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(Jack) Welsh.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viur_repositories_4_resources_53#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viur_repositories_4_resources_53","ead_ssi":"viur_repositories_4_resources_53","_root_":"viur_repositories_4_resources_53","_nest_parent_":"viur_repositories_4_resources_53","ead_source_url_ssi":"data/oai/RICH/repositories_4_resources_53.xml","title_ssm":["Dr. Jack Welsh Scrapbooks"],"title_tesim":["Dr. Jack Welsh Scrapbooks"],"unitdate_ssm":["1967-1969","1982-1985","1990"],"unitdate_bulk_ssim":["1967-1969","1982-1985"],"unitdate_other_ssim":["1990"],"normalized_date_ssm":["1967/1969"],"normalized_title_ssm":["Dr. Jack Welsh Scrapbooks, 1967/1969"],"text":["Dr. Jack Welsh Scrapbooks, 1967/1969","MS-29","/repositories/4/resources/53","Richmond (Va.)","New York (N.Y.)","Germany","Greece","Theater","Scrapbooks","Arranged in 3 flat boxes, 2 scrapbooks to a box.","Dr. John (Jack) Dickinson Welsh began staging marionette shows for his parents at 5. His passion for theater grew from there.  He grew up in Richmond and graduated from Thomas Jefferson High School.  He received his BA from the University of Richmond, and a M.A. and Ph.D. in theater from Tulane University.","His first job was teaching theater at Houston Baptist College in Texas, in 1963-64. After his production of \"The Corn is Green,\" the president of the school told him not to do any more plays like that with illegitimate children in them. \"I turned in my resignation the next day\". The following year he began at the University of Richmond.","As chair of the Speech and Theater Department, he began as the only faculty member. The department grew and he produced more than 80 productions with the University Players, as well as directing and acting in regional theater productions of amazing popularity, also winning local awards. He was named the Omicron Delta Kappa professor of the year in 1985 and the Richmond College Faculty Member of the Year in 1995. 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Dr. Welsh passed away on October 21, 2016."],"phystech_html_tesm":["\u003cp\u003eThe collection consists of 6 scrapbooks in varying degrees of disrepair, pages torn, items loose.\u003c/p\u003e  "],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The collection consists of 6 scrapbooks in varying degrees of disrepair, pages torn, items loose."],"prefercite_html_tesm":["\u003cp\u003e[Box Number, Folder Number], MS-29, Dr. Jack Welsh Scrapbooks, Book Arts, Archives, \u0026amp; Rare Books, Boatwright Memorial Library, University of Richmond, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["[Box Number, Folder Number], MS-29, Dr. Jack Welsh Scrapbooks, Book Arts, Archives, \u0026 Rare Books, Boatwright Memorial Library, University of Richmond, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eBetty Dickie and Luci Ortiz.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Betty Dickie and Luci Ortiz."],"relatedmaterial_html_tesm":["\u003cp\u003eMS-21 - Jack Welsh Collection\u003cbr\u003e\n\u003ca href=\"https://archives.richmond.edu/repositories/4/resources/54\"\u003eMS-30 - Modlin Center Scrapbook Collection\u003c/a\u003e\u003cbr\u003e\n\u003cextref href=\"https://archives.richmond.edu/repositories/4/resources/58\"\u003eMS-42 - Cheryl Pierce Craddock Theater Design Collection\u003c/extref\u003e\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["MS-21 - Jack Welsh Collection\nMS-30 - Modlin Center Scrapbook Collection\nMS-42 - Cheryl Pierce Craddock Theater Design Collection"],"scopecontent_html_tesm":["\u003cp\u003eThis collection is arranged into one series, Scrapbooks, and each scrapbook is noted by year and contents in the inventory.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection is arranged into one series, Scrapbooks, and each scrapbook is noted by year and contents in the inventory."],"userestrict_html_tesm":["\u003cp\u003eCopyright restrictions may apply. Unpublished manuscripts are protected by copyright.  Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright restrictions may apply. Unpublished manuscripts are protected by copyright.  Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_f4482e8afd8a4fd2945d10102f9d719f\"\u003eThis collection contains six handmade scrapbooks filled with clippings, brochures, playbills, and greeting cards related to events in the career of Dr. John D. (Jack) Welsh.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains six handmade scrapbooks filled with clippings, brochures, playbills, and greeting cards related to events in the career of Dr. John D. (Jack) Welsh."],"corpname_ssim":["University of Richmond","American College Theatre Festival"],"names_coll_ssim":["University of Richmond","American College Theatre Festival","Welsh, John D. (Jack), Dr., 1938-2016"],"persname_ssim":["Welsh, John D. (Jack), Dr., 1938-2016"],"names_ssim":["University of Richmond","American College Theatre Festival","Welsh, John D. (Jack), Dr., 1938-2016"],"language_ssim":["English"],"total_component_count_is":8,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T23:00:05.988Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viur_repositories_4_resources_53"}},{"id":"vifgm_repositories_2_resources_762","type":"collection","attributes":{"title":"Edward Payson Call Arena Stage papers, 1974/1977","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_762#creator","type":"document_value","attributes":{"value":"Call, Edward Payson","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_762#abstract_or_scope","type":"document_value","attributes":{"value":"Materials collected and created by director Edward Payson Call while directing productions of \u003cspan\u003eThe Front Page\u003c/span\u003e, \u003cspan\u003eThe Tot Family\u003c/span\u003e, and \u003cspan\u003eCatsplay\u003c/span\u003e at Arena Stage in the 1970s.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_762#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_762","ead_ssi":"vifgm_repositories_2_resources_762","_root_":"vifgm_repositories_2_resources_762","_nest_parent_":"vifgm_repositories_2_resources_762","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_762.xml","title_filing_ssi":"Edward Payson Call Arena Stage papers","title_ssm":["Edward Payson Call Arena Stage papers"],"title_tesim":["Edward Payson Call Arena Stage papers"],"unitdate_ssm":["1974-1977"],"unitdate_inclusive_ssm":["1974-1977"],"normalized_date_ssm":["1974/1977"],"normalized_title_ssm":["Edward Payson Call Arena Stage papers, 1974/1977"],"text":["Edward Payson Call Arena Stage papers, 1974/1977","C0559","/repositories/2/resources/762","Theater","Performing arts","Theater -- Washington (D.C.)","Theater -- United States","Theater -- Production and direction","There are no access restrictions.","This collection is arranged chronologically and by production title and then by material type or function.","\"Arena Stage: Production History.\" n.d. Accessed December 3, 2025. https://www.arenastage.org/contentassets/bdb18ac78fb64b658344bd50f91e0e37/production-history.pdf.","Emmick Family Funeral \u0026 Cremation Services. n.d. \"Edward Payson Call Obituary.\" Accessed December 3, 2025. https://www.emmickfunerals.com/obituaries/edward-call.","Edward Payson Call was born on August 10, 1928 and spent over 50 years working in the theatre, beginning his career in New York City in the late 1950s working as a Broadway stage manager. In 1963, he joined the Guthrie Theater in Minneapolis, Minnesota as a member of the inaugural artistic staff working alongside namesake director Tyrone Guthrie. Throughout the 1960s-1970s, Payson Call worked as a director at numerous regional theatres across the country, including three productions at Arena Stage in the mid-late 1970s. The Front Page initially ran from December 1974 – January 1975 and again from April – June 1976 as part of the \"All American Repertory\" along with Death of a Salesman directed by Zelda Fichandler and Our Town directed by Alan Schneider. The Tot Family ran from January – February 1976 and his final directing credit at Arena Stage, Catsplay, ran from March – April 1977. In 1980, he was appointed as the founding Artistic Director of the Denver Center Theatre Company in Colorado, a position he held for five years. In the 1990s, after moving to Seattle, Washington, he continued working as a freelance director and teacher in numerous locations across the country, and in 1992 founded Seattle's Young Shakespeare Workshop. He passed away on February 1, 2023 at the age of 94.","One of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway (The Great White Hope, 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new \"Kreeger Theatre,\" which opened formally on January 15, 1971. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals.","Processing completed by Meghan Glasbrenner in October 2025. Inventory assistance provided by Chance Jimenez. Finding aid completed by Meghan Glasbrenner in December 2025.","The Special Collections Research Center holds other collections related to Arena Stage, including the Arena Stage records and the Zelda Fichandler papers.","A collection of materials, including notes, set designs, scripts, photographs, reviews, programs, and correspondence, collected and created by director Edward Payson Call. Materials relate to Payson Call's work as a director at Arean Stage on three productions: The Front Page, The Tot Family, and Catsplay. The bulk of the materials cover his work on The Tot Family, which includes several early script drafts by different translators and with different title variations.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Materials collected and created by director Edward Payson Call while directing productions of The Front Page, The Tot Family, and Catsplay at Arena Stage in the 1970s.","R 73, C 2, S 3\n\nMap Case 27.2","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Call, Edward Payson","Fichandler, Zelda, 1924-2016","English"],"collection_title_tesim":["Edward Payson Call Arena Stage papers, 1974/1977"],"collection_ssim":["Edward Payson Call Arena Stage papers, 1974/1977"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0559","/repositories/2/resources/762"],"unitid_tesim":["C0559","/repositories/2/resources/762"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Call, Edward Payson"],"creator_ssim":["Call, Edward Payson"],"creator_persname_ssim":["Call, Edward Payson","Fichandler, Zelda, 1924-2016"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Call, Edward Payson","Fichandler, Zelda, 1924-2016","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Collection donation facilitated by Alison Irvin of Arena Stage. Original donor was Marcia Carter."],"access_subjects_ssim":["Theater","Performing arts","Theater -- Washington (D.C.)","Theater -- United States","Theater -- Production and direction"],"access_subjects_ssm":["Theater","Performing arts","Theater -- Washington (D.C.)","Theater -- United States","Theater -- Production and direction"],"has_online_content_ssim":["false"],"extent_ssm":[".75 Linear Feet 2 boxes, 1 map case"],"extent_tesim":[".75 Linear Feet 2 boxes, 1 map case"],"date_range_isim":[1974,1975,1976,1977],"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 chronologically and by production title and then by material type or function.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged chronologically and by production title and then by material type or function."],"bibliography_html_tesm":["\u003cp\u003e\"Arena Stage: Production History.\" n.d. Accessed December 3, 2025. https://www.arenastage.org/contentassets/bdb18ac78fb64b658344bd50f91e0e37/production-history.pdf.\u003c/p\u003e","\u003cp\u003eEmmick Family Funeral \u0026amp; Cremation Services. n.d. \"Edward Payson Call Obituary.\" Accessed December 3, 2025. https://www.emmickfunerals.com/obituaries/edward-call.\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["\"Arena Stage: Production History.\" n.d. Accessed December 3, 2025. https://www.arenastage.org/contentassets/bdb18ac78fb64b658344bd50f91e0e37/production-history.pdf.","Emmick Family Funeral \u0026 Cremation Services. n.d. \"Edward Payson Call Obituary.\" Accessed December 3, 2025. https://www.emmickfunerals.com/obituaries/edward-call."],"bioghist_html_tesm":["\u003cp\u003eEdward Payson Call was born on August 10, 1928 and spent over 50 years working in the theatre, beginning his career in New York City in the late 1950s working as a Broadway stage manager. In 1963, he joined the Guthrie Theater in Minneapolis, Minnesota as a member of the inaugural artistic staff working alongside namesake director Tyrone Guthrie. Throughout the 1960s-1970s, Payson Call worked as a director at numerous regional theatres across the country, including three productions at Arena Stage in the mid-late 1970s. \u003ctitle\u003eThe Front Page\u003c/title\u003e initially ran from December 1974 – January 1975 and again from April – June 1976 as part of the \"All American Repertory\" along with \u003ctitle\u003eDeath of a Salesman\u003c/title\u003e directed by Zelda Fichandler and \u003ctitle\u003eOur Town\u003c/title\u003e directed by Alan Schneider. \u003ctitle\u003eThe Tot Family\u003c/title\u003e ran from January – February 1976 and his final directing credit at Arena Stage, \u003ctitle\u003eCatsplay\u003c/title\u003e, ran from March – April 1977. In 1980, he was appointed as the founding Artistic Director of the Denver Center Theatre Company in Colorado, a position he held for five years. In the 1990s, after moving to Seattle, Washington, he continued working as a freelance director and teacher in numerous locations across the country, and in 1992 founded Seattle's Young Shakespeare Workshop. He passed away on February 1, 2023 at the age of 94.\u003c/p\u003e","\u003cp\u003eOne of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway (\u003ctitle\u003eThe Great White Hope\u003c/title\u003e, 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new \"Kreeger Theatre,\" which opened formally on January 15, 1971. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical and Historical Information"],"bioghist_tesim":["Edward Payson Call was born on August 10, 1928 and spent over 50 years working in the theatre, beginning his career in New York City in the late 1950s working as a Broadway stage manager. In 1963, he joined the Guthrie Theater in Minneapolis, Minnesota as a member of the inaugural artistic staff working alongside namesake director Tyrone Guthrie. Throughout the 1960s-1970s, Payson Call worked as a director at numerous regional theatres across the country, including three productions at Arena Stage in the mid-late 1970s. The Front Page initially ran from December 1974 – January 1975 and again from April – June 1976 as part of the \"All American Repertory\" along with Death of a Salesman directed by Zelda Fichandler and Our Town directed by Alan Schneider. The Tot Family ran from January – February 1976 and his final directing credit at Arena Stage, Catsplay, ran from March – April 1977. In 1980, he was appointed as the founding Artistic Director of the Denver Center Theatre Company in Colorado, a position he held for five years. In the 1990s, after moving to Seattle, Washington, he continued working as a freelance director and teacher in numerous locations across the country, and in 1992 founded Seattle's Young Shakespeare Workshop. He passed away on February 1, 2023 at the age of 94.","One of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway (The Great White Hope, 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new \"Kreeger Theatre,\" which opened formally on January 15, 1971. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals."],"prefercite_html_tesm":["\u003cp\u003eEdward Payson Call Arena Stage papers, C0559, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e  "],"prefercite_tesim":["Edward Payson Call Arena Stage papers, C0559, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Meghan Glasbrenner in October 2025. Inventory assistance provided by Chance Jimenez. Finding aid completed by Meghan Glasbrenner in December 2025.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Meghan Glasbrenner in October 2025. Inventory assistance provided by Chance Jimenez. Finding aid completed by Meghan Glasbrenner in December 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other collections related to \u003ca href=\"https://aspace.gmu.edu/agents/corporate_entities/522\"\u003eArena Stage\u003c/a\u003e, including the \u003ca href=\"https://aspace.gmu.edu/resources/c0017\"\u003eArena Stage records\u003c/a\u003e and the \u003ca href=\"https://aspace.gmu.edu/resources/c0010\"\u003eZelda Fichandler papers\u003c/a\u003e.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds other collections related to Arena Stage, including the Arena Stage records and the Zelda Fichandler papers."],"scopecontent_html_tesm":["\u003cp\u003eA collection of materials, including notes, set designs, scripts, photographs, reviews, programs, and correspondence, collected and created by director Edward Payson Call. Materials relate to Payson Call's work as a director at Arean Stage on three productions: \u003ctitle\u003eThe Front Page\u003c/title\u003e, \u003ctitle\u003eThe Tot Family\u003c/title\u003e, and \u003ctitle\u003eCatsplay\u003c/title\u003e. The bulk of the materials cover his work on \u003ctitle\u003eThe Tot Family\u003c/title\u003e, which includes several early script drafts by different translators and with different title variations.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["A collection of materials, including notes, set designs, scripts, photographs, reviews, programs, and correspondence, collected and created by director Edward Payson Call. Materials relate to Payson Call's work as a director at Arean Stage on three productions: The Front Page, The Tot Family, and Catsplay. The bulk of the materials cover his work on The Tot Family, which includes several early script drafts by different translators and with different title variations."],"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_df84002ce9585b66123b01c6cb60ccf2\"\u003eMaterials collected and created by director Edward Payson Call while directing productions of \u003ctitle\u003eThe Front Page\u003c/title\u003e, \u003ctitle\u003eThe Tot Family\u003c/title\u003e, and \u003ctitle\u003eCatsplay\u003c/title\u003e at Arena Stage in the 1970s.\u003c/abstract\u003e\n    "],"abstract_tesim":["Materials collected and created by director Edward Payson Call while directing productions of The Front Page, The Tot Family, and Catsplay at Arena Stage in the 1970s."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_820795954d0ad6de7c4d9b78603270c6\"\u003eR 73, C 2, S 3\n\nMap Case 27.2\u003c/physloc\u003e\n    "],"physloc_tesim":["R 73, C 2, S 3\n\nMap Case 27.2"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)","Fichandler, Zelda, 1924-2016"],"persname_ssim":["Call, Edward Payson","Fichandler, Zelda, 1924-2016"],"names_ssim":["George Mason University. Libraries. 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Accessed December 3, 2025. https://www.arenastage.org/contentassets/bdb18ac78fb64b658344bd50f91e0e37/production-history.pdf.","Emmick Family Funeral \u0026 Cremation Services. n.d. \"Edward Payson Call Obituary.\" Accessed December 3, 2025. https://www.emmickfunerals.com/obituaries/edward-call.","Edward Payson Call was born on August 10, 1928 and spent over 50 years working in the theatre, beginning his career in New York City in the late 1950s working as a Broadway stage manager. In 1963, he joined the Guthrie Theater in Minneapolis, Minnesota as a member of the inaugural artistic staff working alongside namesake director Tyrone Guthrie. Throughout the 1960s-1970s, Payson Call worked as a director at numerous regional theatres across the country, including three productions at Arena Stage in the mid-late 1970s. The Front Page initially ran from December 1974 – January 1975 and again from April – June 1976 as part of the \"All American Repertory\" along with Death of a Salesman directed by Zelda Fichandler and Our Town directed by Alan Schneider. The Tot Family ran from January – February 1976 and his final directing credit at Arena Stage, Catsplay, ran from March – April 1977. In 1980, he was appointed as the founding Artistic Director of the Denver Center Theatre Company in Colorado, a position he held for five years. In the 1990s, after moving to Seattle, Washington, he continued working as a freelance director and teacher in numerous locations across the country, and in 1992 founded Seattle's Young Shakespeare Workshop. 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Inventory assistance provided by Chance Jimenez. Finding aid completed by Meghan Glasbrenner in December 2025.","The Special Collections Research Center holds other collections related to Arena Stage, including the Arena Stage records and the Zelda Fichandler papers.","A collection of materials, including notes, set designs, scripts, photographs, reviews, programs, and correspondence, collected and created by director Edward Payson Call. Materials relate to Payson Call's work as a director at Arean Stage on three productions: The Front Page, The Tot Family, and Catsplay. 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Original donor was Marcia Carter."],"access_subjects_ssim":["Theater","Performing arts","Theater -- Washington (D.C.)","Theater -- United States","Theater -- Production and direction"],"access_subjects_ssm":["Theater","Performing arts","Theater -- Washington (D.C.)","Theater -- United States","Theater -- Production and direction"],"has_online_content_ssim":["false"],"extent_ssm":[".75 Linear Feet 2 boxes, 1 map case"],"extent_tesim":[".75 Linear Feet 2 boxes, 1 map case"],"date_range_isim":[1974,1975,1976,1977],"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 chronologically and by production title and then by material type or function.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged chronologically and by production title and then by material type or function."],"bibliography_html_tesm":["\u003cp\u003e\"Arena Stage: Production History.\" n.d. Accessed December 3, 2025. https://www.arenastage.org/contentassets/bdb18ac78fb64b658344bd50f91e0e37/production-history.pdf.\u003c/p\u003e","\u003cp\u003eEmmick Family Funeral \u0026amp; Cremation Services. n.d. \"Edward Payson Call Obituary.\" Accessed December 3, 2025. https://www.emmickfunerals.com/obituaries/edward-call.\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["\"Arena Stage: Production History.\" n.d. Accessed December 3, 2025. https://www.arenastage.org/contentassets/bdb18ac78fb64b658344bd50f91e0e37/production-history.pdf.","Emmick Family Funeral \u0026 Cremation Services. n.d. \"Edward Payson Call Obituary.\" Accessed December 3, 2025. https://www.emmickfunerals.com/obituaries/edward-call."],"bioghist_html_tesm":["\u003cp\u003eEdward Payson Call was born on August 10, 1928 and spent over 50 years working in the theatre, beginning his career in New York City in the late 1950s working as a Broadway stage manager. In 1963, he joined the Guthrie Theater in Minneapolis, Minnesota as a member of the inaugural artistic staff working alongside namesake director Tyrone Guthrie. Throughout the 1960s-1970s, Payson Call worked as a director at numerous regional theatres across the country, including three productions at Arena Stage in the mid-late 1970s. \u003ctitle\u003eThe Front Page\u003c/title\u003e initially ran from December 1974 – January 1975 and again from April – June 1976 as part of the \"All American Repertory\" along with \u003ctitle\u003eDeath of a Salesman\u003c/title\u003e directed by Zelda Fichandler and \u003ctitle\u003eOur Town\u003c/title\u003e directed by Alan Schneider. \u003ctitle\u003eThe Tot Family\u003c/title\u003e ran from January – February 1976 and his final directing credit at Arena Stage, \u003ctitle\u003eCatsplay\u003c/title\u003e, ran from March – April 1977. In 1980, he was appointed as the founding Artistic Director of the Denver Center Theatre Company in Colorado, a position he held for five years. In the 1990s, after moving to Seattle, Washington, he continued working as a freelance director and teacher in numerous locations across the country, and in 1992 founded Seattle's Young Shakespeare Workshop. He passed away on February 1, 2023 at the age of 94.\u003c/p\u003e","\u003cp\u003eOne of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway (\u003ctitle\u003eThe Great White Hope\u003c/title\u003e, 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new \"Kreeger Theatre,\" which opened formally on January 15, 1971. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical and Historical Information"],"bioghist_tesim":["Edward Payson Call was born on August 10, 1928 and spent over 50 years working in the theatre, beginning his career in New York City in the late 1950s working as a Broadway stage manager. In 1963, he joined the Guthrie Theater in Minneapolis, Minnesota as a member of the inaugural artistic staff working alongside namesake director Tyrone Guthrie. Throughout the 1960s-1970s, Payson Call worked as a director at numerous regional theatres across the country, including three productions at Arena Stage in the mid-late 1970s. The Front Page initially ran from December 1974 – January 1975 and again from April – June 1976 as part of the \"All American Repertory\" along with Death of a Salesman directed by Zelda Fichandler and Our Town directed by Alan Schneider. The Tot Family ran from January – February 1976 and his final directing credit at Arena Stage, Catsplay, ran from March – April 1977. In 1980, he was appointed as the founding Artistic Director of the Denver Center Theatre Company in Colorado, a position he held for five years. In the 1990s, after moving to Seattle, Washington, he continued working as a freelance director and teacher in numerous locations across the country, and in 1992 founded Seattle's Young Shakespeare Workshop. He passed away on February 1, 2023 at the age of 94.","One of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway (The Great White Hope, 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new \"Kreeger Theatre,\" which opened formally on January 15, 1971. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals."],"prefercite_html_tesm":["\u003cp\u003eEdward Payson Call Arena Stage papers, C0559, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e  "],"prefercite_tesim":["Edward Payson Call Arena Stage papers, C0559, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Meghan Glasbrenner in October 2025. Inventory assistance provided by Chance Jimenez. Finding aid completed by Meghan Glasbrenner in December 2025.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Meghan Glasbrenner in October 2025. Inventory assistance provided by Chance Jimenez. Finding aid completed by Meghan Glasbrenner in December 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other collections related to \u003ca href=\"https://aspace.gmu.edu/agents/corporate_entities/522\"\u003eArena Stage\u003c/a\u003e, including the \u003ca href=\"https://aspace.gmu.edu/resources/c0017\"\u003eArena Stage records\u003c/a\u003e and the \u003ca href=\"https://aspace.gmu.edu/resources/c0010\"\u003eZelda Fichandler papers\u003c/a\u003e.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds other collections related to Arena Stage, including the Arena Stage records and the Zelda Fichandler papers."],"scopecontent_html_tesm":["\u003cp\u003eA collection of materials, including notes, set designs, scripts, photographs, reviews, programs, and correspondence, collected and created by director Edward Payson Call. Materials relate to Payson Call's work as a director at Arean Stage on three productions: \u003ctitle\u003eThe Front Page\u003c/title\u003e, \u003ctitle\u003eThe Tot Family\u003c/title\u003e, and \u003ctitle\u003eCatsplay\u003c/title\u003e. The bulk of the materials cover his work on \u003ctitle\u003eThe Tot Family\u003c/title\u003e, which includes several early script drafts by different translators and with different title variations.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["A collection of materials, including notes, set designs, scripts, photographs, reviews, programs, and correspondence, collected and created by director Edward Payson Call. Materials relate to Payson Call's work as a director at Arean Stage on three productions: The Front Page, The Tot Family, and Catsplay. The bulk of the materials cover his work on The Tot Family, which includes several early script drafts by different translators and with different title variations."],"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_df84002ce9585b66123b01c6cb60ccf2\"\u003eMaterials collected and created by director Edward Payson Call while directing productions of \u003ctitle\u003eThe Front Page\u003c/title\u003e, \u003ctitle\u003eThe Tot Family\u003c/title\u003e, and \u003ctitle\u003eCatsplay\u003c/title\u003e at Arena Stage in the 1970s.\u003c/abstract\u003e\n    "],"abstract_tesim":["Materials collected and created by director Edward Payson Call while directing productions of The Front Page, The Tot Family, and Catsplay at Arena Stage in the 1970s."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_820795954d0ad6de7c4d9b78603270c6\"\u003eR 73, C 2, S 3\n\nMap Case 27.2\u003c/physloc\u003e\n    "],"physloc_tesim":["R 73, C 2, S 3\n\nMap Case 27.2"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)","Fichandler, Zelda, 1924-2016"],"persname_ssim":["Call, Edward Payson","Fichandler, Zelda, 1924-2016"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Call, Edward Payson","Fichandler, Zelda, 1924-2016"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":23,"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_762"}},{"id":"viw_repositories_2_resources_9855","type":"collection","attributes":{"title":"Ella Jo Nguyen Honors Thesis play and program, 2024","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9855#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eCollection contains a marked director's script and program from Ella Jo Nguyen's play, \"One and The Same,\" created and performed at William \u0026amp; Mary in March 2024.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9855#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viw_repositories_2_resources_9855","ead_ssi":"viw_repositories_2_resources_9855","_root_":"viw_repositories_2_resources_9855","_nest_parent_":"viw_repositories_2_resources_9855","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9855.xml","title_filing_ssi":"Ella Jo Nguyen Honors Thesis play and program","title_ssm":["Ella Jo Nguyen Honors Thesis play and program"],"title_tesim":["Ella Jo Nguyen Honors Thesis play and program"],"unitdate_ssm":["2024 April 29"],"unitdate_other_ssim":["2024 April 29"],"normalized_date_ssm":["2024"],"normalized_title_ssm":["Ella Jo Nguyen Honors Thesis play and program, 2024"],"text":["Ella Jo Nguyen Honors Thesis play and program, 2024","UA 5.366","/repositories/2/resources/9855","Student Plays","Shakespeare plays","College theater","College theater--United States","Theater","Playwright -- Author","Plays (document genre)","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Collection contains a marked director's script and program from Ella Jo Nguyen's play, \"One and The Same,\" created and performed at William \u0026 Mary in March 2024.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"collection_title_tesim":["Ella Jo Nguyen Honors Thesis play and program, 2024"],"collection_ssim":["Ella Jo Nguyen Honors Thesis play and program, 2024"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["UA 5.366","/repositories/2/resources/9855"],"unitid_tesim":["UA 5.366","/repositories/2/resources/9855"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["The Ella Jo Nguyen Honors Thesis play and program was donated by Ella Jo Nguyen"],"access_subjects_ssim":["Student Plays","Shakespeare plays","College theater","College theater--United States","Theater","Playwright -- Author","Plays (document genre)"],"access_subjects_ssm":["Student Plays","Shakespeare plays","College theater","College theater--United States","Theater","Playwright -- Author","Plays (document genre)"],"has_online_content_ssim":["false"],"extent_ssm":["0.1 Linear Feet 1 legal size folder"],"extent_tesim":["0.1 Linear Feet 1 legal size folder"],"genreform_ssim":["Plays (document genre)"],"date_range_isim":[2024],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"prefercite_html_tesm":["\u003cp\u003eElla Jo Nguyen Honors Thesis play and program, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Ella Jo Nguyen Honors Thesis play and program, Special Collections Research Center, William \u0026 Mary Libraries."],"scopecontent_html_tesm":["\u003cp\u003eCollection contains a marked director's script and program from Ella Jo Nguyen's play, \"One and The Same,\" created and performed at William \u0026amp; Mary in March 2024.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["Collection contains a marked director's script and program from Ella Jo Nguyen's play, \"One and The Same,\" created and performed at William \u0026 Mary in March 2024."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"names_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T23:05:56.987Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9855","ead_ssi":"viw_repositories_2_resources_9855","_root_":"viw_repositories_2_resources_9855","_nest_parent_":"viw_repositories_2_resources_9855","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9855.xml","title_filing_ssi":"Ella Jo Nguyen Honors Thesis play and program","title_ssm":["Ella Jo Nguyen Honors Thesis play and program"],"title_tesim":["Ella Jo Nguyen Honors Thesis play and program"],"unitdate_ssm":["2024 April 29"],"unitdate_other_ssim":["2024 April 29"],"normalized_date_ssm":["2024"],"normalized_title_ssm":["Ella Jo Nguyen Honors Thesis play and program, 2024"],"text":["Ella Jo Nguyen Honors Thesis play and program, 2024","UA 5.366","/repositories/2/resources/9855","Student Plays","Shakespeare plays","College theater","College theater--United States","Theater","Playwright -- Author","Plays (document genre)","Collection is open to all researchers. 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The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Collection contains a marked director's script and program from Ella Jo Nguyen's play, \"One and The Same,\" created and performed at William \u0026 Mary in March 2024.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"collection_title_tesim":["Ella Jo Nguyen Honors Thesis play and program, 2024"],"collection_ssim":["Ella Jo Nguyen Honors Thesis play and program, 2024"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["UA 5.366","/repositories/2/resources/9855"],"unitid_tesim":["UA 5.366","/repositories/2/resources/9855"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["The Ella Jo Nguyen Honors Thesis play and program was donated by Ella Jo Nguyen"],"access_subjects_ssim":["Student Plays","Shakespeare plays","College theater","College theater--United States","Theater","Playwright -- Author","Plays (document genre)"],"access_subjects_ssm":["Student Plays","Shakespeare plays","College theater","College theater--United States","Theater","Playwright -- Author","Plays (document genre)"],"has_online_content_ssim":["false"],"extent_ssm":["0.1 Linear Feet 1 legal size folder"],"extent_tesim":["0.1 Linear Feet 1 legal size folder"],"genreform_ssim":["Plays (document genre)"],"date_range_isim":[2024],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"prefercite_html_tesm":["\u003cp\u003eElla Jo Nguyen Honors Thesis play and program, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Ella Jo Nguyen Honors Thesis play and program, Special Collections Research Center, William \u0026 Mary Libraries."],"scopecontent_html_tesm":["\u003cp\u003eCollection contains a marked director's script and program from Ella Jo Nguyen's play, \"One and The Same,\" created and performed at William \u0026amp; Mary in March 2024.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["Collection contains a marked director's script and program from Ella Jo Nguyen's play, \"One and The Same,\" created and performed at William \u0026 Mary in March 2024."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"names_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T23:05:56.987Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9855"}},{"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_780","type":"collection","attributes":{"title":"European opera singer and actor portrait collection","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_780#creator","type":"document_value","attributes":{"value":"George Mason University. Libraries. Special Collections Research Center","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_780#abstract_or_scope","type":"document_value","attributes":{"value":"A collection of prints and photographs depicting European opera singers and actors from the 18th-20th century.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_780#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_780","ead_ssi":"vifgm_repositories_2_resources_780","_root_":"vifgm_repositories_2_resources_780","_nest_parent_":"vifgm_repositories_2_resources_780","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_780.xml","title_filing_ssi":"European opera singer and actor portrait collection","title_ssm":["European opera singer and actor portrait collection"],"title_tesim":["European opera singer and actor portrait collection"],"unitdate_ssm":["circa 1760s-1910s"],"unitdate_inclusive_ssm":["circa 1760s-1910s"],"normalized_title_ssm":["European opera singer and actor portrait collection"],"text":["European opera singer and actor portrait collection","C0555","/repositories/2/resources/780","Opera","Engraving","Lithography","Performing arts","Operetta","Theater","Theater -- Europe","Photogravures","Photographic prints","Photographs","There are no access restrictions.","Items are arranged alphabetically by subject last name.","A Modern Reveal: Songs and Stories of Women Composers. n.d. \"Delphine Ugalde.\" Accessed July 17, 2026. https://www.amodernreveal.com/delphine-ugalde.","Bienvenu, Germain. n.d. \"Research Guides: Louisiana Music History: Materials in Special Collections: Adelina Patti.\" Louisiana State University Libraries. Accessed July 17, 2026. https://guides.lib.lsu.edu/LouisianaMusic/patti.","British Museum. n.d. \"Alexandre Lacauchie.\" Accessed July 17, 2026. https://www.britishmuseum.org/collection/term/BIOG34480.","Cornélie Falcon, French Soprano. 1814. January 28. https://www.helvetialyrica.com/en/portfolio_page/falcon-soprano/.","Fuller, Nicholas. 2022. \"213. La Sirène (Auber).\" The Opera Scribe, April 29. https://operascribe.com/2022/04/29/213-la-sirene-auber/.","Gänzl, Kurt. 2014. \"You Dont Have to Be a Skinny to Be a Superstar: Marie Desclauzas.\" Offenbach \u0026 Co. Operetta Research Center, August 25. http://operetta-research-center.org/dont-skinny-soprano-superstar-marie-desclauzas/.","Les Archives Du Spectacle. 1835. \"Les Deux Reines.\" August 6. https://lesarchivesduspectacle.net/s/118775-Les-Deux-Reines.","Mary Evans Picture Library. n.d. \"Images of Dozainville, Baptiste-Pierre Dardel, French Actor, 1758-1809.\" Accessed July 17, 2026. https://www.maryevans.com/contributors/flo/dozainville-baptiste-pierre-dardel-45804499.html.","\"Meet Jenny Lind, One of America's First Female Celebrities.\" 2016. January 26. https://americanhistory.si.edu/explore/stories/jenny-lind.","Royal Collection Trust. n.d. \"David Joseph Desvachez (1822-1902) - THE ROYAL SISTERS.\" Accessed July 17, 2026. https://www.rct.uk/collection/606074/the-royal-sisters.","\"SPL Rare Books.\" n.d. Accessed July 13, 2026. https://www.splrarebooks.com/collection/view/petite-galerie-dramatique-ou-recueil-de-differents-costumes-dacteurs-.3.","Svenskt Kvinnobiografiskt Lexikon. n.d. \"Sigrid Taube Marie Arnoldson.\" Accessed July 13, 2026. http://skbl.se/en/article/SigridArnoldson.","Wikipedia. 2024. \"Delphine Ugalde.\" November 6. https://en.wikipedia.org/w/index.php?title=Delphine_Ugalde\u0026oldid=1255705244.","Wikipedia. 2025. \"Constance Jawureck.\" March 10. https://en.wikipedia.org/w/index.php?title=Constance_Jawureck\u0026oldid=1279778029.","Wikipedia. 2025. \"Georgette Bréjean-Silver.\" September 5. https://en.wikipedia.org/w/index.php?title=Georgette_Br%C3%A9jean-Silver\u0026oldid=1309625020.","Wikipedia. 2025. \"Marie Magdalene Charlotte Ackermann.\" December 8. https://en.wikipedia.org/w/index.php?title=Marie_Magdalene_Charlotte_Ackermann\u0026oldid=1326343810.","Wikipedia. 2025. \"Martin-Joseph Mengal.\" August 11. https://en.wikipedia.org/w/index.php?title=Martin-Joseph_Mengal\u0026oldid=1305418452.","Wikipedia. 2026. \"Adelina Patti.\" July 6. https://en.wikipedia.org/w/index.php?title=Adelina_Patti\u0026oldid=1362846767.","Wikipedia. 2026. \"Ernesto Rossi (actor).\" June 14. https://en.wikipedia.org/w/index.php?title=Ernesto_Rossi_(actor)\u0026oldid=1359283321.","Wikipedia. 2026. \"Jenny Lind.\" July 1. https://en.wikipedia.org/w/index.php?title=Jenny_Lind\u0026oldid=1362039643.","Wikipedia. 2026. \"Léopold-Émile Reutlinger.\" July 2. https://en.wikipedia.org/w/index.php?title=L%C3%A9opold-%C3%89mile_Reutlinger\u0026oldid=1362184806.","Wikipedia. 2026. \"Marie Cabel.\" May 25. https://en.wikipedia.org/w/index.php?title=Marie_Cabel\u0026oldid=1356029357.","Wikipedia. 2026. \"Marietta Brambilla.\" May 19. https://en.wikipedia.org/w/index.php?title=Marietta_Brambilla\u0026oldid=1354992490.","Johanna Maria Lind, known professionally as Jenny Lind, was born on October 6, 1820 in Stockholm, Sweden. Nicknamed the \"Swedish Nightingale,\" Lind gained fame as an operatic soprano throughout Europe starting at the age of 11. By the age of 28, Lind announced her retirement from the operatic stage, playing her last performance, which was attended by Queen Victoria and members of the British Royal Family, on May 10, 1849 in London, England. In September 1850, Lind sailed to America after showman P.T. Barnum offered her an 18-month contract to perform 150 concerts throughout the United States at the rate of $1,000 per performance. Barnum's advanced publicity led to Lind achieving national celebrity status even before she arrived in America, with the press at the time referring to the enthusiastic reception and high demand for tickets as \"Lind mania.\" Lind donated her earnings to charity, including an endowment of free schools in Sweden. After marrying Otto Goldschmidt in 1852 she returned to Europe where she remained until her death on November 2, 1887 at the age of 67.","Léopold-Émile Reutlinger was born March 17, 1863 in Callao, Peru to a German-Jewish family of photographers. In 1883 he joined the family's photography studio in Paris, France before taking over in 1890. Reutlinger is best know for his photographs of popular actresses and opera singers, including the stars of entertainment venues such as the Moulin Rouge and the Folies Bergère, as well as photographs for fashion and advertising and his pioneering work in erotic photography. He passed away on March 16, 1937 at the age of 73.","Additional biographical information for single image specific individuals can be found in the folder level Scope and Content.","Processing completed by Meghan Glasbrenner in June 2026. Finding aid completed by Meghan Glasbrenner in July 2026.","The Special Collections Research Center holds other portrait etchings and illustrations, including Four hand-colored plates of \"The Tours of Dr. Syntax\" by Thomas Rowlandson and 18th and 19th century hand-colored prints of European figures and theatrical costumes.","The New York Public Library Digital Collections hold a large number of prints by Alexandre Lacauchie.","A collection of prints and photographs depicting European opera singers and actors from the 18th-20th century. A total of eighteen different individuals are depicted in the prints, with three depicting opera singer Jenny Lind. One print depicts a composer who worked in opera. Most prints include identifying information in French regarding the subject, with a few including text in English, and are a mix of formal and costume portraits. The prints represent a variety of mediums including lithographs, etchings, photogravure, and drawings based on photographs.","No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)","A collection of prints and photographs depicting European opera singers and actors from the 18th-20th century.","R 73, C 2, S 5","George Mason University. Libraries. Special Collections Research Center","Elliott \u0026 Fry","Hautecoeur-Martinet (Firm)","Imprimerie Lemercier et cie","Johnson, Fry \u0026 Co","Riddle \u0026 Couchman","Baugniet, Charles, 1814-1886","Desvachez, D. J. (David Joseph), 1822-1902","Durham, Joseph, 1814-1877","Lacauchie, Alexandre","Reutlinger, Léopold-Émile, 1863-1937","Vogt, Charles, active 1833-1882","Ackermann, Charlotte (Marie Magdalene Charlotte Ackermann), 1714-1757","Arnoldson, Sigrid, 1861-1943","Brambilla, Marietta, 1807-1875","Bréjean-Silver, Georgette, 1870-","Cabel, Marie, 1827-1885","Desclauzas, Marie, 1841-1912","Falcon, Marie-Cornélie, 1814-1897","Jawureck, Mme. (Constance), 1803-1858","Lind, Jenny, 1820-1887","Mengal, Martin-Joseph, 1784-1851","Patti, Adelina, 1843-1919","Ugalde, Delphine, 1829-1910","French\n      English"],"collection_title_tesim":["European opera singer and actor portrait collection"],"collection_ssim":["European opera singer and actor portrait collection"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0555","/repositories/2/resources/780"],"unitid_tesim":["C0555","/repositories/2/resources/780"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. Libraries. Special Collections Research Center","Baugniet, Charles, 1814-1886","Desvachez, D. J. (David Joseph), 1822-1902","Durham, Joseph, 1814-1877","Elliott \u0026 Fry","Hautecoeur-Martinet (Firm)","Imprimerie Lemercier et cie","Johnson, Fry \u0026 Co","Lacauchie, Alexandre","Reutlinger, Léopold-Émile, 1863-1937","Riddle \u0026 Couchman","Vogt, Charles, active 1833-1882"],"creator_ssim":["George Mason University. Libraries. Special Collections Research Center","Baugniet, Charles, 1814-1886","Desvachez, D. J. (David Joseph), 1822-1902","Durham, Joseph, 1814-1877","Elliott \u0026 Fry","Hautecoeur-Martinet (Firm)","Imprimerie Lemercier et cie","Johnson, Fry \u0026 Co","Lacauchie, Alexandre","Reutlinger, Léopold-Émile, 1863-1937","Riddle \u0026 Couchman","Vogt, Charles, active 1833-1882"],"creator_persname_ssim":["Baugniet, Charles, 1814-1886","Desvachez, D. J. (David Joseph), 1822-1902","Durham, Joseph, 1814-1877","Lacauchie, Alexandre","Reutlinger, Léopold-Émile, 1863-1937","Vogt, Charles, active 1833-1882","Ackermann, Charlotte (Marie Magdalene Charlotte Ackermann), 1714-1757","Arnoldson, Sigrid, 1861-1943","Brambilla, Marietta, 1807-1875","Bréjean-Silver, Georgette, 1870-","Cabel, Marie, 1827-1885","Desclauzas, Marie, 1841-1912","Falcon, Marie-Cornélie, 1814-1897","Jawureck, Mme. (Constance), 1803-1858","Lind, Jenny, 1820-1887","Mengal, Martin-Joseph, 1784-1851","Patti, Adelina, 1843-1919","Ugalde, Delphine, 1829-1910"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Elliott \u0026 Fry","Hautecoeur-Martinet (Firm)","Imprimerie Lemercier et cie","Johnson, Fry \u0026 Co","Riddle \u0026 Couchman"],"creators_ssim":["Baugniet, Charles, 1814-1886","Desvachez, D. J. (David Joseph), 1822-1902","Durham, Joseph, 1814-1877","Lacauchie, Alexandre","Reutlinger, Léopold-Émile, 1863-1937","Vogt, Charles, active 1833-1882","Ackermann, Charlotte (Marie Magdalene Charlotte Ackermann), 1714-1757","Arnoldson, Sigrid, 1861-1943","Brambilla, Marietta, 1807-1875","Bréjean-Silver, Georgette, 1870-","Cabel, Marie, 1827-1885","Desclauzas, Marie, 1841-1912","Falcon, Marie-Cornélie, 1814-1897","Jawureck, Mme. (Constance), 1803-1858","Lind, Jenny, 1820-1887","Mengal, Martin-Joseph, 1784-1851","Patti, Adelina, 1843-1919","Ugalde, Delphine, 1829-1910","George Mason University. Libraries. Special Collections Research Center","Elliott \u0026 Fry","Hautecoeur-Martinet (Firm)","Imprimerie Lemercier et cie","Johnson, Fry \u0026 Co","Riddle \u0026 Couchman"],"access_terms_ssm":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"acqinfo_ssim":["Purchased from Schubertiade Music by Lynn Eaton in March 2025."],"access_subjects_ssim":["Opera","Engraving","Lithography","Performing arts","Operetta","Theater","Theater -- Europe","Photogravures","Photographic prints","Photographs"],"access_subjects_ssm":["Opera","Engraving","Lithography","Performing arts","Operetta","Theater","Theater -- Europe","Photogravures","Photographic prints","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":[".25 Linear Feet 1 box"],"extent_tesim":[".25 Linear Feet 1 box"],"genreform_ssim":["Photographic prints","Photographs"],"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\u003eItems are arranged alphabetically by subject last name.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Items are arranged alphabetically by subject last name."],"bibliography_html_tesm":["\u003cp\u003eA Modern Reveal: Songs and Stories of Women Composers. n.d. \"Delphine Ugalde.\" Accessed July 17, 2026. https://www.amodernreveal.com/delphine-ugalde.\u003c/p\u003e","\u003cp\u003eBienvenu, Germain. n.d. \"Research Guides: Louisiana Music History: Materials in Special Collections: Adelina Patti.\" Louisiana State University Libraries. Accessed July 17, 2026. https://guides.lib.lsu.edu/LouisianaMusic/patti.\u003c/p\u003e","\u003cp\u003eBritish Museum. n.d. \"Alexandre Lacauchie.\" Accessed July 17, 2026. https://www.britishmuseum.org/collection/term/BIOG34480.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eCornélie Falcon, French Soprano\u003c/title\u003e. 1814. January 28. https://www.helvetialyrica.com/en/portfolio_page/falcon-soprano/.\u003c/p\u003e","\u003cp\u003eFuller, Nicholas. 2022. \"213. La Sirène (Auber).\" \u003ctitle\u003eThe Opera Scribe\u003c/title\u003e, April 29. https://operascribe.com/2022/04/29/213-la-sirene-auber/.\u003c/p\u003e","\u003cp\u003eGänzl, Kurt. 2014. \"You Dont Have to Be a Skinny to Be a Superstar: Marie Desclauzas.\" Offenbach \u0026amp; Co. Operetta Research Center, August 25. http://operetta-research-center.org/dont-skinny-soprano-superstar-marie-desclauzas/.\u003c/p\u003e","\u003cp\u003eLes Archives Du Spectacle. 1835. \"Les Deux Reines.\" August 6. https://lesarchivesduspectacle.net/s/118775-Les-Deux-Reines.\u003c/p\u003e","\u003cp\u003eMary Evans Picture Library. n.d. \"Images of Dozainville, Baptiste-Pierre Dardel, French Actor, 1758-1809.\" Accessed July 17, 2026. https://www.maryevans.com/contributors/flo/dozainville-baptiste-pierre-dardel-45804499.html.\u003c/p\u003e","\u003cp\u003e\"Meet Jenny Lind, One of America's First Female Celebrities.\" 2016. January 26. https://americanhistory.si.edu/explore/stories/jenny-lind.\u003c/p\u003e","\u003cp\u003eRoyal Collection Trust. n.d. \"David Joseph Desvachez (1822-1902) - THE ROYAL SISTERS.\" Accessed July 17, 2026. https://www.rct.uk/collection/606074/the-royal-sisters.\u003c/p\u003e","\u003cp\u003e\"SPL Rare Books.\" n.d. Accessed July 13, 2026. https://www.splrarebooks.com/collection/view/petite-galerie-dramatique-ou-recueil-de-differents-costumes-dacteurs-.3.\u003c/p\u003e","\u003cp\u003eSvenskt Kvinnobiografiskt Lexikon. n.d. \"Sigrid Taube Marie Arnoldson.\" Accessed July 13, 2026. http://skbl.se/en/article/SigridArnoldson.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2024. \"Delphine Ugalde.\" November 6. https://en.wikipedia.org/w/index.php?title=Delphine_Ugalde\u0026amp;oldid=1255705244.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2025. \"Constance Jawureck.\" March 10. https://en.wikipedia.org/w/index.php?title=Constance_Jawureck\u0026amp;oldid=1279778029.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2025. \"Georgette Bréjean-Silver.\" September 5. https://en.wikipedia.org/w/index.php?title=Georgette_Br%C3%A9jean-Silver\u0026amp;oldid=1309625020.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2025. \"Marie Magdalene Charlotte Ackermann.\" December 8. https://en.wikipedia.org/w/index.php?title=Marie_Magdalene_Charlotte_Ackermann\u0026amp;oldid=1326343810.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2025. \"Martin-Joseph Mengal.\" August 11. https://en.wikipedia.org/w/index.php?title=Martin-Joseph_Mengal\u0026amp;oldid=1305418452.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2026. \"Adelina Patti.\" July 6. https://en.wikipedia.org/w/index.php?title=Adelina_Patti\u0026amp;oldid=1362846767.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2026. \"Ernesto Rossi (actor).\" June 14. https://en.wikipedia.org/w/index.php?title=Ernesto_Rossi_(actor)\u0026amp;oldid=1359283321.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2026. \"Jenny Lind.\" July 1. https://en.wikipedia.org/w/index.php?title=Jenny_Lind\u0026amp;oldid=1362039643.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2026. \"Léopold-Émile Reutlinger.\" July 2. https://en.wikipedia.org/w/index.php?title=L%C3%A9opold-%C3%89mile_Reutlinger\u0026amp;oldid=1362184806.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2026. \"Marie Cabel.\" May 25. https://en.wikipedia.org/w/index.php?title=Marie_Cabel\u0026amp;oldid=1356029357.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2026. \"Marietta Brambilla.\" May 19. https://en.wikipedia.org/w/index.php?title=Marietta_Brambilla\u0026amp;oldid=1354992490.\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["A Modern Reveal: Songs and Stories of Women Composers. n.d. \"Delphine Ugalde.\" Accessed July 17, 2026. https://www.amodernreveal.com/delphine-ugalde.","Bienvenu, Germain. n.d. \"Research Guides: Louisiana Music History: Materials in Special Collections: Adelina Patti.\" Louisiana State University Libraries. Accessed July 17, 2026. https://guides.lib.lsu.edu/LouisianaMusic/patti.","British Museum. n.d. \"Alexandre Lacauchie.\" Accessed July 17, 2026. https://www.britishmuseum.org/collection/term/BIOG34480.","Cornélie Falcon, French Soprano. 1814. January 28. https://www.helvetialyrica.com/en/portfolio_page/falcon-soprano/.","Fuller, Nicholas. 2022. \"213. La Sirène (Auber).\" The Opera Scribe, April 29. https://operascribe.com/2022/04/29/213-la-sirene-auber/.","Gänzl, Kurt. 2014. \"You Dont Have to Be a Skinny to Be a Superstar: Marie Desclauzas.\" Offenbach \u0026 Co. Operetta Research Center, August 25. http://operetta-research-center.org/dont-skinny-soprano-superstar-marie-desclauzas/.","Les Archives Du Spectacle. 1835. \"Les Deux Reines.\" August 6. https://lesarchivesduspectacle.net/s/118775-Les-Deux-Reines.","Mary Evans Picture Library. n.d. \"Images of Dozainville, Baptiste-Pierre Dardel, French Actor, 1758-1809.\" Accessed July 17, 2026. https://www.maryevans.com/contributors/flo/dozainville-baptiste-pierre-dardel-45804499.html.","\"Meet Jenny Lind, One of America's First Female Celebrities.\" 2016. January 26. https://americanhistory.si.edu/explore/stories/jenny-lind.","Royal Collection Trust. n.d. \"David Joseph Desvachez (1822-1902) - THE ROYAL SISTERS.\" Accessed July 17, 2026. https://www.rct.uk/collection/606074/the-royal-sisters.","\"SPL Rare Books.\" n.d. Accessed July 13, 2026. https://www.splrarebooks.com/collection/view/petite-galerie-dramatique-ou-recueil-de-differents-costumes-dacteurs-.3.","Svenskt Kvinnobiografiskt Lexikon. n.d. \"Sigrid Taube Marie Arnoldson.\" Accessed July 13, 2026. http://skbl.se/en/article/SigridArnoldson.","Wikipedia. 2024. \"Delphine Ugalde.\" November 6. https://en.wikipedia.org/w/index.php?title=Delphine_Ugalde\u0026oldid=1255705244.","Wikipedia. 2025. \"Constance Jawureck.\" March 10. https://en.wikipedia.org/w/index.php?title=Constance_Jawureck\u0026oldid=1279778029.","Wikipedia. 2025. \"Georgette Bréjean-Silver.\" September 5. https://en.wikipedia.org/w/index.php?title=Georgette_Br%C3%A9jean-Silver\u0026oldid=1309625020.","Wikipedia. 2025. \"Marie Magdalene Charlotte Ackermann.\" December 8. https://en.wikipedia.org/w/index.php?title=Marie_Magdalene_Charlotte_Ackermann\u0026oldid=1326343810.","Wikipedia. 2025. \"Martin-Joseph Mengal.\" August 11. https://en.wikipedia.org/w/index.php?title=Martin-Joseph_Mengal\u0026oldid=1305418452.","Wikipedia. 2026. \"Adelina Patti.\" July 6. https://en.wikipedia.org/w/index.php?title=Adelina_Patti\u0026oldid=1362846767.","Wikipedia. 2026. \"Ernesto Rossi (actor).\" June 14. https://en.wikipedia.org/w/index.php?title=Ernesto_Rossi_(actor)\u0026oldid=1359283321.","Wikipedia. 2026. \"Jenny Lind.\" July 1. https://en.wikipedia.org/w/index.php?title=Jenny_Lind\u0026oldid=1362039643.","Wikipedia. 2026. \"Léopold-Émile Reutlinger.\" July 2. https://en.wikipedia.org/w/index.php?title=L%C3%A9opold-%C3%89mile_Reutlinger\u0026oldid=1362184806.","Wikipedia. 2026. \"Marie Cabel.\" May 25. https://en.wikipedia.org/w/index.php?title=Marie_Cabel\u0026oldid=1356029357.","Wikipedia. 2026. \"Marietta Brambilla.\" May 19. https://en.wikipedia.org/w/index.php?title=Marietta_Brambilla\u0026oldid=1354992490."],"bioghist_html_tesm":["\u003cp\u003eJohanna Maria Lind, known professionally as Jenny Lind, was born on October 6, 1820 in Stockholm, Sweden. Nicknamed the \"Swedish Nightingale,\" Lind gained fame as an operatic soprano throughout Europe starting at the age of 11. By the age of 28, Lind announced her retirement from the operatic stage, playing her last performance, which was attended by Queen Victoria and members of the British Royal Family, on May 10, 1849 in London, England. In September 1850, Lind sailed to America after showman P.T. Barnum offered her an 18-month contract to perform 150 concerts throughout the United States at the rate of $1,000 per performance. Barnum's advanced publicity led to Lind achieving national celebrity status even before she arrived in America, with the press at the time referring to the enthusiastic reception and high demand for tickets as \"Lind mania.\" Lind donated her earnings to charity, including an endowment of free schools in Sweden. After marrying Otto Goldschmidt in 1852 she returned to Europe where she remained until her death on November 2, 1887 at the age of 67.\u003c/p\u003e","\u003cp\u003eLéopold-Émile Reutlinger was born March 17, 1863 in Callao, Peru to a German-Jewish family of photographers. In 1883 he joined the family's photography studio in Paris, France before taking over in 1890. Reutlinger is best know for his photographs of popular actresses and opera singers, including the stars of entertainment venues such as the Moulin Rouge and the Folies Bergère, as well as photographs for fashion and advertising and his pioneering work in erotic photography. He passed away on March 16, 1937 at the age of 73.\u003c/p\u003e","\u003cp\u003eAdditional biographical information for single image specific individuals can be found in the folder level Scope and Content.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Johanna Maria Lind, known professionally as Jenny Lind, was born on October 6, 1820 in Stockholm, Sweden. Nicknamed the \"Swedish Nightingale,\" Lind gained fame as an operatic soprano throughout Europe starting at the age of 11. By the age of 28, Lind announced her retirement from the operatic stage, playing her last performance, which was attended by Queen Victoria and members of the British Royal Family, on May 10, 1849 in London, England. In September 1850, Lind sailed to America after showman P.T. Barnum offered her an 18-month contract to perform 150 concerts throughout the United States at the rate of $1,000 per performance. Barnum's advanced publicity led to Lind achieving national celebrity status even before she arrived in America, with the press at the time referring to the enthusiastic reception and high demand for tickets as \"Lind mania.\" Lind donated her earnings to charity, including an endowment of free schools in Sweden. After marrying Otto Goldschmidt in 1852 she returned to Europe where she remained until her death on November 2, 1887 at the age of 67.","Léopold-Émile Reutlinger was born March 17, 1863 in Callao, Peru to a German-Jewish family of photographers. In 1883 he joined the family's photography studio in Paris, France before taking over in 1890. Reutlinger is best know for his photographs of popular actresses and opera singers, including the stars of entertainment venues such as the Moulin Rouge and the Folies Bergère, as well as photographs for fashion and advertising and his pioneering work in erotic photography. He passed away on March 16, 1937 at the age of 73.","Additional biographical information for single image specific individuals can be found in the folder level Scope and Content."],"prefercite_html_tesm":["\u003cp\u003eEuropean opera singer and actor portrait collection, C0555, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e  "],"prefercite_tesim":["European opera singer and actor portrait collection, C0555, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Meghan Glasbrenner in June 2026. Finding aid completed by Meghan Glasbrenner in July 2026.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Meghan Glasbrenner in June 2026. Finding aid completed by Meghan Glasbrenner in July 2026."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other portrait etchings and illustrations, including \u003ca href=\"https://aspace.gmu.edu/resources/c0552\"\u003eFour hand-colored plates of \"The Tours of Dr. Syntax\" by Thomas Rowlandson\u003c/a\u003e and \u003ca href=\"https://aspace.gmu.edu/resources/c0554\"\u003e18th and 19th century hand-colored prints of European figures and theatrical costumes\u003c/a\u003e.\u003c/p\u003e","\u003cp\u003eThe \u003ca href=\"https://digitalcollections.nypl.org/search/index?filters=%5Bname%3DLacauchie%2C+Alexandre%5D\"\u003eNew York Public Library Digital Collections\u003c/a\u003e hold a large number of prints by Alexandre Lacauchie.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds other portrait etchings and illustrations, including Four hand-colored plates of \"The Tours of Dr. Syntax\" by Thomas Rowlandson and 18th and 19th century hand-colored prints of European figures and theatrical costumes.","The New York Public Library Digital Collections hold a large number of prints by Alexandre Lacauchie."],"scopecontent_html_tesm":["\u003cp\u003eA collection of prints and photographs depicting European opera singers and actors from the 18th-20th century. A total of eighteen different individuals are depicted in the prints, with three depicting opera singer Jenny Lind. One print depicts a composer who worked in opera. Most prints include identifying information in French regarding the subject, with a few including text in English, and are a mix of formal and costume portraits. The prints represent a variety of mediums including lithographs, etchings, photogravure, and drawings based on photographs.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["A collection of prints and photographs depicting European opera singers and actors from the 18th-20th century. A total of eighteen different individuals are depicted in the prints, with three depicting opera singer Jenny Lind. One print depicts a composer who worked in opera. Most prints include identifying information in French regarding the subject, with a few including text in English, and are a mix of formal and costume portraits. The prints represent a variety of mediums including lithographs, etchings, photogravure, and drawings based on photographs."],"userestrict_html_tesm":["\u003cp\u003eNo known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_a3f26d8f526cece4b95cd6c4d57fb742\"\u003eA collection of prints and photographs depicting European opera singers and actors from the 18th-20th century.\u003c/abstract\u003e\n    "],"abstract_tesim":["A collection of prints and photographs depicting European opera singers and actors from the 18th-20th century."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_82c0971d2349afc8fda9521f2397cdbf\"\u003eR 73, C 2, S 5\u003c/physloc\u003e\n    "],"physloc_tesim":["R 73, C 2, S 5"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Elliott \u0026 Fry","Hautecoeur-Martinet (Firm)","Imprimerie Lemercier et cie","Johnson, Fry \u0026 Co","Riddle \u0026 Couchman"],"names_coll_ssim":["Elliott \u0026 Fry","Hautecoeur-Martinet (Firm)","Imprimerie Lemercier et cie","Johnson, Fry \u0026 Co","Riddle \u0026 Couchman","Ackermann, Charlotte (Marie Magdalene Charlotte Ackermann), 1714-1757","Arnoldson, Sigrid, 1861-1943","Brambilla, Marietta, 1807-1875","Bréjean-Silver, Georgette, 1870-","Cabel, Marie, 1827-1885","Desclauzas, Marie, 1841-1912","Falcon, Marie-Cornélie, 1814-1897","Jawureck, Mme. (Constance), 1803-1858","Lind, Jenny, 1820-1887","Mengal, Martin-Joseph, 1784-1851","Patti, Adelina, 1843-1919","Ugalde, Delphine, 1829-1910","Baugniet, Charles, 1814-1886","Desvachez, D. J. (David Joseph), 1822-1902","Durham, Joseph, 1814-1877","Lacauchie, Alexandre","Reutlinger, Léopold-Émile, 1863-1937","Vogt, Charles, active 1833-1882"],"persname_ssim":["Baugniet, Charles, 1814-1886","Desvachez, D. J. (David Joseph), 1822-1902","Durham, Joseph, 1814-1877","Lacauchie, Alexandre","Reutlinger, Léopold-Émile, 1863-1937","Vogt, Charles, active 1833-1882","Ackermann, Charlotte (Marie Magdalene Charlotte Ackermann), 1714-1757","Arnoldson, Sigrid, 1861-1943","Brambilla, Marietta, 1807-1875","Bréjean-Silver, Georgette, 1870-","Cabel, Marie, 1827-1885","Desclauzas, Marie, 1841-1912","Falcon, Marie-Cornélie, 1814-1897","Jawureck, Mme. (Constance), 1803-1858","Lind, Jenny, 1820-1887","Mengal, Martin-Joseph, 1784-1851","Patti, Adelina, 1843-1919","Ugalde, Delphine, 1829-1910"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Elliott \u0026 Fry","Hautecoeur-Martinet (Firm)","Imprimerie Lemercier et cie","Johnson, Fry \u0026 Co","Riddle \u0026 Couchman","Baugniet, Charles, 1814-1886","Desvachez, D. J. (David Joseph), 1822-1902","Durham, Joseph, 1814-1877","Lacauchie, Alexandre","Reutlinger, Léopold-Émile, 1863-1937","Vogt, Charles, active 1833-1882","Ackermann, Charlotte (Marie Magdalene Charlotte Ackermann), 1714-1757","Arnoldson, Sigrid, 1861-1943","Brambilla, Marietta, 1807-1875","Bréjean-Silver, Georgette, 1870-","Cabel, Marie, 1827-1885","Desclauzas, Marie, 1841-1912","Falcon, Marie-Cornélie, 1814-1897","Jawureck, Mme. (Constance), 1803-1858","Lind, Jenny, 1820-1887","Mengal, Martin-Joseph, 1784-1851","Patti, Adelina, 1843-1919","Ugalde, Delphine, 1829-1910"],"language_ssim":["French\n      English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":19,"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_780","ead_ssi":"vifgm_repositories_2_resources_780","_root_":"vifgm_repositories_2_resources_780","_nest_parent_":"vifgm_repositories_2_resources_780","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_780.xml","title_filing_ssi":"European opera singer and actor portrait collection","title_ssm":["European opera singer and actor portrait collection"],"title_tesim":["European opera singer and actor portrait collection"],"unitdate_ssm":["circa 1760s-1910s"],"unitdate_inclusive_ssm":["circa 1760s-1910s"],"normalized_title_ssm":["European opera singer and actor portrait collection"],"text":["European opera singer and actor portrait collection","C0555","/repositories/2/resources/780","Opera","Engraving","Lithography","Performing arts","Operetta","Theater","Theater -- Europe","Photogravures","Photographic prints","Photographs","There are no access restrictions.","Items are arranged alphabetically by subject last name.","A Modern Reveal: Songs and Stories of Women Composers. n.d. \"Delphine Ugalde.\" Accessed July 17, 2026. https://www.amodernreveal.com/delphine-ugalde.","Bienvenu, Germain. n.d. \"Research Guides: Louisiana Music History: Materials in Special Collections: Adelina Patti.\" Louisiana State University Libraries. Accessed July 17, 2026. https://guides.lib.lsu.edu/LouisianaMusic/patti.","British Museum. n.d. \"Alexandre Lacauchie.\" Accessed July 17, 2026. https://www.britishmuseum.org/collection/term/BIOG34480.","Cornélie Falcon, French Soprano. 1814. January 28. https://www.helvetialyrica.com/en/portfolio_page/falcon-soprano/.","Fuller, Nicholas. 2022. \"213. La Sirène (Auber).\" The Opera Scribe, April 29. https://operascribe.com/2022/04/29/213-la-sirene-auber/.","Gänzl, Kurt. 2014. \"You Dont Have to Be a Skinny to Be a Superstar: Marie Desclauzas.\" Offenbach \u0026 Co. Operetta Research Center, August 25. http://operetta-research-center.org/dont-skinny-soprano-superstar-marie-desclauzas/.","Les Archives Du Spectacle. 1835. \"Les Deux Reines.\" August 6. https://lesarchivesduspectacle.net/s/118775-Les-Deux-Reines.","Mary Evans Picture Library. n.d. \"Images of Dozainville, Baptiste-Pierre Dardel, French Actor, 1758-1809.\" Accessed July 17, 2026. https://www.maryevans.com/contributors/flo/dozainville-baptiste-pierre-dardel-45804499.html.","\"Meet Jenny Lind, One of America's First Female Celebrities.\" 2016. January 26. https://americanhistory.si.edu/explore/stories/jenny-lind.","Royal Collection Trust. n.d. \"David Joseph Desvachez (1822-1902) - THE ROYAL SISTERS.\" Accessed July 17, 2026. https://www.rct.uk/collection/606074/the-royal-sisters.","\"SPL Rare Books.\" n.d. Accessed July 13, 2026. https://www.splrarebooks.com/collection/view/petite-galerie-dramatique-ou-recueil-de-differents-costumes-dacteurs-.3.","Svenskt Kvinnobiografiskt Lexikon. n.d. \"Sigrid Taube Marie Arnoldson.\" Accessed July 13, 2026. http://skbl.se/en/article/SigridArnoldson.","Wikipedia. 2024. \"Delphine Ugalde.\" November 6. https://en.wikipedia.org/w/index.php?title=Delphine_Ugalde\u0026oldid=1255705244.","Wikipedia. 2025. \"Constance Jawureck.\" March 10. https://en.wikipedia.org/w/index.php?title=Constance_Jawureck\u0026oldid=1279778029.","Wikipedia. 2025. \"Georgette Bréjean-Silver.\" September 5. https://en.wikipedia.org/w/index.php?title=Georgette_Br%C3%A9jean-Silver\u0026oldid=1309625020.","Wikipedia. 2025. \"Marie Magdalene Charlotte Ackermann.\" December 8. https://en.wikipedia.org/w/index.php?title=Marie_Magdalene_Charlotte_Ackermann\u0026oldid=1326343810.","Wikipedia. 2025. \"Martin-Joseph Mengal.\" August 11. https://en.wikipedia.org/w/index.php?title=Martin-Joseph_Mengal\u0026oldid=1305418452.","Wikipedia. 2026. \"Adelina Patti.\" July 6. https://en.wikipedia.org/w/index.php?title=Adelina_Patti\u0026oldid=1362846767.","Wikipedia. 2026. \"Ernesto Rossi (actor).\" June 14. https://en.wikipedia.org/w/index.php?title=Ernesto_Rossi_(actor)\u0026oldid=1359283321.","Wikipedia. 2026. \"Jenny Lind.\" July 1. https://en.wikipedia.org/w/index.php?title=Jenny_Lind\u0026oldid=1362039643.","Wikipedia. 2026. \"Léopold-Émile Reutlinger.\" July 2. https://en.wikipedia.org/w/index.php?title=L%C3%A9opold-%C3%89mile_Reutlinger\u0026oldid=1362184806.","Wikipedia. 2026. \"Marie Cabel.\" May 25. https://en.wikipedia.org/w/index.php?title=Marie_Cabel\u0026oldid=1356029357.","Wikipedia. 2026. \"Marietta Brambilla.\" May 19. https://en.wikipedia.org/w/index.php?title=Marietta_Brambilla\u0026oldid=1354992490.","Johanna Maria Lind, known professionally as Jenny Lind, was born on October 6, 1820 in Stockholm, Sweden. Nicknamed the \"Swedish Nightingale,\" Lind gained fame as an operatic soprano throughout Europe starting at the age of 11. By the age of 28, Lind announced her retirement from the operatic stage, playing her last performance, which was attended by Queen Victoria and members of the British Royal Family, on May 10, 1849 in London, England. In September 1850, Lind sailed to America after showman P.T. Barnum offered her an 18-month contract to perform 150 concerts throughout the United States at the rate of $1,000 per performance. Barnum's advanced publicity led to Lind achieving national celebrity status even before she arrived in America, with the press at the time referring to the enthusiastic reception and high demand for tickets as \"Lind mania.\" Lind donated her earnings to charity, including an endowment of free schools in Sweden. After marrying Otto Goldschmidt in 1852 she returned to Europe where she remained until her death on November 2, 1887 at the age of 67.","Léopold-Émile Reutlinger was born March 17, 1863 in Callao, Peru to a German-Jewish family of photographers. In 1883 he joined the family's photography studio in Paris, France before taking over in 1890. Reutlinger is best know for his photographs of popular actresses and opera singers, including the stars of entertainment venues such as the Moulin Rouge and the Folies Bergère, as well as photographs for fashion and advertising and his pioneering work in erotic photography. He passed away on March 16, 1937 at the age of 73.","Additional biographical information for single image specific individuals can be found in the folder level Scope and Content.","Processing completed by Meghan Glasbrenner in June 2026. Finding aid completed by Meghan Glasbrenner in July 2026.","The Special Collections Research Center holds other portrait etchings and illustrations, including Four hand-colored plates of \"The Tours of Dr. Syntax\" by Thomas Rowlandson and 18th and 19th century hand-colored prints of European figures and theatrical costumes.","The New York Public Library Digital Collections hold a large number of prints by Alexandre Lacauchie.","A collection of prints and photographs depicting European opera singers and actors from the 18th-20th century. A total of eighteen different individuals are depicted in the prints, with three depicting opera singer Jenny Lind. One print depicts a composer who worked in opera. Most prints include identifying information in French regarding the subject, with a few including text in English, and are a mix of formal and costume portraits. The prints represent a variety of mediums including lithographs, etchings, photogravure, and drawings based on photographs.","No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)","A collection of prints and photographs depicting European opera singers and actors from the 18th-20th century.","R 73, C 2, S 5","George Mason University. Libraries. Special Collections Research Center","Elliott \u0026 Fry","Hautecoeur-Martinet (Firm)","Imprimerie Lemercier et cie","Johnson, Fry \u0026 Co","Riddle \u0026 Couchman","Baugniet, Charles, 1814-1886","Desvachez, D. J. (David Joseph), 1822-1902","Durham, Joseph, 1814-1877","Lacauchie, Alexandre","Reutlinger, Léopold-Émile, 1863-1937","Vogt, Charles, active 1833-1882","Ackermann, Charlotte (Marie Magdalene Charlotte Ackermann), 1714-1757","Arnoldson, Sigrid, 1861-1943","Brambilla, Marietta, 1807-1875","Bréjean-Silver, Georgette, 1870-","Cabel, Marie, 1827-1885","Desclauzas, Marie, 1841-1912","Falcon, Marie-Cornélie, 1814-1897","Jawureck, Mme. (Constance), 1803-1858","Lind, Jenny, 1820-1887","Mengal, Martin-Joseph, 1784-1851","Patti, Adelina, 1843-1919","Ugalde, Delphine, 1829-1910","French\n      English"],"collection_title_tesim":["European opera singer and actor portrait collection"],"collection_ssim":["European opera singer and actor portrait collection"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0555","/repositories/2/resources/780"],"unitid_tesim":["C0555","/repositories/2/resources/780"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. Libraries. Special Collections Research Center","Baugniet, Charles, 1814-1886","Desvachez, D. J. (David Joseph), 1822-1902","Durham, Joseph, 1814-1877","Elliott \u0026 Fry","Hautecoeur-Martinet (Firm)","Imprimerie Lemercier et cie","Johnson, Fry \u0026 Co","Lacauchie, Alexandre","Reutlinger, Léopold-Émile, 1863-1937","Riddle \u0026 Couchman","Vogt, Charles, active 1833-1882"],"creator_ssim":["George Mason University. Libraries. Special Collections Research Center","Baugniet, Charles, 1814-1886","Desvachez, D. J. (David Joseph), 1822-1902","Durham, Joseph, 1814-1877","Elliott \u0026 Fry","Hautecoeur-Martinet (Firm)","Imprimerie Lemercier et cie","Johnson, Fry \u0026 Co","Lacauchie, Alexandre","Reutlinger, Léopold-Émile, 1863-1937","Riddle \u0026 Couchman","Vogt, Charles, active 1833-1882"],"creator_persname_ssim":["Baugniet, Charles, 1814-1886","Desvachez, D. J. (David Joseph), 1822-1902","Durham, Joseph, 1814-1877","Lacauchie, Alexandre","Reutlinger, Léopold-Émile, 1863-1937","Vogt, Charles, active 1833-1882","Ackermann, Charlotte (Marie Magdalene Charlotte Ackermann), 1714-1757","Arnoldson, Sigrid, 1861-1943","Brambilla, Marietta, 1807-1875","Bréjean-Silver, Georgette, 1870-","Cabel, Marie, 1827-1885","Desclauzas, Marie, 1841-1912","Falcon, Marie-Cornélie, 1814-1897","Jawureck, Mme. (Constance), 1803-1858","Lind, Jenny, 1820-1887","Mengal, Martin-Joseph, 1784-1851","Patti, Adelina, 1843-1919","Ugalde, Delphine, 1829-1910"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Elliott \u0026 Fry","Hautecoeur-Martinet (Firm)","Imprimerie Lemercier et cie","Johnson, Fry \u0026 Co","Riddle \u0026 Couchman"],"creators_ssim":["Baugniet, Charles, 1814-1886","Desvachez, D. J. (David Joseph), 1822-1902","Durham, Joseph, 1814-1877","Lacauchie, Alexandre","Reutlinger, Léopold-Émile, 1863-1937","Vogt, Charles, active 1833-1882","Ackermann, Charlotte (Marie Magdalene Charlotte Ackermann), 1714-1757","Arnoldson, Sigrid, 1861-1943","Brambilla, Marietta, 1807-1875","Bréjean-Silver, Georgette, 1870-","Cabel, Marie, 1827-1885","Desclauzas, Marie, 1841-1912","Falcon, Marie-Cornélie, 1814-1897","Jawureck, Mme. (Constance), 1803-1858","Lind, Jenny, 1820-1887","Mengal, Martin-Joseph, 1784-1851","Patti, Adelina, 1843-1919","Ugalde, Delphine, 1829-1910","George Mason University. Libraries. Special Collections Research Center","Elliott \u0026 Fry","Hautecoeur-Martinet (Firm)","Imprimerie Lemercier et cie","Johnson, Fry \u0026 Co","Riddle \u0026 Couchman"],"access_terms_ssm":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"acqinfo_ssim":["Purchased from Schubertiade Music by Lynn Eaton in March 2025."],"access_subjects_ssim":["Opera","Engraving","Lithography","Performing arts","Operetta","Theater","Theater -- Europe","Photogravures","Photographic prints","Photographs"],"access_subjects_ssm":["Opera","Engraving","Lithography","Performing arts","Operetta","Theater","Theater -- Europe","Photogravures","Photographic prints","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":[".25 Linear Feet 1 box"],"extent_tesim":[".25 Linear Feet 1 box"],"genreform_ssim":["Photographic prints","Photographs"],"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\u003eItems are arranged alphabetically by subject last name.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Items are arranged alphabetically by subject last name."],"bibliography_html_tesm":["\u003cp\u003eA Modern Reveal: Songs and Stories of Women Composers. n.d. \"Delphine Ugalde.\" Accessed July 17, 2026. https://www.amodernreveal.com/delphine-ugalde.\u003c/p\u003e","\u003cp\u003eBienvenu, Germain. n.d. \"Research Guides: Louisiana Music History: Materials in Special Collections: Adelina Patti.\" Louisiana State University Libraries. Accessed July 17, 2026. https://guides.lib.lsu.edu/LouisianaMusic/patti.\u003c/p\u003e","\u003cp\u003eBritish Museum. n.d. \"Alexandre Lacauchie.\" Accessed July 17, 2026. https://www.britishmuseum.org/collection/term/BIOG34480.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eCornélie Falcon, French Soprano\u003c/title\u003e. 1814. January 28. https://www.helvetialyrica.com/en/portfolio_page/falcon-soprano/.\u003c/p\u003e","\u003cp\u003eFuller, Nicholas. 2022. \"213. La Sirène (Auber).\" \u003ctitle\u003eThe Opera Scribe\u003c/title\u003e, April 29. https://operascribe.com/2022/04/29/213-la-sirene-auber/.\u003c/p\u003e","\u003cp\u003eGänzl, Kurt. 2014. \"You Dont Have to Be a Skinny to Be a Superstar: Marie Desclauzas.\" Offenbach \u0026amp; Co. Operetta Research Center, August 25. http://operetta-research-center.org/dont-skinny-soprano-superstar-marie-desclauzas/.\u003c/p\u003e","\u003cp\u003eLes Archives Du Spectacle. 1835. \"Les Deux Reines.\" August 6. https://lesarchivesduspectacle.net/s/118775-Les-Deux-Reines.\u003c/p\u003e","\u003cp\u003eMary Evans Picture Library. n.d. \"Images of Dozainville, Baptiste-Pierre Dardel, French Actor, 1758-1809.\" Accessed July 17, 2026. https://www.maryevans.com/contributors/flo/dozainville-baptiste-pierre-dardel-45804499.html.\u003c/p\u003e","\u003cp\u003e\"Meet Jenny Lind, One of America's First Female Celebrities.\" 2016. January 26. https://americanhistory.si.edu/explore/stories/jenny-lind.\u003c/p\u003e","\u003cp\u003eRoyal Collection Trust. n.d. \"David Joseph Desvachez (1822-1902) - THE ROYAL SISTERS.\" Accessed July 17, 2026. https://www.rct.uk/collection/606074/the-royal-sisters.\u003c/p\u003e","\u003cp\u003e\"SPL Rare Books.\" n.d. Accessed July 13, 2026. https://www.splrarebooks.com/collection/view/petite-galerie-dramatique-ou-recueil-de-differents-costumes-dacteurs-.3.\u003c/p\u003e","\u003cp\u003eSvenskt Kvinnobiografiskt Lexikon. n.d. \"Sigrid Taube Marie Arnoldson.\" Accessed July 13, 2026. http://skbl.se/en/article/SigridArnoldson.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2024. \"Delphine Ugalde.\" November 6. https://en.wikipedia.org/w/index.php?title=Delphine_Ugalde\u0026amp;oldid=1255705244.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2025. \"Constance Jawureck.\" March 10. https://en.wikipedia.org/w/index.php?title=Constance_Jawureck\u0026amp;oldid=1279778029.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2025. \"Georgette Bréjean-Silver.\" September 5. https://en.wikipedia.org/w/index.php?title=Georgette_Br%C3%A9jean-Silver\u0026amp;oldid=1309625020.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2025. \"Marie Magdalene Charlotte Ackermann.\" December 8. https://en.wikipedia.org/w/index.php?title=Marie_Magdalene_Charlotte_Ackermann\u0026amp;oldid=1326343810.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2025. \"Martin-Joseph Mengal.\" August 11. https://en.wikipedia.org/w/index.php?title=Martin-Joseph_Mengal\u0026amp;oldid=1305418452.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2026. \"Adelina Patti.\" July 6. https://en.wikipedia.org/w/index.php?title=Adelina_Patti\u0026amp;oldid=1362846767.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2026. \"Ernesto Rossi (actor).\" June 14. https://en.wikipedia.org/w/index.php?title=Ernesto_Rossi_(actor)\u0026amp;oldid=1359283321.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2026. \"Jenny Lind.\" July 1. https://en.wikipedia.org/w/index.php?title=Jenny_Lind\u0026amp;oldid=1362039643.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2026. \"Léopold-Émile Reutlinger.\" July 2. https://en.wikipedia.org/w/index.php?title=L%C3%A9opold-%C3%89mile_Reutlinger\u0026amp;oldid=1362184806.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2026. \"Marie Cabel.\" May 25. https://en.wikipedia.org/w/index.php?title=Marie_Cabel\u0026amp;oldid=1356029357.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eWikipedia\u003c/title\u003e. 2026. \"Marietta Brambilla.\" May 19. https://en.wikipedia.org/w/index.php?title=Marietta_Brambilla\u0026amp;oldid=1354992490.\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["A Modern Reveal: Songs and Stories of Women Composers. n.d. \"Delphine Ugalde.\" Accessed July 17, 2026. https://www.amodernreveal.com/delphine-ugalde.","Bienvenu, Germain. n.d. \"Research Guides: Louisiana Music History: Materials in Special Collections: Adelina Patti.\" Louisiana State University Libraries. Accessed July 17, 2026. https://guides.lib.lsu.edu/LouisianaMusic/patti.","British Museum. n.d. \"Alexandre Lacauchie.\" Accessed July 17, 2026. https://www.britishmuseum.org/collection/term/BIOG34480.","Cornélie Falcon, French Soprano. 1814. January 28. https://www.helvetialyrica.com/en/portfolio_page/falcon-soprano/.","Fuller, Nicholas. 2022. \"213. La Sirène (Auber).\" The Opera Scribe, April 29. https://operascribe.com/2022/04/29/213-la-sirene-auber/.","Gänzl, Kurt. 2014. \"You Dont Have to Be a Skinny to Be a Superstar: Marie Desclauzas.\" Offenbach \u0026 Co. Operetta Research Center, August 25. http://operetta-research-center.org/dont-skinny-soprano-superstar-marie-desclauzas/.","Les Archives Du Spectacle. 1835. \"Les Deux Reines.\" August 6. https://lesarchivesduspectacle.net/s/118775-Les-Deux-Reines.","Mary Evans Picture Library. n.d. \"Images of Dozainville, Baptiste-Pierre Dardel, French Actor, 1758-1809.\" Accessed July 17, 2026. https://www.maryevans.com/contributors/flo/dozainville-baptiste-pierre-dardel-45804499.html.","\"Meet Jenny Lind, One of America's First Female Celebrities.\" 2016. January 26. https://americanhistory.si.edu/explore/stories/jenny-lind.","Royal Collection Trust. n.d. \"David Joseph Desvachez (1822-1902) - THE ROYAL SISTERS.\" Accessed July 17, 2026. https://www.rct.uk/collection/606074/the-royal-sisters.","\"SPL Rare Books.\" n.d. Accessed July 13, 2026. https://www.splrarebooks.com/collection/view/petite-galerie-dramatique-ou-recueil-de-differents-costumes-dacteurs-.3.","Svenskt Kvinnobiografiskt Lexikon. n.d. \"Sigrid Taube Marie Arnoldson.\" Accessed July 13, 2026. http://skbl.se/en/article/SigridArnoldson.","Wikipedia. 2024. \"Delphine Ugalde.\" November 6. https://en.wikipedia.org/w/index.php?title=Delphine_Ugalde\u0026oldid=1255705244.","Wikipedia. 2025. \"Constance Jawureck.\" March 10. https://en.wikipedia.org/w/index.php?title=Constance_Jawureck\u0026oldid=1279778029.","Wikipedia. 2025. \"Georgette Bréjean-Silver.\" September 5. https://en.wikipedia.org/w/index.php?title=Georgette_Br%C3%A9jean-Silver\u0026oldid=1309625020.","Wikipedia. 2025. \"Marie Magdalene Charlotte Ackermann.\" December 8. https://en.wikipedia.org/w/index.php?title=Marie_Magdalene_Charlotte_Ackermann\u0026oldid=1326343810.","Wikipedia. 2025. \"Martin-Joseph Mengal.\" August 11. https://en.wikipedia.org/w/index.php?title=Martin-Joseph_Mengal\u0026oldid=1305418452.","Wikipedia. 2026. \"Adelina Patti.\" July 6. https://en.wikipedia.org/w/index.php?title=Adelina_Patti\u0026oldid=1362846767.","Wikipedia. 2026. \"Ernesto Rossi (actor).\" June 14. https://en.wikipedia.org/w/index.php?title=Ernesto_Rossi_(actor)\u0026oldid=1359283321.","Wikipedia. 2026. \"Jenny Lind.\" July 1. https://en.wikipedia.org/w/index.php?title=Jenny_Lind\u0026oldid=1362039643.","Wikipedia. 2026. \"Léopold-Émile Reutlinger.\" July 2. https://en.wikipedia.org/w/index.php?title=L%C3%A9opold-%C3%89mile_Reutlinger\u0026oldid=1362184806.","Wikipedia. 2026. \"Marie Cabel.\" May 25. https://en.wikipedia.org/w/index.php?title=Marie_Cabel\u0026oldid=1356029357.","Wikipedia. 2026. \"Marietta Brambilla.\" May 19. https://en.wikipedia.org/w/index.php?title=Marietta_Brambilla\u0026oldid=1354992490."],"bioghist_html_tesm":["\u003cp\u003eJohanna Maria Lind, known professionally as Jenny Lind, was born on October 6, 1820 in Stockholm, Sweden. Nicknamed the \"Swedish Nightingale,\" Lind gained fame as an operatic soprano throughout Europe starting at the age of 11. By the age of 28, Lind announced her retirement from the operatic stage, playing her last performance, which was attended by Queen Victoria and members of the British Royal Family, on May 10, 1849 in London, England. In September 1850, Lind sailed to America after showman P.T. Barnum offered her an 18-month contract to perform 150 concerts throughout the United States at the rate of $1,000 per performance. Barnum's advanced publicity led to Lind achieving national celebrity status even before she arrived in America, with the press at the time referring to the enthusiastic reception and high demand for tickets as \"Lind mania.\" Lind donated her earnings to charity, including an endowment of free schools in Sweden. After marrying Otto Goldschmidt in 1852 she returned to Europe where she remained until her death on November 2, 1887 at the age of 67.\u003c/p\u003e","\u003cp\u003eLéopold-Émile Reutlinger was born March 17, 1863 in Callao, Peru to a German-Jewish family of photographers. In 1883 he joined the family's photography studio in Paris, France before taking over in 1890. Reutlinger is best know for his photographs of popular actresses and opera singers, including the stars of entertainment venues such as the Moulin Rouge and the Folies Bergère, as well as photographs for fashion and advertising and his pioneering work in erotic photography. He passed away on March 16, 1937 at the age of 73.\u003c/p\u003e","\u003cp\u003eAdditional biographical information for single image specific individuals can be found in the folder level Scope and Content.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Johanna Maria Lind, known professionally as Jenny Lind, was born on October 6, 1820 in Stockholm, Sweden. Nicknamed the \"Swedish Nightingale,\" Lind gained fame as an operatic soprano throughout Europe starting at the age of 11. By the age of 28, Lind announced her retirement from the operatic stage, playing her last performance, which was attended by Queen Victoria and members of the British Royal Family, on May 10, 1849 in London, England. In September 1850, Lind sailed to America after showman P.T. Barnum offered her an 18-month contract to perform 150 concerts throughout the United States at the rate of $1,000 per performance. Barnum's advanced publicity led to Lind achieving national celebrity status even before she arrived in America, with the press at the time referring to the enthusiastic reception and high demand for tickets as \"Lind mania.\" Lind donated her earnings to charity, including an endowment of free schools in Sweden. After marrying Otto Goldschmidt in 1852 she returned to Europe where she remained until her death on November 2, 1887 at the age of 67.","Léopold-Émile Reutlinger was born March 17, 1863 in Callao, Peru to a German-Jewish family of photographers. In 1883 he joined the family's photography studio in Paris, France before taking over in 1890. Reutlinger is best know for his photographs of popular actresses and opera singers, including the stars of entertainment venues such as the Moulin Rouge and the Folies Bergère, as well as photographs for fashion and advertising and his pioneering work in erotic photography. He passed away on March 16, 1937 at the age of 73.","Additional biographical information for single image specific individuals can be found in the folder level Scope and Content."],"prefercite_html_tesm":["\u003cp\u003eEuropean opera singer and actor portrait collection, C0555, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e  "],"prefercite_tesim":["European opera singer and actor portrait collection, C0555, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Meghan Glasbrenner in June 2026. Finding aid completed by Meghan Glasbrenner in July 2026.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Meghan Glasbrenner in June 2026. Finding aid completed by Meghan Glasbrenner in July 2026."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other portrait etchings and illustrations, including \u003ca href=\"https://aspace.gmu.edu/resources/c0552\"\u003eFour hand-colored plates of \"The Tours of Dr. Syntax\" by Thomas Rowlandson\u003c/a\u003e and \u003ca href=\"https://aspace.gmu.edu/resources/c0554\"\u003e18th and 19th century hand-colored prints of European figures and theatrical costumes\u003c/a\u003e.\u003c/p\u003e","\u003cp\u003eThe \u003ca href=\"https://digitalcollections.nypl.org/search/index?filters=%5Bname%3DLacauchie%2C+Alexandre%5D\"\u003eNew York Public Library Digital Collections\u003c/a\u003e hold a large number of prints by Alexandre Lacauchie.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds other portrait etchings and illustrations, including Four hand-colored plates of \"The Tours of Dr. Syntax\" by Thomas Rowlandson and 18th and 19th century hand-colored prints of European figures and theatrical costumes.","The New York Public Library Digital Collections hold a large number of prints by Alexandre Lacauchie."],"scopecontent_html_tesm":["\u003cp\u003eA collection of prints and photographs depicting European opera singers and actors from the 18th-20th century. A total of eighteen different individuals are depicted in the prints, with three depicting opera singer Jenny Lind. One print depicts a composer who worked in opera. Most prints include identifying information in French regarding the subject, with a few including text in English, and are a mix of formal and costume portraits. The prints represent a variety of mediums including lithographs, etchings, photogravure, and drawings based on photographs.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["A collection of prints and photographs depicting European opera singers and actors from the 18th-20th century. A total of eighteen different individuals are depicted in the prints, with three depicting opera singer Jenny Lind. One print depicts a composer who worked in opera. Most prints include identifying information in French regarding the subject, with a few including text in English, and are a mix of formal and costume portraits. The prints represent a variety of mediums including lithographs, etchings, photogravure, and drawings based on photographs."],"userestrict_html_tesm":["\u003cp\u003eNo known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_a3f26d8f526cece4b95cd6c4d57fb742\"\u003eA collection of prints and photographs depicting European opera singers and actors from the 18th-20th century.\u003c/abstract\u003e\n    "],"abstract_tesim":["A collection of prints and photographs depicting European opera singers and actors from the 18th-20th century."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_82c0971d2349afc8fda9521f2397cdbf\"\u003eR 73, C 2, S 5\u003c/physloc\u003e\n    "],"physloc_tesim":["R 73, C 2, S 5"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Elliott \u0026 Fry","Hautecoeur-Martinet (Firm)","Imprimerie Lemercier et cie","Johnson, Fry \u0026 Co","Riddle \u0026 Couchman"],"names_coll_ssim":["Elliott \u0026 Fry","Hautecoeur-Martinet (Firm)","Imprimerie Lemercier et cie","Johnson, Fry \u0026 Co","Riddle \u0026 Couchman","Ackermann, Charlotte (Marie Magdalene Charlotte Ackermann), 1714-1757","Arnoldson, Sigrid, 1861-1943","Brambilla, Marietta, 1807-1875","Bréjean-Silver, Georgette, 1870-","Cabel, Marie, 1827-1885","Desclauzas, Marie, 1841-1912","Falcon, Marie-Cornélie, 1814-1897","Jawureck, Mme. (Constance), 1803-1858","Lind, Jenny, 1820-1887","Mengal, Martin-Joseph, 1784-1851","Patti, Adelina, 1843-1919","Ugalde, Delphine, 1829-1910","Baugniet, Charles, 1814-1886","Desvachez, D. J. (David Joseph), 1822-1902","Durham, Joseph, 1814-1877","Lacauchie, Alexandre","Reutlinger, Léopold-Émile, 1863-1937","Vogt, Charles, active 1833-1882"],"persname_ssim":["Baugniet, Charles, 1814-1886","Desvachez, D. J. (David Joseph), 1822-1902","Durham, Joseph, 1814-1877","Lacauchie, Alexandre","Reutlinger, Léopold-Émile, 1863-1937","Vogt, Charles, active 1833-1882","Ackermann, Charlotte (Marie Magdalene Charlotte Ackermann), 1714-1757","Arnoldson, Sigrid, 1861-1943","Brambilla, Marietta, 1807-1875","Bréjean-Silver, Georgette, 1870-","Cabel, Marie, 1827-1885","Desclauzas, Marie, 1841-1912","Falcon, Marie-Cornélie, 1814-1897","Jawureck, Mme. (Constance), 1803-1858","Lind, Jenny, 1820-1887","Mengal, Martin-Joseph, 1784-1851","Patti, Adelina, 1843-1919","Ugalde, Delphine, 1829-1910"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Elliott \u0026 Fry","Hautecoeur-Martinet (Firm)","Imprimerie Lemercier et cie","Johnson, Fry \u0026 Co","Riddle \u0026 Couchman","Baugniet, Charles, 1814-1886","Desvachez, D. J. (David Joseph), 1822-1902","Durham, Joseph, 1814-1877","Lacauchie, Alexandre","Reutlinger, Léopold-Émile, 1863-1937","Vogt, Charles, active 1833-1882","Ackermann, Charlotte (Marie Magdalene Charlotte Ackermann), 1714-1757","Arnoldson, Sigrid, 1861-1943","Brambilla, Marietta, 1807-1875","Bréjean-Silver, Georgette, 1870-","Cabel, Marie, 1827-1885","Desclauzas, Marie, 1841-1912","Falcon, Marie-Cornélie, 1814-1897","Jawureck, Mme. (Constance), 1803-1858","Lind, Jenny, 1820-1887","Mengal, Martin-Joseph, 1784-1851","Patti, Adelina, 1843-1919","Ugalde, Delphine, 1829-1910"],"language_ssim":["French\n      English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":19,"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_780"}},{"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_326","type":"collection","attributes":{"title":"Federal Theatre Project photograph collection, 1936/1939","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_326#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_326#abstract_or_scope","type":"document_value","attributes":{"value":"This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_326#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_326","ead_ssi":"vifgm_repositories_2_resources_326","_root_":"vifgm_repositories_2_resources_326","_nest_parent_":"vifgm_repositories_2_resources_326","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_326.xml","title_ssm":["Federal Theatre Project photograph collection"],"title_tesim":["Federal Theatre Project photograph collection"],"unitdate_ssm":["1936-1939"],"unitdate_inclusive_ssm":["1936-1939"],"normalized_date_ssm":["1936/1939"],"normalized_title_ssm":["Federal Theatre Project photograph collection, 1936/1939"],"text":["Federal Theatre Project photograph collection, 1936/1939","C0205","/repositories/2/resources/326","Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs","There are no access restrictions.","The costumes and set designs are also available as a series in the .\nThere are photographs from this collection and other FTP collections in the \nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.","This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series\n      Series 1: Production Photographs, 1936-1939\n      Series 2: Oversize Production Photographs,1936-1939\n      Series 3: Portraits, 1936-1939\n      Series 4: Microfiche, 1936-1939\n      Series 5: Printing Materials, 1936-1939","Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP 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). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","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 Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it 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 Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023.","Special Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","R 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","English"],"collection_title_tesim":["Federal Theatre Project photograph collection, 1936/1939"],"collection_ssim":["Federal Theatre Project photograph collection, 1936/1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0205","/repositories/2/resources/326"],"unitid_tesim":["C0205","/repositories/2/resources/326"],"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, National Archives and Records Administration, and acquired through purchase."],"access_subjects_ssim":["Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs"],"access_subjects_ssm":["Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["47 Linear Feet 112 boxes"],"extent_tesim":["47 Linear Feet 112 boxes"],"genreform_ssim":["Photographs"],"date_range_isim":[1936,1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eThe costumes and set designs are also available as a series in the \u003cextptr href=\"https://mars.gmu.edu/handle/1920/3478\" title=\"FTP digital collection\" show=\"new\"\u003e\u003c/extptr\u003e.\nThere are photographs from this collection and other 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\nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The costumes and set designs are also available as a series in the .\nThere are photographs from this collection and other FTP collections in the \nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Production Photographs, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 2: Oversize Production Photographs,1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 3: Portraits, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 4: Microfiche, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 5: Printing Materials, 1936-1939\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series\n      Series 1: Production Photographs, 1936-1939\n      Series 2: Oversize Production Photographs,1936-1939\n      Series 3: Portraits, 1936-1939\n      Series 4: Microfiche, 1936-1939\n      Series 5: Printing Materials, 1936-1939"],"bioghist_html_tesm":["\u003cp\u003eOrganized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP 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). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.\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 Spirochete.\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 minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it 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 Note"],"bioghist_tesim":["Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP 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). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","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 Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it 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 photograph collections, C0205, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Federal Theatre Project photograph collections, C0205, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives. \u003c/p\u003e","\u003cp\u003eSeries one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.\u003c/p\u003e","\u003cp\u003eSeries three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.\u003c/p\u003e","\u003cp\u003eSeries five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits."],"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_f5b0d867296cd5f5a7d9d818b302d6d9\" label=\"Abstract\"\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_306ca932fdff8272ef5beb3b37fe58f1\"\u003e\nR 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6\n\u003c/physloc\u003e\n    "],"physloc_tesim":["R 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_coll_ssim":["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":3844,"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_326","ead_ssi":"vifgm_repositories_2_resources_326","_root_":"vifgm_repositories_2_resources_326","_nest_parent_":"vifgm_repositories_2_resources_326","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_326.xml","title_ssm":["Federal Theatre Project photograph collection"],"title_tesim":["Federal Theatre Project photograph collection"],"unitdate_ssm":["1936-1939"],"unitdate_inclusive_ssm":["1936-1939"],"normalized_date_ssm":["1936/1939"],"normalized_title_ssm":["Federal Theatre Project photograph collection, 1936/1939"],"text":["Federal Theatre Project photograph collection, 1936/1939","C0205","/repositories/2/resources/326","Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs","There are no access restrictions.","The costumes and set designs are also available as a series in the .\nThere are photographs from this collection and other FTP collections in the \nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.","This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series\n      Series 1: Production Photographs, 1936-1939\n      Series 2: Oversize Production Photographs,1936-1939\n      Series 3: Portraits, 1936-1939\n      Series 4: Microfiche, 1936-1939\n      Series 5: Printing Materials, 1936-1939","Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP 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). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","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 Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it 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 Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023.","Special Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","R 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","English"],"collection_title_tesim":["Federal Theatre Project photograph collection, 1936/1939"],"collection_ssim":["Federal Theatre Project photograph collection, 1936/1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0205","/repositories/2/resources/326"],"unitid_tesim":["C0205","/repositories/2/resources/326"],"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, National Archives and Records Administration, and acquired through purchase."],"access_subjects_ssim":["Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs"],"access_subjects_ssm":["Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["47 Linear Feet 112 boxes"],"extent_tesim":["47 Linear Feet 112 boxes"],"genreform_ssim":["Photographs"],"date_range_isim":[1936,1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eThe costumes and set designs are also available as a series in the \u003cextptr href=\"https://mars.gmu.edu/handle/1920/3478\" title=\"FTP digital collection\" show=\"new\"\u003e\u003c/extptr\u003e.\nThere are photographs from this collection and other 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\nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The costumes and set designs are also available as a series in the .\nThere are photographs from this collection and other FTP collections in the \nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Production Photographs, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 2: Oversize Production Photographs,1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 3: Portraits, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 4: Microfiche, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 5: Printing Materials, 1936-1939\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series\n      Series 1: Production Photographs, 1936-1939\n      Series 2: Oversize Production Photographs,1936-1939\n      Series 3: Portraits, 1936-1939\n      Series 4: Microfiche, 1936-1939\n      Series 5: Printing Materials, 1936-1939"],"bioghist_html_tesm":["\u003cp\u003eOrganized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP 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). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.\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 Spirochete.\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 minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it 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 Note"],"bioghist_tesim":["Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP 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). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","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 Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it 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 photograph collections, C0205, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Federal Theatre Project photograph collections, C0205, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives. \u003c/p\u003e","\u003cp\u003eSeries one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.\u003c/p\u003e","\u003cp\u003eSeries three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.\u003c/p\u003e","\u003cp\u003eSeries five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits."],"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_f5b0d867296cd5f5a7d9d818b302d6d9\" label=\"Abstract\"\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_306ca932fdff8272ef5beb3b37fe58f1\"\u003e\nR 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6\n\u003c/physloc\u003e\n    "],"physloc_tesim":["R 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6"],"corpname_ssim":["George Mason University. Libraries. 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One of the first not-for-profit theaters in the United States as well as a pioneer of the regional theater movement the Arena Stage was the first regional theater to transfer a production to Broadway, the first invited by the U.S. State Department to tour behind the Iron Curtain and the first to receive a Tony Award. Co-founded in 1950 by Edward Mangum a teacher from the George Washington University, and Zelda Fichandler one of his students, Arena Stage was opened in Washington D.C. to fill the void left by the closing of the National Theater in 1948. Deriving it's name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theaters in the United States, beginning with a company of only eight actors. Today, Arena performs to over 250,000 patrons during a September to June season and employs nearly 200 theater professionals and craftpersons, who are responsible for all the costumes and scenery seen on stage. Many now- famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardly Smith and Samuel L. Jackson.","A native of Kansas, Mr. Mack graduated from the University of Kansas in Lawrence in 1985 with a bachelor's degree in theatre arts then earned an MFA in directing from Virginia Tech in Blacksburg in 1988. Mr. Mack was awarded a grant from the North Carolina Arts Council, which enabled him to work in community arts administration at Durham Arts Council, Inc. He then accepted a position at Arena Stage in Washington DC as Project Manager where, in addition to general administrative duties, he worked on a three-year new play project with Anna Deavere Smith that resulted in the fall 1997 premiere of House Arrest, First Edition. Mr. Mack was then named Managing Director of the California Shakespeare Theatre in Berkeley where he helped lead a financial turn-around based on a doubling of contributed income and a substantial increase in ticket sales. Mr. Mack then served as Managing Director of Geva Theatre in Rochester, NY, a LORT B theatre before he became Managing Director of the NJ Shakespeare Festival in Madison, NJ, where he worked for one year before coming to CRT. Mr. Mack served as an institutional planning consultant for the Contemporary American Theatre Festival in Shepherdstown, WV and as a panelist for the Connecticut Commission for the Arts, and is currently serving as a facilities and business plan consultant to the African Continuum Theatre Company in Washington, D.C. He lives in Mansfield Center with his wife, Sarah Delia, and their two children Jason, Rebecca and their dog Chili.","Processed by Special Collections Research Center staff.","The Special Collections Research Center holds the Arena Stage records.","Collection contains correspondence, memos, reports and other papers generated by Frank Mack.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Collection contains correspondence, memos, reports and other papers generated by Frank Mack.","George Mason University. Libraries. 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Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000."],"access_subjects_ssim":["Theater -- Washington (D.C.)","Performing arts","Theater","Theater -- Production and direction","Theater -- United States","Correspondence"],"access_subjects_ssm":["Theater -- Washington (D.C.)","Performing arts","Theater","Theater -- Production and direction","Theater -- United States","Correspondence"],"has_online_content_ssim":["false"],"extent_ssm":["4.5 Linear Feet 9 boxes"],"extent_tesim":["4.5 Linear Feet 9 boxes"],"genreform_ssim":["Correspondence"],"date_range_isim":[1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990],"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\u003eOrganized by subject.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized by subject."],"bioghist_html_tesm":["\u003cp\u003eArena Stage was an early leader in the resident theater movement. One of the first not-for-profit theaters in the United States as well as a pioneer of the regional theater movement the Arena Stage was the first regional theater to transfer a production to Broadway, the first invited by the U.S. State Department to tour behind the Iron Curtain and the first to receive a Tony Award. Co-founded in 1950 by Edward Mangum a teacher from the George Washington University, and Zelda Fichandler one of his students, Arena Stage was opened in Washington D.C. to fill the void left by the closing of the National Theater in 1948. Deriving it's name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theaters in the United States, beginning with a company of only eight actors. Today, Arena performs to over 250,000 patrons during a September to June season and employs nearly 200 theater professionals and craftpersons, who are responsible for all the costumes and scenery seen on stage. Many now- famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardly Smith and Samuel L. Jackson. \u003c/p\u003e","\u003cp\u003eA native of Kansas, Mr. Mack graduated from the University of Kansas in Lawrence in 1985 with a bachelor's degree in theatre arts then earned an MFA in directing from Virginia Tech in Blacksburg in 1988. Mr. Mack was awarded a grant from the North Carolina Arts Council, which enabled him to work in community arts administration at Durham Arts Council, Inc. He then accepted a position at Arena Stage in Washington DC as Project Manager where, in addition to general administrative duties, he worked on a three-year new play project with Anna Deavere Smith that resulted in the fall 1997 premiere of House Arrest, First Edition. Mr. Mack was then named Managing Director of the California Shakespeare Theatre in Berkeley where he helped lead a financial turn-around based on a doubling of contributed income and a substantial increase in ticket sales. Mr. Mack then served as Managing Director of Geva Theatre in Rochester, NY, a LORT B theatre before he became Managing Director of the NJ Shakespeare Festival in Madison, NJ, where he worked for one year before coming to CRT. Mr. Mack served as an institutional planning consultant for the Contemporary American Theatre Festival in Shepherdstown, WV and as a panelist for the Connecticut Commission for the Arts, and is currently serving as a facilities and business plan consultant to the African Continuum Theatre Company in Washington, D.C. 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Deriving it's name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theaters in the United States, beginning with a company of only eight actors. Today, Arena performs to over 250,000 patrons during a September to June season and employs nearly 200 theater professionals and craftpersons, who are responsible for all the costumes and scenery seen on stage. Many now- famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardly Smith and Samuel L. Jackson.","A native of Kansas, Mr. Mack graduated from the University of Kansas in Lawrence in 1985 with a bachelor's degree in theatre arts then earned an MFA in directing from Virginia Tech in Blacksburg in 1988. Mr. Mack was awarded a grant from the North Carolina Arts Council, which enabled him to work in community arts administration at Durham Arts Council, Inc. He then accepted a position at Arena Stage in Washington DC as Project Manager where, in addition to general administrative duties, he worked on a three-year new play project with Anna Deavere Smith that resulted in the fall 1997 premiere of House Arrest, First Edition. Mr. Mack was then named Managing Director of the California Shakespeare Theatre in Berkeley where he helped lead a financial turn-around based on a doubling of contributed income and a substantial increase in ticket sales. Mr. Mack then served as Managing Director of Geva Theatre in Rochester, NY, a LORT B theatre before he became Managing Director of the NJ Shakespeare Festival in Madison, NJ, where he worked for one year before coming to CRT. Mr. Mack served as an institutional planning consultant for the Contemporary American Theatre Festival in Shepherdstown, WV and as a panelist for the Connecticut Commission for the Arts, and is currently serving as a facilities and business plan consultant to the African Continuum Theatre Company in Washington, D.C. He lives in Mansfield Center with his wife, Sarah Delia, and their two children Jason, Rebecca and their dog Chili."],"prefercite_html_tesm":["\u003cp\u003eFrank Mack papers, C0017, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Frank Mack papers, C0017, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds the Arena Stage records.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eCollection contains correspondence, memos, reports and other papers generated by Frank Mack.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Collection contains correspondence, memos, reports and other papers generated by Frank Mack."],"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_d7b7a4e5463853a0cdf4a831f6b4818b\" label=\"Abstract\"\u003eCollection contains correspondence, memos, reports and other papers generated by Frank Mack.\u003c/abstract\u003e\n    "],"abstract_tesim":["Collection contains correspondence, memos, reports and other papers generated by Frank Mack."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Mack, Frank"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Mack, Frank"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":197,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:17.521Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_135","ead_ssi":"vifgm_repositories_2_resources_135","_root_":"vifgm_repositories_2_resources_135","_nest_parent_":"vifgm_repositories_2_resources_135","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_135.xml","title_filing_ssi":"Frank Mack papers","title_ssm":["Frank Mack papers"],"title_tesim":["Frank Mack papers"],"unitdate_ssm":["1980s-1990s"],"unitdate_inclusive_ssm":["1980s-1990s"],"normalized_date_ssm":["1980/1990"],"normalized_title_ssm":["Frank Mack papers, 1980/1990"],"text":["Frank Mack papers, 1980/1990","C0058","/repositories/2/resources/135","Theater -- Washington (D.C.)","Performing arts","Theater","Theater -- Production and direction","Theater -- United States","Correspondence","There are no access restrictions.","Organized by subject.","Arena Stage was an early leader in the resident theater movement. 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Mr. Mack was then named Managing Director of the California Shakespeare Theatre in Berkeley where he helped lead a financial turn-around based on a doubling of contributed income and a substantial increase in ticket sales. Mr. Mack then served as Managing Director of Geva Theatre in Rochester, NY, a LORT B theatre before he became Managing Director of the NJ Shakespeare Festival in Madison, NJ, where he worked for one year before coming to CRT. Mr. Mack served as an institutional planning consultant for the Contemporary American Theatre Festival in Shepherdstown, WV and as a panelist for the Connecticut Commission for the Arts, and is currently serving as a facilities and business plan consultant to the African Continuum Theatre Company in Washington, D.C. 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One of the first not-for-profit theaters in the United States as well as a pioneer of the regional theater movement the Arena Stage was the first regional theater to transfer a production to Broadway, the first invited by the U.S. State Department to tour behind the Iron Curtain and the first to receive a Tony Award. Co-founded in 1950 by Edward Mangum a teacher from the George Washington University, and Zelda Fichandler one of his students, Arena Stage was opened in Washington D.C. to fill the void left by the closing of the National Theater in 1948. Deriving it's name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theaters in the United States, beginning with a company of only eight actors. Today, Arena performs to over 250,000 patrons during a September to June season and employs nearly 200 theater professionals and craftpersons, who are responsible for all the costumes and scenery seen on stage. 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Mr. Mack was then named Managing Director of the California Shakespeare Theatre in Berkeley where he helped lead a financial turn-around based on a doubling of contributed income and a substantial increase in ticket sales. Mr. Mack then served as Managing Director of Geva Theatre in Rochester, NY, a LORT B theatre before he became Managing Director of the NJ Shakespeare Festival in Madison, NJ, where he worked for one year before coming to CRT. Mr. Mack served as an institutional planning consultant for the Contemporary American Theatre Festival in Shepherdstown, WV and as a panelist for the Connecticut Commission for the Arts, and is currently serving as a facilities and business plan consultant to the African Continuum Theatre Company in Washington, D.C. He lives in Mansfield Center with his wife, Sarah Delia, and their two children Jason, Rebecca and their dog Chili. \u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Arena Stage was an early leader in the resident theater movement. One of the first not-for-profit theaters in the United States as well as a pioneer of the regional theater movement the Arena Stage was the first regional theater to transfer a production to Broadway, the first invited by the U.S. State Department to tour behind the Iron Curtain and the first to receive a Tony Award. Co-founded in 1950 by Edward Mangum a teacher from the George Washington University, and Zelda Fichandler one of his students, Arena Stage was opened in Washington D.C. to fill the void left by the closing of the National Theater in 1948. Deriving it's name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theaters in the United States, beginning with a company of only eight actors. Today, Arena performs to over 250,000 patrons during a September to June season and employs nearly 200 theater professionals and craftpersons, who are responsible for all the costumes and scenery seen on stage. Many now- famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardly Smith and Samuel L. Jackson.","A native of Kansas, Mr. Mack graduated from the University of Kansas in Lawrence in 1985 with a bachelor's degree in theatre arts then earned an MFA in directing from Virginia Tech in Blacksburg in 1988. Mr. Mack was awarded a grant from the North Carolina Arts Council, which enabled him to work in community arts administration at Durham Arts Council, Inc. He then accepted a position at Arena Stage in Washington DC as Project Manager where, in addition to general administrative duties, he worked on a three-year new play project with Anna Deavere Smith that resulted in the fall 1997 premiere of House Arrest, First Edition. Mr. Mack was then named Managing Director of the California Shakespeare Theatre in Berkeley where he helped lead a financial turn-around based on a doubling of contributed income and a substantial increase in ticket sales. Mr. Mack then served as Managing Director of Geva Theatre in Rochester, NY, a LORT B theatre before he became Managing Director of the NJ Shakespeare Festival in Madison, NJ, where he worked for one year before coming to CRT. Mr. Mack served as an institutional planning consultant for the Contemporary American Theatre Festival in Shepherdstown, WV and as a panelist for the Connecticut Commission for the Arts, and is currently serving as a facilities and business plan consultant to the African Continuum Theatre Company in Washington, D.C. He lives in Mansfield Center with his wife, Sarah Delia, and their two children Jason, Rebecca and their dog Chili."],"prefercite_html_tesm":["\u003cp\u003eFrank Mack papers, C0017, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Frank Mack papers, C0017, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds the Arena Stage records.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eCollection contains correspondence, memos, reports and other papers generated by Frank Mack.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Collection contains correspondence, memos, reports and other papers generated by Frank Mack."],"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_d7b7a4e5463853a0cdf4a831f6b4818b\" label=\"Abstract\"\u003eCollection contains correspondence, memos, reports and other papers generated by Frank Mack.\u003c/abstract\u003e\n    "],"abstract_tesim":["Collection contains correspondence, memos, reports and other papers generated by Frank Mack."],"corpname_ssim":["George Mason University. 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