materials created by the Center for Study of Public Choice, an academic unit associated with Virginia Tech (1969-1983) and George Mason University (1983-). The papers document Buchanan's career and academic output, primarily in the field of public choice economics and political economy.\u003c/abstract\u003e"],"abstract_tesim":["The James M. Buchanan papers consist of materials created primarily by economist James M. Buchanan (1919-2013) from the years 1936-2014. There are also materials created by the Center for Study of Public Choice, an academic unit associated with Virginia Tech (1969-1983) and George Mason University (1983-). The papers document Buchanan's career and academic output, primarily in the field of public choice economics and political economy."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_b0c53c39bdb12bf69a095c3db88292a9\"\u003e\nR 101 - 102\n\nOS R 1, C 3, S 3-5\nMap Case 24.1\u003c/physloc\u003e"],"physloc_tesim":["\nR 101 - 102\n\nOS R 1, C 3, S 3-5\nMap Case 24.1"],"names_coll_ssim":["George Mason University. Center for Study of Public Choice","Public Choice Society"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. Center for Study of Public Choice","Public Choice Society","Buchanan, Ann Bakke","Buchanan, James M.","Burgess, Jo Ann S.","Tillman, Betty H."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. Center for Study of Public Choice","Public Choice Society"],"persname_ssim":["Buchanan, Ann Bakke","Buchanan, James M.","Burgess, Jo Ann S.","Tillman, Betty H."],"language_ssim":["The bulk of the materials are in English. Additional languages in the collection include German, Italian, French, Spanish, Norwegian, Dutch, Turkish, Japanese, Korean, and Chinese."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8943,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:30:39.946Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_367_c05_c01_c571"}},{"id":"vilxw_repositories_5_resources_969_c46","type":"File","attributes":{"title":"(YES) Newspaper Articles","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vilxw_repositories_5_resources_969_c46#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vilxw_repositories_5_resources_969_c46","ref_ssm":["vilxw_repositories_5_resources_969_c46"],"id":"vilxw_repositories_5_resources_969_c46","ead_ssi":"vilxw_repositories_5_resources_969","_root_":"vilxw_repositories_5_resources_969","_nest_parent_":"vilxw_repositories_5_resources_969","parent_ssi":"vilxw_repositories_5_resources_969","parent_ssim":["vilxw_repositories_5_resources_969"],"parent_ids_ssim":["vilxw_repositories_5_resources_969"],"parent_unittitles_ssm":["William Gladstone Collection"],"parent_unittitles_tesim":["William Gladstone Collection"],"text":["William Gladstone Collection","(YES) Newspaper Articles","Youth Environmental Service Program","The Wall Street Journal","Miami Herald Publishing Company","Naples Daily News","New York Times Company","Youth Environmental Service Program","English .","box 1","folder 45"],"title_filing_ssi":"(YES) Newspaper Articles","title_ssm":["(YES) Newspaper Articles"],"title_tesim":["(YES) Newspaper Articles"],"unitdate_inclusive_ssm":["1981-1994"],"normalized_date_ssm":["1981/1994"],"normalized_title_ssm":["(YES) Newspaper Articles"],"component_level_isim":[1],"repository_ssim":["Washington and Lee University, Leyburn Library"],"collection_ssim":["William Gladstone Collection"],"creator_ssim":["The Wall Street Journal","Miami Herald Publishing Company","Naples Daily News","New York Times Company"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":46,"parent_access_terms_tesm":["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."],"date_range_isim":[1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994],"names_ssim":["Youth Environmental Service Program","The Wall Street Journal","Miami Herald Publishing Company","Naples Daily News","New York Times Company","Youth Environmental Service Program"],"corpname_ssim":["The Wall Street Journal","Miami Herald Publishing Company","Naples Daily News","New York Times Company","Youth Environmental Service Program"],"language_ssim":["English ."],"containers_ssim":["box 1","folder 45"],"_nest_path_":"/components#45","timestamp":"2026-04-30T21:51:23.517Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vilxw_repositories_5_resources_969","ead_ssi":"vilxw_repositories_5_resources_969","_root_":"vilxw_repositories_5_resources_969","_nest_parent_":"vilxw_repositories_5_resources_969","ead_source_url_ssi":"data/oai/WLU/repositories_5_resources_969.xml","title_ssm":["William Gladstone Collection"],"title_tesim":["William Gladstone Collection"],"unitdate_ssm":["1980-2015"],"unitdate_bulk_ssim":["1980-2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["WLU.Coll.0678","/repositories/5/resources/969"],"text":["WLU.Coll.0678","/repositories/5/resources/969","William Gladstone Collection","Juvenile courts","Crime -- Children","Juvenile justice, Administration of -- Government policy","William E. Gladstone was born in Birmingham, Alabama in 1930 and graduated cum laude from Washington and Lee University in 1952. Three years later, he received his Juris Doctor degree from Yale Law School. For the next thirty years, Gladstone practiced law in Dade County, Florida at August, Nimkoff and Gladstone. In 1973, he was elected Circuit Judge for the 11th Judicial Circuit, Florida. Subsequently, he focused on the juvenile and family divisions. From 1982 to 1983, Gladstone served as Special Advisor on matters of juvenile justice and youthful offenders from the judiciary to the Governor and Secretaries of Health Rehabilitative Services and Corrections of the State of Florida. Retiring as full time judge in 1993, Gladstone spent a year with U.S. Senator Bob Graham as Special Advisor and in the meantime designed the Youth Environmental Service. In 1994, he returned to Florida to sit as Senior Judge until 2011, when he fully retired. For more details regarding his career and contributions, please his curriculum vitae which is featured in the control folder.","This collection primarily contains a series of memoranda, correspondence, newspaper articles, and transcripts regarding William Gladstone and his service to the state of Florida. In addition, the collection included a book showcasing Gladstone's judicial activism, and has since been transferred within the Special Collections Department. A collection of great breadth within the juvenile criminal justice system, it features several policy efforts supported by William Gladstone, including the Youth Environmental Service Program in the state of Florida.","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","American Academy of Pediatrics (1930)","American Broadcasting Company (1944)","Miami Herald Publishing Company","National Council of Juvenile and Family Court Judges","Southern Legislators Conference on Children and Youth","Youth Environmental Service Program","Associated Marine Institutes, Inc.","Florida. Circuit Court","National CASA Association","CHARLEE's Gladstone Center for Girls","Detroit Free Press Co.","New York Times Company","Times Publishing Company (St. Petersburg, Fla.)","Boys \u0026 Girls Clubs of America","Alston Wilkes Society","Florida. Commission on Juvenile Justice","Florida. Foster Care Review","Florida. House of Representatives","United States. Congress. Senate","Verner, Liipfert, Bernhard, McPherson, and Hand, Chartered","Florida. Guardian Ad Litem Program","Virginia.  Circuit Court","University of Miami, School of Medicine","William and Tina Rosenberg Foundation","National Council of Juvenile \u0026 Family Court Judges","Naples Daily News","The Miami News","Cortlandt Group","Miami-Dade Community College. Mitchell Wolfson New World Center Campus","National Adolescent Conference","Florida. Department of Health and Rehabilitative Services","Coalition for Juvenile Justice (U.S.)","The Wall Street Journal","Miami Sister City Program, Inc. ","Florida. Supreme Court","American Medical Association","Children's Defense Fund (U.S.)","University of Miami, School of Law","Washington and Lee University--Alumni  and alumnae"," Los Angeles Times (Firm)","United States. Department of Agriculture","United States. Department of the Interior","U.S. Fish and Wildlife Service","United States. National Park Service","United States. Department of Justice","Gladstone, William E. , 1930-2015","Graham, Bob (Daniel Robert), 1936","MacKay, , Buddy (Kenneth Hood)","Chiles , Lawton, 1930-1998","Biden, Joseph R","Leyburn, James Graham","Friedman, Milton, 1912-2006","Bush, Jeb (John Ellis)","English \n.    "],"unitid_tesim":["WLU.Coll.0678","/repositories/5/resources/969"],"normalized_title_ssm":["William Gladstone Collection"],"collection_title_tesim":["William Gladstone Collection"],"collection_ssim":["William Gladstone Collection"],"repository_ssm":["Washington and Lee University, Leyburn Library"],"repository_ssim":["Washington and Lee University, Leyburn Library"],"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":["Juvenile courts","Crime -- Children","Juvenile justice, Administration of -- Government policy"],"access_subjects_ssm":["Juvenile courts","Crime -- Children","Juvenile justice, Administration of -- Government policy"],"has_online_content_ssim":["false"],"extent_ssm":["1 Box forty-five file folders"],"extent_tesim":["1 Box forty-five file folders"],"date_range_isim":[1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015],"bioghist_html_tesm":["\u003cp\u003eWilliam E. Gladstone was born in Birmingham, Alabama in 1930 and graduated cum laude from Washington and Lee University in 1952. Three years later, he received his Juris Doctor degree from Yale Law School. For the next thirty years, Gladstone practiced law in Dade County, Florida at August, Nimkoff and Gladstone. In 1973, he was elected Circuit Judge for the 11th Judicial Circuit, Florida. Subsequently, he focused on the juvenile and family divisions. From 1982 to 1983, Gladstone served as Special Advisor on matters of juvenile justice and youthful offenders from the judiciary to the Governor and Secretaries of Health Rehabilitative Services and Corrections of the State of Florida. Retiring as full time judge in 1993, Gladstone spent a year with U.S. Senator Bob Graham as Special Advisor and in the meantime designed the Youth Environmental Service. In 1994, he returned to Florida to sit as Senior Judge until 2011, when he fully retired. For more details regarding his career and contributions, please his curriculum vitae which is featured in the control folder.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["William E. Gladstone was born in Birmingham, Alabama in 1930 and graduated cum laude from Washington and Lee University in 1952. Three years later, he received his Juris Doctor degree from Yale Law School. For the next thirty years, Gladstone practiced law in Dade County, Florida at August, Nimkoff and Gladstone. In 1973, he was elected Circuit Judge for the 11th Judicial Circuit, Florida. Subsequently, he focused on the juvenile and family divisions. From 1982 to 1983, Gladstone served as Special Advisor on matters of juvenile justice and youthful offenders from the judiciary to the Governor and Secretaries of Health Rehabilitative Services and Corrections of the State of Florida. Retiring as full time judge in 1993, Gladstone spent a year with U.S. Senator Bob Graham as Special Advisor and in the meantime designed the Youth Environmental Service. In 1994, he returned to Florida to sit as Senior Judge until 2011, when he fully retired. For more details regarding his career and contributions, please his curriculum vitae which is featured in the control folder."],"prefercite_html_tesm":["\u003cp\u003ePreferred citation: [Identification of item], William Gladstone Collection, WLU Coll. 0678, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA\u003cp\u003eIn some cases the citation format may vary. Please contact Special Collections' staff to verify the appropriate format.\u003c/p\u003e\u003c/p\u003e"],"prefercite_tesim":["Preferred citation: [Identification of item], William Gladstone Collection, WLU Coll. 0678, 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\u003eThis collection primarily contains a series of memoranda, correspondence, newspaper articles, and transcripts regarding William Gladstone and his service to the state of Florida. In addition, the collection included a book showcasing Gladstone's judicial activism, and has since been transferred within the Special Collections Department. A collection of great breadth within the juvenile criminal justice system, it features several policy efforts supported by William Gladstone, including the Youth Environmental Service Program in the state of Florida.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection primarily contains a series of memoranda, correspondence, newspaper articles, and transcripts regarding William Gladstone and his service to the state of Florida. In addition, the collection included a book showcasing Gladstone's judicial activism, and has since been transferred within the Special Collections Department. A collection of great breadth within the juvenile criminal justice system, it features several policy efforts supported by William Gladstone, including the Youth Environmental Service Program in the state of Florida."],"userestrict_html_tesm":["\u003cp\u003eThe materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"names_coll_ssim":["Washington and Lee University","American Academy of Pediatrics (1930)","American Broadcasting Company (1944)","Miami Herald Publishing Company","National Council of Juvenile and Family Court Judges","Southern Legislators Conference on Children and Youth","Youth Environmental Service Program","Gladstone, William E. , 1930-2015","Graham, Bob (Daniel Robert), 1936"],"names_ssim":["Washington and Lee University, University Library Special Collections and Archives","Washington and Lee University","American Academy of Pediatrics (1930)","American Broadcasting Company (1944)","Miami Herald Publishing Company","National Council of Juvenile and Family Court Judges","Southern Legislators Conference on Children and Youth","Youth Environmental Service Program","Associated Marine Institutes, Inc.","Florida. Circuit Court","National CASA Association","CHARLEE's Gladstone Center for Girls","Detroit Free Press Co.","New York Times Company","Times Publishing Company (St. Petersburg, Fla.)","Boys \u0026 Girls Clubs of America","Alston Wilkes Society","Florida. Commission on Juvenile Justice","Florida. Foster Care Review","Florida. House of Representatives","United States. Congress. Senate","Verner, Liipfert, Bernhard, McPherson, and Hand, Chartered","Florida. Guardian Ad Litem Program","Virginia.  Circuit Court","University of Miami, School of Medicine","William and Tina Rosenberg Foundation","National Council of Juvenile \u0026 Family Court Judges","Naples Daily News","The Miami News","Cortlandt Group","Miami-Dade Community College. Mitchell Wolfson New World Center Campus","National Adolescent Conference","Florida. Department of Health and Rehabilitative Services","Coalition for Juvenile Justice (U.S.)","The Wall Street Journal","Miami Sister City Program, Inc. ","Florida. Supreme Court","American Medical Association","Children's Defense Fund (U.S.)","University of Miami, School of Law","Washington and Lee University--Alumni  and alumnae"," Los Angeles Times (Firm)","United States. Department of Agriculture","United States. Department of the Interior","U.S. Fish and Wildlife Service","United States. National Park Service","United States. Department of Justice","Gladstone, William E. , 1930-2015","Graham, Bob (Daniel Robert), 1936","MacKay, , Buddy (Kenneth Hood)","Chiles , Lawton, 1930-1998","Biden, Joseph R","Leyburn, James Graham","Friedman, Milton, 1912-2006","Bush, Jeb (John Ellis)"],"corpname_ssim":["Washington and Lee University, University Library Special Collections and Archives","Washington and Lee University","American Academy of Pediatrics (1930)","American Broadcasting Company (1944)","Miami Herald Publishing Company","National Council of Juvenile and Family Court Judges","Southern Legislators Conference on Children and Youth","Youth Environmental Service Program","Associated Marine Institutes, Inc.","Florida. Circuit Court","National CASA Association","CHARLEE's Gladstone Center for Girls","Detroit Free Press Co.","New York Times Company","Times Publishing Company (St. Petersburg, Fla.)","Boys \u0026 Girls Clubs of America","Alston Wilkes Society","Florida. Commission on Juvenile Justice","Florida. Foster Care Review","Florida. House of Representatives","United States. Congress. Senate","Verner, Liipfert, Bernhard, McPherson, and Hand, Chartered","Florida. Guardian Ad Litem Program","Virginia.  Circuit Court","University of Miami, School of Medicine","William and Tina Rosenberg Foundation","National Council of Juvenile \u0026 Family Court Judges","Naples Daily News","The Miami News","Cortlandt Group","Miami-Dade Community College. Mitchell Wolfson New World Center Campus","National Adolescent Conference","Florida. Department of Health and Rehabilitative Services","Coalition for Juvenile Justice (U.S.)","The Wall Street Journal","Miami Sister City Program, Inc. ","Florida. Supreme Court","American Medical Association","Children's Defense Fund (U.S.)","University of Miami, School of Law","Washington and Lee University--Alumni  and alumnae"," Los Angeles Times (Firm)","United States. Department of Agriculture","United States. 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","In 2006, the Virginia Tech Board of Visitors honored Dr. Zallen with the title  professor emeritus.","The guide to the Dr. Richard Zallen Papers by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ ).","The processing, arrangement and description of the Dr. Richard Zallen Papers commenced in August 2008 and was completed in October 2008.","Also available from VT Special Collections and University Archives and Newman Library is a book by Dr. Richard Zallen:  The Physics of Amorphous Solids . New York: Wiley, c1983. Call number: QC176.8.A44 Z34 1983.  Request via the library catalog online.","The Dr. Richard Zallen Papers document the research and professional development of a physics professor at Virginia Tech, specializing in condensed matter research, largely during the second half of the twentieth century. 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In pursuance of his interests, Dr. Zallen has published more than one hundred articles and a widely cited book, \u003ctitle render=\"italic\"\u003eThe Physics of Amorphous Solids\u003c/title\u003e. \u003c/p\u003e\n","\u003cp\u003eIn 2006, the Virginia Tech Board of Visitors honored Dr. Zallen with the title \u003ctitle render=\"doublequote\"\u003eprofessor emeritus.\u003c/title\u003e \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Richard Henry Zallen was born in New York City in 1937. After receiving his bachelors of science in physics from Rensselaer Polytechnic Institute in 1957, Zallen continued his education at Harvard University‐eventually receiving his Ph.D. in Applied Physics in 1964. From 1966 to 1983, Dr. Zallen worked at the Xerox Research Laboratories in Rochester, New York. While working at Xerox, he was part of a team that patented Spin Coated Photoconductor Films. ","After his research at Xerox, Dr. Zallen served as a professor of physics at Virginia Tech. In 1976 Dr. Zallen became a fellow of the American Physical Society. During his sabbaticals, Dr. Zallen held several visiting appointments. From 1971 to 1972 he acted as the visiting associate professor of physics at the Technion, The Israel Institute of Technology, in Haifa; in the summer of 1979 he was the visiting professor at the Université de Paris VI; from 1990 to 1991 he was the SERC senior research fellow at Imperial College in London; and in 1998 he served as the visiting professor at Imperial College in London. ","Dr. Zallen's primary research interest lies in experimental studies of the optical properties of solids. In pursuance of his interests, Dr. Zallen has published more than one hundred articles and a widely cited book,  The Physics of Amorphous Solids . ","In 2006, the Virginia Tech Board of Visitors honored Dr. Zallen with the title  professor emeritus."],"odd_html_tesm":["\u003cp\u003eThe guide to the Dr. Richard Zallen Papers by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003ca href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/a\u003e).\u003c/p\u003e"],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Dr. Richard Zallen Papers by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ )."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Dr. Richard Zallen Papers, Ms2008-069, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Dr. Richard Zallen Papers, Ms2008-069, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement and description of the Dr. Richard Zallen Papers commenced in August 2008 and was completed in October 2008.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement and description of the Dr. Richard Zallen Papers commenced in August 2008 and was completed in October 2008."],"relatedmaterial_html_tesm":["\u003cp\u003eAlso available from VT Special Collections and University Archives and Newman Library is a book by Dr. Richard Zallen: \u003ctitle render=\"italic\"\u003eThe Physics of Amorphous Solids\u003c/title\u003e. New York: Wiley, c1983. Call number: QC176.8.A44 Z34 1983. \u003ca target=\"_blank\" href=\"https://catalog.lib.vt.edu/cgi-bin/koha/opac-detail.pl?biblionumber=1006857\"\u003eRequest via the library catalog online.\u003c/a\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Also available from VT Special Collections and University Archives and Newman Library is a book by Dr. Richard Zallen:  The Physics of Amorphous Solids . New York: Wiley, c1983. Call number: QC176.8.A44 Z34 1983.  Request via the library catalog online."],"scopecontent_html_tesm":["\u003cp\u003eThe Dr. Richard Zallen Papers document the research and professional development of a physics professor at Virginia Tech, specializing in condensed matter research, largely during the second half of the twentieth century. The papers include information concerning Zallen's study at Harvard and his work at Xerox; research notes; professional correspondence; Virginia Tech lectures; drafts of published works; and materials concerning trips, sabbaticals, and conferences. The corporate and governmental institutions with which Zallen worked include: the Office of Naval Research, Raytheon Manufacturing Company, Texas Instruments, and IBM. Examples of mentioned geographical locations are Israel, Belgium, China, England, France, Canada, Italy, and a host of cities in the United States. Materials include hand-written documents, published material, flat plate drawings, photographs, a sample of \u003ctitle render=\"doublequote\"\u003emelt-spun amorphous,\u003c/title\u003e and stamps from various countries. Expanatory notes made by Zallen in 2006 annotate many documents. Some significant documents include supporting patent materials for Spin Coated Photoconductor Films, letters concerning the protest by industrial scientists at Xerox over the escalation of the war in Indo-China, and copies of APS Solid State Correspondence discussing the formation of Solid-State Physics. \u003c/p\u003e\n","\u003cp\u003e(\u003cemph render=\"bold\"\u003ePlease note:\u003c/emph\u003e Many of the folders in this collection contain two sets of dates. Dates within parentheses designate the date originally provided by the creator and usually indicate when an event/research occurred. Dates outside of parentheses indicate the chronological range of materials found within the collection. )\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Dr. Richard Zallen Papers document the research and professional development of a physics professor at Virginia Tech, specializing in condensed matter research, largely during the second half of the twentieth century. The papers include information concerning Zallen's study at Harvard and his work at Xerox; research notes; professional correspondence; Virginia Tech lectures; drafts of published works; and materials concerning trips, sabbaticals, and conferences. The corporate and governmental institutions with which Zallen worked include: the Office of Naval Research, Raytheon Manufacturing Company, Texas Instruments, and IBM. Examples of mentioned geographical locations are Israel, Belgium, China, England, France, Canada, Italy, and a host of cities in the United States. Materials include hand-written documents, published material, flat plate drawings, photographs, a sample of  melt-spun amorphous,  and stamps from various countries. Expanatory notes made by Zallen in 2006 annotate many documents. Some significant documents include supporting patent materials for Spin Coated Photoconductor Films, letters concerning the protest by industrial scientists at Xerox over the escalation of the war in Indo-China, and copies of APS Solid State Correspondence discussing the formation of Solid-State Physics. ","( Please note:  Many of the folders in this collection contain two sets of dates. Dates within parentheses designate the date originally provided by the creator and usually indicate when an event/research occurred. Dates outside of parentheses indicate the chronological range of materials found within the collection. )"],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. \u003c/p\u003e\n","\u003cp\u003eReproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca href=\"http://bit.ly/scuapublication\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. ","Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_448414a858bcdf42379c7aaf1fc1a76a\" label=\"Abstract\"\u003eThe Dr. Richard Zallen Papers document the research and professional development of a physics professor at Virginia Tech specializing in condensed matter research. Papers largely cover the second half of the twentieth century and include information on research at Xerox; professional correspondence; Virginia Tech lecture notes; drafts of published work; and documents concerning trips, sabbaticals, and conferences. Materials include hand-written documents, published material, flat plate drawings, photographs, a sample of \u003ctitle render=\"doublequote\"\u003emelt-spun amorphous,\u003c/title\u003e and stamps from various countries.\u003c/abstract\u003e"],"abstract_tesim":["The Dr. Richard Zallen Papers document the research and professional development of a physics professor at Virginia Tech specializing in condensed matter research. Papers largely cover the second half of the twentieth century and include information on research at Xerox; professional correspondence; Virginia Tech lecture notes; drafts of published work; and documents concerning trips, sabbaticals, and conferences. 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