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Rice papers consists of newspaper clippings, scrapbooks, photographs, and programs relating to theatre in Detroit, Michigan, the Federal Theatre Project, and Rice's lecture \"The Magic of Science.\" Material was collected by Rice and dates from the 1920s to 1960, with the bulk of the material dating from the 1920s to the 1930s."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_coll_ssim":["Federal Theatre Project (U.S.)","Rice, Adams T., 1892-","Bonstelle, Jessie"],"persname_ssim":["Rice, Adams T., 1892-","Bonstelle, Jessie"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Rice, Adams T., 1892-","Bonstelle, Jessie"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":38,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:41.796Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_359"}},{"id":"vifgm_repositories_2_resources_344","type":"collection","attributes":{"title":"Arnold Sundgaard papers, 1925/1988","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_344#creator","type":"document_value","attributes":{"value":"Sundgaard, Arnold, 1909-2006","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_344#abstract_or_scope","type":"document_value","attributes":{"value":"The Arnold Sundgaard papers includes materials created and collected by Arnold Sundgaard. The collection is divided into eight series: Correspondence; Musical Scores; Newspaper Clippings; Photographs; Playscripts; Programs and Posters; Writings, Reviews, Publications; and Audio Recordings.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_344#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_344","ead_ssi":"vifgm_repositories_2_resources_344","_root_":"vifgm_repositories_2_resources_344","_nest_parent_":"vifgm_repositories_2_resources_344","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_344.xml","title_filing_ssi":"Arnold Sundgaard papers","title_ssm":["Arnold Sundgaard papers"],"title_tesim":["Arnold Sundgaard papers"],"unitdate_ssm":["1925-1988"],"unitdate_inclusive_ssm":["1925-1988"],"normalized_date_ssm":["1925/1988"],"normalized_title_ssm":["Arnold Sundgaard papers, 1925/1988"],"text":["Arnold Sundgaard papers, 1925/1988","C0226","/repositories/2/resources/344","Children's theater","New Deal, 1933-1939","Performing arts","Playwriting","Theater -- United States","There are no access restrictions.","There are also additional documents from this and related collections in the .","This collection is organized into 8 series based on material type.","Series\n      Series 1: Correspondence, 1933-1988 (Boxes 1-5)\n      Series 2: Musical Scores, 1947-1982 (Boxes 5-6, 44-46)\n      Series 3: Newspaper Clippings, 1935-1976 (Boxes 6-8, 43)\n      Series 4: Photographs, 1933-1982 (Boxes 8, 42, 44)\n      Series 5: Playscripts, 1932-1978 (Boxes 8-21, 42)\n      Series 6: Programs and Posters, 1925-1988 (Boxes 22-29, oversize folder)\n      Series 7: Writings, Reviews, Publications, 1933-1988 (Boxes 29-37, 43, 44)\n      Series 8: Audio Recordings, 1955-1980s (Boxes 38-41)","Arnold Olaf Sundgaard was born in St. Paul, Minnesota on October 31, 1909. He studied English at the University of Wisconsin and then drama at Yale University. Sundgaard taught at many colleges including the University of Texas, Columbia University in New York, Bennington College, and at Trinity College in Dublin.","Sundgaard worked for the Chicago Federal Theatre Project and is best known in this context as the writer of the Living Newspaper production Spirochete. He worked with the FTP from 1936 to 1938 as an author and play reader, after which he was let go since he was starting to make a living as a writer. The main theme of Spirochete is the history and spread of syphilis from the 15th century in Europe to the 1930s in America. The play was politically minded and current in relation to the Marriage Test Law of 1937. This Law would require a blood test for syphilis prior to marriage.  The play opened in Chicago on April 29, 1938, and had showings in Seattle, Philadelphia, Cincinnati, and Portland, Oregon during February of 1939. Even though the play was met with protest in some areas due to its controversial subject matter, it was the second most performed Living Newspaper play after One-Third of a Nation.","After working with the FTP Sundgaard went on to be a successful writer and librettist. As an author he wrote articles, lyrics, plays, and children's books. To his credit are articles for The New Yorker, and the Atlantic; libretti for Down in the Valley by Kurt Weill, and The Greenfield Christmas Tree; plays suchs as Giants in the Earth (co-written with Douglas Moore), Everywhere I Roam, the Broadway produced Of Love Remembered, Promised Valley, Forests of the Night, The Great Campaign, and Young Abe Lincoln; children's books include An Axe, an Apple, and a Buckskin Jacket, The Lamb and the Butterfly, and Jethro's Difficult Dinosaur.","Processing and EAD markup completed in October 2012 by Greta Kuriger Suiter. Finding aid updated by Amanda Brent in July 2022.","The Special Collections Research center also holds the Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers related to the Federal Theatre Project.","The Arnold Sundgaard papers includes materials created and collected by Arnold Sundgaard. The collection is divided into eight series: Correspondence; Musical Scores; Newspaper Clippings; Photographs; Playscripts; Programs and Posters; Writings, Reviews, Publications; and Audio Recordings. Series are primarily arranged alphabetically by material type and then alphabetically by folder title. Series eight, Audio Recordings, is arranged by size of material.","Series 1: Correspondence, is arranged alphabetically by play title, organization or person. Plays written about include Akron by Moonlight, Down in the Valley, The Beautiful and Anxious Maidens, Equinox, Everywhere I Roam, Forests of the Night, Giants in the Earth, The First Crocus, The Great Campaign, The Kilgo Run, Knock on Wood, and Nobody's Earnest. Persons and organizations included in the correspondence are: The Atlantic Monthly, George P. Baker, Yale, The Barter Theatre, Louis Bellson, Bing Crosby, Lehman Engel, Archibald MacLeish, The New Yorker magazine, Gregory Peck, E. B. White, Alec Wilder, and Thornton Wilder among others.","Series 2: Musical Scores, is arranged alphabetically by title and comprises sheet music and lyrics written by Arnold Sundgaard. Some of the music is published under title of play and some are handwritten music for individual songs. Plays included are: Buddy, Knock on Wood, Of Love Remembered, Promised Valley, Cumberland Fair: A Jamboree, Down in the Valley, Gallantry, Sunday Excursion, The Lowland Sea, The Lonesome Dove. About one-third of the material is in oversize boxes.","Series 3: Newspaper Clippings, is arranged alphabetically by title and includes primarily newspaper and magazine clippings relating to play productions and writings authored by Sundgaard, as well as scrapbooks, programs, ephemera, and some photographs. Two scrapbooks, one about Of Love Remembered, the other about Federal Theatre Project productions, Spirochete and Everywhere I Roam, are housed in oversize boxes.","Series 4: Photographs, is arranged alphabetically by title and includes photographs of play productions, actors, and Arnold Sundgaard. Photographs of play productions include the plays: Brigham, Down in the Valley, Equinox, Everywhere I Roam, Forests of the Night, Giants in the Earth, The Great Campaign, The First Crocus, Kilgo Run, Knock on Wood, Of Love Remembered, The Promised Valley, Spirochete, This Fallow Ground, and The Truth About Windmills. Images are mostly prints; there are some slides, and some oversize material.","Series 5: Playscripts, is arranged alphabetically by title and includes primarily playscripts but also radio and television scripts, libretti, outlines, drafts, production notes, scores, programs, costume designs, and some correspondence. Multiple drafts of produced plays are here, as is unfinished scripts and scripts for plays not produced.","Series 6: Programs and Posters, is arranged alphabetically by title and includes programs and posters for productions written by Sundgaard as well as programs collected by Sundgaard.","Series 7: Writings, Reviews, Publications, is arranged alphabetically by title and includes writings by Sundgaard that are not scripts. The writings include drafts, outlines, articles, essays, and short stories. Both unpublished and published material is included. There are some books. Also present is research material created by Sundgaard for different projects. One project was a syphilis related research project for a possible book that Sundgaard undertook with O.C. Wenger. Another project represented is research of deafness conducted by Sundgaard in Hermann, Missouri.","Series 8: Audio Recordings, is arranged by size and consists of four boxes that include audio cassette tapes, reel-to-reel audio recordings, and vinyl records. The material includes recordings from productions or songs that Sundgaard wrote, and records featuring Sundgaard's children's books.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Arnold Sundgaard papers includes materials created and collected by Arnold Sundgaard. The collection is divided into eight series: Correspondence; Musical Scores; Newspaper Clippings; Photographs; Playscripts; Programs and Posters; Writings, Reviews, Publications; and Audio Recordings.","Map Case 22.4","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Sundgaard, Arnold, 1909-2006","English"],"collection_title_tesim":["Arnold Sundgaard papers, 1925/1988"],"collection_ssim":["Arnold Sundgaard papers, 1925/1988"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0226","/repositories/2/resources/344"],"unitid_tesim":["C0226","/repositories/2/resources/344"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Sundgaard, Arnold, 1909-2006"],"creator_ssim":["Sundgaard, Arnold, 1909-2006"],"creator_persname_ssim":["Sundgaard, Arnold, 1909-2006"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"creators_ssim":["Sundgaard, Arnold, 1909-2006","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arnold Sundgaard on October 19, 1978."],"access_subjects_ssim":["Children's theater","New Deal, 1933-1939","Performing arts","Playwriting","Theater -- United States"],"access_subjects_ssm":["Children's theater","New Deal, 1933-1939","Performing arts","Playwriting","Theater -- United States"],"has_online_content_ssim":["false"],"extent_ssm":["19 Linear Feet 46 boxes"],"extent_tesim":["19 Linear Feet 46 boxes"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eThere are also additional documents from this and related collections in the \u003cextptr href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["There are also additional documents from this and related collections in the ."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into 8 series based on material type.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Correspondence, 1933-1988 (Boxes 1-5)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Musical Scores, 1947-1982 (Boxes 5-6, 44-46)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Newspaper Clippings, 1935-1976 (Boxes 6-8, 43)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Photographs, 1933-1982 (Boxes 8, 42, 44)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Playscripts, 1932-1978 (Boxes 8-21, 42)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Programs and Posters, 1925-1988 (Boxes 22-29, oversize folder)\u003c/item\u003e\n      \u003citem\u003eSeries 7: Writings, Reviews, Publications, 1933-1988 (Boxes 29-37, 43, 44)\u003c/item\u003e\n      \u003citem\u003eSeries 8: Audio Recordings, 1955-1980s (Boxes 38-41)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into 8 series based on material type.","Series\n      Series 1: Correspondence, 1933-1988 (Boxes 1-5)\n      Series 2: Musical Scores, 1947-1982 (Boxes 5-6, 44-46)\n      Series 3: Newspaper Clippings, 1935-1976 (Boxes 6-8, 43)\n      Series 4: Photographs, 1933-1982 (Boxes 8, 42, 44)\n      Series 5: Playscripts, 1932-1978 (Boxes 8-21, 42)\n      Series 6: Programs and Posters, 1925-1988 (Boxes 22-29, oversize folder)\n      Series 7: Writings, Reviews, Publications, 1933-1988 (Boxes 29-37, 43, 44)\n      Series 8: Audio Recordings, 1955-1980s (Boxes 38-41)"],"bioghist_html_tesm":["\u003cp\u003eArnold Olaf Sundgaard was born in St. Paul, Minnesota on October 31, 1909. He studied English at the University of Wisconsin and then drama at Yale University. Sundgaard taught at many colleges including the University of Texas, Columbia University in New York, Bennington College, and at Trinity College in Dublin. \u003c/p\u003e","\u003cp\u003eSundgaard worked for the Chicago Federal Theatre Project and is best known in this context as the writer of the Living Newspaper production Spirochete. He worked with the FTP from 1936 to 1938 as an author and play reader, after which he was let go since he was starting to make a living as a writer. The main theme of Spirochete is the history and spread of syphilis from the 15th century in Europe to the 1930s in America. The play was politically minded and current in relation to the Marriage Test Law of 1937. This Law would require a blood test for syphilis prior to marriage.  The play opened in Chicago on April 29, 1938, and had showings in Seattle, Philadelphia, Cincinnati, and Portland, Oregon during February of 1939. Even though the play was met with protest in some areas due to its controversial subject matter, it was the second most performed Living Newspaper play after One-Third of a Nation.\u003c/p\u003e","\u003cp\u003eAfter working with the FTP Sundgaard went on to be a successful writer and librettist. As an author he wrote articles, lyrics, plays, and children's books. To his credit are articles for The New Yorker, and the Atlantic; libretti for Down in the Valley by Kurt Weill, and The Greenfield Christmas Tree; plays suchs as Giants in the Earth (co-written with Douglas Moore), Everywhere I Roam, the Broadway produced Of Love Remembered, Promised Valley, Forests of the Night, The Great Campaign, and Young Abe Lincoln; children's books include An Axe, an Apple, and a Buckskin Jacket, The Lamb and the Butterfly, and Jethro's Difficult Dinosaur.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Arnold Olaf Sundgaard was born in St. Paul, Minnesota on October 31, 1909. He studied English at the University of Wisconsin and then drama at Yale University. Sundgaard taught at many colleges including the University of Texas, Columbia University in New York, Bennington College, and at Trinity College in Dublin.","Sundgaard worked for the Chicago Federal Theatre Project and is best known in this context as the writer of the Living Newspaper production Spirochete. He worked with the FTP from 1936 to 1938 as an author and play reader, after which he was let go since he was starting to make a living as a writer. The main theme of Spirochete is the history and spread of syphilis from the 15th century in Europe to the 1930s in America. The play was politically minded and current in relation to the Marriage Test Law of 1937. This Law would require a blood test for syphilis prior to marriage.  The play opened in Chicago on April 29, 1938, and had showings in Seattle, Philadelphia, Cincinnati, and Portland, Oregon during February of 1939. Even though the play was met with protest in some areas due to its controversial subject matter, it was the second most performed Living Newspaper play after One-Third of a Nation.","After working with the FTP Sundgaard went on to be a successful writer and librettist. As an author he wrote articles, lyrics, plays, and children's books. To his credit are articles for The New Yorker, and the Atlantic; libretti for Down in the Valley by Kurt Weill, and The Greenfield Christmas Tree; plays suchs as Giants in the Earth (co-written with Douglas Moore), Everywhere I Roam, the Broadway produced Of Love Remembered, Promised Valley, Forests of the Night, The Great Campaign, and Young Abe Lincoln; children's books include An Axe, an Apple, and a Buckskin Jacket, The Lamb and the Butterfly, and Jethro's Difficult Dinosaur."],"prefercite_html_tesm":["\u003cp\u003eArnold Sundgaard papers, C0226, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Arnold Sundgaard papers, C0226, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing and EAD markup completed in October 2012 by Greta Kuriger Suiter. Finding aid updated by Amanda Brent in July 2022.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and EAD markup completed in October 2012 by Greta Kuriger Suiter. Finding aid updated by Amanda Brent in July 2022."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research center also holds the Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers related to the Federal Theatre Project.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research center also holds the Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers related to the Federal Theatre Project."],"scopecontent_html_tesm":["\u003cp\u003eThe Arnold Sundgaard papers includes materials created and collected by Arnold Sundgaard. The collection is divided into eight series: Correspondence; Musical Scores; Newspaper Clippings; Photographs; Playscripts; Programs and Posters; Writings, Reviews, Publications; and Audio Recordings. Series are primarily arranged alphabetically by material type and then alphabetically by folder title. Series eight, Audio Recordings, is arranged by size of material.  \u003c/p\u003e","\u003cp\u003eSeries 1: Correspondence, is arranged alphabetically by play title, organization or person. Plays written about include Akron by Moonlight, Down in the Valley, The Beautiful and Anxious Maidens, Equinox, Everywhere I Roam, Forests of the Night, Giants in the Earth, The First Crocus, The Great Campaign, The Kilgo Run, Knock on Wood, and Nobody's Earnest. Persons and organizations included in the correspondence are: The Atlantic Monthly, George P. Baker, Yale, The Barter Theatre, Louis Bellson, Bing Crosby, Lehman Engel, Archibald MacLeish, The New Yorker magazine, Gregory Peck, E. B. White, Alec Wilder, and Thornton Wilder among others.\u003c/p\u003e","\u003cp\u003eSeries 2: Musical Scores, is arranged alphabetically by title and comprises sheet music and lyrics written by Arnold Sundgaard. Some of the music is published under title of play and some are handwritten music for individual songs. Plays included are: Buddy, Knock on Wood, Of Love Remembered, Promised Valley, Cumberland Fair: A Jamboree, Down in the Valley, Gallantry, Sunday Excursion, The Lowland Sea, The Lonesome Dove. About one-third of the material is in oversize boxes.\u003c/p\u003e","\u003cp\u003eSeries 3: Newspaper Clippings, is arranged alphabetically by title and includes primarily newspaper and magazine clippings relating to play productions and writings authored by Sundgaard, as well as scrapbooks, programs, ephemera, and some photographs. Two scrapbooks, one about Of Love Remembered, the other about Federal Theatre Project productions, Spirochete and Everywhere I Roam, are housed in oversize boxes. \u003c/p\u003e","\u003cp\u003eSeries 4: Photographs, is arranged alphabetically by title and includes photographs of play productions, actors, and Arnold Sundgaard. Photographs of play productions include the plays: Brigham, Down in the Valley, Equinox, Everywhere I Roam, Forests of the Night, Giants in the Earth, The Great Campaign, The First Crocus, Kilgo Run, Knock on Wood, Of Love Remembered, The Promised Valley, Spirochete, This Fallow Ground, and The Truth About Windmills. Images are mostly prints; there are some slides, and some oversize material.\u003c/p\u003e","\u003cp\u003eSeries 5: Playscripts, is arranged alphabetically by title and includes primarily playscripts but also radio and television scripts, libretti, outlines, drafts, production notes, scores, programs, costume designs, and some correspondence. Multiple drafts of produced plays are here, as is unfinished scripts and scripts for plays not produced. \u003c/p\u003e","\u003cp\u003eSeries 6: Programs and Posters, is arranged alphabetically by title and includes programs and posters for productions written by Sundgaard as well as programs collected by Sundgaard.\u003c/p\u003e","\u003cp\u003eSeries 7: Writings, Reviews, Publications, is arranged alphabetically by title and includes writings by Sundgaard that are not scripts. The writings include drafts, outlines, articles, essays, and short stories. Both unpublished and published material is included. There are some books. Also present is research material created by Sundgaard for different projects. One project was a syphilis related research project for a possible book that Sundgaard undertook with O.C. Wenger. Another project represented is research of deafness conducted by Sundgaard in Hermann, Missouri.\u003c/p\u003e","\u003cp\u003eSeries 8: Audio Recordings, is arranged by size and consists of four boxes that include audio cassette tapes, reel-to-reel audio recordings, and vinyl records. The material includes recordings from productions or songs that Sundgaard wrote, and records featuring Sundgaard's children's books.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Arnold Sundgaard papers includes materials created and collected by Arnold Sundgaard. The collection is divided into eight series: Correspondence; Musical Scores; Newspaper Clippings; Photographs; Playscripts; Programs and Posters; Writings, Reviews, Publications; and Audio Recordings. Series are primarily arranged alphabetically by material type and then alphabetically by folder title. Series eight, Audio Recordings, is arranged by size of material.","Series 1: Correspondence, is arranged alphabetically by play title, organization or person. Plays written about include Akron by Moonlight, Down in the Valley, The Beautiful and Anxious Maidens, Equinox, Everywhere I Roam, Forests of the Night, Giants in the Earth, The First Crocus, The Great Campaign, The Kilgo Run, Knock on Wood, and Nobody's Earnest. Persons and organizations included in the correspondence are: The Atlantic Monthly, George P. Baker, Yale, The Barter Theatre, Louis Bellson, Bing Crosby, Lehman Engel, Archibald MacLeish, The New Yorker magazine, Gregory Peck, E. B. White, Alec Wilder, and Thornton Wilder among others.","Series 2: Musical Scores, is arranged alphabetically by title and comprises sheet music and lyrics written by Arnold Sundgaard. Some of the music is published under title of play and some are handwritten music for individual songs. Plays included are: Buddy, Knock on Wood, Of Love Remembered, Promised Valley, Cumberland Fair: A Jamboree, Down in the Valley, Gallantry, Sunday Excursion, The Lowland Sea, The Lonesome Dove. About one-third of the material is in oversize boxes.","Series 3: Newspaper Clippings, is arranged alphabetically by title and includes primarily newspaper and magazine clippings relating to play productions and writings authored by Sundgaard, as well as scrapbooks, programs, ephemera, and some photographs. Two scrapbooks, one about Of Love Remembered, the other about Federal Theatre Project productions, Spirochete and Everywhere I Roam, are housed in oversize boxes.","Series 4: Photographs, is arranged alphabetically by title and includes photographs of play productions, actors, and Arnold Sundgaard. Photographs of play productions include the plays: Brigham, Down in the Valley, Equinox, Everywhere I Roam, Forests of the Night, Giants in the Earth, The Great Campaign, The First Crocus, Kilgo Run, Knock on Wood, Of Love Remembered, The Promised Valley, Spirochete, This Fallow Ground, and The Truth About Windmills. Images are mostly prints; there are some slides, and some oversize material.","Series 5: Playscripts, is arranged alphabetically by title and includes primarily playscripts but also radio and television scripts, libretti, outlines, drafts, production notes, scores, programs, costume designs, and some correspondence. Multiple drafts of produced plays are here, as is unfinished scripts and scripts for plays not produced.","Series 6: Programs and Posters, is arranged alphabetically by title and includes programs and posters for productions written by Sundgaard as well as programs collected by Sundgaard.","Series 7: Writings, Reviews, Publications, is arranged alphabetically by title and includes writings by Sundgaard that are not scripts. The writings include drafts, outlines, articles, essays, and short stories. Both unpublished and published material is included. There are some books. Also present is research material created by Sundgaard for different projects. One project was a syphilis related research project for a possible book that Sundgaard undertook with O.C. Wenger. Another project represented is research of deafness conducted by Sundgaard in Hermann, Missouri.","Series 8: Audio Recordings, is arranged by size and consists of four boxes that include audio cassette tapes, reel-to-reel audio recordings, and vinyl records. The material includes recordings from productions or songs that Sundgaard wrote, and records featuring Sundgaard's children's books."],"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_81b1393c5a8bb601d6b50fdcc01513d0\" label=\"Abstract\"\u003eThe Arnold Sundgaard papers includes materials created and collected by Arnold Sundgaard. The collection is divided into eight series: Correspondence; Musical Scores; Newspaper Clippings; Photographs; Playscripts; Programs and Posters; Writings, Reviews, Publications; and Audio Recordings.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Arnold Sundgaard papers includes materials created and collected by Arnold Sundgaard. The collection is divided into eight series: Correspondence; Musical Scores; Newspaper Clippings; Photographs; Playscripts; Programs and Posters; Writings, Reviews, Publications; and Audio Recordings."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_4e8da7bbdb61d3efe004415f7a003934\"\u003eMap Case 22.4\u003c/physloc\u003e\n    "],"physloc_tesim":["Map Case 22.4"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_coll_ssim":["Federal Theatre Project (U.S.)"],"persname_ssim":["Sundgaard, Arnold, 1909-2006"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Sundgaard, Arnold, 1909-2006"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":527,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:39.857Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_344","ead_ssi":"vifgm_repositories_2_resources_344","_root_":"vifgm_repositories_2_resources_344","_nest_parent_":"vifgm_repositories_2_resources_344","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_344.xml","title_filing_ssi":"Arnold Sundgaard papers","title_ssm":["Arnold Sundgaard papers"],"title_tesim":["Arnold Sundgaard papers"],"unitdate_ssm":["1925-1988"],"unitdate_inclusive_ssm":["1925-1988"],"normalized_date_ssm":["1925/1988"],"normalized_title_ssm":["Arnold Sundgaard papers, 1925/1988"],"text":["Arnold Sundgaard papers, 1925/1988","C0226","/repositories/2/resources/344","Children's theater","New Deal, 1933-1939","Performing arts","Playwriting","Theater -- United States","There are no access restrictions.","There are also additional documents from this and related collections in the .","This collection is organized into 8 series based on material type.","Series\n      Series 1: Correspondence, 1933-1988 (Boxes 1-5)\n      Series 2: Musical Scores, 1947-1982 (Boxes 5-6, 44-46)\n      Series 3: Newspaper Clippings, 1935-1976 (Boxes 6-8, 43)\n      Series 4: Photographs, 1933-1982 (Boxes 8, 42, 44)\n      Series 5: Playscripts, 1932-1978 (Boxes 8-21, 42)\n      Series 6: Programs and Posters, 1925-1988 (Boxes 22-29, oversize folder)\n      Series 7: Writings, Reviews, Publications, 1933-1988 (Boxes 29-37, 43, 44)\n      Series 8: Audio Recordings, 1955-1980s (Boxes 38-41)","Arnold Olaf Sundgaard was born in St. Paul, Minnesota on October 31, 1909. He studied English at the University of Wisconsin and then drama at Yale University. Sundgaard taught at many colleges including the University of Texas, Columbia University in New York, Bennington College, and at Trinity College in Dublin.","Sundgaard worked for the Chicago Federal Theatre Project and is best known in this context as the writer of the Living Newspaper production Spirochete. He worked with the FTP from 1936 to 1938 as an author and play reader, after which he was let go since he was starting to make a living as a writer. The main theme of Spirochete is the history and spread of syphilis from the 15th century in Europe to the 1930s in America. The play was politically minded and current in relation to the Marriage Test Law of 1937. This Law would require a blood test for syphilis prior to marriage.  The play opened in Chicago on April 29, 1938, and had showings in Seattle, Philadelphia, Cincinnati, and Portland, Oregon during February of 1939. Even though the play was met with protest in some areas due to its controversial subject matter, it was the second most performed Living Newspaper play after One-Third of a Nation.","After working with the FTP Sundgaard went on to be a successful writer and librettist. As an author he wrote articles, lyrics, plays, and children's books. To his credit are articles for The New Yorker, and the Atlantic; libretti for Down in the Valley by Kurt Weill, and The Greenfield Christmas Tree; plays suchs as Giants in the Earth (co-written with Douglas Moore), Everywhere I Roam, the Broadway produced Of Love Remembered, Promised Valley, Forests of the Night, The Great Campaign, and Young Abe Lincoln; children's books include An Axe, an Apple, and a Buckskin Jacket, The Lamb and the Butterfly, and Jethro's Difficult Dinosaur.","Processing and EAD markup completed in October 2012 by Greta Kuriger Suiter. Finding aid updated by Amanda Brent in July 2022.","The Special Collections Research center also holds the Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers related to the Federal Theatre Project.","The Arnold Sundgaard papers includes materials created and collected by Arnold Sundgaard. The collection is divided into eight series: Correspondence; Musical Scores; Newspaper Clippings; Photographs; Playscripts; Programs and Posters; Writings, Reviews, Publications; and Audio Recordings. Series are primarily arranged alphabetically by material type and then alphabetically by folder title. Series eight, Audio Recordings, is arranged by size of material.","Series 1: Correspondence, is arranged alphabetically by play title, organization or person. Plays written about include Akron by Moonlight, Down in the Valley, The Beautiful and Anxious Maidens, Equinox, Everywhere I Roam, Forests of the Night, Giants in the Earth, The First Crocus, The Great Campaign, The Kilgo Run, Knock on Wood, and Nobody's Earnest. Persons and organizations included in the correspondence are: The Atlantic Monthly, George P. Baker, Yale, The Barter Theatre, Louis Bellson, Bing Crosby, Lehman Engel, Archibald MacLeish, The New Yorker magazine, Gregory Peck, E. B. White, Alec Wilder, and Thornton Wilder among others.","Series 2: Musical Scores, is arranged alphabetically by title and comprises sheet music and lyrics written by Arnold Sundgaard. Some of the music is published under title of play and some are handwritten music for individual songs. Plays included are: Buddy, Knock on Wood, Of Love Remembered, Promised Valley, Cumberland Fair: A Jamboree, Down in the Valley, Gallantry, Sunday Excursion, The Lowland Sea, The Lonesome Dove. About one-third of the material is in oversize boxes.","Series 3: Newspaper Clippings, is arranged alphabetically by title and includes primarily newspaper and magazine clippings relating to play productions and writings authored by Sundgaard, as well as scrapbooks, programs, ephemera, and some photographs. Two scrapbooks, one about Of Love Remembered, the other about Federal Theatre Project productions, Spirochete and Everywhere I Roam, are housed in oversize boxes.","Series 4: Photographs, is arranged alphabetically by title and includes photographs of play productions, actors, and Arnold Sundgaard. Photographs of play productions include the plays: Brigham, Down in the Valley, Equinox, Everywhere I Roam, Forests of the Night, Giants in the Earth, The Great Campaign, The First Crocus, Kilgo Run, Knock on Wood, Of Love Remembered, The Promised Valley, Spirochete, This Fallow Ground, and The Truth About Windmills. Images are mostly prints; there are some slides, and some oversize material.","Series 5: Playscripts, is arranged alphabetically by title and includes primarily playscripts but also radio and television scripts, libretti, outlines, drafts, production notes, scores, programs, costume designs, and some correspondence. Multiple drafts of produced plays are here, as is unfinished scripts and scripts for plays not produced.","Series 6: Programs and Posters, is arranged alphabetically by title and includes programs and posters for productions written by Sundgaard as well as programs collected by Sundgaard.","Series 7: Writings, Reviews, Publications, is arranged alphabetically by title and includes writings by Sundgaard that are not scripts. The writings include drafts, outlines, articles, essays, and short stories. Both unpublished and published material is included. There are some books. Also present is research material created by Sundgaard for different projects. One project was a syphilis related research project for a possible book that Sundgaard undertook with O.C. Wenger. Another project represented is research of deafness conducted by Sundgaard in Hermann, Missouri.","Series 8: Audio Recordings, is arranged by size and consists of four boxes that include audio cassette tapes, reel-to-reel audio recordings, and vinyl records. The material includes recordings from productions or songs that Sundgaard wrote, and records featuring Sundgaard's children's books.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Arnold Sundgaard papers includes materials created and collected by Arnold Sundgaard. The collection is divided into eight series: Correspondence; Musical Scores; Newspaper Clippings; Photographs; Playscripts; Programs and Posters; Writings, Reviews, Publications; and Audio Recordings.","Map Case 22.4","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Sundgaard, Arnold, 1909-2006","English"],"collection_title_tesim":["Arnold Sundgaard papers, 1925/1988"],"collection_ssim":["Arnold Sundgaard papers, 1925/1988"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0226","/repositories/2/resources/344"],"unitid_tesim":["C0226","/repositories/2/resources/344"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Sundgaard, Arnold, 1909-2006"],"creator_ssim":["Sundgaard, Arnold, 1909-2006"],"creator_persname_ssim":["Sundgaard, Arnold, 1909-2006"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"creators_ssim":["Sundgaard, Arnold, 1909-2006","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arnold Sundgaard on October 19, 1978."],"access_subjects_ssim":["Children's theater","New Deal, 1933-1939","Performing arts","Playwriting","Theater -- United States"],"access_subjects_ssm":["Children's theater","New Deal, 1933-1939","Performing arts","Playwriting","Theater -- United States"],"has_online_content_ssim":["false"],"extent_ssm":["19 Linear Feet 46 boxes"],"extent_tesim":["19 Linear Feet 46 boxes"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eThere are also additional documents from this and related collections in the \u003cextptr href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["There are also additional documents from this and related collections in the ."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into 8 series based on material type.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Correspondence, 1933-1988 (Boxes 1-5)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Musical Scores, 1947-1982 (Boxes 5-6, 44-46)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Newspaper Clippings, 1935-1976 (Boxes 6-8, 43)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Photographs, 1933-1982 (Boxes 8, 42, 44)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Playscripts, 1932-1978 (Boxes 8-21, 42)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Programs and Posters, 1925-1988 (Boxes 22-29, oversize folder)\u003c/item\u003e\n      \u003citem\u003eSeries 7: Writings, Reviews, Publications, 1933-1988 (Boxes 29-37, 43, 44)\u003c/item\u003e\n      \u003citem\u003eSeries 8: Audio Recordings, 1955-1980s (Boxes 38-41)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into 8 series based on material type.","Series\n      Series 1: Correspondence, 1933-1988 (Boxes 1-5)\n      Series 2: Musical Scores, 1947-1982 (Boxes 5-6, 44-46)\n      Series 3: Newspaper Clippings, 1935-1976 (Boxes 6-8, 43)\n      Series 4: Photographs, 1933-1982 (Boxes 8, 42, 44)\n      Series 5: Playscripts, 1932-1978 (Boxes 8-21, 42)\n      Series 6: Programs and Posters, 1925-1988 (Boxes 22-29, oversize folder)\n      Series 7: Writings, Reviews, Publications, 1933-1988 (Boxes 29-37, 43, 44)\n      Series 8: Audio Recordings, 1955-1980s (Boxes 38-41)"],"bioghist_html_tesm":["\u003cp\u003eArnold Olaf Sundgaard was born in St. Paul, Minnesota on October 31, 1909. He studied English at the University of Wisconsin and then drama at Yale University. Sundgaard taught at many colleges including the University of Texas, Columbia University in New York, Bennington College, and at Trinity College in Dublin. \u003c/p\u003e","\u003cp\u003eSundgaard worked for the Chicago Federal Theatre Project and is best known in this context as the writer of the Living Newspaper production Spirochete. He worked with the FTP from 1936 to 1938 as an author and play reader, after which he was let go since he was starting to make a living as a writer. The main theme of Spirochete is the history and spread of syphilis from the 15th century in Europe to the 1930s in America. The play was politically minded and current in relation to the Marriage Test Law of 1937. This Law would require a blood test for syphilis prior to marriage.  The play opened in Chicago on April 29, 1938, and had showings in Seattle, Philadelphia, Cincinnati, and Portland, Oregon during February of 1939. Even though the play was met with protest in some areas due to its controversial subject matter, it was the second most performed Living Newspaper play after One-Third of a Nation.\u003c/p\u003e","\u003cp\u003eAfter working with the FTP Sundgaard went on to be a successful writer and librettist. As an author he wrote articles, lyrics, plays, and children's books. To his credit are articles for The New Yorker, and the Atlantic; libretti for Down in the Valley by Kurt Weill, and The Greenfield Christmas Tree; plays suchs as Giants in the Earth (co-written with Douglas Moore), Everywhere I Roam, the Broadway produced Of Love Remembered, Promised Valley, Forests of the Night, The Great Campaign, and Young Abe Lincoln; children's books include An Axe, an Apple, and a Buckskin Jacket, The Lamb and the Butterfly, and Jethro's Difficult Dinosaur.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Arnold Olaf Sundgaard was born in St. Paul, Minnesota on October 31, 1909. He studied English at the University of Wisconsin and then drama at Yale University. Sundgaard taught at many colleges including the University of Texas, Columbia University in New York, Bennington College, and at Trinity College in Dublin.","Sundgaard worked for the Chicago Federal Theatre Project and is best known in this context as the writer of the Living Newspaper production Spirochete. He worked with the FTP from 1936 to 1938 as an author and play reader, after which he was let go since he was starting to make a living as a writer. The main theme of Spirochete is the history and spread of syphilis from the 15th century in Europe to the 1930s in America. The play was politically minded and current in relation to the Marriage Test Law of 1937. This Law would require a blood test for syphilis prior to marriage.  The play opened in Chicago on April 29, 1938, and had showings in Seattle, Philadelphia, Cincinnati, and Portland, Oregon during February of 1939. Even though the play was met with protest in some areas due to its controversial subject matter, it was the second most performed Living Newspaper play after One-Third of a Nation.","After working with the FTP Sundgaard went on to be a successful writer and librettist. As an author he wrote articles, lyrics, plays, and children's books. To his credit are articles for The New Yorker, and the Atlantic; libretti for Down in the Valley by Kurt Weill, and The Greenfield Christmas Tree; plays suchs as Giants in the Earth (co-written with Douglas Moore), Everywhere I Roam, the Broadway produced Of Love Remembered, Promised Valley, Forests of the Night, The Great Campaign, and Young Abe Lincoln; children's books include An Axe, an Apple, and a Buckskin Jacket, The Lamb and the Butterfly, and Jethro's Difficult Dinosaur."],"prefercite_html_tesm":["\u003cp\u003eArnold Sundgaard papers, C0226, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Arnold Sundgaard papers, C0226, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing and EAD markup completed in October 2012 by Greta Kuriger Suiter. Finding aid updated by Amanda Brent in July 2022.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and EAD markup completed in October 2012 by Greta Kuriger Suiter. Finding aid updated by Amanda Brent in July 2022."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research center also holds the Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers related to the Federal Theatre Project.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research center also holds the Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers related to the Federal Theatre Project."],"scopecontent_html_tesm":["\u003cp\u003eThe Arnold Sundgaard papers includes materials created and collected by Arnold Sundgaard. The collection is divided into eight series: Correspondence; Musical Scores; Newspaper Clippings; Photographs; Playscripts; Programs and Posters; Writings, Reviews, Publications; and Audio Recordings. Series are primarily arranged alphabetically by material type and then alphabetically by folder title. Series eight, Audio Recordings, is arranged by size of material.  \u003c/p\u003e","\u003cp\u003eSeries 1: Correspondence, is arranged alphabetically by play title, organization or person. Plays written about include Akron by Moonlight, Down in the Valley, The Beautiful and Anxious Maidens, Equinox, Everywhere I Roam, Forests of the Night, Giants in the Earth, The First Crocus, The Great Campaign, The Kilgo Run, Knock on Wood, and Nobody's Earnest. Persons and organizations included in the correspondence are: The Atlantic Monthly, George P. Baker, Yale, The Barter Theatre, Louis Bellson, Bing Crosby, Lehman Engel, Archibald MacLeish, The New Yorker magazine, Gregory Peck, E. B. White, Alec Wilder, and Thornton Wilder among others.\u003c/p\u003e","\u003cp\u003eSeries 2: Musical Scores, is arranged alphabetically by title and comprises sheet music and lyrics written by Arnold Sundgaard. Some of the music is published under title of play and some are handwritten music for individual songs. Plays included are: Buddy, Knock on Wood, Of Love Remembered, Promised Valley, Cumberland Fair: A Jamboree, Down in the Valley, Gallantry, Sunday Excursion, The Lowland Sea, The Lonesome Dove. About one-third of the material is in oversize boxes.\u003c/p\u003e","\u003cp\u003eSeries 3: Newspaper Clippings, is arranged alphabetically by title and includes primarily newspaper and magazine clippings relating to play productions and writings authored by Sundgaard, as well as scrapbooks, programs, ephemera, and some photographs. Two scrapbooks, one about Of Love Remembered, the other about Federal Theatre Project productions, Spirochete and Everywhere I Roam, are housed in oversize boxes. \u003c/p\u003e","\u003cp\u003eSeries 4: Photographs, is arranged alphabetically by title and includes photographs of play productions, actors, and Arnold Sundgaard. Photographs of play productions include the plays: Brigham, Down in the Valley, Equinox, Everywhere I Roam, Forests of the Night, Giants in the Earth, The Great Campaign, The First Crocus, Kilgo Run, Knock on Wood, Of Love Remembered, The Promised Valley, Spirochete, This Fallow Ground, and The Truth About Windmills. Images are mostly prints; there are some slides, and some oversize material.\u003c/p\u003e","\u003cp\u003eSeries 5: Playscripts, is arranged alphabetically by title and includes primarily playscripts but also radio and television scripts, libretti, outlines, drafts, production notes, scores, programs, costume designs, and some correspondence. Multiple drafts of produced plays are here, as is unfinished scripts and scripts for plays not produced. \u003c/p\u003e","\u003cp\u003eSeries 6: Programs and Posters, is arranged alphabetically by title and includes programs and posters for productions written by Sundgaard as well as programs collected by Sundgaard.\u003c/p\u003e","\u003cp\u003eSeries 7: Writings, Reviews, Publications, is arranged alphabetically by title and includes writings by Sundgaard that are not scripts. The writings include drafts, outlines, articles, essays, and short stories. Both unpublished and published material is included. There are some books. Also present is research material created by Sundgaard for different projects. One project was a syphilis related research project for a possible book that Sundgaard undertook with O.C. Wenger. Another project represented is research of deafness conducted by Sundgaard in Hermann, Missouri.\u003c/p\u003e","\u003cp\u003eSeries 8: Audio Recordings, is arranged by size and consists of four boxes that include audio cassette tapes, reel-to-reel audio recordings, and vinyl records. The material includes recordings from productions or songs that Sundgaard wrote, and records featuring Sundgaard's children's books.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Arnold Sundgaard papers includes materials created and collected by Arnold Sundgaard. The collection is divided into eight series: Correspondence; Musical Scores; Newspaper Clippings; Photographs; Playscripts; Programs and Posters; Writings, Reviews, Publications; and Audio Recordings. Series are primarily arranged alphabetically by material type and then alphabetically by folder title. Series eight, Audio Recordings, is arranged by size of material.","Series 1: Correspondence, is arranged alphabetically by play title, organization or person. Plays written about include Akron by Moonlight, Down in the Valley, The Beautiful and Anxious Maidens, Equinox, Everywhere I Roam, Forests of the Night, Giants in the Earth, The First Crocus, The Great Campaign, The Kilgo Run, Knock on Wood, and Nobody's Earnest. Persons and organizations included in the correspondence are: The Atlantic Monthly, George P. Baker, Yale, The Barter Theatre, Louis Bellson, Bing Crosby, Lehman Engel, Archibald MacLeish, The New Yorker magazine, Gregory Peck, E. B. White, Alec Wilder, and Thornton Wilder among others.","Series 2: Musical Scores, is arranged alphabetically by title and comprises sheet music and lyrics written by Arnold Sundgaard. Some of the music is published under title of play and some are handwritten music for individual songs. Plays included are: Buddy, Knock on Wood, Of Love Remembered, Promised Valley, Cumberland Fair: A Jamboree, Down in the Valley, Gallantry, Sunday Excursion, The Lowland Sea, The Lonesome Dove. About one-third of the material is in oversize boxes.","Series 3: Newspaper Clippings, is arranged alphabetically by title and includes primarily newspaper and magazine clippings relating to play productions and writings authored by Sundgaard, as well as scrapbooks, programs, ephemera, and some photographs. Two scrapbooks, one about Of Love Remembered, the other about Federal Theatre Project productions, Spirochete and Everywhere I Roam, are housed in oversize boxes.","Series 4: Photographs, is arranged alphabetically by title and includes photographs of play productions, actors, and Arnold Sundgaard. Photographs of play productions include the plays: Brigham, Down in the Valley, Equinox, Everywhere I Roam, Forests of the Night, Giants in the Earth, The Great Campaign, The First Crocus, Kilgo Run, Knock on Wood, Of Love Remembered, The Promised Valley, Spirochete, This Fallow Ground, and The Truth About Windmills. Images are mostly prints; there are some slides, and some oversize material.","Series 5: Playscripts, is arranged alphabetically by title and includes primarily playscripts but also radio and television scripts, libretti, outlines, drafts, production notes, scores, programs, costume designs, and some correspondence. Multiple drafts of produced plays are here, as is unfinished scripts and scripts for plays not produced.","Series 6: Programs and Posters, is arranged alphabetically by title and includes programs and posters for productions written by Sundgaard as well as programs collected by Sundgaard.","Series 7: Writings, Reviews, Publications, is arranged alphabetically by title and includes writings by Sundgaard that are not scripts. The writings include drafts, outlines, articles, essays, and short stories. Both unpublished and published material is included. There are some books. Also present is research material created by Sundgaard for different projects. One project was a syphilis related research project for a possible book that Sundgaard undertook with O.C. Wenger. Another project represented is research of deafness conducted by Sundgaard in Hermann, Missouri.","Series 8: Audio Recordings, is arranged by size and consists of four boxes that include audio cassette tapes, reel-to-reel audio recordings, and vinyl records. The material includes recordings from productions or songs that Sundgaard wrote, and records featuring Sundgaard's children's books."],"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_81b1393c5a8bb601d6b50fdcc01513d0\" label=\"Abstract\"\u003eThe Arnold Sundgaard papers includes materials created and collected by Arnold Sundgaard. The collection is divided into eight series: Correspondence; Musical Scores; Newspaper Clippings; Photographs; Playscripts; Programs and Posters; Writings, Reviews, Publications; and Audio Recordings.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Arnold Sundgaard papers includes materials created and collected by Arnold Sundgaard. The collection is divided into eight series: Correspondence; Musical Scores; Newspaper Clippings; Photographs; Playscripts; Programs and Posters; Writings, Reviews, Publications; and Audio Recordings."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_4e8da7bbdb61d3efe004415f7a003934\"\u003eMap Case 22.4\u003c/physloc\u003e\n    "],"physloc_tesim":["Map Case 22.4"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_coll_ssim":["Federal Theatre Project (U.S.)"],"persname_ssim":["Sundgaard, Arnold, 1909-2006"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Sundgaard, Arnold, 1909-2006"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":527,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:39.857Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_344"}},{"id":"vifgm_repositories_2_resources_113","type":"collection","attributes":{"title":"Charles Rodrigues playbill collection, 1879/2009","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_113#creator","type":"document_value","attributes":{"value":"Rodrigues, Charles","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_113#abstract_or_scope","type":"document_value","attributes":{"value":"The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, but it also includes programs from theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, as well as, programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_113#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_113","ead_ssi":"vifgm_repositories_2_resources_113","_root_":"vifgm_repositories_2_resources_113","_nest_parent_":"vifgm_repositories_2_resources_113","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_113.xml","title_filing_ssi":"Charles Rodrigues playbill collection","title_ssm":["Charles Rodrigues playbill collection"],"title_tesim":["Charles Rodrigues playbill collection"],"unitdate_ssm":["1879-2009"],"unitdate_inclusive_ssm":["1879-2009"],"normalized_date_ssm":["1879/2009"],"normalized_title_ssm":["Charles Rodrigues playbill collection, 1879/2009"],"text":["Charles Rodrigues playbill collection, 1879/2009","C0184","/repositories/2/resources/113","Broadway (New York, N.Y.)","Theater -- New York (State) -- New York","Theater -- United States","Performing arts","Musical Theater","Theater","Theater programs","Musical Theater -- New York (State) -- New York","There are no access restrictions.","Arranged into three series, two of which are based on location, and a final series for film programs, music scores, ticket stubs, and advertisements.","Series\n      Series 1: Outside New York City, 1879-2009 (boxes 1-5, 37)\n      Series 2: New York City, 1885-2009 (boxes 6-34, 37-38)\n      Series 3: Film Programs, music scores, and ticket stubs, 1909-2009 (boxes 34-38)","Charles Rodrigues was an avid theatre enthusiast who amassed a large collection of playbills and programs by attending shows, purchasing programs at yard sales and thrift stores, trading with other collectors, and inheriting collections from friends. Rodrigues began collecting playbills at performances he attended on and off Broadway in 1961. He would also attend performances around the United States and abroad and collect playbills from these shows. One sizable addition came from Richard W. Rowan who also collected playbills from shows he attended. Many of these playbills date from World War I to the 1930s. The oldest part of the Rodrigues collection dates to the late 19th century and is from a movie theatre that used the playbills as cushioning between the older vaudeville stage and the newer movie theatre stage.","Processed by Greta Kuriger in 2011. EAD markup completed by Greta Kuriger in 2011. Finding aid updated by Amanda Menjivar in April 2022.","The Special Collections Research Center holds many other collections on theatre and the performing arts.","The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, as well as theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, but it also includes programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.","The collection consists of three series, two of which are based on geographic location, divided by date, and then arranged alphabetically by play title. Playbills from performances prior to 1934 are included at the beginning of each series in alphabetical order by play followed by playbills that date 1934 and onward. If the name of the play was not present the name of theatre is used instead. Series one consists of fourteen subseries each including playbills and programs from theatres outside of New York City. Subseries 1.1 to 1.14 consist of programs from Austria, Boston, California, Chicago, Connecticut, Florida, London, New York State, New Jersey, Ohio, Paris, Philadelphia, Toronto, and Washington D.C. respectively. Series two consists of programs from productions performed in New York City, on and off Broadway, and in Brooklyn. Plays are listed alphabetically within each series and often one play title represents more than one playbill. Many of the playbills have ticket stubs attached to the front cover or loose inside. Newspaper clippings relating to the play also accompany some of the programs. The final series includes programs from films, music scores, theatre advertisement mailings, and ticket stubs. Within this series music scores are listed first in alphabetical order followed by film programs and then mailings from theatres, newspaper and magazine clippings, pamphlets and advertisements, show announcements, and assorted ticket stubs.","The copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)","The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, but it also includes programs from theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, as well as, programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.","George Mason University. Libraries. Special Collections Research Center","Rodrigues, Charles","English"],"collection_title_tesim":["Charles Rodrigues playbill collection, 1879/2009"],"collection_ssim":["Charles Rodrigues playbill collection, 1879/2009"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0184","/repositories/2/resources/113"],"unitid_tesim":["C0184","/repositories/2/resources/113"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Broadway (New York, N.Y.)"],"geogname_ssim":["Broadway (New York, N.Y.)"],"places_ssim":["Broadway (New York, N.Y.)"],"creator_ssm":["Rodrigues, Charles"],"creator_ssim":["Rodrigues, Charles"],"creator_persname_ssim":["Rodrigues, Charles"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creators_ssim":["Rodrigues, Charles","George Mason University. Libraries. Special Collections Research Center"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Phil Rodrigues, brother of Charles Rodrigues, October 21, 2010."],"access_subjects_ssim":["Theater -- New York (State) -- New York","Theater -- United States","Performing arts","Musical Theater","Theater","Theater programs","Musical Theater -- New York (State) -- New York"],"access_subjects_ssm":["Theater -- New York (State) -- New York","Theater -- United States","Performing arts","Musical Theater","Theater","Theater programs","Musical Theater -- New York (State) -- New York"],"has_online_content_ssim":["false"],"extent_ssm":["18 Linear Feet 38 boxes"],"extent_tesim":["18 Linear Feet 38 boxes"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eArranged into three series, two of which are based on location, and a final series for film programs, music scores, ticket stubs, and advertisements.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Outside New York City, 1879-2009 (boxes 1-5, 37)\u003c/item\u003e\n      \u003citem\u003eSeries 2: New York City, 1885-2009 (boxes 6-34, 37-38)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Film Programs, music scores, and ticket stubs, 1909-2009 (boxes 34-38)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into three series, two of which are based on location, and a final series for film programs, music scores, ticket stubs, and advertisements.","Series\n      Series 1: Outside New York City, 1879-2009 (boxes 1-5, 37)\n      Series 2: New York City, 1885-2009 (boxes 6-34, 37-38)\n      Series 3: Film Programs, music scores, and ticket stubs, 1909-2009 (boxes 34-38)"],"bioghist_html_tesm":["\u003cp\u003eCharles Rodrigues was an avid theatre enthusiast who amassed a large collection of playbills and programs by attending shows, purchasing programs at yard sales and thrift stores, trading with other collectors, and inheriting collections from friends. Rodrigues began collecting playbills at performances he attended on and off Broadway in 1961. He would also attend performances around the United States and abroad and collect playbills from these shows. One sizable addition came from Richard W. Rowan who also collected playbills from shows he attended. Many of these playbills date from World War I to the 1930s. The oldest part of the Rodrigues collection dates to the late 19th century and is from a movie theatre that used the playbills as cushioning between the older vaudeville stage and the newer movie theatre stage.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Charles Rodrigues was an avid theatre enthusiast who amassed a large collection of playbills and programs by attending shows, purchasing programs at yard sales and thrift stores, trading with other collectors, and inheriting collections from friends. Rodrigues began collecting playbills at performances he attended on and off Broadway in 1961. He would also attend performances around the United States and abroad and collect playbills from these shows. One sizable addition came from Richard W. Rowan who also collected playbills from shows he attended. Many of these playbills date from World War I to the 1930s. The oldest part of the Rodrigues collection dates to the late 19th century and is from a movie theatre that used the playbills as cushioning between the older vaudeville stage and the newer movie theatre stage."],"prefercite_html_tesm":["\u003cp\u003eCharles Rodrigues playbill collection, C0184, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Charles Rodrigues playbill collection, C0184, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Greta Kuriger in 2011. EAD markup completed by Greta Kuriger in 2011. Finding aid updated by Amanda Menjivar in April 2022.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Greta Kuriger in 2011. EAD markup completed by Greta Kuriger in 2011. Finding aid updated by Amanda Menjivar in April 2022."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds many other collections on theatre and the performing arts.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds many other collections on theatre and the performing arts."],"scopecontent_html_tesm":["\u003cp\u003eThe Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, as well as theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, but it also includes programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.\u003c/p\u003e","\u003cp\u003eThe collection consists of three series, two of which are based on geographic location, divided by date, and then arranged alphabetically by play title. Playbills from performances prior to 1934 are included at the beginning of each series in alphabetical order by play followed by playbills that date 1934 and onward. If the name of the play was not present the name of theatre is used instead. Series one consists of fourteen subseries each including playbills and programs from theatres outside of New York City. Subseries 1.1 to 1.14 consist of programs from Austria, Boston, California, Chicago, Connecticut, Florida, London, New York State, New Jersey, Ohio, Paris, Philadelphia, Toronto, and Washington D.C. respectively. Series two consists of programs from productions performed in New York City, on and off Broadway, and in Brooklyn. Plays are listed alphabetically within each series and often one play title represents more than one playbill. Many of the playbills have ticket stubs attached to the front cover or loose inside. Newspaper clippings relating to the play also accompany some of the programs. The final series includes programs from films, music scores, theatre advertisement mailings, and ticket stubs. Within this series music scores are listed first in alphabetical order followed by film programs and then mailings from theatres, newspaper and magazine clippings, pamphlets and advertisements, show announcements, and assorted ticket stubs. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, as well as theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, but it also includes programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.","The collection consists of three series, two of which are based on geographic location, divided by date, and then arranged alphabetically by play title. Playbills from performances prior to 1934 are included at the beginning of each series in alphabetical order by play followed by playbills that date 1934 and onward. If the name of the play was not present the name of theatre is used instead. Series one consists of fourteen subseries each including playbills and programs from theatres outside of New York City. Subseries 1.1 to 1.14 consist of programs from Austria, Boston, California, Chicago, Connecticut, Florida, London, New York State, New Jersey, Ohio, Paris, Philadelphia, Toronto, and Washington D.C. respectively. Series two consists of programs from productions performed in New York City, on and off Broadway, and in Brooklyn. Plays are listed alphabetically within each series and often one play title represents more than one playbill. Many of the playbills have ticket stubs attached to the front cover or loose inside. Newspaper clippings relating to the play also accompany some of the programs. The final series includes programs from films, music scores, theatre advertisement mailings, and ticket stubs. Within this series music scores are listed first in alphabetical order followed by film programs and then mailings from theatres, newspaper and magazine clippings, pamphlets and advertisements, show announcements, and assorted ticket stubs."],"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_d46ac9a9e4e3a7b9dc6e8e0b7d7a8d53\" label=\"Abstract\"\u003eThe Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, but it also includes programs from theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, as well as, programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, but it also includes programs from theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, as well as, programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Rodrigues, Charles"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Rodrigues, Charles"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":563,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:14.575Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_113","ead_ssi":"vifgm_repositories_2_resources_113","_root_":"vifgm_repositories_2_resources_113","_nest_parent_":"vifgm_repositories_2_resources_113","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_113.xml","title_filing_ssi":"Charles Rodrigues playbill collection","title_ssm":["Charles Rodrigues playbill collection"],"title_tesim":["Charles Rodrigues playbill collection"],"unitdate_ssm":["1879-2009"],"unitdate_inclusive_ssm":["1879-2009"],"normalized_date_ssm":["1879/2009"],"normalized_title_ssm":["Charles Rodrigues playbill collection, 1879/2009"],"text":["Charles Rodrigues playbill collection, 1879/2009","C0184","/repositories/2/resources/113","Broadway (New York, N.Y.)","Theater -- New York (State) -- New York","Theater -- United States","Performing arts","Musical Theater","Theater","Theater programs","Musical Theater -- New York (State) -- New York","There are no access restrictions.","Arranged into three series, two of which are based on location, and a final series for film programs, music scores, ticket stubs, and advertisements.","Series\n      Series 1: Outside New York City, 1879-2009 (boxes 1-5, 37)\n      Series 2: New York City, 1885-2009 (boxes 6-34, 37-38)\n      Series 3: Film Programs, music scores, and ticket stubs, 1909-2009 (boxes 34-38)","Charles Rodrigues was an avid theatre enthusiast who amassed a large collection of playbills and programs by attending shows, purchasing programs at yard sales and thrift stores, trading with other collectors, and inheriting collections from friends. Rodrigues began collecting playbills at performances he attended on and off Broadway in 1961. He would also attend performances around the United States and abroad and collect playbills from these shows. One sizable addition came from Richard W. Rowan who also collected playbills from shows he attended. Many of these playbills date from World War I to the 1930s. The oldest part of the Rodrigues collection dates to the late 19th century and is from a movie theatre that used the playbills as cushioning between the older vaudeville stage and the newer movie theatre stage.","Processed by Greta Kuriger in 2011. EAD markup completed by Greta Kuriger in 2011. Finding aid updated by Amanda Menjivar in April 2022.","The Special Collections Research Center holds many other collections on theatre and the performing arts.","The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, as well as theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, but it also includes programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.","The collection consists of three series, two of which are based on geographic location, divided by date, and then arranged alphabetically by play title. Playbills from performances prior to 1934 are included at the beginning of each series in alphabetical order by play followed by playbills that date 1934 and onward. If the name of the play was not present the name of theatre is used instead. Series one consists of fourteen subseries each including playbills and programs from theatres outside of New York City. Subseries 1.1 to 1.14 consist of programs from Austria, Boston, California, Chicago, Connecticut, Florida, London, New York State, New Jersey, Ohio, Paris, Philadelphia, Toronto, and Washington D.C. respectively. Series two consists of programs from productions performed in New York City, on and off Broadway, and in Brooklyn. Plays are listed alphabetically within each series and often one play title represents more than one playbill. Many of the playbills have ticket stubs attached to the front cover or loose inside. Newspaper clippings relating to the play also accompany some of the programs. The final series includes programs from films, music scores, theatre advertisement mailings, and ticket stubs. Within this series music scores are listed first in alphabetical order followed by film programs and then mailings from theatres, newspaper and magazine clippings, pamphlets and advertisements, show announcements, and assorted ticket stubs.","The copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)","The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, but it also includes programs from theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, as well as, programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.","George Mason University. Libraries. 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(See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Phil Rodrigues, brother of Charles Rodrigues, October 21, 2010."],"access_subjects_ssim":["Theater -- New York (State) -- New York","Theater -- United States","Performing arts","Musical Theater","Theater","Theater programs","Musical Theater -- New York (State) -- New York"],"access_subjects_ssm":["Theater -- New York (State) -- New York","Theater -- United States","Performing arts","Musical Theater","Theater","Theater programs","Musical Theater -- New York (State) -- New York"],"has_online_content_ssim":["false"],"extent_ssm":["18 Linear Feet 38 boxes"],"extent_tesim":["18 Linear Feet 38 boxes"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eArranged into three series, two of which are based on location, and a final series for film programs, music scores, ticket stubs, and advertisements.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Outside New York City, 1879-2009 (boxes 1-5, 37)\u003c/item\u003e\n      \u003citem\u003eSeries 2: New York City, 1885-2009 (boxes 6-34, 37-38)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Film Programs, music scores, and ticket stubs, 1909-2009 (boxes 34-38)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into three series, two of which are based on location, and a final series for film programs, music scores, ticket stubs, and advertisements.","Series\n      Series 1: Outside New York City, 1879-2009 (boxes 1-5, 37)\n      Series 2: New York City, 1885-2009 (boxes 6-34, 37-38)\n      Series 3: Film Programs, music scores, and ticket stubs, 1909-2009 (boxes 34-38)"],"bioghist_html_tesm":["\u003cp\u003eCharles Rodrigues was an avid theatre enthusiast who amassed a large collection of playbills and programs by attending shows, purchasing programs at yard sales and thrift stores, trading with other collectors, and inheriting collections from friends. Rodrigues began collecting playbills at performances he attended on and off Broadway in 1961. He would also attend performances around the United States and abroad and collect playbills from these shows. One sizable addition came from Richard W. Rowan who also collected playbills from shows he attended. Many of these playbills date from World War I to the 1930s. The oldest part of the Rodrigues collection dates to the late 19th century and is from a movie theatre that used the playbills as cushioning between the older vaudeville stage and the newer movie theatre stage.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Charles Rodrigues was an avid theatre enthusiast who amassed a large collection of playbills and programs by attending shows, purchasing programs at yard sales and thrift stores, trading with other collectors, and inheriting collections from friends. Rodrigues began collecting playbills at performances he attended on and off Broadway in 1961. He would also attend performances around the United States and abroad and collect playbills from these shows. One sizable addition came from Richard W. Rowan who also collected playbills from shows he attended. Many of these playbills date from World War I to the 1930s. The oldest part of the Rodrigues collection dates to the late 19th century and is from a movie theatre that used the playbills as cushioning between the older vaudeville stage and the newer movie theatre stage."],"prefercite_html_tesm":["\u003cp\u003eCharles Rodrigues playbill collection, C0184, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Charles Rodrigues playbill collection, C0184, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Greta Kuriger in 2011. EAD markup completed by Greta Kuriger in 2011. Finding aid updated by Amanda Menjivar in April 2022.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Greta Kuriger in 2011. EAD markup completed by Greta Kuriger in 2011. Finding aid updated by Amanda Menjivar in April 2022."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds many other collections on theatre and the performing arts.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds many other collections on theatre and the performing arts."],"scopecontent_html_tesm":["\u003cp\u003eThe Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, as well as theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, but it also includes programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.\u003c/p\u003e","\u003cp\u003eThe collection consists of three series, two of which are based on geographic location, divided by date, and then arranged alphabetically by play title. Playbills from performances prior to 1934 are included at the beginning of each series in alphabetical order by play followed by playbills that date 1934 and onward. If the name of the play was not present the name of theatre is used instead. Series one consists of fourteen subseries each including playbills and programs from theatres outside of New York City. Subseries 1.1 to 1.14 consist of programs from Austria, Boston, California, Chicago, Connecticut, Florida, London, New York State, New Jersey, Ohio, Paris, Philadelphia, Toronto, and Washington D.C. respectively. Series two consists of programs from productions performed in New York City, on and off Broadway, and in Brooklyn. Plays are listed alphabetically within each series and often one play title represents more than one playbill. Many of the playbills have ticket stubs attached to the front cover or loose inside. Newspaper clippings relating to the play also accompany some of the programs. The final series includes programs from films, music scores, theatre advertisement mailings, and ticket stubs. Within this series music scores are listed first in alphabetical order followed by film programs and then mailings from theatres, newspaper and magazine clippings, pamphlets and advertisements, show announcements, and assorted ticket stubs. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, as well as theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, but it also includes programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.","The collection consists of three series, two of which are based on geographic location, divided by date, and then arranged alphabetically by play title. Playbills from performances prior to 1934 are included at the beginning of each series in alphabetical order by play followed by playbills that date 1934 and onward. If the name of the play was not present the name of theatre is used instead. Series one consists of fourteen subseries each including playbills and programs from theatres outside of New York City. Subseries 1.1 to 1.14 consist of programs from Austria, Boston, California, Chicago, Connecticut, Florida, London, New York State, New Jersey, Ohio, Paris, Philadelphia, Toronto, and Washington D.C. respectively. Series two consists of programs from productions performed in New York City, on and off Broadway, and in Brooklyn. Plays are listed alphabetically within each series and often one play title represents more than one playbill. Many of the playbills have ticket stubs attached to the front cover or loose inside. Newspaper clippings relating to the play also accompany some of the programs. The final series includes programs from films, music scores, theatre advertisement mailings, and ticket stubs. Within this series music scores are listed first in alphabetical order followed by film programs and then mailings from theatres, newspaper and magazine clippings, pamphlets and advertisements, show announcements, and assorted ticket stubs."],"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_d46ac9a9e4e3a7b9dc6e8e0b7d7a8d53\" label=\"Abstract\"\u003eThe Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, but it also includes programs from theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, as well as, programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, but it also includes programs from theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, as well as, programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Rodrigues, Charles"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Rodrigues, Charles"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":563,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:14.575Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_113"}},{"id":"vifgm_repositories_2_resources_577","type":"collection","attributes":{"title":"College of Visual and Performing Arts records, 1930/2015","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_577#creator","type":"document_value","attributes":{"value":"George Mason University. College of Visual \u0026 Performing Arts","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_577#abstract_or_scope","type":"document_value","attributes":{"value":"The College of Visual and Performing Arts records contains information about several departments within the college itself along with many posters, playbills and class materials ranging from the 1960s-2015. As the College of Visual and Performing Arts was established in 1990, much of the collection is made up from materials from the departments pre-dating the time when the College brought them all together.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_577#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_577","ead_ssi":"vifgm_repositories_2_resources_577","_root_":"vifgm_repositories_2_resources_577","_nest_parent_":"vifgm_repositories_2_resources_577","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_577.xml","title_ssm":["College of Visual and Performing Arts records"],"title_tesim":["College of Visual and Performing Arts records"],"unitdate_ssm":["1930-2015"],"unitdate_inclusive_ssm":["1930-2015"],"normalized_date_ssm":["1930/2015"],"normalized_title_ssm":["College of Visual and Performing Arts records, 1930/2015"],"text":["College of Visual and Performing Arts records, 1930/2015","R0011","/repositories/2/resources/577","Photography -- Negatives","Dance","George Mason University. Center for Study of Public Choice","Music","Theater","Playwriting","Color photography","Slides (Photography)","Theater programs","Performing arts","Negatives","Performing arts posters","Photographs","Playscript","Theatrical posters","Color photographs","Concert posters","There are no access restrictions.","This collection is arranged by subject first and then chronologically and alphabetically respectively.","The collection was arranged as such in order to maintain cohesion between the series and subjects within it in a meaningful way in terms of dates. When dates were unreliable, alphabetical organization was used to add order to the materials. A note: The boxes in each series are not always chronological or next to one another in the stacks.","Series 1: International Arts Festival, 1980s-2005 (Boxes 1-2)\n      Series 2: Theater Department/GMU Players, 1962-2012 (Boxes 3-10, 36, 44)\n      Series 3: Arts Center Associates (ACA), 1980-1998 (Boxes 11-12)\n      Series 4: \"In The Wings\", 1990s-1999 (Box 13)\n      Series 5: Center for the Arts/Institute of the Arts, 1987-2013 (Boxes 14-15, 45-46, 60-62)\n      Series 6: Department of Music, 1968-2001 (Boxes 16-27)\n      Series 7: Photographs/Negatives/Slides, 1949-2003 (Boxes 28-33, 59, 63, 64)\n      Series 8: Jane Pearson Papers, 1987-2004 (Boxes 34-35)\n      Series 9: Playbills/Programs, 1966-2005 (Boxes 37-42)\n      Series 10: CD-Rs/AV, 1970s-2015 (Boxes 47, 49-52)\n      Series 11: Outside the GMU Theater, 1930s-1991 (Boxes 43, 48, 53-58)","George Mason University College of Visual and Performing Arts, \"Our History\", College of Visual and Performing Arts, Accessed December 17, 2018,","Beginning with the creation of the Institute of the Arts (IOA) alongside the opening of the Center for the Arts in 1990, the Arts at George Mason University has been growing, eventually creating the College of Visual and Performing Arts at George Mason University. It has since been thriving and expanding with many departments including Music, Art and Visual Technology, Dance and Theater. The College of Visual and Performing Arts was established on July 1, 2001 with William F. Reeder serving as the founding dean for 14 years. He was later followed by Rick Davis starting in 2015. As of 2018 there 1,400 active majors within the college with three of the newer programs being Arts Management, Film and Video Studies and Computer Game Design. The college, along with the Center for the Arts and Hylton Performing Arts Center serves more than 300,000 patrons anually as of 2018.","Processing completed by Amy Blake in December 2018. EAD markup completed by Amy Blake in December 2018.","The Special Collections Research Center holds several other collections related to George Mason Performing Arts such as the , the , and the","The materials contained in this colection are varied and include: posters, playbills, programs, faculty paperwork and meeting minutes, colour and black and white photographs, negatives, slides, Life Magazines, VHS tapes, CD-Rs, cassette tapes, flyers, tickets, memorandum, invitations to Mathy House, scripts and playbooks.","Series 1: International Arts Festival, dated 1980s-2005, is comprised of paperwork, flyers and memorandum related to George Mason University's International Arts Festival.","Series 2: Theater Department/GMU Players, dated 1962-2011, is comprised of paperwork, flyers, memoranda, playbills and posters related to George Mason University's Theater Department and the GMU/Mason Players.","Series 3: Arts Center Associates (ACA) dated 1980-1999, is comprised of paperwork and flyers related to George Mason University's Arts Center Associates (ACA).","Series 4: \"In The Wings,\" dated 1990s, is issues of the George Mason University magazine, \"In The Wings\".","Series 5: Center for the Arts/Institute of the Arts, dated 1987-2013, is compromised of paperwork, flyers, memorandum, playbills and degree information related to George Mason University's Center for the Arts.","Series 6: Department of Music, dated 1978-2001, is compromised of paperwork, flyers, degree information, faculty paperwork, playbills and memoranda related to George Mason Univeristy's music department and the faculty of the department.","Series 7: Photographs/Negatives/Slides, dated 1949-2003, is comprised of photographs, negatives and slides related to the College of Visual and Performing Arts at George Mason University. There are three damaged photographs within these materials and both color and black and white materials are included.","Series 8: Jane Pearson Papers, dated 1987-2004, is comprised mostly of invitations to Mathy House from the President and his wife and were donated by Jane Pearson.","Series 9: Playbills/Programs, dated 1982-2012, is comprised of playbills and programs from various George Mason University plays, musicals, music productions and events.","Series 10: CD-Rs/AV, dated 1970s-2015, is comprised of AV materials and CD-Rs, the AV materials are VHS tapes and Cassettes containing performances and snippets of recordings.","Series 11: Outside the GMU Theater, dated 1930s-1980, the materials contained in this series are unrelated to George Mason University and are comprised of Life Magazines and programs from old performances from the 1930s and 1940s as well as scrapbooks filled with clippings from programs and playbills of the same era.","Notable people in this collection are Jane Pearson, Colonel Arnald Gabriel, and Doc. Severinsen. John F. Kennedy and Carol Burnett are featured in some of the material unrelated to George Mason Theater.","It is important to note that this collection contains materials that are from George Mason Music, Dance and Theater departments that pre-date the creation of the College of Visual and Performing Arts. CVPA was established in 1990, and several pieces from George Mason date from the 1960s-1980s.","This collection also contains several pieces that are unrelated to the College of Visual and Performing Arts and George Mason University. These pieces are Life Magazines from the 1960s when President John F. Kennedy was assassinated, as well as many programs, some in scrapbooks, dating from the 1930s to the 1950s, that feature famous celebrities and works such as \"Hello, Dolly!\" and Carol Burnett.","There are no restrictions on personal use. Permission to publish material from the College of Visual and Performing Arts records must be obtained from the Special Collections Research Center, George Mason University Libraries.","The College of Visual and Performing Arts records contains information about several departments within the college itself along with many posters, playbills and class materials ranging from the 1960s-2015. As the College of Visual and Performing Arts was established in 1990, much of the collection is made up from materials from the departments pre-dating the time when the College brought them all together.","George Mason University. Libraries. Special Collections Research Center","George Mason University. College of Visual \u0026 Performing Arts","English"],"collection_title_tesim":["College of Visual and Performing Arts records, 1930/2015"],"collection_ssim":["College of Visual and Performing Arts records, 1930/2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["R0011","/repositories/2/resources/577"],"unitid_tesim":["R0011","/repositories/2/resources/577"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. College of Visual \u0026 Performing Arts"],"creator_ssim":["George Mason University. College of Visual \u0026 Performing Arts"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. College of Visual \u0026 Performing Arts"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. College of Visual \u0026 Performing Arts"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the College of Visual and Performing Arts records must be obtained from the Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Donated by the College of Visual and Performing Arts between 1984 and 2016."],"access_subjects_ssim":["Photography -- Negatives","Dance","George Mason University. Center for Study of Public Choice","Music","Theater","Playwriting","Color photography","Slides (Photography)","Theater programs","Performing arts","Negatives","Performing arts posters","Photographs","Playscript","Theatrical posters","Color photographs","Concert posters"],"access_subjects_ssm":["Photography -- Negatives","Dance","George Mason University. Center for Study of Public Choice","Music","Theater","Playwriting","Color photography","Slides (Photography)","Theater programs","Performing arts","Negatives","Performing arts posters","Photographs","Playscript","Theatrical posters","Color photographs","Concert posters"],"has_online_content_ssim":["false"],"extent_ssm":["36.0 linear feet (64 boxes)"],"extent_tesim":["36.0 linear feet (64 boxes)"],"genreform_ssim":["Negatives","Performing arts posters","Photographs","Playscript","Theatrical posters","Color photographs","Concert posters"],"date_range_isim":[1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged by subject first and then chronologically and alphabetically respectively.\u003c/p\u003e","\u003cp\u003e The collection was arranged as such in order to maintain cohesion between the series and subjects within it in a meaningful way in terms of dates. When dates were unreliable, alphabetical organization was used to add order to the materials. A note: The boxes in each series are not always chronological or next to one another in the stacks.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003citem\u003eSeries 1: International Arts Festival, 1980s-2005 (Boxes 1-2)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Theater Department/GMU Players, 1962-2012 (Boxes 3-10, 36, 44)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Arts Center Associates (ACA), 1980-1998 (Boxes 11-12)\u003c/item\u003e\n      \u003citem\u003eSeries 4: \"In The Wings\", 1990s-1999 (Box 13)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Center for the Arts/Institute of the Arts, 1987-2013 (Boxes 14-15, 45-46, 60-62)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Department of Music, 1968-2001 (Boxes 16-27)\u003c/item\u003e\n      \u003citem\u003eSeries 7: Photographs/Negatives/Slides, 1949-2003 (Boxes 28-33, 59, 63, 64)\u003c/item\u003e\n      \u003citem\u003eSeries 8: Jane Pearson Papers, 1987-2004 (Boxes 34-35)\u003c/item\u003e\n      \u003citem\u003eSeries 9: Playbills/Programs, 1966-2005 (Boxes 37-42)\u003c/item\u003e\n      \u003citem\u003eSeries 10: CD-Rs/AV, 1970s-2015 (Boxes 47, 49-52)\u003c/item\u003e\n      \u003citem\u003eSeries 11: Outside the GMU Theater, 1930s-1991 (Boxes 43, 48, 53-58)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged by subject first and then chronologically and alphabetically respectively.","The collection was arranged as such in order to maintain cohesion between the series and subjects within it in a meaningful way in terms of dates. When dates were unreliable, alphabetical organization was used to add order to the materials. A note: The boxes in each series are not always chronological or next to one another in the stacks.","Series 1: International Arts Festival, 1980s-2005 (Boxes 1-2)\n      Series 2: Theater Department/GMU Players, 1962-2012 (Boxes 3-10, 36, 44)\n      Series 3: Arts Center Associates (ACA), 1980-1998 (Boxes 11-12)\n      Series 4: \"In The Wings\", 1990s-1999 (Box 13)\n      Series 5: Center for the Arts/Institute of the Arts, 1987-2013 (Boxes 14-15, 45-46, 60-62)\n      Series 6: Department of Music, 1968-2001 (Boxes 16-27)\n      Series 7: Photographs/Negatives/Slides, 1949-2003 (Boxes 28-33, 59, 63, 64)\n      Series 8: Jane Pearson Papers, 1987-2004 (Boxes 34-35)\n      Series 9: Playbills/Programs, 1966-2005 (Boxes 37-42)\n      Series 10: CD-Rs/AV, 1970s-2015 (Boxes 47, 49-52)\n      Series 11: Outside the GMU Theater, 1930s-1991 (Boxes 43, 48, 53-58)"],"bibliography_html_tesm":["\u003cbibref\u003eGeorge Mason University College of Visual and Performing Arts, \"Our History\", College of Visual and Performing Arts, Accessed December 17, 2018, \u003cextptr href=\"https://cvpa.gmu.edu/about/our-history\" title=\"https://cvpa.gmu.edu/about/our-history.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["George Mason University College of Visual and Performing Arts, \"Our History\", College of Visual and Performing Arts, Accessed December 17, 2018,"],"bioghist_html_tesm":["\u003cp\u003eBeginning with the creation of the Institute of the Arts (IOA) alongside the opening of the Center for the Arts in 1990, the Arts at George Mason University has been growing, eventually creating the College of Visual and Performing Arts at George Mason University. It has since been thriving and expanding with many departments including Music, Art and Visual Technology, Dance and Theater. The College of Visual and Performing Arts was established on July 1, 2001 with William F. Reeder serving as the founding dean for 14 years. He was later followed by Rick Davis starting in 2015. As of 2018 there 1,400 active majors within the college with three of the newer programs being Arts Management, Film and Video Studies and Computer Game Design. The college, along with the Center for the Arts and Hylton Performing Arts Center serves more than 300,000 patrons anually as of 2018.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical/Historical note"],"bioghist_tesim":["Beginning with the creation of the Institute of the Arts (IOA) alongside the opening of the Center for the Arts in 1990, the Arts at George Mason University has been growing, eventually creating the College of Visual and Performing Arts at George Mason University. It has since been thriving and expanding with many departments including Music, Art and Visual Technology, Dance and Theater. The College of Visual and Performing Arts was established on July 1, 2001 with William F. Reeder serving as the founding dean for 14 years. He was later followed by Rick Davis starting in 2015. As of 2018 there 1,400 active majors within the college with three of the newer programs being Arts Management, Film and Video Studies and Computer Game Design. The college, along with the Center for the Arts and Hylton Performing Arts Center serves more than 300,000 patrons anually as of 2018."],"prefercite_html_tesm":["\u003cp\u003eCollege of Visual and Performing Arts records, R0011, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["College of Visual and Performing Arts records, R0011, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Amy Blake in December 2018. EAD markup completed by Amy Blake in December 2018.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Amy Blake in December 2018. EAD markup completed by Amy Blake in December 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds several other collections related to George Mason Performing Arts such as the \u003cextptr href=\"https://scrc.gmu.edu/finding_aids/ftp.html\" title=\"Federal Theater Project\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://scrc.gmu.edu/finding_aids/arenastage.html\" title=\"Arena Stage records\" show=\"new\"\u003e\u003c/extptr\u003e, and the \u003cextptr href=\"https://scrc.gmu.edu/finding_aids/tfa.html\" title=\"Theater of the First Amendment\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds several other collections related to George Mason Performing Arts such as the , the , and the"],"scopecontent_html_tesm":["\u003cp\u003eThe materials contained in this colection are varied and include: posters, playbills, programs, faculty paperwork and meeting minutes, colour and black and white photographs, negatives, slides, Life Magazines, VHS tapes, CD-Rs, cassette tapes, flyers, tickets, memorandum, invitations to Mathy House, scripts and playbooks.\u003c/p\u003e","\u003cp\u003e Series 1: International Arts Festival, dated 1980s-2005, is comprised of paperwork, flyers and memorandum related to George Mason University's International Arts Festival. \u003c/p\u003e","\u003cp\u003e Series 2: Theater Department/GMU Players, dated 1962-2011, is comprised of paperwork, flyers, memoranda, playbills and posters related to George Mason University's Theater Department and the GMU/Mason Players.\u003c/p\u003e","\u003cp\u003e Series 3: Arts Center Associates (ACA) dated 1980-1999, is comprised of paperwork and flyers related to George Mason University's Arts Center Associates (ACA).\u003c/p\u003e","\u003cp\u003e Series 4: \"In The Wings,\" dated 1990s, is issues of the George Mason University magazine, \"In The Wings\". \u003c/p\u003e","\u003cp\u003e Series 5: Center for the Arts/Institute of the Arts, dated 1987-2013, is compromised of paperwork, flyers, memorandum, playbills and degree information related to George Mason University's Center for the Arts.\u003c/p\u003e","\u003cp\u003e Series 6: Department of Music, dated 1978-2001, is compromised of paperwork, flyers, degree information, faculty paperwork, playbills and memoranda related to George Mason Univeristy's music department and the faculty of the department.\u003c/p\u003e","\u003cp\u003e Series 7: Photographs/Negatives/Slides, dated 1949-2003, is comprised of photographs, negatives and slides related to the College of Visual and Performing Arts at George Mason University. There are three damaged photographs within these materials and both color and black and white materials are included.\u003c/p\u003e","\u003cp\u003e Series 8: Jane Pearson Papers, dated 1987-2004, is comprised mostly of invitations to Mathy House from the President and his wife and were donated by Jane Pearson.\u003c/p\u003e","\u003cp\u003e Series 9: Playbills/Programs, dated 1982-2012, is comprised of playbills and programs from various George Mason University plays, musicals, music productions and events.\u003c/p\u003e","\u003cp\u003e Series 10: CD-Rs/AV, dated 1970s-2015, is comprised of AV materials and CD-Rs, the AV materials are VHS tapes and Cassettes containing performances and snippets of recordings.\u003c/p\u003e","\u003cp\u003e Series 11: Outside the GMU Theater, dated 1930s-1980, the materials contained in this series are unrelated to George Mason University and are comprised of Life Magazines and programs from old performances from the 1930s and 1940s as well as scrapbooks filled with clippings from programs and playbills of the same era.\u003c/p\u003e","\u003cp\u003e Notable people in this collection are Jane Pearson, Colonel Arnald Gabriel, and Doc. Severinsen. John F. Kennedy and Carol Burnett are featured in some of the material unrelated to George Mason Theater.\u003c/p\u003e","\u003cp\u003e It is important to note that this collection contains materials that are from George Mason Music, Dance and Theater departments that pre-date the creation of the College of Visual and Performing Arts. CVPA was established in 1990, and several pieces from George Mason date from the 1960s-1980s.\u003c/p\u003e","\u003cp\u003e This collection also contains several pieces that are unrelated to the College of Visual and Performing Arts and George Mason University. These pieces are Life Magazines from the 1960s when President John F. Kennedy was assassinated, as well as many programs, some in scrapbooks, dating from the 1930s to the 1950s, that feature famous celebrities and works such as \"Hello, Dolly!\" and Carol Burnett.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["The materials contained in this colection are varied and include: posters, playbills, programs, faculty paperwork and meeting minutes, colour and black and white photographs, negatives, slides, Life Magazines, VHS tapes, CD-Rs, cassette tapes, flyers, tickets, memorandum, invitations to Mathy House, scripts and playbooks.","Series 1: International Arts Festival, dated 1980s-2005, is comprised of paperwork, flyers and memorandum related to George Mason University's International Arts Festival.","Series 2: Theater Department/GMU Players, dated 1962-2011, is comprised of paperwork, flyers, memoranda, playbills and posters related to George Mason University's Theater Department and the GMU/Mason Players.","Series 3: Arts Center Associates (ACA) dated 1980-1999, is comprised of paperwork and flyers related to George Mason University's Arts Center Associates (ACA).","Series 4: \"In The Wings,\" dated 1990s, is issues of the George Mason University magazine, \"In The Wings\".","Series 5: Center for the Arts/Institute of the Arts, dated 1987-2013, is compromised of paperwork, flyers, memorandum, playbills and degree information related to George Mason University's Center for the Arts.","Series 6: Department of Music, dated 1978-2001, is compromised of paperwork, flyers, degree information, faculty paperwork, playbills and memoranda related to George Mason Univeristy's music department and the faculty of the department.","Series 7: Photographs/Negatives/Slides, dated 1949-2003, is comprised of photographs, negatives and slides related to the College of Visual and Performing Arts at George Mason University. There are three damaged photographs within these materials and both color and black and white materials are included.","Series 8: Jane Pearson Papers, dated 1987-2004, is comprised mostly of invitations to Mathy House from the President and his wife and were donated by Jane Pearson.","Series 9: Playbills/Programs, dated 1982-2012, is comprised of playbills and programs from various George Mason University plays, musicals, music productions and events.","Series 10: CD-Rs/AV, dated 1970s-2015, is comprised of AV materials and CD-Rs, the AV materials are VHS tapes and Cassettes containing performances and snippets of recordings.","Series 11: Outside the GMU Theater, dated 1930s-1980, the materials contained in this series are unrelated to George Mason University and are comprised of Life Magazines and programs from old performances from the 1930s and 1940s as well as scrapbooks filled with clippings from programs and playbills of the same era.","Notable people in this collection are Jane Pearson, Colonel Arnald Gabriel, and Doc. Severinsen. John F. Kennedy and Carol Burnett are featured in some of the material unrelated to George Mason Theater.","It is important to note that this collection contains materials that are from George Mason Music, Dance and Theater departments that pre-date the creation of the College of Visual and Performing Arts. CVPA was established in 1990, and several pieces from George Mason date from the 1960s-1980s.","This collection also contains several pieces that are unrelated to the College of Visual and Performing Arts and George Mason University. These pieces are Life Magazines from the 1960s when President John F. Kennedy was assassinated, as well as many programs, some in scrapbooks, dating from the 1930s to the 1950s, that feature famous celebrities and works such as \"Hello, Dolly!\" and Carol Burnett."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the College of Visual and Performing Arts records must be obtained from the Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the College of Visual and Performing Arts records must be obtained from the Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe College of Visual and Performing Arts records contains information about several departments within the college itself along with many posters, playbills and class materials ranging from the 1960s-2015. As the College of Visual and Performing Arts was established in 1990, much of the collection is made up from materials from the departments pre-dating the time when the College brought them all together.\u003c/abstract\u003e\n    "],"abstract_tesim":["The College of Visual and Performing Arts records contains information about several departments within the college itself along with many posters, playbills and class materials ranging from the 1960s-2015. As the College of Visual and Performing Arts was established in 1990, much of the collection is made up from materials from the departments pre-dating the time when the College brought them all together."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. College of Visual \u0026 Performing Arts"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. College of Visual \u0026 Performing Arts"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1471,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-09-17T13:57:31.047Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_577","ead_ssi":"vifgm_repositories_2_resources_577","_root_":"vifgm_repositories_2_resources_577","_nest_parent_":"vifgm_repositories_2_resources_577","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_577.xml","title_ssm":["College of Visual and Performing Arts records"],"title_tesim":["College of Visual and Performing Arts records"],"unitdate_ssm":["1930-2015"],"unitdate_inclusive_ssm":["1930-2015"],"normalized_date_ssm":["1930/2015"],"normalized_title_ssm":["College of Visual and Performing Arts records, 1930/2015"],"text":["College of Visual and Performing Arts records, 1930/2015","R0011","/repositories/2/resources/577","Photography -- Negatives","Dance","George Mason University. Center for Study of Public Choice","Music","Theater","Playwriting","Color photography","Slides (Photography)","Theater programs","Performing arts","Negatives","Performing arts posters","Photographs","Playscript","Theatrical posters","Color photographs","Concert posters","There are no access restrictions.","This collection is arranged by subject first and then chronologically and alphabetically respectively.","The collection was arranged as such in order to maintain cohesion between the series and subjects within it in a meaningful way in terms of dates. When dates were unreliable, alphabetical organization was used to add order to the materials. A note: The boxes in each series are not always chronological or next to one another in the stacks.","Series 1: International Arts Festival, 1980s-2005 (Boxes 1-2)\n      Series 2: Theater Department/GMU Players, 1962-2012 (Boxes 3-10, 36, 44)\n      Series 3: Arts Center Associates (ACA), 1980-1998 (Boxes 11-12)\n      Series 4: \"In The Wings\", 1990s-1999 (Box 13)\n      Series 5: Center for the Arts/Institute of the Arts, 1987-2013 (Boxes 14-15, 45-46, 60-62)\n      Series 6: Department of Music, 1968-2001 (Boxes 16-27)\n      Series 7: Photographs/Negatives/Slides, 1949-2003 (Boxes 28-33, 59, 63, 64)\n      Series 8: Jane Pearson Papers, 1987-2004 (Boxes 34-35)\n      Series 9: Playbills/Programs, 1966-2005 (Boxes 37-42)\n      Series 10: CD-Rs/AV, 1970s-2015 (Boxes 47, 49-52)\n      Series 11: Outside the GMU Theater, 1930s-1991 (Boxes 43, 48, 53-58)","George Mason University College of Visual and Performing Arts, \"Our History\", College of Visual and Performing Arts, Accessed December 17, 2018,","Beginning with the creation of the Institute of the Arts (IOA) alongside the opening of the Center for the Arts in 1990, the Arts at George Mason University has been growing, eventually creating the College of Visual and Performing Arts at George Mason University. It has since been thriving and expanding with many departments including Music, Art and Visual Technology, Dance and Theater. The College of Visual and Performing Arts was established on July 1, 2001 with William F. Reeder serving as the founding dean for 14 years. He was later followed by Rick Davis starting in 2015. As of 2018 there 1,400 active majors within the college with three of the newer programs being Arts Management, Film and Video Studies and Computer Game Design. The college, along with the Center for the Arts and Hylton Performing Arts Center serves more than 300,000 patrons anually as of 2018.","Processing completed by Amy Blake in December 2018. EAD markup completed by Amy Blake in December 2018.","The Special Collections Research Center holds several other collections related to George Mason Performing Arts such as the , the , and the","The materials contained in this colection are varied and include: posters, playbills, programs, faculty paperwork and meeting minutes, colour and black and white photographs, negatives, slides, Life Magazines, VHS tapes, CD-Rs, cassette tapes, flyers, tickets, memorandum, invitations to Mathy House, scripts and playbooks.","Series 1: International Arts Festival, dated 1980s-2005, is comprised of paperwork, flyers and memorandum related to George Mason University's International Arts Festival.","Series 2: Theater Department/GMU Players, dated 1962-2011, is comprised of paperwork, flyers, memoranda, playbills and posters related to George Mason University's Theater Department and the GMU/Mason Players.","Series 3: Arts Center Associates (ACA) dated 1980-1999, is comprised of paperwork and flyers related to George Mason University's Arts Center Associates (ACA).","Series 4: \"In The Wings,\" dated 1990s, is issues of the George Mason University magazine, \"In The Wings\".","Series 5: Center for the Arts/Institute of the Arts, dated 1987-2013, is compromised of paperwork, flyers, memorandum, playbills and degree information related to George Mason University's Center for the Arts.","Series 6: Department of Music, dated 1978-2001, is compromised of paperwork, flyers, degree information, faculty paperwork, playbills and memoranda related to George Mason Univeristy's music department and the faculty of the department.","Series 7: Photographs/Negatives/Slides, dated 1949-2003, is comprised of photographs, negatives and slides related to the College of Visual and Performing Arts at George Mason University. There are three damaged photographs within these materials and both color and black and white materials are included.","Series 8: Jane Pearson Papers, dated 1987-2004, is comprised mostly of invitations to Mathy House from the President and his wife and were donated by Jane Pearson.","Series 9: Playbills/Programs, dated 1982-2012, is comprised of playbills and programs from various George Mason University plays, musicals, music productions and events.","Series 10: CD-Rs/AV, dated 1970s-2015, is comprised of AV materials and CD-Rs, the AV materials are VHS tapes and Cassettes containing performances and snippets of recordings.","Series 11: Outside the GMU Theater, dated 1930s-1980, the materials contained in this series are unrelated to George Mason University and are comprised of Life Magazines and programs from old performances from the 1930s and 1940s as well as scrapbooks filled with clippings from programs and playbills of the same era.","Notable people in this collection are Jane Pearson, Colonel Arnald Gabriel, and Doc. Severinsen. John F. Kennedy and Carol Burnett are featured in some of the material unrelated to George Mason Theater.","It is important to note that this collection contains materials that are from George Mason Music, Dance and Theater departments that pre-date the creation of the College of Visual and Performing Arts. CVPA was established in 1990, and several pieces from George Mason date from the 1960s-1980s.","This collection also contains several pieces that are unrelated to the College of Visual and Performing Arts and George Mason University. These pieces are Life Magazines from the 1960s when President John F. Kennedy was assassinated, as well as many programs, some in scrapbooks, dating from the 1930s to the 1950s, that feature famous celebrities and works such as \"Hello, Dolly!\" and Carol Burnett.","There are no restrictions on personal use. Permission to publish material from the College of Visual and Performing Arts records must be obtained from the Special Collections Research Center, George Mason University Libraries.","The College of Visual and Performing Arts records contains information about several departments within the college itself along with many posters, playbills and class materials ranging from the 1960s-2015. As the College of Visual and Performing Arts was established in 1990, much of the collection is made up from materials from the departments pre-dating the time when the College brought them all together.","George Mason University. Libraries. Special Collections Research Center","George Mason University. College of Visual \u0026 Performing Arts","English"],"collection_title_tesim":["College of Visual and Performing Arts records, 1930/2015"],"collection_ssim":["College of Visual and Performing Arts records, 1930/2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["R0011","/repositories/2/resources/577"],"unitid_tesim":["R0011","/repositories/2/resources/577"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. College of Visual \u0026 Performing Arts"],"creator_ssim":["George Mason University. College of Visual \u0026 Performing Arts"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. College of Visual \u0026 Performing Arts"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. College of Visual \u0026 Performing Arts"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the College of Visual and Performing Arts records must be obtained from the Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Donated by the College of Visual and Performing Arts between 1984 and 2016."],"access_subjects_ssim":["Photography -- Negatives","Dance","George Mason University. Center for Study of Public Choice","Music","Theater","Playwriting","Color photography","Slides (Photography)","Theater programs","Performing arts","Negatives","Performing arts posters","Photographs","Playscript","Theatrical posters","Color photographs","Concert posters"],"access_subjects_ssm":["Photography -- Negatives","Dance","George Mason University. Center for Study of Public Choice","Music","Theater","Playwriting","Color photography","Slides (Photography)","Theater programs","Performing arts","Negatives","Performing arts posters","Photographs","Playscript","Theatrical posters","Color photographs","Concert posters"],"has_online_content_ssim":["false"],"extent_ssm":["36.0 linear feet (64 boxes)"],"extent_tesim":["36.0 linear feet (64 boxes)"],"genreform_ssim":["Negatives","Performing arts posters","Photographs","Playscript","Theatrical posters","Color photographs","Concert posters"],"date_range_isim":[1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged by subject first and then chronologically and alphabetically respectively.\u003c/p\u003e","\u003cp\u003e The collection was arranged as such in order to maintain cohesion between the series and subjects within it in a meaningful way in terms of dates. When dates were unreliable, alphabetical organization was used to add order to the materials. A note: The boxes in each series are not always chronological or next to one another in the stacks.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003citem\u003eSeries 1: International Arts Festival, 1980s-2005 (Boxes 1-2)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Theater Department/GMU Players, 1962-2012 (Boxes 3-10, 36, 44)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Arts Center Associates (ACA), 1980-1998 (Boxes 11-12)\u003c/item\u003e\n      \u003citem\u003eSeries 4: \"In The Wings\", 1990s-1999 (Box 13)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Center for the Arts/Institute of the Arts, 1987-2013 (Boxes 14-15, 45-46, 60-62)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Department of Music, 1968-2001 (Boxes 16-27)\u003c/item\u003e\n      \u003citem\u003eSeries 7: Photographs/Negatives/Slides, 1949-2003 (Boxes 28-33, 59, 63, 64)\u003c/item\u003e\n      \u003citem\u003eSeries 8: Jane Pearson Papers, 1987-2004 (Boxes 34-35)\u003c/item\u003e\n      \u003citem\u003eSeries 9: Playbills/Programs, 1966-2005 (Boxes 37-42)\u003c/item\u003e\n      \u003citem\u003eSeries 10: CD-Rs/AV, 1970s-2015 (Boxes 47, 49-52)\u003c/item\u003e\n      \u003citem\u003eSeries 11: Outside the GMU Theater, 1930s-1991 (Boxes 43, 48, 53-58)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged by subject first and then chronologically and alphabetically respectively.","The collection was arranged as such in order to maintain cohesion between the series and subjects within it in a meaningful way in terms of dates. When dates were unreliable, alphabetical organization was used to add order to the materials. A note: The boxes in each series are not always chronological or next to one another in the stacks.","Series 1: International Arts Festival, 1980s-2005 (Boxes 1-2)\n      Series 2: Theater Department/GMU Players, 1962-2012 (Boxes 3-10, 36, 44)\n      Series 3: Arts Center Associates (ACA), 1980-1998 (Boxes 11-12)\n      Series 4: \"In The Wings\", 1990s-1999 (Box 13)\n      Series 5: Center for the Arts/Institute of the Arts, 1987-2013 (Boxes 14-15, 45-46, 60-62)\n      Series 6: Department of Music, 1968-2001 (Boxes 16-27)\n      Series 7: Photographs/Negatives/Slides, 1949-2003 (Boxes 28-33, 59, 63, 64)\n      Series 8: Jane Pearson Papers, 1987-2004 (Boxes 34-35)\n      Series 9: Playbills/Programs, 1966-2005 (Boxes 37-42)\n      Series 10: CD-Rs/AV, 1970s-2015 (Boxes 47, 49-52)\n      Series 11: Outside the GMU Theater, 1930s-1991 (Boxes 43, 48, 53-58)"],"bibliography_html_tesm":["\u003cbibref\u003eGeorge Mason University College of Visual and Performing Arts, \"Our History\", College of Visual and Performing Arts, Accessed December 17, 2018, \u003cextptr href=\"https://cvpa.gmu.edu/about/our-history\" title=\"https://cvpa.gmu.edu/about/our-history.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["George Mason University College of Visual and Performing Arts, \"Our History\", College of Visual and Performing Arts, Accessed December 17, 2018,"],"bioghist_html_tesm":["\u003cp\u003eBeginning with the creation of the Institute of the Arts (IOA) alongside the opening of the Center for the Arts in 1990, the Arts at George Mason University has been growing, eventually creating the College of Visual and Performing Arts at George Mason University. It has since been thriving and expanding with many departments including Music, Art and Visual Technology, Dance and Theater. The College of Visual and Performing Arts was established on July 1, 2001 with William F. Reeder serving as the founding dean for 14 years. He was later followed by Rick Davis starting in 2015. As of 2018 there 1,400 active majors within the college with three of the newer programs being Arts Management, Film and Video Studies and Computer Game Design. The college, along with the Center for the Arts and Hylton Performing Arts Center serves more than 300,000 patrons anually as of 2018.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical/Historical note"],"bioghist_tesim":["Beginning with the creation of the Institute of the Arts (IOA) alongside the opening of the Center for the Arts in 1990, the Arts at George Mason University has been growing, eventually creating the College of Visual and Performing Arts at George Mason University. It has since been thriving and expanding with many departments including Music, Art and Visual Technology, Dance and Theater. The College of Visual and Performing Arts was established on July 1, 2001 with William F. Reeder serving as the founding dean for 14 years. He was later followed by Rick Davis starting in 2015. As of 2018 there 1,400 active majors within the college with three of the newer programs being Arts Management, Film and Video Studies and Computer Game Design. The college, along with the Center for the Arts and Hylton Performing Arts Center serves more than 300,000 patrons anually as of 2018."],"prefercite_html_tesm":["\u003cp\u003eCollege of Visual and Performing Arts records, R0011, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["College of Visual and Performing Arts records, R0011, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Amy Blake in December 2018. EAD markup completed by Amy Blake in December 2018.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Amy Blake in December 2018. EAD markup completed by Amy Blake in December 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds several other collections related to George Mason Performing Arts such as the \u003cextptr href=\"https://scrc.gmu.edu/finding_aids/ftp.html\" title=\"Federal Theater Project\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://scrc.gmu.edu/finding_aids/arenastage.html\" title=\"Arena Stage records\" show=\"new\"\u003e\u003c/extptr\u003e, and the \u003cextptr href=\"https://scrc.gmu.edu/finding_aids/tfa.html\" title=\"Theater of the First Amendment\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds several other collections related to George Mason Performing Arts such as the , the , and the"],"scopecontent_html_tesm":["\u003cp\u003eThe materials contained in this colection are varied and include: posters, playbills, programs, faculty paperwork and meeting minutes, colour and black and white photographs, negatives, slides, Life Magazines, VHS tapes, CD-Rs, cassette tapes, flyers, tickets, memorandum, invitations to Mathy House, scripts and playbooks.\u003c/p\u003e","\u003cp\u003e Series 1: International Arts Festival, dated 1980s-2005, is comprised of paperwork, flyers and memorandum related to George Mason University's International Arts Festival. \u003c/p\u003e","\u003cp\u003e Series 2: Theater Department/GMU Players, dated 1962-2011, is comprised of paperwork, flyers, memoranda, playbills and posters related to George Mason University's Theater Department and the GMU/Mason Players.\u003c/p\u003e","\u003cp\u003e Series 3: Arts Center Associates (ACA) dated 1980-1999, is comprised of paperwork and flyers related to George Mason University's Arts Center Associates (ACA).\u003c/p\u003e","\u003cp\u003e Series 4: \"In The Wings,\" dated 1990s, is issues of the George Mason University magazine, \"In The Wings\". \u003c/p\u003e","\u003cp\u003e Series 5: Center for the Arts/Institute of the Arts, dated 1987-2013, is compromised of paperwork, flyers, memorandum, playbills and degree information related to George Mason University's Center for the Arts.\u003c/p\u003e","\u003cp\u003e Series 6: Department of Music, dated 1978-2001, is compromised of paperwork, flyers, degree information, faculty paperwork, playbills and memoranda related to George Mason Univeristy's music department and the faculty of the department.\u003c/p\u003e","\u003cp\u003e Series 7: Photographs/Negatives/Slides, dated 1949-2003, is comprised of photographs, negatives and slides related to the College of Visual and Performing Arts at George Mason University. There are three damaged photographs within these materials and both color and black and white materials are included.\u003c/p\u003e","\u003cp\u003e Series 8: Jane Pearson Papers, dated 1987-2004, is comprised mostly of invitations to Mathy House from the President and his wife and were donated by Jane Pearson.\u003c/p\u003e","\u003cp\u003e Series 9: Playbills/Programs, dated 1982-2012, is comprised of playbills and programs from various George Mason University plays, musicals, music productions and events.\u003c/p\u003e","\u003cp\u003e Series 10: CD-Rs/AV, dated 1970s-2015, is comprised of AV materials and CD-Rs, the AV materials are VHS tapes and Cassettes containing performances and snippets of recordings.\u003c/p\u003e","\u003cp\u003e Series 11: Outside the GMU Theater, dated 1930s-1980, the materials contained in this series are unrelated to George Mason University and are comprised of Life Magazines and programs from old performances from the 1930s and 1940s as well as scrapbooks filled with clippings from programs and playbills of the same era.\u003c/p\u003e","\u003cp\u003e Notable people in this collection are Jane Pearson, Colonel Arnald Gabriel, and Doc. Severinsen. John F. Kennedy and Carol Burnett are featured in some of the material unrelated to George Mason Theater.\u003c/p\u003e","\u003cp\u003e It is important to note that this collection contains materials that are from George Mason Music, Dance and Theater departments that pre-date the creation of the College of Visual and Performing Arts. CVPA was established in 1990, and several pieces from George Mason date from the 1960s-1980s.\u003c/p\u003e","\u003cp\u003e This collection also contains several pieces that are unrelated to the College of Visual and Performing Arts and George Mason University. These pieces are Life Magazines from the 1960s when President John F. Kennedy was assassinated, as well as many programs, some in scrapbooks, dating from the 1930s to the 1950s, that feature famous celebrities and works such as \"Hello, Dolly!\" and Carol Burnett.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["The materials contained in this colection are varied and include: posters, playbills, programs, faculty paperwork and meeting minutes, colour and black and white photographs, negatives, slides, Life Magazines, VHS tapes, CD-Rs, cassette tapes, flyers, tickets, memorandum, invitations to Mathy House, scripts and playbooks.","Series 1: International Arts Festival, dated 1980s-2005, is comprised of paperwork, flyers and memorandum related to George Mason University's International Arts Festival.","Series 2: Theater Department/GMU Players, dated 1962-2011, is comprised of paperwork, flyers, memoranda, playbills and posters related to George Mason University's Theater Department and the GMU/Mason Players.","Series 3: Arts Center Associates (ACA) dated 1980-1999, is comprised of paperwork and flyers related to George Mason University's Arts Center Associates (ACA).","Series 4: \"In The Wings,\" dated 1990s, is issues of the George Mason University magazine, \"In The Wings\".","Series 5: Center for the Arts/Institute of the Arts, dated 1987-2013, is compromised of paperwork, flyers, memorandum, playbills and degree information related to George Mason University's Center for the Arts.","Series 6: Department of Music, dated 1978-2001, is compromised of paperwork, flyers, degree information, faculty paperwork, playbills and memoranda related to George Mason Univeristy's music department and the faculty of the department.","Series 7: Photographs/Negatives/Slides, dated 1949-2003, is comprised of photographs, negatives and slides related to the College of Visual and Performing Arts at George Mason University. There are three damaged photographs within these materials and both color and black and white materials are included.","Series 8: Jane Pearson Papers, dated 1987-2004, is comprised mostly of invitations to Mathy House from the President and his wife and were donated by Jane Pearson.","Series 9: Playbills/Programs, dated 1982-2012, is comprised of playbills and programs from various George Mason University plays, musicals, music productions and events.","Series 10: CD-Rs/AV, dated 1970s-2015, is comprised of AV materials and CD-Rs, the AV materials are VHS tapes and Cassettes containing performances and snippets of recordings.","Series 11: Outside the GMU Theater, dated 1930s-1980, the materials contained in this series are unrelated to George Mason University and are comprised of Life Magazines and programs from old performances from the 1930s and 1940s as well as scrapbooks filled with clippings from programs and playbills of the same era.","Notable people in this collection are Jane Pearson, Colonel Arnald Gabriel, and Doc. Severinsen. John F. Kennedy and Carol Burnett are featured in some of the material unrelated to George Mason Theater.","It is important to note that this collection contains materials that are from George Mason Music, Dance and Theater departments that pre-date the creation of the College of Visual and Performing Arts. CVPA was established in 1990, and several pieces from George Mason date from the 1960s-1980s.","This collection also contains several pieces that are unrelated to the College of Visual and Performing Arts and George Mason University. These pieces are Life Magazines from the 1960s when President John F. Kennedy was assassinated, as well as many programs, some in scrapbooks, dating from the 1930s to the 1950s, that feature famous celebrities and works such as \"Hello, Dolly!\" and Carol Burnett."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the College of Visual and Performing Arts records must be obtained from the Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the College of Visual and Performing Arts records must be obtained from the Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe College of Visual and Performing Arts records contains information about several departments within the college itself along with many posters, playbills and class materials ranging from the 1960s-2015. As the College of Visual and Performing Arts was established in 1990, much of the collection is made up from materials from the departments pre-dating the time when the College brought them all together.\u003c/abstract\u003e\n    "],"abstract_tesim":["The College of Visual and Performing Arts records contains information about several departments within the college itself along with many posters, playbills and class materials ranging from the 1960s-2015. As the College of Visual and Performing Arts was established in 1990, much of the collection is made up from materials from the departments pre-dating the time when the College brought them all together."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. College of Visual \u0026 Performing Arts"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. College of Visual \u0026 Performing Arts"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1471,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-09-17T13:57:31.047Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_577"}},{"id":"vifgm_repositories_2_resources_336","type":"collection","attributes":{"title":"Eda Edson papers, 1930/1976","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_336#creator","type":"document_value","attributes":{"value":"Edson, Eda","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_336#abstract_or_scope","type":"document_value","attributes":{"value":"The Eda Edson papers contain personal papers collected by Edson from the 1930s to 1976. These papers include newspaper clippings highlighting her work in vaudeville in the early 1930s, correspondence regarding connections to the Federal Theatre Project, photographs of Edson and her orchestra, as well as scripts, production notes, and programs from the production Follow the Parade.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_336#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_336","ead_ssi":"vifgm_repositories_2_resources_336","_root_":"vifgm_repositories_2_resources_336","_nest_parent_":"vifgm_repositories_2_resources_336","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_336.xml","title_filing_ssi":"Eda Edson papers","title_ssm":["Eda Edson papers"],"title_tesim":["Eda Edson papers"],"unitdate_ssm":["1930-1976"],"unitdate_inclusive_ssm":["1930-1976"],"normalized_date_ssm":["1930/1976"],"normalized_title_ssm":["Eda Edson papers, 1930/1976"],"text":["Eda Edson papers, 1930/1976","C0218","/repositories/2/resources/336","New Deal, 1933-1939","Theater -- United States","Performing arts","Music -- 20th century","There are no access restrictions.","There are also additional documents from this and other GMU FTP collections in the .","This collection is arranged alphabetically by folder title.","The Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression.","The number of unemployed theatre workers in Los Angeles was second only to those in New York. Eda Edson worked on the Los Angeles Federal Theatre Project productions \"Follow the Parade\" and \"The Black Crook.\" In their 1939 publication, An Exposition Workshop: Readings in Modern Controversy, authors Claude M. Simpson, Stuart G. Brown, and Wallace Stegner state the following about the production of Follow the Parade, \"Under the direction of Eda Edson, formerly employed in vaudeville as a conductor, the variety unit wrote the sketches, lyrics, and music of Follow the Parade, a full evening's entertainment. Part topical revue, part circus, part dramatic show, it ran in Los Angeles for ten weeks before large audiences, and then was taken to the Texas Centennial in Dallas, where it played for the rest of the summer. In the vivid language of Daily Variety 'The Federal Theater's Follow the Parade is the biggest half-buck's worth of entertainment dished up locally in many years.'\"\nEdson later went on to more conducting work, and in 1953 she authored the short self help guide \"The world is your stage...learn how to be the leading lady: How acting in everyday life will reveal the vivid, lovely, effective you.\"","Processing and EAD markup completed in September 2012 by Greta Kuriger Suiter.","The Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers.","The Eda Edson Federal Theatre Project papers contain personal papers collected by Edson from the 1930s to 1976. These papers include newspaper clippings highlighting her work in vaudeville in the early 1930s, correspondence regarding connections to the Federal Theatre Project, photographs of Edson and her orchestra, as well as scripts, production notes, and programs from the production Follow the Parade.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Eda Edson papers contain personal papers collected by Edson from the 1930s to 1976. These papers include newspaper clippings highlighting her work in vaudeville in the early 1930s, correspondence regarding connections to the Federal Theatre Project, photographs of Edson and her orchestra, as well as scripts, production notes, and programs from the production Follow the Parade.","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Edson, Eda","English"],"collection_title_tesim":["Eda Edson papers, 1930/1976"],"collection_ssim":["Eda Edson papers, 1930/1976"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0218","/repositories/2/resources/336"],"unitid_tesim":["C0218","/repositories/2/resources/336"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Edson, Eda","Edson, Eda"],"creator_ssim":["Edson, Eda","Edson, Eda"],"creator_persname_ssim":["Edson, Eda"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"creators_ssim":["Edson, Eda","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Eda Edson on May 30, 1976."],"access_subjects_ssim":["New Deal, 1933-1939","Theater -- United States","Performing arts","Music -- 20th century"],"access_subjects_ssm":["New Deal, 1933-1939","Theater -- United States","Performing arts","Music -- 20th century"],"has_online_content_ssim":["false"],"extent_ssm":["0.5 Linear Feet 1 box"],"extent_tesim":["0.5 Linear Feet 1 box"],"date_range_isim":[1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eThere are also additional documents from this and other GMU FTP collections in the \u003cextptr href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["There are also additional documents from this and other GMU FTP collections in the ."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged alphabetically by folder title.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged alphabetically by folder title."],"bioghist_html_tesm":["\u003cp\u003eThe Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression.\u003c/p\u003e","\u003cp\u003eThe number of unemployed theatre workers in Los Angeles was second only to those in New York. Eda Edson worked on the Los Angeles Federal Theatre Project productions \"Follow the Parade\" and \"The Black Crook.\" In their 1939 publication, An Exposition Workshop: Readings in Modern Controversy, authors Claude M. Simpson, Stuart G. Brown, and Wallace Stegner state the following about the production of Follow the Parade, \"Under the direction of Eda Edson, formerly employed in vaudeville as a conductor, the variety unit wrote the sketches, lyrics, and music of Follow the Parade, a full evening's entertainment. Part topical revue, part circus, part dramatic show, it ran in Los Angeles for ten weeks before large audiences, and then was taken to the Texas Centennial in Dallas, where it played for the rest of the summer. In the vivid language of Daily Variety 'The Federal Theater's Follow the Parade is the biggest half-buck's worth of entertainment dished up locally in many years.'\"\nEdson later went on to more conducting work, and in 1953 she authored the short self help guide \"The world is your stage...learn how to be the leading lady: How acting in everyday life will reveal the vivid, lovely, effective you.\"\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["The Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression.","The number of unemployed theatre workers in Los Angeles was second only to those in New York. Eda Edson worked on the Los Angeles Federal Theatre Project productions \"Follow the Parade\" and \"The Black Crook.\" In their 1939 publication, An Exposition Workshop: Readings in Modern Controversy, authors Claude M. Simpson, Stuart G. Brown, and Wallace Stegner state the following about the production of Follow the Parade, \"Under the direction of Eda Edson, formerly employed in vaudeville as a conductor, the variety unit wrote the sketches, lyrics, and music of Follow the Parade, a full evening's entertainment. Part topical revue, part circus, part dramatic show, it ran in Los Angeles for ten weeks before large audiences, and then was taken to the Texas Centennial in Dallas, where it played for the rest of the summer. In the vivid language of Daily Variety 'The Federal Theater's Follow the Parade is the biggest half-buck's worth of entertainment dished up locally in many years.'\"\nEdson later went on to more conducting work, and in 1953 she authored the short self help guide \"The world is your stage...learn how to be the leading lady: How acting in everyday life will reveal the vivid, lovely, effective you.\""],"prefercite_html_tesm":["\u003cp\u003eEda Edson papers, C0218, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Eda Edson papers, C0218, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing and EAD markup completed in September 2012 by Greta Kuriger Suiter.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and EAD markup completed in September 2012 by Greta Kuriger Suiter."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers."],"scopecontent_html_tesm":["\u003cp\u003eThe Eda Edson Federal Theatre Project papers contain personal papers collected by Edson from the 1930s to 1976. These papers include newspaper clippings highlighting her work in vaudeville in the early 1930s, correspondence regarding connections to the Federal Theatre Project, photographs of Edson and her orchestra, as well as scripts, production notes, and programs from the production Follow the Parade.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Eda Edson Federal Theatre Project papers contain personal papers collected by Edson from the 1930s to 1976. These papers include newspaper clippings highlighting her work in vaudeville in the early 1930s, correspondence regarding connections to the Federal Theatre Project, photographs of Edson and her orchestra, as well as scripts, production notes, and programs from the production Follow the Parade."],"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_cd8b720d526b649a909d93db9dc2fb88\" label=\"Abstract\"\u003eThe Eda Edson papers contain personal papers collected by Edson from the 1930s to 1976. These papers include newspaper clippings highlighting her work in vaudeville in the early 1930s, correspondence regarding connections to the Federal Theatre Project, photographs of Edson and her orchestra, as well as scripts, production notes, and programs from the production Follow the Parade.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Eda Edson papers contain personal papers collected by Edson from the 1930s to 1976. These papers include newspaper clippings highlighting her work in vaudeville in the early 1930s, correspondence regarding connections to the Federal Theatre Project, photographs of Edson and her orchestra, as well as scripts, production notes, and programs from the production Follow the Parade."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_coll_ssim":["Federal Theatre Project (U.S.)","Edson, Eda","Edson, Eda"],"persname_ssim":["Edson, Eda"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Edson, Eda"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":16,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:37.194Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_336","ead_ssi":"vifgm_repositories_2_resources_336","_root_":"vifgm_repositories_2_resources_336","_nest_parent_":"vifgm_repositories_2_resources_336","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_336.xml","title_filing_ssi":"Eda Edson papers","title_ssm":["Eda Edson papers"],"title_tesim":["Eda Edson papers"],"unitdate_ssm":["1930-1976"],"unitdate_inclusive_ssm":["1930-1976"],"normalized_date_ssm":["1930/1976"],"normalized_title_ssm":["Eda Edson papers, 1930/1976"],"text":["Eda Edson papers, 1930/1976","C0218","/repositories/2/resources/336","New Deal, 1933-1939","Theater -- United States","Performing arts","Music -- 20th century","There are no access restrictions.","There are also additional documents from this and other GMU FTP collections in the .","This collection is arranged alphabetically by folder title.","The Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression.","The number of unemployed theatre workers in Los Angeles was second only to those in New York. Eda Edson worked on the Los Angeles Federal Theatre Project productions \"Follow the Parade\" and \"The Black Crook.\" In their 1939 publication, An Exposition Workshop: Readings in Modern Controversy, authors Claude M. Simpson, Stuart G. Brown, and Wallace Stegner state the following about the production of Follow the Parade, \"Under the direction of Eda Edson, formerly employed in vaudeville as a conductor, the variety unit wrote the sketches, lyrics, and music of Follow the Parade, a full evening's entertainment. Part topical revue, part circus, part dramatic show, it ran in Los Angeles for ten weeks before large audiences, and then was taken to the Texas Centennial in Dallas, where it played for the rest of the summer. In the vivid language of Daily Variety 'The Federal Theater's Follow the Parade is the biggest half-buck's worth of entertainment dished up locally in many years.'\"\nEdson later went on to more conducting work, and in 1953 she authored the short self help guide \"The world is your stage...learn how to be the leading lady: How acting in everyday life will reveal the vivid, lovely, effective you.\"","Processing and EAD markup completed in September 2012 by Greta Kuriger Suiter.","The Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers.","The Eda Edson Federal Theatre Project papers contain personal papers collected by Edson from the 1930s to 1976. These papers include newspaper clippings highlighting her work in vaudeville in the early 1930s, correspondence regarding connections to the Federal Theatre Project, photographs of Edson and her orchestra, as well as scripts, production notes, and programs from the production Follow the Parade.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Eda Edson papers contain personal papers collected by Edson from the 1930s to 1976. These papers include newspaper clippings highlighting her work in vaudeville in the early 1930s, correspondence regarding connections to the Federal Theatre Project, photographs of Edson and her orchestra, as well as scripts, production notes, and programs from the production Follow the Parade.","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Edson, Eda","English"],"collection_title_tesim":["Eda Edson papers, 1930/1976"],"collection_ssim":["Eda Edson papers, 1930/1976"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0218","/repositories/2/resources/336"],"unitid_tesim":["C0218","/repositories/2/resources/336"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Edson, Eda","Edson, Eda"],"creator_ssim":["Edson, Eda","Edson, Eda"],"creator_persname_ssim":["Edson, Eda"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"creators_ssim":["Edson, Eda","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Eda Edson on May 30, 1976."],"access_subjects_ssim":["New Deal, 1933-1939","Theater -- United States","Performing arts","Music -- 20th century"],"access_subjects_ssm":["New Deal, 1933-1939","Theater -- United States","Performing arts","Music -- 20th century"],"has_online_content_ssim":["false"],"extent_ssm":["0.5 Linear Feet 1 box"],"extent_tesim":["0.5 Linear Feet 1 box"],"date_range_isim":[1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eThere are also additional documents from this and other GMU FTP collections in the \u003cextptr href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["There are also additional documents from this and other GMU FTP collections in the ."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged alphabetically by folder title.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged alphabetically by folder title."],"bioghist_html_tesm":["\u003cp\u003eThe Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression.\u003c/p\u003e","\u003cp\u003eThe number of unemployed theatre workers in Los Angeles was second only to those in New York. Eda Edson worked on the Los Angeles Federal Theatre Project productions \"Follow the Parade\" and \"The Black Crook.\" In their 1939 publication, An Exposition Workshop: Readings in Modern Controversy, authors Claude M. Simpson, Stuart G. Brown, and Wallace Stegner state the following about the production of Follow the Parade, \"Under the direction of Eda Edson, formerly employed in vaudeville as a conductor, the variety unit wrote the sketches, lyrics, and music of Follow the Parade, a full evening's entertainment. Part topical revue, part circus, part dramatic show, it ran in Los Angeles for ten weeks before large audiences, and then was taken to the Texas Centennial in Dallas, where it played for the rest of the summer. In the vivid language of Daily Variety 'The Federal Theater's Follow the Parade is the biggest half-buck's worth of entertainment dished up locally in many years.'\"\nEdson later went on to more conducting work, and in 1953 she authored the short self help guide \"The world is your stage...learn how to be the leading lady: How acting in everyday life will reveal the vivid, lovely, effective you.\"\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["The Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression.","The number of unemployed theatre workers in Los Angeles was second only to those in New York. Eda Edson worked on the Los Angeles Federal Theatre Project productions \"Follow the Parade\" and \"The Black Crook.\" In their 1939 publication, An Exposition Workshop: Readings in Modern Controversy, authors Claude M. Simpson, Stuart G. Brown, and Wallace Stegner state the following about the production of Follow the Parade, \"Under the direction of Eda Edson, formerly employed in vaudeville as a conductor, the variety unit wrote the sketches, lyrics, and music of Follow the Parade, a full evening's entertainment. Part topical revue, part circus, part dramatic show, it ran in Los Angeles for ten weeks before large audiences, and then was taken to the Texas Centennial in Dallas, where it played for the rest of the summer. In the vivid language of Daily Variety 'The Federal Theater's Follow the Parade is the biggest half-buck's worth of entertainment dished up locally in many years.'\"\nEdson later went on to more conducting work, and in 1953 she authored the short self help guide \"The world is your stage...learn how to be the leading lady: How acting in everyday life will reveal the vivid, lovely, effective you.\""],"prefercite_html_tesm":["\u003cp\u003eEda Edson papers, C0218, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Eda Edson papers, C0218, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing and EAD markup completed in September 2012 by Greta Kuriger Suiter.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and EAD markup completed in September 2012 by Greta Kuriger Suiter."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers."],"scopecontent_html_tesm":["\u003cp\u003eThe Eda Edson Federal Theatre Project papers contain personal papers collected by Edson from the 1930s to 1976. These papers include newspaper clippings highlighting her work in vaudeville in the early 1930s, correspondence regarding connections to the Federal Theatre Project, photographs of Edson and her orchestra, as well as scripts, production notes, and programs from the production Follow the Parade.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Eda Edson Federal Theatre Project papers contain personal papers collected by Edson from the 1930s to 1976. These papers include newspaper clippings highlighting her work in vaudeville in the early 1930s, correspondence regarding connections to the Federal Theatre Project, photographs of Edson and her orchestra, as well as scripts, production notes, and programs from the production Follow the Parade."],"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_cd8b720d526b649a909d93db9dc2fb88\" label=\"Abstract\"\u003eThe Eda Edson papers contain personal papers collected by Edson from the 1930s to 1976. These papers include newspaper clippings highlighting her work in vaudeville in the early 1930s, correspondence regarding connections to the Federal Theatre Project, photographs of Edson and her orchestra, as well as scripts, production notes, and programs from the production Follow the Parade.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Eda Edson papers contain personal papers collected by Edson from the 1930s to 1976. These papers include newspaper clippings highlighting her work in vaudeville in the early 1930s, correspondence regarding connections to the Federal Theatre Project, photographs of Edson and her orchestra, as well as scripts, production notes, and programs from the production Follow the Parade."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_coll_ssim":["Federal Theatre Project (U.S.)","Edson, Eda","Edson, Eda"],"persname_ssim":["Edson, Eda"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Edson, Eda"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":16,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:37.194Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_336"}},{"id":"vifgm_repositories_2_resources_90","type":"collection","attributes":{"title":"E. P. Conkle papers, 1928/1994","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_90#creator","type":"document_value","attributes":{"value":"Conkle, E. P. (Ellsworth Prouty)","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_90#abstract_or_scope","type":"document_value","attributes":{"value":"Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973).","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_90#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_90","ead_ssi":"vifgm_repositories_2_resources_90","_root_":"vifgm_repositories_2_resources_90","_nest_parent_":"vifgm_repositories_2_resources_90","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_90.xml","title_filing_ssi":"E. P. Conkle papers","title_ssm":["E. P. Conkle papers"],"title_tesim":["E. P. Conkle papers"],"unitdate_ssm":["1928-1994"],"unitdate_inclusive_ssm":["1928-1994"],"normalized_date_ssm":["1928/1994"],"normalized_title_ssm":["E. P. Conkle papers, 1928/1994"],"text":["E. P. Conkle papers, 1928/1994","C0157","/repositories/2/resources/90","Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence","There are no access restrictions.","This collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.","Series\n      Series 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1)\n      Series 2: Book Manuscripts, undated (Box 1)\n      Series 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6)\n      Series 4: Poetry, 1939-1973 (Box 6)\n      Series 5: Short Stories, 1939-1973 (Box 7)\n      Series 6: Miscellaneous, 1931-1992 (Box 7)","Ellsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker.","In addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994.","Processed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009.","The Special Collections Research Center also holds the .","Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle.","Series 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright.","Series 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy.","Series 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\"","Series 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More.","Series 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\"","Series 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973).","George Mason University. Libraries. Special Collections Research Center","Conkle, E. P. (Ellsworth Prouty)","English"],"collection_title_tesim":["E. P. Conkle papers, 1928/1994"],"collection_ssim":["E. P. Conkle papers, 1928/1994"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0157","/repositories/2/resources/90"],"unitid_tesim":["C0157","/repositories/2/resources/90"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Conkle, E. P. (Ellsworth Prouty)"],"creator_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"creator_persname_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creators_ssim":["Conkle, E. P. (Ellsworth Prouty)","George Mason University. Libraries. Special Collections Research Center"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Virginia McNeal Conkle in 1994."],"access_subjects_ssim":["Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence"],"access_subjects_ssm":["Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence"],"has_online_content_ssim":["false"],"extent_ssm":["3.5 Linear Feet 7 boxes"],"extent_tesim":["3.5 Linear Feet 7 boxes"],"genreform_ssim":["Poetry","Manuscripts","Correspondence"],"date_range_isim":[1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Book Manuscripts, undated (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Poetry, 1939-1973 (Box 6)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Short Stories, 1939-1973 (Box 7)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Miscellaneous, 1931-1992 (Box 7)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.","Series\n      Series 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1)\n      Series 2: Book Manuscripts, undated (Box 1)\n      Series 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6)\n      Series 4: Poetry, 1939-1973 (Box 6)\n      Series 5: Short Stories, 1939-1973 (Box 7)\n      Series 6: Miscellaneous, 1931-1992 (Box 7)"],"bioghist_html_tesm":["\u003cp\u003eEllsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker. \u003c/p\u003e","\u003cp\u003eIn addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Ellsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker.","In addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994."],"prefercite_html_tesm":["\u003cp\u003eE. P. Conkle papers, C0157, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["E. P. Conkle papers, C0157, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Jay Bradford Fowler, Jr. papers\" href=\"https://aspace.gmu.edu/resources/c0046\"\u003e\u003c/extptr\u003e.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the ."],"scopecontent_html_tesm":["\u003cp\u003eIncluded in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle. \u003c/p\u003e","\u003cp\u003eSeries 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright. \u003c/p\u003e","\u003cp\u003eSeries 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy. \u003c/p\u003e","\u003cp\u003eSeries 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\" \u003c/p\u003e","\u003cp\u003eSeries 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More. \u003c/p\u003e","\u003cp\u003eSeries 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\" \u003c/p\u003e","\u003cp\u003eSeries 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle.","Series 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright.","Series 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy.","Series 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\"","Series 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More.","Series 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\"","Series 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_e4cc520ef016e4cf4b96e754985251fb\" label=\"Abstract\"\u003eIncluded in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973).\u003c/abstract\u003e\n    "],"abstract_tesim":["Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973)."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"names_coll_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Conkle, E. P. (Ellsworth Prouty)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":63,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:35:20.288Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_90","ead_ssi":"vifgm_repositories_2_resources_90","_root_":"vifgm_repositories_2_resources_90","_nest_parent_":"vifgm_repositories_2_resources_90","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_90.xml","title_filing_ssi":"E. P. Conkle papers","title_ssm":["E. P. Conkle papers"],"title_tesim":["E. P. Conkle papers"],"unitdate_ssm":["1928-1994"],"unitdate_inclusive_ssm":["1928-1994"],"normalized_date_ssm":["1928/1994"],"normalized_title_ssm":["E. P. Conkle papers, 1928/1994"],"text":["E. P. Conkle papers, 1928/1994","C0157","/repositories/2/resources/90","Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence","There are no access restrictions.","This collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.","Series\n      Series 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1)\n      Series 2: Book Manuscripts, undated (Box 1)\n      Series 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6)\n      Series 4: Poetry, 1939-1973 (Box 6)\n      Series 5: Short Stories, 1939-1973 (Box 7)\n      Series 6: Miscellaneous, 1931-1992 (Box 7)","Ellsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker.","In addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994.","Processed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009.","The Special Collections Research Center also holds the .","Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle.","Series 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright.","Series 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy.","Series 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\"","Series 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More.","Series 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\"","Series 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973).","George Mason University. Libraries. Special Collections Research Center","Conkle, E. P. (Ellsworth Prouty)","English"],"collection_title_tesim":["E. P. Conkle papers, 1928/1994"],"collection_ssim":["E. P. Conkle papers, 1928/1994"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0157","/repositories/2/resources/90"],"unitid_tesim":["C0157","/repositories/2/resources/90"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Conkle, E. P. (Ellsworth Prouty)"],"creator_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"creator_persname_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creators_ssim":["Conkle, E. P. (Ellsworth Prouty)","George Mason University. Libraries. Special Collections Research Center"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Virginia McNeal Conkle in 1994."],"access_subjects_ssim":["Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence"],"access_subjects_ssm":["Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence"],"has_online_content_ssim":["false"],"extent_ssm":["3.5 Linear Feet 7 boxes"],"extent_tesim":["3.5 Linear Feet 7 boxes"],"genreform_ssim":["Poetry","Manuscripts","Correspondence"],"date_range_isim":[1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Book Manuscripts, undated (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Poetry, 1939-1973 (Box 6)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Short Stories, 1939-1973 (Box 7)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Miscellaneous, 1931-1992 (Box 7)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.","Series\n      Series 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1)\n      Series 2: Book Manuscripts, undated (Box 1)\n      Series 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6)\n      Series 4: Poetry, 1939-1973 (Box 6)\n      Series 5: Short Stories, 1939-1973 (Box 7)\n      Series 6: Miscellaneous, 1931-1992 (Box 7)"],"bioghist_html_tesm":["\u003cp\u003eEllsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker. \u003c/p\u003e","\u003cp\u003eIn addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Ellsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker.","In addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994."],"prefercite_html_tesm":["\u003cp\u003eE. P. Conkle papers, C0157, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["E. P. Conkle papers, C0157, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Jay Bradford Fowler, Jr. papers\" href=\"https://aspace.gmu.edu/resources/c0046\"\u003e\u003c/extptr\u003e.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the ."],"scopecontent_html_tesm":["\u003cp\u003eIncluded in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle. \u003c/p\u003e","\u003cp\u003eSeries 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright. \u003c/p\u003e","\u003cp\u003eSeries 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy. \u003c/p\u003e","\u003cp\u003eSeries 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\" \u003c/p\u003e","\u003cp\u003eSeries 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More. \u003c/p\u003e","\u003cp\u003eSeries 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\" \u003c/p\u003e","\u003cp\u003eSeries 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle.","Series 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright.","Series 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy.","Series 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\"","Series 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More.","Series 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\"","Series 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_e4cc520ef016e4cf4b96e754985251fb\" label=\"Abstract\"\u003eIncluded in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973).\u003c/abstract\u003e\n    "],"abstract_tesim":["Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973)."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"names_coll_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Conkle, E. P. (Ellsworth Prouty)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":63,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:35:20.288Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_90"}},{"id":"vifgm_repositories_2_resources_331","type":"collection","attributes":{"title":"Federal Theatre Project collection, 1885/1986, bulk 1935/1939","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_331#creator","type":"document_value","attributes":{"value":"Federal Theatre Project (U.S.)","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_331#abstract_or_scope","type":"document_value","attributes":{"value":"The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_331#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_331","ead_ssi":"vifgm_repositories_2_resources_331","_root_":"vifgm_repositories_2_resources_331","_nest_parent_":"vifgm_repositories_2_resources_331","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_331.xml","title_filing_ssi":"Federal Theatre Project collection","title_ssm":["Federal Theatre Project collection"],"title_tesim":["Federal Theatre Project collection"],"unitdate_ssm":["circa 1885-1986","1935-1939"],"unitdate_inclusive_ssm":["circa 1885-1986"],"unitdate_bulk_ssim":["1935-1939"],"normalized_date_ssm":["1885/1986, bulk 1935/1939"],"normalized_title_ssm":["Federal Theatre Project collection, 1885/1986, bulk 1935/1939"],"text":["Federal Theatre Project collection, 1885/1986, bulk 1935/1939","C0002","/repositories/2/resources/331","Children's theater","New Deal, 1933-1939","Political plays, American","Radio and theater","Theater programs","Theater -- United States","Theater","Theater -- Production and direction","Performing arts","Playscript","There are no access restrictions.","Portions of this collection were digitized and are available to view .","Arranged into five series.","Series\n      Series 1: Administrative Records, 1935-1939 (Boxes 1-5, 361, 365-366, 368)\n      Series 2: Play Service and Research Records, 1935-1939 (Boxes 5-105)\n      Series 3: Library Records, 1885-1986 (Boxes 106-306)\n      Series 4: Production Records, 193-193 (Boxes 307-363, 366-367)\n      Series 5: Costumes, circa 1935-1939 (Boxes 369-371)","The Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression. Jobs were provided for many people, including actors, playwrights, scene designers, scene builders, seamstresses, lighting experts, ushers, box-office men, and stagehands.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirocheta.","The Federal Theatre was noted for employing Black Americans at a time when the Federal Government did not actively protect the rights of marginalized communities. This unit was called \"The Negro Unit,\" which at the time was a socially acceptable term used to describe people of African descent. All-Black theatre companies were an established industry before the Depression. As a result, the inclusion of this unit greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by Black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.","Processed by Special Collections Research Center staff. Reprocessed and EAD completed in 2012 by Greta Kuriger. Finding aid updated by Robert Vay in February 2023.","The Special Collections Research Center also holds the Federal Theatre Project photograph collection, the Federal Theatre Project personal papers, the Arnold Sungaard papers, and the Works Progress Administration oral histories collection.","The scripts are also available as a series in the .","Content Warning: Some materials contain racist language and slurs, including play titles.","The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.","Series 1 contains correspondence, memoranda, reports, inventories, reorganization plans, briefs, and speeches relating to the background organization, policies, services, and procedures of the Federal Theatre Project (FTP). Publications featuring articles on productions and organizational activities such as Federal Theatre are included in this series. Personnel file information such as biographical and employee tests are also included, as is research studies of the Civilian Conservation Corps (CCC), Federal Art Project (FAP) and the Historical Records Survey (HRS). This series is arranged alphabetically.","Series 2 is titled Play Service and Research Records and comprises two subseries. Subseries 2.1 contains research on drama, theatre technique, and theatre operations. This subseries is arranged alphabetically. Subseries 2.2 is titled Play Reader Reports and contains thousands of reports completed by the Federal Theatre for possible production or inclusion in play lists. This subseries is loosely arranged alphabetically by play title. Some duplicate material.","Series 3 is titled Library Records and consists of three subseries: Playscripts, Radio scripts, and Play lists. Subseries 3.1 includes hundreds of playscripts from over 900 productions performed or considered for production from around the United States. Most of the scripts are in English but some are in Yiddish or Italian. Some duplicate material. Arranged alphabetically by title. Subseries 3.2 includes radio scripts. Series of shows include topics such as art, children's shows, mysteries, health, music, history, and science. Arranged alphabetically by series and single broadcast title. Subseries 3.3 consists of play lists. These lists were created to aid play selection among the various units of the Federal Theatre. Lists are arranged alphabetically by subject categories such as children's plays, historical drama, holidays, minstrel shows, operettas, puppet plays, and vaudeville.","Series 4 is titled Production Records and consists of three subseries: Production Title File, Playbills and Programs, and Music File. Subseries 4.1 includes memoranda, production bulletins, publicity, and reports relating to play productions. Each production bulletin contains some or all of the following: synopsis, director's report, set and costume designs, lighting scheme, blueprints, photographs, program, reviews, royalty information, and a script. Arranged alphabetically by title. Subseries 4.2 includes programs, heralds, handbills, and other announcements of FTP productions on different sized and colored paper. The first section of this subseries is arranged alphabetically by state in which the performance was produced and then it is arranged alphabetically by play title. The second section is arranged alphabetically by play title. There may be duplicates between the two arrangements. Subseries 4.3 includes manuscript scores and parts for multiple Federal Theatre productions. Resource material used for reference purposes for play productions and Federal Theatre units and regions throughout the United States consists of mostly printed music and is found under \"miscellaneous\". Chiefly arranged alphabetically by title and then according to standard orchestral instrument order. Some duplicates.","Series 5 is titled Costumes and includes two coats and two pairs of pants created and used by the Federal Theatre Project.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).","The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.","R 1, C 8, S 6 - C 9, S 7\n\nR 2, C 1, S 1 - C 8, S 3\nOS R 7, C 1, S1\nOS R 3, C 5, S 5 - S 6\nMap Case 9.1, 11.1, 11.3-11.5, 21.2","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","English"],"collection_title_tesim":["Federal Theatre Project collection, 1885/1986, bulk 1935/1939"],"collection_ssim":["Federal Theatre Project collection, 1885/1986, bulk 1935/1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0002","/repositories/2/resources/331"],"unitid_tesim":["C0002","/repositories/2/resources/331"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Federal Theatre Project (U.S.)"],"creator_ssim":["Federal Theatre Project (U.S.)"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"acqinfo_ssim":["Donated by the Library of Congress."],"access_subjects_ssim":["Children's theater","New Deal, 1933-1939","Political plays, American","Radio and theater","Theater programs","Theater -- United States","Theater","Theater -- Production and direction","Performing arts","Playscript"],"access_subjects_ssm":["Children's theater","New Deal, 1933-1939","Political plays, American","Radio and theater","Theater programs","Theater -- United States","Theater","Theater -- Production and direction","Performing arts","Playscript"],"has_online_content_ssim":["false"],"extent_ssm":["185 Linear Feet 371 boxes"],"extent_tesim":["185 Linear Feet 371 boxes"],"genreform_ssim":["Playscript"],"date_range_isim":[1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003ePortions of this collection were digitized and are available to view \u003cextptr href=\"https://digitalcollections.gmu.edu/search?c=Federal+Theatre+Project+collection\u0026amp;cc=Federal+Theatre+Project+collection\u0026amp;ln=en\" title=\"here\" show=\"new\"\u003e\u003c/extptr\u003e.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Portions of this collection were digitized and are available to view ."],"arrangement_html_tesm":["\u003cp\u003eArranged into five series.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative Records, 1935-1939 (Boxes 1-5, 361, 365-366, 368)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Play Service and Research Records, 1935-1939 (Boxes 5-105)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Library Records, 1885-1986 (Boxes 106-306)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Production Records, 193-193 (Boxes 307-363, 366-367)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Costumes, circa 1935-1939 (Boxes 369-371)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into five series.","Series\n      Series 1: Administrative Records, 1935-1939 (Boxes 1-5, 361, 365-366, 368)\n      Series 2: Play Service and Research Records, 1935-1939 (Boxes 5-105)\n      Series 3: Library Records, 1885-1986 (Boxes 106-306)\n      Series 4: Production Records, 193-193 (Boxes 307-363, 366-367)\n      Series 5: Costumes, circa 1935-1939 (Boxes 369-371)"],"bioghist_html_tesm":["\u003cp\u003eThe Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression. Jobs were provided for many people, including actors, playwrights, scene designers, scene builders, seamstresses, lighting experts, ushers, box-office men, and stagehands.\u003c/p\u003e","\u003cp\u003eLike many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.\u003c/p\u003e","\u003cp\u003eBut it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"\u003c/p\u003e","\u003cp\u003eFlanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.\u003c/p\u003e","\u003cp\u003eThe productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirocheta.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre was noted for employing Black Americans at a time when the Federal Government did not actively protect the rights of marginalized communities. This unit was called \"The Negro Unit,\" which at the time was a socially acceptable term used to describe people of African descent. All-Black theatre companies were an established industry before the Depression. As a result, the inclusion of this unit greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by Black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression. Jobs were provided for many people, including actors, playwrights, scene designers, scene builders, seamstresses, lighting experts, ushers, box-office men, and stagehands.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirocheta.","The Federal Theatre was noted for employing Black Americans at a time when the Federal Government did not actively protect the rights of marginalized communities. This unit was called \"The Negro Unit,\" which at the time was a socially acceptable term used to describe people of African descent. All-Black theatre companies were an established industry before the Depression. As a result, the inclusion of this unit greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by Black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck."],"prefercite_html_tesm":["\u003cp\u003eFederal Theatre Project collection, C0002, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Federal Theatre Project collection, C0002, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. Reprocessed and EAD completed in 2012 by Greta Kuriger. Finding aid updated by Robert Vay in February 2023.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. Reprocessed and EAD completed in 2012 by Greta Kuriger. Finding aid updated by Robert Vay in February 2023."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the Federal Theatre Project photograph collection, the Federal Theatre Project personal papers, the Arnold Sungaard papers, and the Works Progress Administration oral histories collection.\u003c/p\u003e","\u003cp\u003eThe scripts are also available as a series in the \u003cextptr show=\"new\" title=\"FTP digital collection\" href=\"https://mars.gmu.edu/handle/1920/3478\"\u003e\u003c/extptr\u003e. \u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the Federal Theatre Project photograph collection, the Federal Theatre Project personal papers, the Arnold Sungaard papers, and the Works Progress Administration oral histories collection.","The scripts are also available as a series in the ."],"scopecontent_html_tesm":["\u003cp\u003eContent Warning: Some materials contain racist language and slurs, including play titles.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.\u003c/p\u003e","\u003cp\u003eSeries 1 contains correspondence, memoranda, reports, inventories, reorganization plans, briefs, and speeches relating to the background organization, policies, services, and procedures of the Federal Theatre Project (FTP). Publications featuring articles on productions and organizational activities such as Federal Theatre are included in this series. Personnel file information such as biographical and employee tests are also included, as is research studies of the Civilian Conservation Corps (CCC), Federal Art Project (FAP) and the Historical Records Survey (HRS). This series is arranged alphabetically.\u003c/p\u003e","\u003cp\u003eSeries 2 is titled Play Service and Research Records and comprises two subseries. Subseries 2.1 contains research on drama, theatre technique, and theatre operations. This subseries is arranged alphabetically. Subseries 2.2 is titled Play Reader Reports and contains thousands of reports completed by the Federal Theatre for possible production or inclusion in play lists. This subseries is loosely arranged alphabetically by play title. Some duplicate material.\u003c/p\u003e","\u003cp\u003eSeries 3 is titled Library Records and consists of three subseries: Playscripts, Radio scripts, and Play lists. Subseries 3.1 includes hundreds of playscripts from over 900 productions performed or considered for production from around the United States. Most of the scripts are in English but some are in Yiddish or Italian. Some duplicate material. Arranged alphabetically by title. Subseries 3.2 includes radio scripts. Series of shows include topics such as art, children's shows, mysteries, health, music, history, and science. Arranged alphabetically by series and single broadcast title. Subseries 3.3 consists of play lists. These lists were created to aid play selection among the various units of the Federal Theatre. Lists are arranged alphabetically by subject categories such as children's plays, historical drama, holidays, minstrel shows, operettas, puppet plays, and vaudeville.\u003c/p\u003e","\u003cp\u003eSeries 4 is titled Production Records and consists of three subseries: Production Title File, Playbills and Programs, and Music File. Subseries 4.1 includes memoranda, production bulletins, publicity, and reports relating to play productions. Each production bulletin contains some or all of the following: synopsis, director's report, set and costume designs, lighting scheme, blueprints, photographs, program, reviews, royalty information, and a script. Arranged alphabetically by title. Subseries 4.2 includes programs, heralds, handbills, and other announcements of FTP productions on different sized and colored paper. The first section of this subseries is arranged alphabetically by state in which the performance was produced and then it is arranged alphabetically by play title. The second section is arranged alphabetically by play title. There may be duplicates between the two arrangements. Subseries 4.3 includes manuscript scores and parts for multiple Federal Theatre productions. Resource material used for reference purposes for play productions and Federal Theatre units and regions throughout the United States consists of mostly printed music and is found under \"miscellaneous\". Chiefly arranged alphabetically by title and then according to standard orchestral instrument order. Some duplicates.\u003c/p\u003e","\u003cp\u003eSeries 5 is titled Costumes and includes two coats and two pairs of pants created and used by the Federal Theatre Project.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Content Warning: Some materials contain racist language and slurs, including play titles.","The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.","Series 1 contains correspondence, memoranda, reports, inventories, reorganization plans, briefs, and speeches relating to the background organization, policies, services, and procedures of the Federal Theatre Project (FTP). Publications featuring articles on productions and organizational activities such as Federal Theatre are included in this series. Personnel file information such as biographical and employee tests are also included, as is research studies of the Civilian Conservation Corps (CCC), Federal Art Project (FAP) and the Historical Records Survey (HRS). This series is arranged alphabetically.","Series 2 is titled Play Service and Research Records and comprises two subseries. Subseries 2.1 contains research on drama, theatre technique, and theatre operations. This subseries is arranged alphabetically. Subseries 2.2 is titled Play Reader Reports and contains thousands of reports completed by the Federal Theatre for possible production or inclusion in play lists. This subseries is loosely arranged alphabetically by play title. Some duplicate material.","Series 3 is titled Library Records and consists of three subseries: Playscripts, Radio scripts, and Play lists. Subseries 3.1 includes hundreds of playscripts from over 900 productions performed or considered for production from around the United States. Most of the scripts are in English but some are in Yiddish or Italian. Some duplicate material. Arranged alphabetically by title. Subseries 3.2 includes radio scripts. Series of shows include topics such as art, children's shows, mysteries, health, music, history, and science. Arranged alphabetically by series and single broadcast title. Subseries 3.3 consists of play lists. These lists were created to aid play selection among the various units of the Federal Theatre. Lists are arranged alphabetically by subject categories such as children's plays, historical drama, holidays, minstrel shows, operettas, puppet plays, and vaudeville.","Series 4 is titled Production Records and consists of three subseries: Production Title File, Playbills and Programs, and Music File. Subseries 4.1 includes memoranda, production bulletins, publicity, and reports relating to play productions. Each production bulletin contains some or all of the following: synopsis, director's report, set and costume designs, lighting scheme, blueprints, photographs, program, reviews, royalty information, and a script. Arranged alphabetically by title. Subseries 4.2 includes programs, heralds, handbills, and other announcements of FTP productions on different sized and colored paper. The first section of this subseries is arranged alphabetically by state in which the performance was produced and then it is arranged alphabetically by play title. The second section is arranged alphabetically by play title. There may be duplicates between the two arrangements. Subseries 4.3 includes manuscript scores and parts for multiple Federal Theatre productions. Resource material used for reference purposes for play productions and Federal Theatre units and regions throughout the United States consists of mostly printed music and is found under \"miscellaneous\". Chiefly arranged alphabetically by title and then according to standard orchestral instrument order. Some duplicates.","Series 5 is titled Costumes and includes two coats and two pairs of pants created and used by the Federal Theatre Project."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_0f4707cda45d410e12f09ae2a350510a\" label=\"Abstract\"\u003eThe Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_d65479dc2ffe44debbb5af464a6479da\"\u003e\nR 1, C 8, S 6 - C 9, S 7\n\nR 2, C 1, S 1 - C 8, S 3\nOS R 7, C 1, S1\nOS R 3, C 5, S 5 - S 6\nMap Case 9.1, 11.1, 11.3-11.5, 21.2\u003c/physloc\u003e\n    "],"physloc_tesim":["R 1, C 8, S 6 - C 9, S 7\n\nR 2, C 1, S 1 - C 8, S 3\nOS R 7, C 1, S1\nOS R 3, C 5, S 5 - S 6\nMap Case 9.1, 11.1, 11.3-11.5, 21.2"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3180,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:37.194Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_331","ead_ssi":"vifgm_repositories_2_resources_331","_root_":"vifgm_repositories_2_resources_331","_nest_parent_":"vifgm_repositories_2_resources_331","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_331.xml","title_filing_ssi":"Federal Theatre Project collection","title_ssm":["Federal Theatre Project collection"],"title_tesim":["Federal Theatre Project collection"],"unitdate_ssm":["circa 1885-1986","1935-1939"],"unitdate_inclusive_ssm":["circa 1885-1986"],"unitdate_bulk_ssim":["1935-1939"],"normalized_date_ssm":["1885/1986, bulk 1935/1939"],"normalized_title_ssm":["Federal Theatre Project collection, 1885/1986, bulk 1935/1939"],"text":["Federal Theatre Project collection, 1885/1986, bulk 1935/1939","C0002","/repositories/2/resources/331","Children's theater","New Deal, 1933-1939","Political plays, American","Radio and theater","Theater programs","Theater -- United States","Theater","Theater -- Production and direction","Performing arts","Playscript","There are no access restrictions.","Portions of this collection were digitized and are available to view .","Arranged into five series.","Series\n      Series 1: Administrative Records, 1935-1939 (Boxes 1-5, 361, 365-366, 368)\n      Series 2: Play Service and Research Records, 1935-1939 (Boxes 5-105)\n      Series 3: Library Records, 1885-1986 (Boxes 106-306)\n      Series 4: Production Records, 193-193 (Boxes 307-363, 366-367)\n      Series 5: Costumes, circa 1935-1939 (Boxes 369-371)","The Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression. Jobs were provided for many people, including actors, playwrights, scene designers, scene builders, seamstresses, lighting experts, ushers, box-office men, and stagehands.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirocheta.","The Federal Theatre was noted for employing Black Americans at a time when the Federal Government did not actively protect the rights of marginalized communities. This unit was called \"The Negro Unit,\" which at the time was a socially acceptable term used to describe people of African descent. All-Black theatre companies were an established industry before the Depression. As a result, the inclusion of this unit greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by Black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.","Processed by Special Collections Research Center staff. Reprocessed and EAD completed in 2012 by Greta Kuriger. Finding aid updated by Robert Vay in February 2023.","The Special Collections Research Center also holds the Federal Theatre Project photograph collection, the Federal Theatre Project personal papers, the Arnold Sungaard papers, and the Works Progress Administration oral histories collection.","The scripts are also available as a series in the .","Content Warning: Some materials contain racist language and slurs, including play titles.","The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.","Series 1 contains correspondence, memoranda, reports, inventories, reorganization plans, briefs, and speeches relating to the background organization, policies, services, and procedures of the Federal Theatre Project (FTP). Publications featuring articles on productions and organizational activities such as Federal Theatre are included in this series. Personnel file information such as biographical and employee tests are also included, as is research studies of the Civilian Conservation Corps (CCC), Federal Art Project (FAP) and the Historical Records Survey (HRS). This series is arranged alphabetically.","Series 2 is titled Play Service and Research Records and comprises two subseries. Subseries 2.1 contains research on drama, theatre technique, and theatre operations. This subseries is arranged alphabetically. Subseries 2.2 is titled Play Reader Reports and contains thousands of reports completed by the Federal Theatre for possible production or inclusion in play lists. This subseries is loosely arranged alphabetically by play title. Some duplicate material.","Series 3 is titled Library Records and consists of three subseries: Playscripts, Radio scripts, and Play lists. Subseries 3.1 includes hundreds of playscripts from over 900 productions performed or considered for production from around the United States. Most of the scripts are in English but some are in Yiddish or Italian. Some duplicate material. Arranged alphabetically by title. Subseries 3.2 includes radio scripts. Series of shows include topics such as art, children's shows, mysteries, health, music, history, and science. Arranged alphabetically by series and single broadcast title. Subseries 3.3 consists of play lists. These lists were created to aid play selection among the various units of the Federal Theatre. Lists are arranged alphabetically by subject categories such as children's plays, historical drama, holidays, minstrel shows, operettas, puppet plays, and vaudeville.","Series 4 is titled Production Records and consists of three subseries: Production Title File, Playbills and Programs, and Music File. Subseries 4.1 includes memoranda, production bulletins, publicity, and reports relating to play productions. Each production bulletin contains some or all of the following: synopsis, director's report, set and costume designs, lighting scheme, blueprints, photographs, program, reviews, royalty information, and a script. Arranged alphabetically by title. Subseries 4.2 includes programs, heralds, handbills, and other announcements of FTP productions on different sized and colored paper. The first section of this subseries is arranged alphabetically by state in which the performance was produced and then it is arranged alphabetically by play title. The second section is arranged alphabetically by play title. There may be duplicates between the two arrangements. Subseries 4.3 includes manuscript scores and parts for multiple Federal Theatre productions. Resource material used for reference purposes for play productions and Federal Theatre units and regions throughout the United States consists of mostly printed music and is found under \"miscellaneous\". Chiefly arranged alphabetically by title and then according to standard orchestral instrument order. Some duplicates.","Series 5 is titled Costumes and includes two coats and two pairs of pants created and used by the Federal Theatre Project.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).","The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.","R 1, C 8, S 6 - C 9, S 7\n\nR 2, C 1, S 1 - C 8, S 3\nOS R 7, C 1, S1\nOS R 3, C 5, S 5 - S 6\nMap Case 9.1, 11.1, 11.3-11.5, 21.2","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","English"],"collection_title_tesim":["Federal Theatre Project collection, 1885/1986, bulk 1935/1939"],"collection_ssim":["Federal Theatre Project collection, 1885/1986, bulk 1935/1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0002","/repositories/2/resources/331"],"unitid_tesim":["C0002","/repositories/2/resources/331"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Federal Theatre Project (U.S.)"],"creator_ssim":["Federal Theatre Project (U.S.)"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"acqinfo_ssim":["Donated by the Library of Congress."],"access_subjects_ssim":["Children's theater","New Deal, 1933-1939","Political plays, American","Radio and theater","Theater programs","Theater -- United States","Theater","Theater -- Production and direction","Performing arts","Playscript"],"access_subjects_ssm":["Children's theater","New Deal, 1933-1939","Political plays, American","Radio and theater","Theater programs","Theater -- United States","Theater","Theater -- Production and direction","Performing arts","Playscript"],"has_online_content_ssim":["false"],"extent_ssm":["185 Linear Feet 371 boxes"],"extent_tesim":["185 Linear Feet 371 boxes"],"genreform_ssim":["Playscript"],"date_range_isim":[1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003ePortions of this collection were digitized and are available to view \u003cextptr href=\"https://digitalcollections.gmu.edu/search?c=Federal+Theatre+Project+collection\u0026amp;cc=Federal+Theatre+Project+collection\u0026amp;ln=en\" title=\"here\" show=\"new\"\u003e\u003c/extptr\u003e.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Portions of this collection were digitized and are available to view ."],"arrangement_html_tesm":["\u003cp\u003eArranged into five series.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative Records, 1935-1939 (Boxes 1-5, 361, 365-366, 368)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Play Service and Research Records, 1935-1939 (Boxes 5-105)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Library Records, 1885-1986 (Boxes 106-306)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Production Records, 193-193 (Boxes 307-363, 366-367)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Costumes, circa 1935-1939 (Boxes 369-371)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into five series.","Series\n      Series 1: Administrative Records, 1935-1939 (Boxes 1-5, 361, 365-366, 368)\n      Series 2: Play Service and Research Records, 1935-1939 (Boxes 5-105)\n      Series 3: Library Records, 1885-1986 (Boxes 106-306)\n      Series 4: Production Records, 193-193 (Boxes 307-363, 366-367)\n      Series 5: Costumes, circa 1935-1939 (Boxes 369-371)"],"bioghist_html_tesm":["\u003cp\u003eThe Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression. Jobs were provided for many people, including actors, playwrights, scene designers, scene builders, seamstresses, lighting experts, ushers, box-office men, and stagehands.\u003c/p\u003e","\u003cp\u003eLike many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.\u003c/p\u003e","\u003cp\u003eBut it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"\u003c/p\u003e","\u003cp\u003eFlanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.\u003c/p\u003e","\u003cp\u003eThe productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirocheta.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre was noted for employing Black Americans at a time when the Federal Government did not actively protect the rights of marginalized communities. This unit was called \"The Negro Unit,\" which at the time was a socially acceptable term used to describe people of African descent. All-Black theatre companies were an established industry before the Depression. As a result, the inclusion of this unit greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by Black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression. Jobs were provided for many people, including actors, playwrights, scene designers, scene builders, seamstresses, lighting experts, ushers, box-office men, and stagehands.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirocheta.","The Federal Theatre was noted for employing Black Americans at a time when the Federal Government did not actively protect the rights of marginalized communities. This unit was called \"The Negro Unit,\" which at the time was a socially acceptable term used to describe people of African descent. All-Black theatre companies were an established industry before the Depression. As a result, the inclusion of this unit greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by Black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck."],"prefercite_html_tesm":["\u003cp\u003eFederal Theatre Project collection, C0002, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Federal Theatre Project collection, C0002, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. Reprocessed and EAD completed in 2012 by Greta Kuriger. Finding aid updated by Robert Vay in February 2023.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. Reprocessed and EAD completed in 2012 by Greta Kuriger. Finding aid updated by Robert Vay in February 2023."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the Federal Theatre Project photograph collection, the Federal Theatre Project personal papers, the Arnold Sungaard papers, and the Works Progress Administration oral histories collection.\u003c/p\u003e","\u003cp\u003eThe scripts are also available as a series in the \u003cextptr show=\"new\" title=\"FTP digital collection\" href=\"https://mars.gmu.edu/handle/1920/3478\"\u003e\u003c/extptr\u003e. \u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the Federal Theatre Project photograph collection, the Federal Theatre Project personal papers, the Arnold Sungaard papers, and the Works Progress Administration oral histories collection.","The scripts are also available as a series in the ."],"scopecontent_html_tesm":["\u003cp\u003eContent Warning: Some materials contain racist language and slurs, including play titles.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.\u003c/p\u003e","\u003cp\u003eSeries 1 contains correspondence, memoranda, reports, inventories, reorganization plans, briefs, and speeches relating to the background organization, policies, services, and procedures of the Federal Theatre Project (FTP). Publications featuring articles on productions and organizational activities such as Federal Theatre are included in this series. Personnel file information such as biographical and employee tests are also included, as is research studies of the Civilian Conservation Corps (CCC), Federal Art Project (FAP) and the Historical Records Survey (HRS). This series is arranged alphabetically.\u003c/p\u003e","\u003cp\u003eSeries 2 is titled Play Service and Research Records and comprises two subseries. Subseries 2.1 contains research on drama, theatre technique, and theatre operations. This subseries is arranged alphabetically. Subseries 2.2 is titled Play Reader Reports and contains thousands of reports completed by the Federal Theatre for possible production or inclusion in play lists. This subseries is loosely arranged alphabetically by play title. Some duplicate material.\u003c/p\u003e","\u003cp\u003eSeries 3 is titled Library Records and consists of three subseries: Playscripts, Radio scripts, and Play lists. Subseries 3.1 includes hundreds of playscripts from over 900 productions performed or considered for production from around the United States. Most of the scripts are in English but some are in Yiddish or Italian. Some duplicate material. Arranged alphabetically by title. Subseries 3.2 includes radio scripts. Series of shows include topics such as art, children's shows, mysteries, health, music, history, and science. Arranged alphabetically by series and single broadcast title. Subseries 3.3 consists of play lists. These lists were created to aid play selection among the various units of the Federal Theatre. Lists are arranged alphabetically by subject categories such as children's plays, historical drama, holidays, minstrel shows, operettas, puppet plays, and vaudeville.\u003c/p\u003e","\u003cp\u003eSeries 4 is titled Production Records and consists of three subseries: Production Title File, Playbills and Programs, and Music File. Subseries 4.1 includes memoranda, production bulletins, publicity, and reports relating to play productions. Each production bulletin contains some or all of the following: synopsis, director's report, set and costume designs, lighting scheme, blueprints, photographs, program, reviews, royalty information, and a script. Arranged alphabetically by title. Subseries 4.2 includes programs, heralds, handbills, and other announcements of FTP productions on different sized and colored paper. The first section of this subseries is arranged alphabetically by state in which the performance was produced and then it is arranged alphabetically by play title. The second section is arranged alphabetically by play title. There may be duplicates between the two arrangements. Subseries 4.3 includes manuscript scores and parts for multiple Federal Theatre productions. Resource material used for reference purposes for play productions and Federal Theatre units and regions throughout the United States consists of mostly printed music and is found under \"miscellaneous\". Chiefly arranged alphabetically by title and then according to standard orchestral instrument order. Some duplicates.\u003c/p\u003e","\u003cp\u003eSeries 5 is titled Costumes and includes two coats and two pairs of pants created and used by the Federal Theatre Project.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Content Warning: Some materials contain racist language and slurs, including play titles.","The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.","Series 1 contains correspondence, memoranda, reports, inventories, reorganization plans, briefs, and speeches relating to the background organization, policies, services, and procedures of the Federal Theatre Project (FTP). Publications featuring articles on productions and organizational activities such as Federal Theatre are included in this series. Personnel file information such as biographical and employee tests are also included, as is research studies of the Civilian Conservation Corps (CCC), Federal Art Project (FAP) and the Historical Records Survey (HRS). This series is arranged alphabetically.","Series 2 is titled Play Service and Research Records and comprises two subseries. Subseries 2.1 contains research on drama, theatre technique, and theatre operations. This subseries is arranged alphabetically. Subseries 2.2 is titled Play Reader Reports and contains thousands of reports completed by the Federal Theatre for possible production or inclusion in play lists. This subseries is loosely arranged alphabetically by play title. Some duplicate material.","Series 3 is titled Library Records and consists of three subseries: Playscripts, Radio scripts, and Play lists. Subseries 3.1 includes hundreds of playscripts from over 900 productions performed or considered for production from around the United States. Most of the scripts are in English but some are in Yiddish or Italian. Some duplicate material. Arranged alphabetically by title. Subseries 3.2 includes radio scripts. Series of shows include topics such as art, children's shows, mysteries, health, music, history, and science. Arranged alphabetically by series and single broadcast title. Subseries 3.3 consists of play lists. These lists were created to aid play selection among the various units of the Federal Theatre. Lists are arranged alphabetically by subject categories such as children's plays, historical drama, holidays, minstrel shows, operettas, puppet plays, and vaudeville.","Series 4 is titled Production Records and consists of three subseries: Production Title File, Playbills and Programs, and Music File. Subseries 4.1 includes memoranda, production bulletins, publicity, and reports relating to play productions. Each production bulletin contains some or all of the following: synopsis, director's report, set and costume designs, lighting scheme, blueprints, photographs, program, reviews, royalty information, and a script. Arranged alphabetically by title. Subseries 4.2 includes programs, heralds, handbills, and other announcements of FTP productions on different sized and colored paper. The first section of this subseries is arranged alphabetically by state in which the performance was produced and then it is arranged alphabetically by play title. The second section is arranged alphabetically by play title. There may be duplicates between the two arrangements. Subseries 4.3 includes manuscript scores and parts for multiple Federal Theatre productions. Resource material used for reference purposes for play productions and Federal Theatre units and regions throughout the United States consists of mostly printed music and is found under \"miscellaneous\". Chiefly arranged alphabetically by title and then according to standard orchestral instrument order. Some duplicates.","Series 5 is titled Costumes and includes two coats and two pairs of pants created and used by the Federal Theatre Project."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_0f4707cda45d410e12f09ae2a350510a\" label=\"Abstract\"\u003eThe Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Federal Theatre Project collection contains administrative records, play service and research records, library records, production records, and costumes created or collected by the Federal Theatre Project from 1935 to 1939. A few items in the collection were created before or after this time period but directly relate to the 1930s material. This collection consists of original materials with some duplicates and photocopies."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_d65479dc2ffe44debbb5af464a6479da\"\u003e\nR 1, C 8, S 6 - C 9, S 7\n\nR 2, C 1, S 1 - C 8, S 3\nOS R 7, C 1, S1\nOS R 3, C 5, S 5 - S 6\nMap Case 9.1, 11.1, 11.3-11.5, 21.2\u003c/physloc\u003e\n    "],"physloc_tesim":["R 1, C 8, S 6 - C 9, S 7\n\nR 2, C 1, S 1 - C 8, S 3\nOS R 7, C 1, S1\nOS R 3, C 5, S 5 - S 6\nMap Case 9.1, 11.1, 11.3-11.5, 21.2"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3180,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:37.194Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_331"}},{"id":"vifgm_repositories_2_resources_345","type":"collection","attributes":{"title":"Federal Theatre Project personal papers, 1926/1991, bulk 1936/1939","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_345#creator","type":"document_value","attributes":{"value":"Federal Theatre Project (U.S.)","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_345#abstract_or_scope","type":"document_value","attributes":{"value":"This collection brings together over 90 individual donations of Federal Theatre Project material. The material in this collection consists of employment papers, correspondence, scrapbooks, newspaper and magazine clippings, photographs, playscripts, programs, fliers, and production notebooks.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_345#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_345","ead_ssi":"vifgm_repositories_2_resources_345","_root_":"vifgm_repositories_2_resources_345","_nest_parent_":"vifgm_repositories_2_resources_345","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_345.xml","title_filing_ssi":"Federal Theatre Project personal papers","title_ssm":["Federal Theatre Project personal papers"],"title_tesim":["Federal Theatre Project personal papers"],"unitdate_ssm":["1926-1993","1936-1939"],"unitdate_inclusive_ssm":["1926-1993"],"unitdate_bulk_ssim":["1936-1939"],"normalized_date_ssm":["1926/1991, bulk 1936/1939"],"normalized_title_ssm":["Federal Theatre Project personal papers, 1926/1991, bulk 1936/1939"],"text":["Federal Theatre Project personal papers, 1926/1991, bulk 1936/1939","C0227","/repositories/2/resources/345","Children's theater","New Deal, 1933-1939","Performing arts","Puppet theater","Radio and theater","Theater -- United States","There are no access restrictions.","Arranged alphabetically by last name.","The Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre Project began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression.  Individuals worked with the Federal Theatre Project in a number of capacities, including stage managers, directors, actors and actresses, puppeteers, conductors, dancers, set and costume designers, composers, and authors.","Processing completed in October 2012 by Greta Kuriger Suiter. EAD markup completed in January 2013 by Greta Kuriger Suiter.","The Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers.","This collection brings together over 90 individual donations of Federal Theatre Project material.  The material in this collection consists of employment papers, correspondence, scrapbooks, newspaper and magazine clippings, photographs, playscripts, programs, fliers, and production notebooks from people who worked in a multitude of capacities with the Federal Theatre in locations around the United States.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection brings together over 90 individual donations of Federal Theatre Project material. The material in this collection consists of employment papers, correspondence, scrapbooks, newspaper and magazine clippings, photographs, playscripts, programs, fliers, and production notebooks.","R 46, C 3, S2 - S 5 \n\n\nR 46, C 5, S 1\n\n\nOS R 3, C 5, S 2\n\n\nMap Case 22.4","George Mason University. Libraries. 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The material in this collection consists of employment papers, correspondence, scrapbooks, newspaper and magazine clippings, photographs, playscripts, programs, fliers, and production notebooks from people who worked in a multitude of capacities with the Federal Theatre in locations around the United States."],"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_15828e7b77a3bc261a75a7c6ca039cac\" label=\"Summary\"\u003eThis collection brings together over 90 individual donations of Federal Theatre Project material. 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Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression.  Individuals worked with the Federal Theatre Project in a number of capacities, including stage managers, directors, actors and actresses, puppeteers, conductors, dancers, set and costume designers, composers, and authors."],"prefercite_html_tesm":["\u003cp\u003eFederal Theatre Project personal papers, C0227, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Federal Theatre Project personal papers, C0227, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed in October 2012 by Greta Kuriger Suiter. EAD markup completed in January 2013 by Greta Kuriger Suiter.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed in October 2012 by Greta Kuriger Suiter. EAD markup completed in January 2013 by Greta Kuriger Suiter."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers."],"scopecontent_html_tesm":["\u003cp\u003eThis collection brings together over 90 individual donations of Federal Theatre Project material.  The material in this collection consists of employment papers, correspondence, scrapbooks, newspaper and magazine clippings, photographs, playscripts, programs, fliers, and production notebooks from people who worked in a multitude of capacities with the Federal Theatre in locations around the United States.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection brings together over 90 individual donations of Federal Theatre Project material.  The material in this collection consists of employment papers, correspondence, scrapbooks, newspaper and magazine clippings, photographs, playscripts, programs, fliers, and production notebooks from people who worked in a multitude of capacities with the Federal Theatre in locations around the United States."],"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_15828e7b77a3bc261a75a7c6ca039cac\" label=\"Summary\"\u003eThis collection brings together over 90 individual donations of Federal Theatre Project material. 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Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_361#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_361","ead_ssi":"vifgm_repositories_2_resources_361","_root_":"vifgm_repositories_2_resources_361","_nest_parent_":"vifgm_repositories_2_resources_361","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_361.xml","title_filing_ssi":"Hedley Gordon Graham papers","title_ssm":["Hedley Gordon Graham papers"],"title_tesim":["Hedley Gordon Graham papers"],"unitdate_ssm":["1925-1983"],"unitdate_inclusive_ssm":["1925-1983"],"normalized_date_ssm":["1925/1983"],"normalized_title_ssm":["Hedley Gordon Graham papers, 1925/1983"],"text":["Hedley Gordon Graham papers, 1925/1983","C0240","/repositories/2/resources/361","Theater -- United States","Performing arts","New Deal, 1933-1939","There are no access restrictions.","Organized alphabetically by folder title.","Missing Title\n      Series 1: Documents and Photographs, 1920s-1983 (Boxes 1-3)\n      Series 2: Oversize, 1920s-1930s (Box 4)","Gordon Hedley Graham was a drama major at Columbia University and graduated from the American Academy of Dramatic Arts in 1925, he also spent a year at the Royal Academy of London and a year at the Max Rheinhardt School of Drama in Salzburg, Austria.","Professional experience includes working for the Theatre Guild in New York City as an Actor, Stage Manager, and Director of Understudies; work in Hollywood for MGM and Warner Brothers, as well as work in New Orleans. 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For the Federal Theatre Project he worked as the Assistant Executive Director of the I6 states and directed The Living Newspaper Theatre in Chicago for two years. He also taught at a variety of institutions including the American Academy of Dramatic Arts, Adelphi College, Columbia University, Warner Brothers, Easthampton School of Rythmics (which he also owned), and the Theatre School of Drama at Carnegie Hall."],"prefercite_html_tesm":["\u003cp\u003eHedley Gordon Graham papers, C0240, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Hedley Gordon Graham papers, C0240, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Greta Kuriger Suiter in September 2013. 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EAD markup completed by Greta Kuriger Suiter in September 2013."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers."],"scopecontent_html_tesm":["\u003cp\u003eThe Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of \u003citalic\u003eO Say Can You Sing, Triple A Plowed Under, Altars of Steel,\u003c/italic\u003e and Living Newspaper productions in Chicago.\u003c/p\u003e","\u003cp\u003eThe collection is divided into two series.\u003c/p\u003e","\u003cp\u003eSeries one consists of documents and photographs and is organized alphabetically. \u003c/p\u003e","\u003cp\u003eSeries two consists of oversize materials including three portrait photographs, a diploma, and a scrapbook.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago.","The collection is divided into two series.","Series one consists of documents and photographs and is organized alphabetically.","Series two consists of oversize materials including three portrait photographs, a diploma, and a scrapbook."],"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_b1ba4d4ad20f3518d1769d1c3b1f07ad\"\u003eThe Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of \u003citalic\u003eO Say Can You Sing, Triple A Plowed Under, Altars of Steel,\u003c/italic\u003e and Living Newspaper productions in Chicago.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_coll_ssim":["Federal Theatre Project (U.S.)","Graham, Hedley Gordon"],"persname_ssim":["Graham, Hedley Gordon"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Graham, Hedley Gordon"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":32,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:41.796Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_361","ead_ssi":"vifgm_repositories_2_resources_361","_root_":"vifgm_repositories_2_resources_361","_nest_parent_":"vifgm_repositories_2_resources_361","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_361.xml","title_filing_ssi":"Hedley Gordon Graham papers","title_ssm":["Hedley Gordon Graham papers"],"title_tesim":["Hedley Gordon Graham papers"],"unitdate_ssm":["1925-1983"],"unitdate_inclusive_ssm":["1925-1983"],"normalized_date_ssm":["1925/1983"],"normalized_title_ssm":["Hedley Gordon Graham papers, 1925/1983"],"text":["Hedley Gordon Graham papers, 1925/1983","C0240","/repositories/2/resources/361","Theater -- United States","Performing arts","New Deal, 1933-1939","There are no access restrictions.","Organized alphabetically by folder title.","Missing Title\n      Series 1: Documents and Photographs, 1920s-1983 (Boxes 1-3)\n      Series 2: Oversize, 1920s-1930s (Box 4)","Gordon Hedley Graham was a drama major at Columbia University and graduated from the American Academy of Dramatic Arts in 1925, he also spent a year at the Royal Academy of London and a year at the Max Rheinhardt School of Drama in Salzburg, Austria.","Professional experience includes working for the Theatre Guild in New York City as an Actor, Stage Manager, and Director of Understudies; work in Hollywood for MGM and Warner Brothers, as well as work in New Orleans. For the Federal Theatre Project he worked as the Assistant Executive Director of the I6 states and directed The Living Newspaper Theatre in Chicago for two years. He also taught at a variety of institutions including the American Academy of Dramatic Arts, Adelphi College, Columbia University, Warner Brothers, Easthampton School of Rythmics (which he also owned), and the Theatre School of Drama at Carnegie Hall.","Processing completed by Greta Kuriger Suiter in September 2013. EAD markup completed by Greta Kuriger Suiter in September 2013.","The Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers.","The Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago.","The collection is divided into two series.","Series one consists of documents and photographs and is organized alphabetically.","Series two consists of oversize materials including three portrait photographs, a diploma, and a scrapbook.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago.","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Graham, Hedley Gordon","English"],"collection_title_tesim":["Hedley Gordon Graham papers, 1925/1983"],"collection_ssim":["Hedley Gordon Graham papers, 1925/1983"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0240","/repositories/2/resources/361"],"unitid_tesim":["C0240","/repositories/2/resources/361"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Graham, Hedley Gordon"],"creator_ssim":["Graham, Hedley Gordon"],"creator_persname_ssim":["Graham, Hedley Gordon"],"creator_corpname_ssim":["George Mason University. Libraries. 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For the Federal Theatre Project he worked as the Assistant Executive Director of the I6 states and directed The Living Newspaper Theatre in Chicago for two years. He also taught at a variety of institutions including the American Academy of Dramatic Arts, Adelphi College, Columbia University, Warner Brothers, Easthampton School of Rythmics (which he also owned), and the Theatre School of Drama at Carnegie Hall.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Gordon Hedley Graham was a drama major at Columbia University and graduated from the American Academy of Dramatic Arts in 1925, he also spent a year at the Royal Academy of London and a year at the Max Rheinhardt School of Drama in Salzburg, Austria.","Professional experience includes working for the Theatre Guild in New York City as an Actor, Stage Manager, and Director of Understudies; work in Hollywood for MGM and Warner Brothers, as well as work in New Orleans. For the Federal Theatre Project he worked as the Assistant Executive Director of the I6 states and directed The Living Newspaper Theatre in Chicago for two years. He also taught at a variety of institutions including the American Academy of Dramatic Arts, Adelphi College, Columbia University, Warner Brothers, Easthampton School of Rythmics (which he also owned), and the Theatre School of Drama at Carnegie Hall."],"prefercite_html_tesm":["\u003cp\u003eHedley Gordon Graham papers, C0240, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Hedley Gordon Graham papers, C0240, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Greta Kuriger Suiter in September 2013. 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EAD markup completed by Greta Kuriger Suiter in September 2013."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers."],"scopecontent_html_tesm":["\u003cp\u003eThe Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of \u003citalic\u003eO Say Can You Sing, Triple A Plowed Under, Altars of Steel,\u003c/italic\u003e and Living Newspaper productions in Chicago.\u003c/p\u003e","\u003cp\u003eThe collection is divided into two series.\u003c/p\u003e","\u003cp\u003eSeries one consists of documents and photographs and is organized alphabetically. \u003c/p\u003e","\u003cp\u003eSeries two consists of oversize materials including three portrait photographs, a diploma, and a scrapbook.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago.","The collection is divided into two series.","Series one consists of documents and photographs and is organized alphabetically.","Series two consists of oversize materials including three portrait photographs, a diploma, and a scrapbook."],"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_b1ba4d4ad20f3518d1769d1c3b1f07ad\"\u003eThe Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of \u003citalic\u003eO Say Can You Sing, Triple A Plowed Under, Altars of Steel,\u003c/italic\u003e and Living Newspaper productions in Chicago.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_coll_ssim":["Federal Theatre Project (U.S.)","Graham, Hedley Gordon"],"persname_ssim":["Graham, Hedley Gordon"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Graham, Hedley Gordon"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":32,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:41.796Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_361"}},{"id":"vifgm_repositories_2_resources_521","type":"collection","attributes":{"title":"Robert and Wilva Breen papers, 1831/2000","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_521#creator","type":"document_value","attributes":{"value":"Breen, Robert","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_521#abstract_or_scope","type":"document_value","attributes":{"value":"The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_521#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_521","ead_ssi":"vifgm_repositories_2_resources_521","_root_":"vifgm_repositories_2_resources_521","_nest_parent_":"vifgm_repositories_2_resources_521","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_521.xml","title_ssm":["Robert and Wilva Breen papers"],"title_tesim":["Robert and Wilva Breen papers"],"unitdate_ssm":["1834, 1933-2000s"],"unitdate_inclusive_ssm":["1834, 1933-2000s"],"normalized_date_ssm":["1831/2000"],"normalized_title_ssm":["Robert and Wilva Breen papers, 1831/2000"],"text":["Robert and Wilva Breen papers, 1831/2000","C0004","/repositories/2/resources/521","Helsingør (Denmark)","Broadway (New York, N.Y.)","Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs","Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions.","Many of the audiotape reels found in this collection were converted to digital format and are available for use. Please contact SCRC for more information.","The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.","Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018).","Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.","Part of the Robert and Wilva Breen papers was donated to The Ohio State University.","The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.","Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.","Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.","R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","English"],"collection_title_tesim":["Robert and Wilva Breen papers, 1831/2000"],"collection_ssim":["Robert and Wilva Breen papers, 1831/2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0004","/repositories/2/resources/521"],"unitid_tesim":["C0004","/repositories/2/resources/521"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"geogname_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"places_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"creator_ssm":["Breen, Robert","Breen, Wilva"],"creator_ssim":["Breen, Robert","Breen, Wilva"],"creator_persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"creators_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"acqinfo_ssim":["This collection was donated by the trustees of the Robert and Wilva Breen papers in 1988, and Wilva Breen and The Ohio State University in 1989. There were multiple accessions of materials throughout the 1990s. Additional materials were donated by Diana Lawrence and Mike Timoney in 2011."],"access_subjects_ssim":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"access_subjects_ssm":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["80.5 Linear Feet 207 boxes, 1 map case"],"extent_tesim":["80.5 Linear Feet 207 boxes, 1 map case"],"genreform_ssim":["Theatrical posters","Photographs"],"date_range_isim":[1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eBox 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.\u003c/p\u003e","\u003cp\u003eBox 89, Folder 8 and 9 are restricted due to personally identifiable information.\u003c/p\u003e","\u003cp\u003eThere are no other access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions."],"altformavail_html_tesm":["\u003cp\u003eMany of the audiotape reels found in this collection were converted to digital format and are available for use. Please contact SCRC for more information.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Many of the audiotape reels found in this collection were converted to digital format and are available for use. Please contact SCRC for more information."],"arrangement_html_tesm":["\u003cp\u003eThe collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center."],"bibliography_html_tesm":["\u003cp\u003eStrom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com. \u003cbibref\u003e\u003cextptr href=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" title=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eOliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com. \u003cbibref\u003e\u003cextptr href=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" title=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eRiedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com. \u003cbibref\u003e\u003cextptr href=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" title=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA. \u003cbibref\u003e\u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018)."],"bioghist_html_tesm":["\u003cp\u003eRobert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.\u003c/p\u003e","\u003cp\u003e The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.\u003c/p\u003e","\u003cp\u003e Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.\u003c/p\u003e","\u003cp\u003e Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.\u003c/p\u003e","\u003cp\u003e Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.\u003c/p\u003e","\u003cp\u003e ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical and Historical Note"],"bioghist_tesim":["Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region."],"custodhist_html_tesm":["\u003cp\u003ePart of the Robert and Wilva Breen papers was donated to The Ohio State University.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Part of the Robert and Wilva Breen papers was donated to The Ohio State University."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.\u003c/p\u003e  "],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eRobert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Robert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center also holds the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0145\" title=\"Porgy and Bess poster collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0002\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0043\" title=\"Robert C. Schnitzer papers\" show=\"new\"\u003e\u003c/extptr\u003e, and many other \u003cextptr href=\"https://scrc.gmu.edu/collections-subject.php#THEATRE\" title=\"performing arts collections.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the \u003cextptr href=\"https://library.osu.edu/collections/spec.tri.rb\" title=\"Robert Breen and Wilva papers.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The UCLA Library Special Collections, Charles E. Young Research Library holds the \u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"ANTA West records.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the"],"scopecontent_html_tesm":["\u003cp\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_ddb931edc4f44bf997d326b2923a7505\"\u003eR2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1\u003c/physloc\u003e\n    "],"physloc_tesim":["R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"names_coll_ssim":["American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Porterfield, Robert, 1905-1971"],"persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3014,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-09-17T13:57:31.047Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_521","ead_ssi":"vifgm_repositories_2_resources_521","_root_":"vifgm_repositories_2_resources_521","_nest_parent_":"vifgm_repositories_2_resources_521","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_521.xml","title_ssm":["Robert and Wilva Breen papers"],"title_tesim":["Robert and Wilva Breen papers"],"unitdate_ssm":["1834, 1933-2000s"],"unitdate_inclusive_ssm":["1834, 1933-2000s"],"normalized_date_ssm":["1831/2000"],"normalized_title_ssm":["Robert and Wilva Breen papers, 1831/2000"],"text":["Robert and Wilva Breen papers, 1831/2000","C0004","/repositories/2/resources/521","Helsingør (Denmark)","Broadway (New York, N.Y.)","Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs","Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions.","Many of the audiotape reels found in this collection were converted to digital format and are available for use. Please contact SCRC for more information.","The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.","Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018).","Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.","Part of the Robert and Wilva Breen papers was donated to The Ohio State University.","The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.","Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.","Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.","R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","English"],"collection_title_tesim":["Robert and Wilva Breen papers, 1831/2000"],"collection_ssim":["Robert and Wilva Breen papers, 1831/2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0004","/repositories/2/resources/521"],"unitid_tesim":["C0004","/repositories/2/resources/521"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"geogname_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"places_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"creator_ssm":["Breen, Robert","Breen, Wilva"],"creator_ssim":["Breen, Robert","Breen, Wilva"],"creator_persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"creators_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"acqinfo_ssim":["This collection was donated by the trustees of the Robert and Wilva Breen papers in 1988, and Wilva Breen and The Ohio State University in 1989. There were multiple accessions of materials throughout the 1990s. Additional materials were donated by Diana Lawrence and Mike Timoney in 2011."],"access_subjects_ssim":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"access_subjects_ssm":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["80.5 Linear Feet 207 boxes, 1 map case"],"extent_tesim":["80.5 Linear Feet 207 boxes, 1 map case"],"genreform_ssim":["Theatrical posters","Photographs"],"date_range_isim":[1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eBox 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.\u003c/p\u003e","\u003cp\u003eBox 89, Folder 8 and 9 are restricted due to personally identifiable information.\u003c/p\u003e","\u003cp\u003eThere are no other access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions."],"altformavail_html_tesm":["\u003cp\u003eMany of the audiotape reels found in this collection were converted to digital format and are available for use. Please contact SCRC for more information.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Many of the audiotape reels found in this collection were converted to digital format and are available for use. Please contact SCRC for more information."],"arrangement_html_tesm":["\u003cp\u003eThe collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center."],"bibliography_html_tesm":["\u003cp\u003eStrom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com. \u003cbibref\u003e\u003cextptr href=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" title=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eOliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com. \u003cbibref\u003e\u003cextptr href=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" title=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eRiedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com. \u003cbibref\u003e\u003cextptr href=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" title=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA. \u003cbibref\u003e\u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018)."],"bioghist_html_tesm":["\u003cp\u003eRobert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.\u003c/p\u003e","\u003cp\u003e The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.\u003c/p\u003e","\u003cp\u003e Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.\u003c/p\u003e","\u003cp\u003e Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.\u003c/p\u003e","\u003cp\u003e Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.\u003c/p\u003e","\u003cp\u003e ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical and Historical Note"],"bioghist_tesim":["Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region."],"custodhist_html_tesm":["\u003cp\u003ePart of the Robert and Wilva Breen papers was donated to The Ohio State University.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Part of the Robert and Wilva Breen papers was donated to The Ohio State University."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.\u003c/p\u003e  "],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eRobert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Robert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center also holds the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0145\" title=\"Porgy and Bess poster collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0002\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0043\" title=\"Robert C. Schnitzer papers\" show=\"new\"\u003e\u003c/extptr\u003e, and many other \u003cextptr href=\"https://scrc.gmu.edu/collections-subject.php#THEATRE\" title=\"performing arts collections.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the \u003cextptr href=\"https://library.osu.edu/collections/spec.tri.rb\" title=\"Robert Breen and Wilva papers.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The UCLA Library Special Collections, Charles E. Young Research Library holds the \u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"ANTA West records.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the"],"scopecontent_html_tesm":["\u003cp\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_ddb931edc4f44bf997d326b2923a7505\"\u003eR2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1\u003c/physloc\u003e\n    "],"physloc_tesim":["R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"names_coll_ssim":["American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Porterfield, Robert, 1905-1971"],"persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"names_ssim":["George Mason University. Libraries. 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