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Rice papers consists of newspaper clippings, scrapbooks, photographs, and programs relating to theatre in Detroit, Michigan, the Federal Theatre Project, and Rice's lecture \"The Magic of Science.\" Material was collected by Rice and dates from the 1920s to 1960, with the bulk of the material dating from the 1920s to the 1930s.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_359#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_359","ead_ssi":"vifgm_repositories_2_resources_359","_root_":"vifgm_repositories_2_resources_359","_nest_parent_":"vifgm_repositories_2_resources_359","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_359.xml","title_filing_ssi":"Adams T. Rice papers","title_ssm":["Adams T. Rice papers"],"title_tesim":["Adams T. 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Throughout his career in the theatre he held jobs as Stage Manager for the Northampton Players, The Copley Players in Boston, and Director for the Clair Tree Major Players. He was both owner and director of \"The Detroit Players\" a traveling dramatic tent show, and spent five summers with various circuses as Lot Superintendent and Transportation Manager. He created the traveling lecture \"The Magic of Science\" and performed it on the east coast from New York to Boston. Later in his career he was the Director of Video Effects for the Bunin Motion Picture Studio, and created video effects for the Lucky Pup TV program. He also spent time teaching, working as an electrical engineer, designing exhibits for the N.Y. Worlds Fair, and wrote several children's plays.","Processing completed by Greta Kuriger Suiter in September 2013. 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Rice papers consists of newspaper clippings, scrapbooks, photographs, and programs relating to theatre in Detroit, Michigan, the Federal Theatre Project, and Rice's lecture \"The Magic of Science.\" Material was collected by Rice and dates from the 1920s to 1960, with the bulk of the material dating from the 1920s to the 1930s.","Material related to the Federal Theatre Project includes newspaper clippings and programs for the productions: American Holiday, Class of '29, Ethiopia, A Hero is Born, It Can't Happen Here, Murder in the Cathedral, and the Sun and I. Also related to the Federal Theatre Project is the publication Red Spotlight, the WPA Federal Theatre Unit Communist Party newsletter. The scrapbooks document the Rice's work with the Bonstelle Company, the Detroit Players, and the Federal Theatre Project."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated. 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Rice papers consists of newspaper clippings, scrapbooks, photographs, and programs relating to theatre in Detroit, Michigan, the Federal Theatre Project, and Rice's lecture \"The Magic of Science.\" Material was collected by Rice and dates from the 1920s to 1960, with the bulk of the material dating from the 1920s to the 1930s."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_coll_ssim":["Federal Theatre Project (U.S.)","Rice, Adams T., 1892-","Bonstelle, Jessie"],"persname_ssim":["Rice, Adams T., 1892-","Bonstelle, Jessie"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Rice, Adams T., 1892-","Bonstelle, Jessie"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":38,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-16T20:32:41.559Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_359"}},{"id":"vifgm_repositories_2_resources_113","type":"collection","attributes":{"title":"Charles Rodrigues playbill collection, 1879/2009","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_113#creator","type":"document_value","attributes":{"value":"Rodrigues, Charles","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_113#abstract_or_scope","type":"document_value","attributes":{"value":"The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, but it also includes programs from theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, as well as, programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_113#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_113","ead_ssi":"vifgm_repositories_2_resources_113","_root_":"vifgm_repositories_2_resources_113","_nest_parent_":"vifgm_repositories_2_resources_113","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_113.xml","title_filing_ssi":"Charles Rodrigues playbill collection","title_ssm":["Charles Rodrigues playbill collection"],"title_tesim":["Charles Rodrigues playbill collection"],"unitdate_ssm":["1879-2009"],"unitdate_inclusive_ssm":["1879-2009"],"normalized_date_ssm":["1879/2009"],"normalized_title_ssm":["Charles Rodrigues playbill collection, 1879/2009"],"text":["Charles Rodrigues playbill collection, 1879/2009","C0184","/repositories/2/resources/113","Broadway (New York, N.Y.)","Theater -- New York (State) -- New York","Theater -- United States","Performing arts","Musical Theater","Theater","Theater programs","Musical Theater -- New York (State) -- New York","There are no access restrictions.","Arranged into three series, two of which are based on location, and a final series for film programs, music scores, ticket stubs, and advertisements.","Series\n      Series 1: Outside New York City, 1879-2009 (boxes 1-5, 37)\n      Series 2: New York City, 1885-2009 (boxes 6-34, 37-38)\n      Series 3: Film Programs, music scores, and ticket stubs, 1909-2009 (boxes 34-38)","Charles Rodrigues was an avid theatre enthusiast who amassed a large collection of playbills and programs by attending shows, purchasing programs at yard sales and thrift stores, trading with other collectors, and inheriting collections from friends. Rodrigues began collecting playbills at performances he attended on and off Broadway in 1961. He would also attend performances around the United States and abroad and collect playbills from these shows. One sizable addition came from Richard W. Rowan who also collected playbills from shows he attended. Many of these playbills date from World War I to the 1930s. The oldest part of the Rodrigues collection dates to the late 19th century and is from a movie theatre that used the playbills as cushioning between the older vaudeville stage and the newer movie theatre stage.","Processed by Greta Kuriger in 2011. EAD markup completed by Greta Kuriger in 2011. Finding aid updated by Amanda Menjivar in April 2022.","The Special Collections Research Center holds many other collections on theatre and the performing arts.","The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, as well as theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, but it also includes programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.","The collection consists of three series, two of which are based on geographic location, divided by date, and then arranged alphabetically by play title. Playbills from performances prior to 1934 are included at the beginning of each series in alphabetical order by play followed by playbills that date 1934 and onward. If the name of the play was not present the name of theatre is used instead. Series one consists of fourteen subseries each including playbills and programs from theatres outside of New York City. Subseries 1.1 to 1.14 consist of programs from Austria, Boston, California, Chicago, Connecticut, Florida, London, New York State, New Jersey, Ohio, Paris, Philadelphia, Toronto, and Washington D.C. respectively. Series two consists of programs from productions performed in New York City, on and off Broadway, and in Brooklyn. Plays are listed alphabetically within each series and often one play title represents more than one playbill. Many of the playbills have ticket stubs attached to the front cover or loose inside. Newspaper clippings relating to the play also accompany some of the programs. The final series includes programs from films, music scores, theatre advertisement mailings, and ticket stubs. Within this series music scores are listed first in alphabetical order followed by film programs and then mailings from theatres, newspaper and magazine clippings, pamphlets and advertisements, show announcements, and assorted ticket stubs.","The copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)","The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, but it also includes programs from theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, as well as, programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.","George Mason University. Libraries. Special Collections Research Center","Rodrigues, Charles","English"],"collection_title_tesim":["Charles Rodrigues playbill collection, 1879/2009"],"collection_ssim":["Charles Rodrigues playbill collection, 1879/2009"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0184","/repositories/2/resources/113"],"unitid_tesim":["C0184","/repositories/2/resources/113"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Broadway (New York, N.Y.)"],"geogname_ssim":["Broadway (New York, N.Y.)"],"places_ssim":["Broadway (New York, N.Y.)"],"creator_ssm":["Rodrigues, Charles"],"creator_ssim":["Rodrigues, Charles"],"creator_persname_ssim":["Rodrigues, Charles"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creators_ssim":["Rodrigues, Charles","George Mason University. Libraries. Special Collections Research Center"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Phil Rodrigues, brother of Charles Rodrigues, October 21, 2010."],"access_subjects_ssim":["Theater -- New York (State) -- New York","Theater -- United States","Performing arts","Musical Theater","Theater","Theater programs","Musical Theater -- New York (State) -- New York"],"access_subjects_ssm":["Theater -- New York (State) -- New York","Theater -- United States","Performing arts","Musical Theater","Theater","Theater programs","Musical Theater -- New York (State) -- New York"],"has_online_content_ssim":["false"],"extent_ssm":["18 Linear Feet 38 boxes"],"extent_tesim":["18 Linear Feet 38 boxes"],"date_range_isim":[1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eArranged into three series, two of which are based on location, and a final series for film programs, music scores, ticket stubs, and advertisements.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Outside New York City, 1879-2009 (boxes 1-5, 37)\u003c/item\u003e\n      \u003citem\u003eSeries 2: New York City, 1885-2009 (boxes 6-34, 37-38)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Film Programs, music scores, and ticket stubs, 1909-2009 (boxes 34-38)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into three series, two of which are based on location, and a final series for film programs, music scores, ticket stubs, and advertisements.","Series\n      Series 1: Outside New York City, 1879-2009 (boxes 1-5, 37)\n      Series 2: New York City, 1885-2009 (boxes 6-34, 37-38)\n      Series 3: Film Programs, music scores, and ticket stubs, 1909-2009 (boxes 34-38)"],"bioghist_html_tesm":["\u003cp\u003eCharles Rodrigues was an avid theatre enthusiast who amassed a large collection of playbills and programs by attending shows, purchasing programs at yard sales and thrift stores, trading with other collectors, and inheriting collections from friends. Rodrigues began collecting playbills at performances he attended on and off Broadway in 1961. He would also attend performances around the United States and abroad and collect playbills from these shows. One sizable addition came from Richard W. Rowan who also collected playbills from shows he attended. Many of these playbills date from World War I to the 1930s. The oldest part of the Rodrigues collection dates to the late 19th century and is from a movie theatre that used the playbills as cushioning between the older vaudeville stage and the newer movie theatre stage.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Charles Rodrigues was an avid theatre enthusiast who amassed a large collection of playbills and programs by attending shows, purchasing programs at yard sales and thrift stores, trading with other collectors, and inheriting collections from friends. Rodrigues began collecting playbills at performances he attended on and off Broadway in 1961. He would also attend performances around the United States and abroad and collect playbills from these shows. One sizable addition came from Richard W. Rowan who also collected playbills from shows he attended. Many of these playbills date from World War I to the 1930s. The oldest part of the Rodrigues collection dates to the late 19th century and is from a movie theatre that used the playbills as cushioning between the older vaudeville stage and the newer movie theatre stage."],"prefercite_html_tesm":["\u003cp\u003eCharles Rodrigues playbill collection, C0184, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Charles Rodrigues playbill collection, C0184, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Greta Kuriger in 2011. EAD markup completed by Greta Kuriger in 2011. Finding aid updated by Amanda Menjivar in April 2022.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Greta Kuriger in 2011. EAD markup completed by Greta Kuriger in 2011. Finding aid updated by Amanda Menjivar in April 2022."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds many other collections on theatre and the performing arts.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds many other collections on theatre and the performing arts."],"scopecontent_html_tesm":["\u003cp\u003eThe Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, as well as theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, but it also includes programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.\u003c/p\u003e","\u003cp\u003eThe collection consists of three series, two of which are based on geographic location, divided by date, and then arranged alphabetically by play title. Playbills from performances prior to 1934 are included at the beginning of each series in alphabetical order by play followed by playbills that date 1934 and onward. If the name of the play was not present the name of theatre is used instead. Series one consists of fourteen subseries each including playbills and programs from theatres outside of New York City. Subseries 1.1 to 1.14 consist of programs from Austria, Boston, California, Chicago, Connecticut, Florida, London, New York State, New Jersey, Ohio, Paris, Philadelphia, Toronto, and Washington D.C. respectively. Series two consists of programs from productions performed in New York City, on and off Broadway, and in Brooklyn. Plays are listed alphabetically within each series and often one play title represents more than one playbill. Many of the playbills have ticket stubs attached to the front cover or loose inside. Newspaper clippings relating to the play also accompany some of the programs. The final series includes programs from films, music scores, theatre advertisement mailings, and ticket stubs. Within this series music scores are listed first in alphabetical order followed by film programs and then mailings from theatres, newspaper and magazine clippings, pamphlets and advertisements, show announcements, and assorted ticket stubs. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, as well as theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, but it also includes programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.","The collection consists of three series, two of which are based on geographic location, divided by date, and then arranged alphabetically by play title. Playbills from performances prior to 1934 are included at the beginning of each series in alphabetical order by play followed by playbills that date 1934 and onward. If the name of the play was not present the name of theatre is used instead. Series one consists of fourteen subseries each including playbills and programs from theatres outside of New York City. Subseries 1.1 to 1.14 consist of programs from Austria, Boston, California, Chicago, Connecticut, Florida, London, New York State, New Jersey, Ohio, Paris, Philadelphia, Toronto, and Washington D.C. respectively. Series two consists of programs from productions performed in New York City, on and off Broadway, and in Brooklyn. Plays are listed alphabetically within each series and often one play title represents more than one playbill. Many of the playbills have ticket stubs attached to the front cover or loose inside. Newspaper clippings relating to the play also accompany some of the programs. The final series includes programs from films, music scores, theatre advertisement mailings, and ticket stubs. Within this series music scores are listed first in alphabetical order followed by film programs and then mailings from theatres, newspaper and magazine clippings, pamphlets and advertisements, show announcements, and assorted ticket stubs."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_d46ac9a9e4e3a7b9dc6e8e0b7d7a8d53\" label=\"Abstract\"\u003eThe Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, but it also includes programs from theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, as well as, programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, but it also includes programs from theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, as well as, programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Rodrigues, Charles"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Rodrigues, Charles"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":563,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-16T20:31:11.072Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_113","ead_ssi":"vifgm_repositories_2_resources_113","_root_":"vifgm_repositories_2_resources_113","_nest_parent_":"vifgm_repositories_2_resources_113","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_113.xml","title_filing_ssi":"Charles Rodrigues playbill collection","title_ssm":["Charles Rodrigues playbill collection"],"title_tesim":["Charles Rodrigues playbill collection"],"unitdate_ssm":["1879-2009"],"unitdate_inclusive_ssm":["1879-2009"],"normalized_date_ssm":["1879/2009"],"normalized_title_ssm":["Charles Rodrigues playbill collection, 1879/2009"],"text":["Charles Rodrigues playbill collection, 1879/2009","C0184","/repositories/2/resources/113","Broadway (New York, N.Y.)","Theater -- New York (State) -- New York","Theater -- United States","Performing arts","Musical Theater","Theater","Theater programs","Musical Theater -- New York (State) -- New York","There are no access restrictions.","Arranged into three series, two of which are based on location, and a final series for film programs, music scores, ticket stubs, and advertisements.","Series\n      Series 1: Outside New York City, 1879-2009 (boxes 1-5, 37)\n      Series 2: New York City, 1885-2009 (boxes 6-34, 37-38)\n      Series 3: Film Programs, music scores, and ticket stubs, 1909-2009 (boxes 34-38)","Charles Rodrigues was an avid theatre enthusiast who amassed a large collection of playbills and programs by attending shows, purchasing programs at yard sales and thrift stores, trading with other collectors, and inheriting collections from friends. Rodrigues began collecting playbills at performances he attended on and off Broadway in 1961. He would also attend performances around the United States and abroad and collect playbills from these shows. One sizable addition came from Richard W. Rowan who also collected playbills from shows he attended. Many of these playbills date from World War I to the 1930s. The oldest part of the Rodrigues collection dates to the late 19th century and is from a movie theatre that used the playbills as cushioning between the older vaudeville stage and the newer movie theatre stage.","Processed by Greta Kuriger in 2011. EAD markup completed by Greta Kuriger in 2011. Finding aid updated by Amanda Menjivar in April 2022.","The Special Collections Research Center holds many other collections on theatre and the performing arts.","The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, as well as theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, but it also includes programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.","The collection consists of three series, two of which are based on geographic location, divided by date, and then arranged alphabetically by play title. Playbills from performances prior to 1934 are included at the beginning of each series in alphabetical order by play followed by playbills that date 1934 and onward. If the name of the play was not present the name of theatre is used instead. Series one consists of fourteen subseries each including playbills and programs from theatres outside of New York City. Subseries 1.1 to 1.14 consist of programs from Austria, Boston, California, Chicago, Connecticut, Florida, London, New York State, New Jersey, Ohio, Paris, Philadelphia, Toronto, and Washington D.C. respectively. Series two consists of programs from productions performed in New York City, on and off Broadway, and in Brooklyn. Plays are listed alphabetically within each series and often one play title represents more than one playbill. Many of the playbills have ticket stubs attached to the front cover or loose inside. Newspaper clippings relating to the play also accompany some of the programs. The final series includes programs from films, music scores, theatre advertisement mailings, and ticket stubs. Within this series music scores are listed first in alphabetical order followed by film programs and then mailings from theatres, newspaper and magazine clippings, pamphlets and advertisements, show announcements, and assorted ticket stubs.","The copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)","The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, but it also includes programs from theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, as well as, programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.","George Mason University. Libraries. 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(See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Phil Rodrigues, brother of Charles Rodrigues, October 21, 2010."],"access_subjects_ssim":["Theater -- New York (State) -- New York","Theater -- United States","Performing arts","Musical Theater","Theater","Theater programs","Musical Theater -- New York (State) -- New York"],"access_subjects_ssm":["Theater -- New York (State) -- New York","Theater -- United States","Performing arts","Musical Theater","Theater","Theater programs","Musical Theater -- New York (State) -- New York"],"has_online_content_ssim":["false"],"extent_ssm":["18 Linear Feet 38 boxes"],"extent_tesim":["18 Linear Feet 38 boxes"],"date_range_isim":[1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eArranged into three series, two of which are based on location, and a final series for film programs, music scores, ticket stubs, and advertisements.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Outside New York City, 1879-2009 (boxes 1-5, 37)\u003c/item\u003e\n      \u003citem\u003eSeries 2: New York City, 1885-2009 (boxes 6-34, 37-38)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Film Programs, music scores, and ticket stubs, 1909-2009 (boxes 34-38)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into three series, two of which are based on location, and a final series for film programs, music scores, ticket stubs, and advertisements.","Series\n      Series 1: Outside New York City, 1879-2009 (boxes 1-5, 37)\n      Series 2: New York City, 1885-2009 (boxes 6-34, 37-38)\n      Series 3: Film Programs, music scores, and ticket stubs, 1909-2009 (boxes 34-38)"],"bioghist_html_tesm":["\u003cp\u003eCharles Rodrigues was an avid theatre enthusiast who amassed a large collection of playbills and programs by attending shows, purchasing programs at yard sales and thrift stores, trading with other collectors, and inheriting collections from friends. Rodrigues began collecting playbills at performances he attended on and off Broadway in 1961. He would also attend performances around the United States and abroad and collect playbills from these shows. One sizable addition came from Richard W. Rowan who also collected playbills from shows he attended. Many of these playbills date from World War I to the 1930s. The oldest part of the Rodrigues collection dates to the late 19th century and is from a movie theatre that used the playbills as cushioning between the older vaudeville stage and the newer movie theatre stage.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Charles Rodrigues was an avid theatre enthusiast who amassed a large collection of playbills and programs by attending shows, purchasing programs at yard sales and thrift stores, trading with other collectors, and inheriting collections from friends. Rodrigues began collecting playbills at performances he attended on and off Broadway in 1961. He would also attend performances around the United States and abroad and collect playbills from these shows. One sizable addition came from Richard W. Rowan who also collected playbills from shows he attended. Many of these playbills date from World War I to the 1930s. The oldest part of the Rodrigues collection dates to the late 19th century and is from a movie theatre that used the playbills as cushioning between the older vaudeville stage and the newer movie theatre stage."],"prefercite_html_tesm":["\u003cp\u003eCharles Rodrigues playbill collection, C0184, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Charles Rodrigues playbill collection, C0184, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Greta Kuriger in 2011. EAD markup completed by Greta Kuriger in 2011. Finding aid updated by Amanda Menjivar in April 2022.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Greta Kuriger in 2011. EAD markup completed by Greta Kuriger in 2011. Finding aid updated by Amanda Menjivar in April 2022."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds many other collections on theatre and the performing arts.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds many other collections on theatre and the performing arts."],"scopecontent_html_tesm":["\u003cp\u003eThe Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, as well as theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, but it also includes programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.\u003c/p\u003e","\u003cp\u003eThe collection consists of three series, two of which are based on geographic location, divided by date, and then arranged alphabetically by play title. Playbills from performances prior to 1934 are included at the beginning of each series in alphabetical order by play followed by playbills that date 1934 and onward. If the name of the play was not present the name of theatre is used instead. Series one consists of fourteen subseries each including playbills and programs from theatres outside of New York City. Subseries 1.1 to 1.14 consist of programs from Austria, Boston, California, Chicago, Connecticut, Florida, London, New York State, New Jersey, Ohio, Paris, Philadelphia, Toronto, and Washington D.C. respectively. Series two consists of programs from productions performed in New York City, on and off Broadway, and in Brooklyn. Plays are listed alphabetically within each series and often one play title represents more than one playbill. Many of the playbills have ticket stubs attached to the front cover or loose inside. Newspaper clippings relating to the play also accompany some of the programs. The final series includes programs from films, music scores, theatre advertisement mailings, and ticket stubs. Within this series music scores are listed first in alphabetical order followed by film programs and then mailings from theatres, newspaper and magazine clippings, pamphlets and advertisements, show announcements, and assorted ticket stubs. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, as well as theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, but it also includes programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.","The collection consists of three series, two of which are based on geographic location, divided by date, and then arranged alphabetically by play title. Playbills from performances prior to 1934 are included at the beginning of each series in alphabetical order by play followed by playbills that date 1934 and onward. If the name of the play was not present the name of theatre is used instead. Series one consists of fourteen subseries each including playbills and programs from theatres outside of New York City. Subseries 1.1 to 1.14 consist of programs from Austria, Boston, California, Chicago, Connecticut, Florida, London, New York State, New Jersey, Ohio, Paris, Philadelphia, Toronto, and Washington D.C. respectively. Series two consists of programs from productions performed in New York City, on and off Broadway, and in Brooklyn. Plays are listed alphabetically within each series and often one play title represents more than one playbill. Many of the playbills have ticket stubs attached to the front cover or loose inside. Newspaper clippings relating to the play also accompany some of the programs. The final series includes programs from films, music scores, theatre advertisement mailings, and ticket stubs. Within this series music scores are listed first in alphabetical order followed by film programs and then mailings from theatres, newspaper and magazine clippings, pamphlets and advertisements, show announcements, and assorted ticket stubs."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_d46ac9a9e4e3a7b9dc6e8e0b7d7a8d53\" label=\"Abstract\"\u003eThe Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, but it also includes programs from theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, as well as, programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Charles Rodrigues playbill collection consists of playbills and programs from 1879-2009. The bulk of the collection material represents plays performed on and off Broadway, but it also includes programs from theatres in Philadelphia, Boston, Connecticut, Long Island, New Jersey, Washington D.C., San Francisco, Los Angeles, Ohio, and Chicago. This collection represents a broad cross-section of programs with plays as the main source, as well as, programs from burlesque houses, vaudeville performances, and concerts. Playbills can be important documents for researchers in that they depict the world of theatre changing over time and often provide rich information about prevailing cultural and social attitudes of the moment through articles and advertisements."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Rodrigues, Charles"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Rodrigues, Charles"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":563,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-16T20:31:11.072Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_113"}},{"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.","The scripts are also available as a series in the  in the Mason Archival Repository Service.\nThere are additional documents from this and other GMU FTP collections  .","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\u003eThe scripts are also available as a series in the \u003cextptr href=\"https://mars.gmu.edu/handle/1920/3478\" title=\"Federal Theatre Project Materials Collection\" show=\"new\"\u003e\u003c/extptr\u003e in the Mason Archival Repository Service.\nThere are additional documents from this and other GMU FTP collections  \u003cextptr href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\" title=\"available here\" show=\"new\"\u003e\u003c/extptr\u003e.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The scripts are also available as a series in the  in the Mason Archival Repository Service.\nThere are additional documents from this and other GMU FTP collections  ."],"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":"2026-07-22T11:03:00.726Z","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.","The scripts are also available as a series in the  in the Mason Archival Repository Service.\nThere are additional documents from this and other GMU FTP collections  .","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\u003eThe scripts are also available as a series in the \u003cextptr href=\"https://mars.gmu.edu/handle/1920/3478\" title=\"Federal Theatre Project Materials Collection\" show=\"new\"\u003e\u003c/extptr\u003e in the Mason Archival Repository Service.\nThere are additional documents from this and other GMU FTP collections  \u003cextptr href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\" title=\"available here\" show=\"new\"\u003e\u003c/extptr\u003e.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The scripts are also available as a series in the  in the Mason Archival Repository Service.\nThere are additional documents from this and other GMU FTP collections  ."],"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":"2026-07-22T11:03:00.726Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_331"}},{"id":"vifgm_repositories_2_resources_346","type":"collection","attributes":{"title":"J. Howard Miller papers, 1891/1946","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_346#creator","type":"document_value","attributes":{"value":"Miller, J. Howard","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_346#abstract_or_scope","type":"document_value","attributes":{"value":"The J. Howard Miller papers consist of scrapbooks and folders containing newspaper clippings, programs, photographs, telegrams, and other pieces of ephemera, most of which are related to Federal Theatre Project productions in Los Angeles, San Diego, Padua Hills, and Denver. Also included is correspondence to and from Miller and employee identification cards.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_346#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_346","ead_ssi":"vifgm_repositories_2_resources_346","_root_":"vifgm_repositories_2_resources_346","_nest_parent_":"vifgm_repositories_2_resources_346","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_346.xml","title_filing_ssi":"J. Howard Miller papers","title_ssm":["J. Howard Miller papers"],"title_tesim":["J. Howard Miller papers"],"unitdate_ssm":["1891-1946"],"unitdate_inclusive_ssm":["1891-1946"],"normalized_date_ssm":["1891/1946"],"normalized_title_ssm":["J. Howard Miller papers, 1891/1946"],"text":["J. Howard Miller papers, 1891/1946","C0228","/repositories/2/resources/346","Theater -- United States","New Deal, 1933-1939","There are no access restrictions.","This collection is arranged alphabetically by title.","Born on April 3, 1908 J. Howard Miller was a former actor and stage manager. He worked with the Federal Theatre Project as the Regional Director in the west, and later the Deputy National Director of the Federal Theatre Project.","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.","Processing and EAD markup completed in November 2012 by Greta Kuriger Suiter.","The Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers.","The J. Howard Miller papers contain eleven scrapbooks created by Miller. Scrapbooks are compiled around a location or play: one has general newsclippings about the Federal Theatre Project and the WPA, three are for productions from the Mayan Theatre in Los Angeles, two are for productions from the Savoy Theatre in San Diego, one is for the State Emergency Relief Administration (SERA), one covers the Federal Theatre unit in Denver, one covers the play It Can't Happen Here in it's many locations of production. There are also two scrapbooks for materials that did not originate with the Federal Theatre Project, one of these is filled with programs collected by Miller and the other is material from the Padua Players theatre group where Miller worked before joining the Federal Theatre. Also included in this collection is one folder of photographs featuring Federal Theatre sets and actors, and three folders with correspondence, miscellaneous newspaper clippings, and employee related material.","The copyright and related rights status of materials created after 1925 have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The J. Howard Miller papers consist of scrapbooks and folders containing newspaper clippings, programs, photographs, telegrams, and other pieces of ephemera, most of which are related to Federal Theatre Project productions in Los Angeles, San Diego, Padua Hills, and Denver. Also included is correspondence to and from Miller and employee identification cards.","Map Case 9.1","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Miller, J. Howard","English"],"collection_title_tesim":["J. Howard Miller papers, 1891/1946"],"collection_ssim":["J. Howard Miller papers, 1891/1946"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0228","/repositories/2/resources/346"],"unitid_tesim":["C0228","/repositories/2/resources/346"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Miller, J. Howard"],"creator_ssim":["Miller, J. Howard"],"creator_persname_ssim":["Miller, J. Howard"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"creators_ssim":["Miller, J. Howard","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"access_terms_ssm":["The copyright and related rights status of materials created after 1925 have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by J. Howard Miller on April 12, 1979."],"access_subjects_ssim":["Theater -- United States","New Deal, 1933-1939"],"access_subjects_ssm":["Theater -- United States","New Deal, 1933-1939"],"has_online_content_ssim":["false"],"extent_ssm":["2.5 Linear Feet 6 boxes"],"extent_tesim":["2.5 Linear Feet 6 boxes"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged alphabetically by title.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged alphabetically by title."],"bioghist_html_tesm":["\u003cp\u003eBorn on April 3, 1908 J. Howard Miller was a former actor and stage manager. He worked with the Federal Theatre Project as the Regional Director in the west, and later the Deputy National Director of the Federal Theatre Project.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Born on April 3, 1908 J. Howard Miller was a former actor and stage manager. He worked with the Federal Theatre Project as the Regional Director in the west, and later the Deputy National Director of the Federal Theatre Project.","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."],"prefercite_html_tesm":["\u003cp\u003eJ. Howard Miller personal papers, C0228, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["J. Howard Miller personal papers, C0228, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing and EAD markup completed in November 2012 by Greta Kuriger Suiter.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and EAD markup completed in November 2012 by Greta Kuriger Suiter."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers."],"scopecontent_html_tesm":["\u003cp\u003eThe J. Howard Miller papers contain eleven scrapbooks created by Miller. Scrapbooks are compiled around a location or play: one has general newsclippings about the Federal Theatre Project and the WPA, three are for productions from the Mayan Theatre in Los Angeles, two are for productions from the Savoy Theatre in San Diego, one is for the State Emergency Relief Administration (SERA), one covers the Federal Theatre unit in Denver, one covers the play It Can't Happen Here in it's many locations of production. There are also two scrapbooks for materials that did not originate with the Federal Theatre Project, one of these is filled with programs collected by Miller and the other is material from the Padua Players theatre group where Miller worked before joining the Federal Theatre. Also included in this collection is one folder of photographs featuring Federal Theatre sets and actors, and three folders with correspondence, miscellaneous newspaper clippings, and employee related material.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The J. Howard Miller papers contain eleven scrapbooks created by Miller. Scrapbooks are compiled around a location or play: one has general newsclippings about the Federal Theatre Project and the WPA, three are for productions from the Mayan Theatre in Los Angeles, two are for productions from the Savoy Theatre in San Diego, one is for the State Emergency Relief Administration (SERA), one covers the Federal Theatre unit in Denver, one covers the play It Can't Happen Here in it's many locations of production. There are also two scrapbooks for materials that did not originate with the Federal Theatre Project, one of these is filled with programs collected by Miller and the other is material from the Padua Players theatre group where Miller worked before joining the Federal Theatre. Also included in this collection is one folder of photographs featuring Federal Theatre sets and actors, and three folders with correspondence, miscellaneous newspaper clippings, and employee related material."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of materials created after 1925 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 materials created after 1925 have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_5c091e00e82823798960d1532cc52ff9\" label=\"Summary\"\u003eThe J. Howard Miller papers consist of scrapbooks and folders containing newspaper clippings, programs, photographs, telegrams, and other pieces of ephemera, most of which are related to Federal Theatre Project productions in Los Angeles, San Diego, Padua Hills, and Denver. Also included is correspondence to and from Miller and employee identification cards.\u003c/abstract\u003e\n    "],"abstract_tesim":["The J. Howard Miller papers consist of scrapbooks and folders containing newspaper clippings, programs, photographs, telegrams, and other pieces of ephemera, most of which are related to Federal Theatre Project productions in Los Angeles, San Diego, Padua Hills, and Denver. Also included is correspondence to and from Miller and employee identification cards."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_fd2c8824a22a79e4b1c6284aa68ef1f9\"\u003eMap Case 9.1\u003c/physloc\u003e\n    "],"physloc_tesim":["Map Case 9.1"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_coll_ssim":["Federal Theatre Project (U.S.)"],"persname_ssim":["Miller, J. Howard"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Miller, J. Howard"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":20,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-16T20:32:35.826Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_346","ead_ssi":"vifgm_repositories_2_resources_346","_root_":"vifgm_repositories_2_resources_346","_nest_parent_":"vifgm_repositories_2_resources_346","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_346.xml","title_filing_ssi":"J. Howard Miller papers","title_ssm":["J. Howard Miller papers"],"title_tesim":["J. Howard Miller papers"],"unitdate_ssm":["1891-1946"],"unitdate_inclusive_ssm":["1891-1946"],"normalized_date_ssm":["1891/1946"],"normalized_title_ssm":["J. Howard Miller papers, 1891/1946"],"text":["J. Howard Miller papers, 1891/1946","C0228","/repositories/2/resources/346","Theater -- United States","New Deal, 1933-1939","There are no access restrictions.","This collection is arranged alphabetically by title.","Born on April 3, 1908 J. Howard Miller was a former actor and stage manager. He worked with the Federal Theatre Project as the Regional Director in the west, and later the Deputy National Director of the Federal Theatre Project.","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.","Processing and EAD markup completed in November 2012 by Greta Kuriger Suiter.","The Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers.","The J. Howard Miller papers contain eleven scrapbooks created by Miller. Scrapbooks are compiled around a location or play: one has general newsclippings about the Federal Theatre Project and the WPA, three are for productions from the Mayan Theatre in Los Angeles, two are for productions from the Savoy Theatre in San Diego, one is for the State Emergency Relief Administration (SERA), one covers the Federal Theatre unit in Denver, one covers the play It Can't Happen Here in it's many locations of production. There are also two scrapbooks for materials that did not originate with the Federal Theatre Project, one of these is filled with programs collected by Miller and the other is material from the Padua Players theatre group where Miller worked before joining the Federal Theatre. Also included in this collection is one folder of photographs featuring Federal Theatre sets and actors, and three folders with correspondence, miscellaneous newspaper clippings, and employee related material.","The copyright and related rights status of materials created after 1925 have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The J. Howard Miller papers consist of scrapbooks and folders containing newspaper clippings, programs, photographs, telegrams, and other pieces of ephemera, most of which are related to Federal Theatre Project productions in Los Angeles, San Diego, Padua Hills, and Denver. Also included is correspondence to and from Miller and employee identification cards.","Map Case 9.1","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Miller, J. Howard","English"],"collection_title_tesim":["J. Howard Miller papers, 1891/1946"],"collection_ssim":["J. Howard Miller papers, 1891/1946"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0228","/repositories/2/resources/346"],"unitid_tesim":["C0228","/repositories/2/resources/346"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Miller, J. Howard"],"creator_ssim":["Miller, J. Howard"],"creator_persname_ssim":["Miller, J. Howard"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"creators_ssim":["Miller, J. Howard","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"access_terms_ssm":["The copyright and related rights status of materials created after 1925 have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by J. Howard Miller on April 12, 1979."],"access_subjects_ssim":["Theater -- United States","New Deal, 1933-1939"],"access_subjects_ssm":["Theater -- United States","New Deal, 1933-1939"],"has_online_content_ssim":["false"],"extent_ssm":["2.5 Linear Feet 6 boxes"],"extent_tesim":["2.5 Linear Feet 6 boxes"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged alphabetically by title.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged alphabetically by title."],"bioghist_html_tesm":["\u003cp\u003eBorn on April 3, 1908 J. Howard Miller was a former actor and stage manager. He worked with the Federal Theatre Project as the Regional Director in the west, and later the Deputy National Director of the Federal Theatre Project.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre Project was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). The Federal Theatre began in 1935 and, until its end in 1939, flourished as the first and only federally sponsored and subsidized theater program in the United States. Directed by Hallie Flanagan (1880-1969), it was a way for theatrical professionals to gain employment during the Depression.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Born on April 3, 1908 J. Howard Miller was a former actor and stage manager. He worked with the Federal Theatre Project as the Regional Director in the west, and later the Deputy National Director of the Federal Theatre Project.","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."],"prefercite_html_tesm":["\u003cp\u003eJ. Howard Miller personal papers, C0228, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["J. Howard Miller personal papers, C0228, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing and EAD markup completed in November 2012 by Greta Kuriger Suiter.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and EAD markup completed in November 2012 by Greta Kuriger Suiter."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers."],"scopecontent_html_tesm":["\u003cp\u003eThe J. Howard Miller papers contain eleven scrapbooks created by Miller. Scrapbooks are compiled around a location or play: one has general newsclippings about the Federal Theatre Project and the WPA, three are for productions from the Mayan Theatre in Los Angeles, two are for productions from the Savoy Theatre in San Diego, one is for the State Emergency Relief Administration (SERA), one covers the Federal Theatre unit in Denver, one covers the play It Can't Happen Here in it's many locations of production. There are also two scrapbooks for materials that did not originate with the Federal Theatre Project, one of these is filled with programs collected by Miller and the other is material from the Padua Players theatre group where Miller worked before joining the Federal Theatre. Also included in this collection is one folder of photographs featuring Federal Theatre sets and actors, and three folders with correspondence, miscellaneous newspaper clippings, and employee related material.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The J. Howard Miller papers contain eleven scrapbooks created by Miller. Scrapbooks are compiled around a location or play: one has general newsclippings about the Federal Theatre Project and the WPA, three are for productions from the Mayan Theatre in Los Angeles, two are for productions from the Savoy Theatre in San Diego, one is for the State Emergency Relief Administration (SERA), one covers the Federal Theatre unit in Denver, one covers the play It Can't Happen Here in it's many locations of production. There are also two scrapbooks for materials that did not originate with the Federal Theatre Project, one of these is filled with programs collected by Miller and the other is material from the Padua Players theatre group where Miller worked before joining the Federal Theatre. Also included in this collection is one folder of photographs featuring Federal Theatre sets and actors, and three folders with correspondence, miscellaneous newspaper clippings, and employee related material."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of materials created after 1925 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 materials created after 1925 have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_5c091e00e82823798960d1532cc52ff9\" label=\"Summary\"\u003eThe J. Howard Miller papers consist of scrapbooks and folders containing newspaper clippings, programs, photographs, telegrams, and other pieces of ephemera, most of which are related to Federal Theatre Project productions in Los Angeles, San Diego, Padua Hills, and Denver. Also included is correspondence to and from Miller and employee identification cards.\u003c/abstract\u003e\n    "],"abstract_tesim":["The J. Howard Miller papers consist of scrapbooks and folders containing newspaper clippings, programs, photographs, telegrams, and other pieces of ephemera, most of which are related to Federal Theatre Project productions in Los Angeles, San Diego, Padua Hills, and Denver. Also included is correspondence to and from Miller and employee identification cards."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_fd2c8824a22a79e4b1c6284aa68ef1f9\"\u003eMap Case 9.1\u003c/physloc\u003e\n    "],"physloc_tesim":["Map Case 9.1"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_coll_ssim":["Federal Theatre Project (U.S.)"],"persname_ssim":["Miller, J. Howard"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Miller, J. Howard"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":20,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-16T20:32:35.826Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_346"}},{"id":"vifgm_repositories_2_resources_348","type":"collection","attributes":{"title":"Molka Reich papers, 1904/1986","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_348#creator","type":"document_value","attributes":{"value":"Reich, Molka","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_348#abstract_or_scope","type":"document_value","attributes":{"value":"The Molka Reich papers includes playscripts, programs, puppetry newsletters, newspaper clippings, photographs, and scrapbooks with most of it dating from the 1930s to the 1950s. About half of the material directly relates to the Federal Theatre Project, especially the newspaper clippings, programs, and scrapbooks. Many of the puppetry newsletters and playscripts are from after the 1930s. Some of the material relates to the actor Scott Griffin who acted with the Federal Theatre Project in Miami, Florida, alongside Reich.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_348#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_348","ead_ssi":"vifgm_repositories_2_resources_348","_root_":"vifgm_repositories_2_resources_348","_nest_parent_":"vifgm_repositories_2_resources_348","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_348.xml","title_filing_ssi":"Molka Reich papers","title_ssm":["Molka Reich papers"],"title_tesim":["Molka Reich papers"],"unitdate_ssm":["1904-1986"],"unitdate_inclusive_ssm":["1904-1986"],"normalized_date_ssm":["1904/1986"],"normalized_title_ssm":["Molka Reich papers, 1904/1986"],"text":["Molka Reich papers, 1904/1986","C0229","/repositories/2/resources/348","Theater -- United States","New Deal, 1933-1939","There are no access restrictions.","Organized into six series:","Missing Title\n      Series 1: Essays, newsletters, published works, and miscellany, 1904-1950 (Boxes 1-2, 9)\n      Series 2: Newspaper clippings, 1936-1986 (Box 2)\n      Series 3: Photographs, circa 1930s-1940s (Boxes 2, 9)\n      Series 4: Playscripts, 1920s-1953 (Boxes 2-6)\n      Series 5: Programs, 1928-1950s (Boxes 6-7)\n      Series 6: Scrapbooks, 1920s-1950s (Boxes 7-8)","Molka Reich studied puppetry under Remo Bufano in New York during the 1920s. She and her husband moved to Miami, Florida, in 1930. While there, she joined the Federal Writers Project, and then the Federal Theatre Project. She started with the FTP as an actress but soon was working with the marionette unit where she made puppets, wrote and adapted scripts, and built sets. As an actress she appeared in the Federal Theatre production Engaged that was performed in August of 1936. She stayed with the Federal Theatre Project until 1939, after which she continued to be a proponent for puppetry. In Miami, she served as president of the Business and Professional Women's Club.","Processed in December 2012 by Greta Kuriger Suiter. EAD completed in January 2013 by Greta Kuriger Suiter.","The Special Collections Research Center also holds the , the , the , as well as numerous other personal papers.","The Molka Reich papers includes playscripts, programs, puppetry newsletters, newspaper clippings, photographs, and scrapbooks with most of it dating from the 1930s to the 1950s. About half of the material directly relates to the Federal Theatre project, especially the newspaper clippings, programs, and scrapbooks. Many of the puppetry newsletters and playscripts are from after the 1930s. Some of the material relates to the actor Scott Griffin who acted with the Federal Theatre Project in Miami, Florida, alongside Reich.","Series 1 contains many different types of materials including essays, puppetry newsletters, play synopses, published plays, vaudeville sketches, marionette patterns in various sizes, and original artwork by Ken Bare. Materials are arranged alphabetically.","Series 2 contains newspaper clippings from Miami, Florida, newspapers. Many of the newsclippings are reviews for plays that Molka Reich or Scott Griffin were involved in. This series is arranged alphabetically.","Series 3 contains photographs both black and white and color and in a variety of sizes.  Photographs consist of portraits of Molka Reich, and Scott Griffin, as well as production photographs, and photographs of a Jack and the Beanstalk marionette. This series is arranged alphabetically.","Series 4 is the largest series and contains scripts for plays and some radio productions. Some of the scripts have accompanying music, mostly handwritten. This series is arranged alphabetically by title.","Series 5 contains programs for Federal Theatre productions and non Federal Theatre productions that were performed in Miami and Jacksonville, Florida; Atlanta, Georgia; Long Island and Pawling, New York; and The Smithsonian in Washington D.C. This series is arranged alphabetically.","Series 6 contains scrapbooks that have been disassembled and foldered. The Molka Reich scrapbook 1928-1948 contains mostly material relating to Scott Griffin. There is also a scrapbook for marionette newspaper and magazine clippings, a scrapbook with clippings and programs from productions in Miami, and a scrapbook containing calendar programs for the Starlight Theater in Pawling, New York. This series is arranged by size of material.","The copyright and related rights status of materials created after 1925 have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Molka Reich papers includes playscripts, programs, puppetry newsletters, newspaper clippings, photographs, and scrapbooks with most of it dating from the 1930s to the 1950s. About half of the material directly relates to the Federal Theatre Project, especially the newspaper clippings, programs, and scrapbooks. Many of the puppetry newsletters and playscripts are from after the 1930s. Some of the material relates to the actor Scott Griffin who acted with the Federal Theatre Project in Miami, Florida, alongside Reich.","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Reich, Molka","English"],"collection_title_tesim":["Molka Reich papers, 1904/1986"],"collection_ssim":["Molka Reich papers, 1904/1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0229","/repositories/2/resources/348"],"unitid_tesim":["C0229","/repositories/2/resources/348"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Reich, Molka"],"creator_ssim":["Reich, Molka"],"creator_persname_ssim":["Reich, Molka"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"creators_ssim":["Reich, Molka","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"access_terms_ssm":["The copyright and related rights status of materials created after 1925 have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Molka Reich in 1980 and 1981. Scott Griffin material presented by Molka Reich for the Scott Griffin estate on June 25, 1979."],"access_subjects_ssim":["Theater -- United States","New Deal, 1933-1939"],"access_subjects_ssm":["Theater -- United States","New Deal, 1933-1939"],"has_online_content_ssim":["false"],"extent_ssm":["6 Linear Feet 9 boxes"],"extent_tesim":["6 Linear Feet 9 boxes"],"date_range_isim":[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."],"arrangement_html_tesm":["\u003cp\u003eOrganized into six series:\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eMissing Title\u003c/head\u003e\n      \u003citem\u003eSeries 1: Essays, newsletters, published works, and miscellany, 1904-1950 (Boxes 1-2, 9)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Newspaper clippings, 1936-1986 (Box 2)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, circa 1930s-1940s (Boxes 2, 9)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Playscripts, 1920s-1953 (Boxes 2-6)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Programs, 1928-1950s (Boxes 6-7)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Scrapbooks, 1920s-1950s (Boxes 7-8)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized into six series:","Missing Title\n      Series 1: Essays, newsletters, published works, and miscellany, 1904-1950 (Boxes 1-2, 9)\n      Series 2: Newspaper clippings, 1936-1986 (Box 2)\n      Series 3: Photographs, circa 1930s-1940s (Boxes 2, 9)\n      Series 4: Playscripts, 1920s-1953 (Boxes 2-6)\n      Series 5: Programs, 1928-1950s (Boxes 6-7)\n      Series 6: Scrapbooks, 1920s-1950s (Boxes 7-8)"],"bioghist_html_tesm":["\u003cp\u003eMolka Reich studied puppetry under Remo Bufano in New York during the 1920s. She and her husband moved to Miami, Florida, in 1930. While there, she joined the Federal Writers Project, and then the Federal Theatre Project. She started with the FTP as an actress but soon was working with the marionette unit where she made puppets, wrote and adapted scripts, and built sets. As an actress she appeared in the Federal Theatre production Engaged that was performed in August of 1936. She stayed with the Federal Theatre Project until 1939, after which she continued to be a proponent for puppetry. In Miami, she served as president of the Business and Professional Women's Club.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Molka Reich studied puppetry under Remo Bufano in New York during the 1920s. She and her husband moved to Miami, Florida, in 1930. While there, she joined the Federal Writers Project, and then the Federal Theatre Project. She started with the FTP as an actress but soon was working with the marionette unit where she made puppets, wrote and adapted scripts, and built sets. As an actress she appeared in the Federal Theatre production Engaged that was performed in August of 1936. She stayed with the Federal Theatre Project until 1939, after which she continued to be a proponent for puppetry. In Miami, she served as president of the Business and Professional Women's Club."],"prefercite_html_tesm":["\u003cp\u003eMolka Reich papers, C0229, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Molka Reich papers, C0229, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed in December 2012 by Greta Kuriger Suiter. EAD completed in January 2013 by Greta Kuriger Suiter.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed in December 2012 by Greta Kuriger Suiter. EAD completed in January 2013 by Greta Kuriger Suiter."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0153\" title=\"Works Progress Administration oral histories collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0002\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0205\" title=\"Federal Theatre Project photograph collection\" show=\"new\"\u003e\u003c/extptr\u003e, as well as numerous other personal papers.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the , the , the , as well as numerous other personal papers."],"scopecontent_html_tesm":["\u003cp\u003eThe Molka Reich papers includes playscripts, programs, puppetry newsletters, newspaper clippings, photographs, and scrapbooks with most of it dating from the 1930s to the 1950s. About half of the material directly relates to the Federal Theatre project, especially the newspaper clippings, programs, and scrapbooks. Many of the puppetry newsletters and playscripts are from after the 1930s. Some of the material relates to the actor Scott Griffin who acted with the Federal Theatre Project in Miami, Florida, alongside Reich.\u003c/p\u003e","\u003cp\u003eSeries 1 contains many different types of materials including essays, puppetry newsletters, play synopses, published plays, vaudeville sketches, marionette patterns in various sizes, and original artwork by Ken Bare. Materials are arranged alphabetically.\u003c/p\u003e","\u003cp\u003eSeries 2 contains newspaper clippings from Miami, Florida, newspapers. Many of the newsclippings are reviews for plays that Molka Reich or Scott Griffin were involved in. This series is arranged alphabetically.\u003c/p\u003e","\u003cp\u003eSeries 3 contains photographs both black and white and color and in a variety of sizes.  Photographs consist of portraits of Molka Reich, and Scott Griffin, as well as production photographs, and photographs of a Jack and the Beanstalk marionette. This series is arranged alphabetically.\u003c/p\u003e","\u003cp\u003eSeries 4 is the largest series and contains scripts for plays and some radio productions. Some of the scripts have accompanying music, mostly handwritten. This series is arranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eSeries 5 contains programs for Federal Theatre productions and non Federal Theatre productions that were performed in Miami and Jacksonville, Florida; Atlanta, Georgia; Long Island and Pawling, New York; and The Smithsonian in Washington D.C. This series is arranged alphabetically.\u003c/p\u003e","\u003cp\u003eSeries 6 contains scrapbooks that have been disassembled and foldered. The Molka Reich scrapbook 1928-1948 contains mostly material relating to Scott Griffin. There is also a scrapbook for marionette newspaper and magazine clippings, a scrapbook with clippings and programs from productions in Miami, and a scrapbook containing calendar programs for the Starlight Theater in Pawling, New York. This series is arranged by size of material.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Molka Reich papers includes playscripts, programs, puppetry newsletters, newspaper clippings, photographs, and scrapbooks with most of it dating from the 1930s to the 1950s. About half of the material directly relates to the Federal Theatre project, especially the newspaper clippings, programs, and scrapbooks. Many of the puppetry newsletters and playscripts are from after the 1930s. Some of the material relates to the actor Scott Griffin who acted with the Federal Theatre Project in Miami, Florida, alongside Reich.","Series 1 contains many different types of materials including essays, puppetry newsletters, play synopses, published plays, vaudeville sketches, marionette patterns in various sizes, and original artwork by Ken Bare. Materials are arranged alphabetically.","Series 2 contains newspaper clippings from Miami, Florida, newspapers. Many of the newsclippings are reviews for plays that Molka Reich or Scott Griffin were involved in. This series is arranged alphabetically.","Series 3 contains photographs both black and white and color and in a variety of sizes.  Photographs consist of portraits of Molka Reich, and Scott Griffin, as well as production photographs, and photographs of a Jack and the Beanstalk marionette. This series is arranged alphabetically.","Series 4 is the largest series and contains scripts for plays and some radio productions. Some of the scripts have accompanying music, mostly handwritten. This series is arranged alphabetically by title.","Series 5 contains programs for Federal Theatre productions and non Federal Theatre productions that were performed in Miami and Jacksonville, Florida; Atlanta, Georgia; Long Island and Pawling, New York; and The Smithsonian in Washington D.C. This series is arranged alphabetically.","Series 6 contains scrapbooks that have been disassembled and foldered. The Molka Reich scrapbook 1928-1948 contains mostly material relating to Scott Griffin. There is also a scrapbook for marionette newspaper and magazine clippings, a scrapbook with clippings and programs from productions in Miami, and a scrapbook containing calendar programs for the Starlight Theater in Pawling, New York. This series is arranged by size of material."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of materials created after 1925 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 materials created after 1925 have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_84dd143d1a81fa0708a802608718089b\"\u003eThe Molka Reich papers includes playscripts, programs, puppetry newsletters, newspaper clippings, photographs, and scrapbooks with most of it dating from the 1930s to the 1950s. About half of the material directly relates to the Federal Theatre Project, especially the newspaper clippings, programs, and scrapbooks. Many of the puppetry newsletters and playscripts are from after the 1930s. Some of the material relates to the actor Scott Griffin who acted with the Federal Theatre Project in Miami, Florida, alongside Reich.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Molka Reich papers includes playscripts, programs, puppetry newsletters, newspaper clippings, photographs, and scrapbooks with most of it dating from the 1930s to the 1950s. About half of the material directly relates to the Federal Theatre Project, especially the newspaper clippings, programs, and scrapbooks. Many of the puppetry newsletters and playscripts are from after the 1930s. Some of the material relates to the actor Scott Griffin who acted with the Federal Theatre Project in Miami, Florida, alongside Reich."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_coll_ssim":["Federal Theatre Project (U.S.)"],"persname_ssim":["Reich, Molka"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Reich, Molka"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":227,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-16T20:32:35.826Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_348","ead_ssi":"vifgm_repositories_2_resources_348","_root_":"vifgm_repositories_2_resources_348","_nest_parent_":"vifgm_repositories_2_resources_348","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_348.xml","title_filing_ssi":"Molka Reich papers","title_ssm":["Molka Reich papers"],"title_tesim":["Molka Reich papers"],"unitdate_ssm":["1904-1986"],"unitdate_inclusive_ssm":["1904-1986"],"normalized_date_ssm":["1904/1986"],"normalized_title_ssm":["Molka Reich papers, 1904/1986"],"text":["Molka Reich papers, 1904/1986","C0229","/repositories/2/resources/348","Theater -- United States","New Deal, 1933-1939","There are no access restrictions.","Organized into six series:","Missing Title\n      Series 1: Essays, newsletters, published works, and miscellany, 1904-1950 (Boxes 1-2, 9)\n      Series 2: Newspaper clippings, 1936-1986 (Box 2)\n      Series 3: Photographs, circa 1930s-1940s (Boxes 2, 9)\n      Series 4: Playscripts, 1920s-1953 (Boxes 2-6)\n      Series 5: Programs, 1928-1950s (Boxes 6-7)\n      Series 6: Scrapbooks, 1920s-1950s (Boxes 7-8)","Molka Reich studied puppetry under Remo Bufano in New York during the 1920s. She and her husband moved to Miami, Florida, in 1930. While there, she joined the Federal Writers Project, and then the Federal Theatre Project. She started with the FTP as an actress but soon was working with the marionette unit where she made puppets, wrote and adapted scripts, and built sets. As an actress she appeared in the Federal Theatre production Engaged that was performed in August of 1936. She stayed with the Federal Theatre Project until 1939, after which she continued to be a proponent for puppetry. In Miami, she served as president of the Business and Professional Women's Club.","Processed in December 2012 by Greta Kuriger Suiter. EAD completed in January 2013 by Greta Kuriger Suiter.","The Special Collections Research Center also holds the , the , the , as well as numerous other personal papers.","The Molka Reich papers includes playscripts, programs, puppetry newsletters, newspaper clippings, photographs, and scrapbooks with most of it dating from the 1930s to the 1950s. About half of the material directly relates to the Federal Theatre project, especially the newspaper clippings, programs, and scrapbooks. Many of the puppetry newsletters and playscripts are from after the 1930s. Some of the material relates to the actor Scott Griffin who acted with the Federal Theatre Project in Miami, Florida, alongside Reich.","Series 1 contains many different types of materials including essays, puppetry newsletters, play synopses, published plays, vaudeville sketches, marionette patterns in various sizes, and original artwork by Ken Bare. Materials are arranged alphabetically.","Series 2 contains newspaper clippings from Miami, Florida, newspapers. Many of the newsclippings are reviews for plays that Molka Reich or Scott Griffin were involved in. This series is arranged alphabetically.","Series 3 contains photographs both black and white and color and in a variety of sizes.  Photographs consist of portraits of Molka Reich, and Scott Griffin, as well as production photographs, and photographs of a Jack and the Beanstalk marionette. This series is arranged alphabetically.","Series 4 is the largest series and contains scripts for plays and some radio productions. Some of the scripts have accompanying music, mostly handwritten. This series is arranged alphabetically by title.","Series 5 contains programs for Federal Theatre productions and non Federal Theatre productions that were performed in Miami and Jacksonville, Florida; Atlanta, Georgia; Long Island and Pawling, New York; and The Smithsonian in Washington D.C. This series is arranged alphabetically.","Series 6 contains scrapbooks that have been disassembled and foldered. The Molka Reich scrapbook 1928-1948 contains mostly material relating to Scott Griffin. There is also a scrapbook for marionette newspaper and magazine clippings, a scrapbook with clippings and programs from productions in Miami, and a scrapbook containing calendar programs for the Starlight Theater in Pawling, New York. This series is arranged by size of material.","The copyright and related rights status of materials created after 1925 have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Molka Reich papers includes playscripts, programs, puppetry newsletters, newspaper clippings, photographs, and scrapbooks with most of it dating from the 1930s to the 1950s. About half of the material directly relates to the Federal Theatre Project, especially the newspaper clippings, programs, and scrapbooks. Many of the puppetry newsletters and playscripts are from after the 1930s. Some of the material relates to the actor Scott Griffin who acted with the Federal Theatre Project in Miami, Florida, alongside Reich.","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Reich, Molka","English"],"collection_title_tesim":["Molka Reich papers, 1904/1986"],"collection_ssim":["Molka Reich papers, 1904/1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0229","/repositories/2/resources/348"],"unitid_tesim":["C0229","/repositories/2/resources/348"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Reich, Molka"],"creator_ssim":["Reich, Molka"],"creator_persname_ssim":["Reich, Molka"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"creators_ssim":["Reich, Molka","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"access_terms_ssm":["The copyright and related rights status of materials created after 1925 have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Molka Reich in 1980 and 1981. Scott Griffin material presented by Molka Reich for the Scott Griffin estate on June 25, 1979."],"access_subjects_ssim":["Theater -- United States","New Deal, 1933-1939"],"access_subjects_ssm":["Theater -- United States","New Deal, 1933-1939"],"has_online_content_ssim":["false"],"extent_ssm":["6 Linear Feet 9 boxes"],"extent_tesim":["6 Linear Feet 9 boxes"],"date_range_isim":[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."],"arrangement_html_tesm":["\u003cp\u003eOrganized into six series:\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eMissing Title\u003c/head\u003e\n      \u003citem\u003eSeries 1: Essays, newsletters, published works, and miscellany, 1904-1950 (Boxes 1-2, 9)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Newspaper clippings, 1936-1986 (Box 2)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, circa 1930s-1940s (Boxes 2, 9)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Playscripts, 1920s-1953 (Boxes 2-6)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Programs, 1928-1950s (Boxes 6-7)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Scrapbooks, 1920s-1950s (Boxes 7-8)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized into six series:","Missing Title\n      Series 1: Essays, newsletters, published works, and miscellany, 1904-1950 (Boxes 1-2, 9)\n      Series 2: Newspaper clippings, 1936-1986 (Box 2)\n      Series 3: Photographs, circa 1930s-1940s (Boxes 2, 9)\n      Series 4: Playscripts, 1920s-1953 (Boxes 2-6)\n      Series 5: Programs, 1928-1950s (Boxes 6-7)\n      Series 6: Scrapbooks, 1920s-1950s (Boxes 7-8)"],"bioghist_html_tesm":["\u003cp\u003eMolka Reich studied puppetry under Remo Bufano in New York during the 1920s. She and her husband moved to Miami, Florida, in 1930. While there, she joined the Federal Writers Project, and then the Federal Theatre Project. She started with the FTP as an actress but soon was working with the marionette unit where she made puppets, wrote and adapted scripts, and built sets. As an actress she appeared in the Federal Theatre production Engaged that was performed in August of 1936. She stayed with the Federal Theatre Project until 1939, after which she continued to be a proponent for puppetry. In Miami, she served as president of the Business and Professional Women's Club.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Molka Reich studied puppetry under Remo Bufano in New York during the 1920s. She and her husband moved to Miami, Florida, in 1930. While there, she joined the Federal Writers Project, and then the Federal Theatre Project. She started with the FTP as an actress but soon was working with the marionette unit where she made puppets, wrote and adapted scripts, and built sets. As an actress she appeared in the Federal Theatre production Engaged that was performed in August of 1936. She stayed with the Federal Theatre Project until 1939, after which she continued to be a proponent for puppetry. In Miami, she served as president of the Business and Professional Women's Club."],"prefercite_html_tesm":["\u003cp\u003eMolka Reich papers, C0229, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Molka Reich papers, C0229, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed in December 2012 by Greta Kuriger Suiter. EAD completed in January 2013 by Greta Kuriger Suiter.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed in December 2012 by Greta Kuriger Suiter. EAD completed in January 2013 by Greta Kuriger Suiter."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0153\" title=\"Works Progress Administration oral histories collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0002\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0205\" title=\"Federal Theatre Project photograph collection\" show=\"new\"\u003e\u003c/extptr\u003e, as well as numerous other personal papers.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the , the , the , as well as numerous other personal papers."],"scopecontent_html_tesm":["\u003cp\u003eThe Molka Reich papers includes playscripts, programs, puppetry newsletters, newspaper clippings, photographs, and scrapbooks with most of it dating from the 1930s to the 1950s. About half of the material directly relates to the Federal Theatre project, especially the newspaper clippings, programs, and scrapbooks. Many of the puppetry newsletters and playscripts are from after the 1930s. Some of the material relates to the actor Scott Griffin who acted with the Federal Theatre Project in Miami, Florida, alongside Reich.\u003c/p\u003e","\u003cp\u003eSeries 1 contains many different types of materials including essays, puppetry newsletters, play synopses, published plays, vaudeville sketches, marionette patterns in various sizes, and original artwork by Ken Bare. Materials are arranged alphabetically.\u003c/p\u003e","\u003cp\u003eSeries 2 contains newspaper clippings from Miami, Florida, newspapers. Many of the newsclippings are reviews for plays that Molka Reich or Scott Griffin were involved in. This series is arranged alphabetically.\u003c/p\u003e","\u003cp\u003eSeries 3 contains photographs both black and white and color and in a variety of sizes.  Photographs consist of portraits of Molka Reich, and Scott Griffin, as well as production photographs, and photographs of a Jack and the Beanstalk marionette. This series is arranged alphabetically.\u003c/p\u003e","\u003cp\u003eSeries 4 is the largest series and contains scripts for plays and some radio productions. Some of the scripts have accompanying music, mostly handwritten. This series is arranged alphabetically by title.\u003c/p\u003e","\u003cp\u003eSeries 5 contains programs for Federal Theatre productions and non Federal Theatre productions that were performed in Miami and Jacksonville, Florida; Atlanta, Georgia; Long Island and Pawling, New York; and The Smithsonian in Washington D.C. This series is arranged alphabetically.\u003c/p\u003e","\u003cp\u003eSeries 6 contains scrapbooks that have been disassembled and foldered. The Molka Reich scrapbook 1928-1948 contains mostly material relating to Scott Griffin. There is also a scrapbook for marionette newspaper and magazine clippings, a scrapbook with clippings and programs from productions in Miami, and a scrapbook containing calendar programs for the Starlight Theater in Pawling, New York. This series is arranged by size of material.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Molka Reich papers includes playscripts, programs, puppetry newsletters, newspaper clippings, photographs, and scrapbooks with most of it dating from the 1930s to the 1950s. About half of the material directly relates to the Federal Theatre project, especially the newspaper clippings, programs, and scrapbooks. Many of the puppetry newsletters and playscripts are from after the 1930s. Some of the material relates to the actor Scott Griffin who acted with the Federal Theatre Project in Miami, Florida, alongside Reich.","Series 1 contains many different types of materials including essays, puppetry newsletters, play synopses, published plays, vaudeville sketches, marionette patterns in various sizes, and original artwork by Ken Bare. Materials are arranged alphabetically.","Series 2 contains newspaper clippings from Miami, Florida, newspapers. Many of the newsclippings are reviews for plays that Molka Reich or Scott Griffin were involved in. This series is arranged alphabetically.","Series 3 contains photographs both black and white and color and in a variety of sizes.  Photographs consist of portraits of Molka Reich, and Scott Griffin, as well as production photographs, and photographs of a Jack and the Beanstalk marionette. This series is arranged alphabetically.","Series 4 is the largest series and contains scripts for plays and some radio productions. Some of the scripts have accompanying music, mostly handwritten. This series is arranged alphabetically by title.","Series 5 contains programs for Federal Theatre productions and non Federal Theatre productions that were performed in Miami and Jacksonville, Florida; Atlanta, Georgia; Long Island and Pawling, New York; and The Smithsonian in Washington D.C. This series is arranged alphabetically.","Series 6 contains scrapbooks that have been disassembled and foldered. The Molka Reich scrapbook 1928-1948 contains mostly material relating to Scott Griffin. There is also a scrapbook for marionette newspaper and magazine clippings, a scrapbook with clippings and programs from productions in Miami, and a scrapbook containing calendar programs for the Starlight Theater in Pawling, New York. This series is arranged by size of material."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of materials created after 1925 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 materials created after 1925 have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_84dd143d1a81fa0708a802608718089b\"\u003eThe Molka Reich papers includes playscripts, programs, puppetry newsletters, newspaper clippings, photographs, and scrapbooks with most of it dating from the 1930s to the 1950s. About half of the material directly relates to the Federal Theatre Project, especially the newspaper clippings, programs, and scrapbooks. Many of the puppetry newsletters and playscripts are from after the 1930s. Some of the material relates to the actor Scott Griffin who acted with the Federal Theatre Project in Miami, Florida, alongside Reich.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Molka Reich papers includes playscripts, programs, puppetry newsletters, newspaper clippings, photographs, and scrapbooks with most of it dating from the 1930s to the 1950s. About half of the material directly relates to the Federal Theatre Project, especially the newspaper clippings, programs, and scrapbooks. Many of the puppetry newsletters and playscripts are from after the 1930s. Some of the material relates to the actor Scott Griffin who acted with the Federal Theatre Project in Miami, Florida, alongside Reich."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_coll_ssim":["Federal Theatre Project (U.S.)"],"persname_ssim":["Reich, Molka"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Reich, Molka"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":227,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-16T20:32:35.826Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_348"}},{"id":"vifgm_repositories_2_resources_521","type":"collection","attributes":{"title":"Robert and Wilva Breen papers, 1831/2000","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_521#creator","type":"document_value","attributes":{"value":"Breen, Robert","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_521#abstract_or_scope","type":"document_value","attributes":{"value":"The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_521#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_521","ead_ssi":"vifgm_repositories_2_resources_521","_root_":"vifgm_repositories_2_resources_521","_nest_parent_":"vifgm_repositories_2_resources_521","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_521.xml","title_ssm":["Robert and Wilva Breen papers"],"title_tesim":["Robert and Wilva Breen papers"],"unitdate_ssm":["1834, 1933-2000s"],"unitdate_inclusive_ssm":["1834, 1933-2000s"],"normalized_date_ssm":["1831/2000"],"normalized_title_ssm":["Robert and Wilva Breen papers, 1831/2000"],"text":["Robert and Wilva Breen papers, 1831/2000","C0004","/repositories/2/resources/521","Helsingør (Denmark)","Broadway (New York, N.Y.)","Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs","Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions.","Selections from the Robert and Wilva Breen papers are also available digitally on","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.","The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.","Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018).","Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.","Part of the Robert and Wilva Breen papers was donated to The Ohio State University.","The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.","Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.","Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.","R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","English"],"collection_title_tesim":["Robert and Wilva Breen papers, 1831/2000"],"collection_ssim":["Robert and Wilva Breen papers, 1831/2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0004","/repositories/2/resources/521"],"unitid_tesim":["C0004","/repositories/2/resources/521"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"geogname_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"places_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"creator_ssm":["Breen, Robert","Breen, Wilva"],"creator_ssim":["Breen, Robert","Breen, Wilva"],"creator_persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"creators_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"acqinfo_ssim":["This collection was donated by the trustees of the Robert and Wilva Breen papers in 1988, and Wilva Breen and The Ohio State University in 1989. There were multiple accessions of materials throughout the 1990s. Additional materials were donated by Diana Lawrence and Mike Timoney in 2011."],"access_subjects_ssim":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"access_subjects_ssm":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["80.5 Linear Feet 207 boxes, 1 map case"],"extent_tesim":["80.5 Linear Feet 207 boxes, 1 map case"],"genreform_ssim":["Theatrical posters","Photographs"],"date_range_isim":[1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eBox 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.\u003c/p\u003e","\u003cp\u003eBox 89, Folder 8 and 9 are restricted due to personally identifiable information.\u003c/p\u003e","\u003cp\u003eThere are no other access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions."],"altformavail_html_tesm":["\u003cp\u003eSelections from the Robert and Wilva Breen papers are also available digitally on \u003cextptr href=\"http://mars.gmu.edu/handle/1920/4609\" title=\"Mason Archival Respository Service (MARS).\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003eIn 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Selections from the Robert and Wilva Breen papers are also available digitally on","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room."],"arrangement_html_tesm":["\u003cp\u003eThe collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center."],"bibliography_html_tesm":["\u003cp\u003eStrom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com. \u003cbibref\u003e\u003cextptr href=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" title=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eOliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com. \u003cbibref\u003e\u003cextptr href=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" title=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eRiedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com. \u003cbibref\u003e\u003cextptr href=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" title=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA. \u003cbibref\u003e\u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018)."],"bioghist_html_tesm":["\u003cp\u003eRobert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.\u003c/p\u003e","\u003cp\u003e The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.\u003c/p\u003e","\u003cp\u003e Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.\u003c/p\u003e","\u003cp\u003e Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.\u003c/p\u003e","\u003cp\u003e Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.\u003c/p\u003e","\u003cp\u003e ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical and Historical Note"],"bioghist_tesim":["Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region."],"custodhist_html_tesm":["\u003cp\u003ePart of the Robert and Wilva Breen papers was donated to The Ohio State University.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Part of the Robert and Wilva Breen papers was donated to The Ohio State University."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.\u003c/p\u003e  "],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eRobert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Robert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center also holds the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0145\" title=\"Porgy and Bess poster collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0002\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0043\" title=\"Robert C. Schnitzer papers\" show=\"new\"\u003e\u003c/extptr\u003e, and many other \u003cextptr href=\"https://scrc.gmu.edu/collections-subject.php#THEATRE\" title=\"performing arts collections.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the \u003cextptr href=\"https://library.osu.edu/collections/spec.tri.rb\" title=\"Robert Breen and Wilva papers.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The UCLA Library Special Collections, Charles E. Young Research Library holds the \u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"ANTA West records.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the"],"scopecontent_html_tesm":["\u003cp\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_ddb931edc4f44bf997d326b2923a7505\"\u003eR2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1\u003c/physloc\u003e\n    "],"physloc_tesim":["R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"names_coll_ssim":["American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Porterfield, Robert, 1905-1971"],"persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3014,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-16T20:33:39.080Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_521","ead_ssi":"vifgm_repositories_2_resources_521","_root_":"vifgm_repositories_2_resources_521","_nest_parent_":"vifgm_repositories_2_resources_521","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_521.xml","title_ssm":["Robert and Wilva Breen papers"],"title_tesim":["Robert and Wilva Breen papers"],"unitdate_ssm":["1834, 1933-2000s"],"unitdate_inclusive_ssm":["1834, 1933-2000s"],"normalized_date_ssm":["1831/2000"],"normalized_title_ssm":["Robert and Wilva Breen papers, 1831/2000"],"text":["Robert and Wilva Breen papers, 1831/2000","C0004","/repositories/2/resources/521","Helsingør (Denmark)","Broadway (New York, N.Y.)","Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs","Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions.","Selections from the Robert and Wilva Breen papers are also available digitally on","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.","The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.","Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018).","Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.","Part of the Robert and Wilva Breen papers was donated to The Ohio State University.","The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.","Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.","Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.","R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","English"],"collection_title_tesim":["Robert and Wilva Breen papers, 1831/2000"],"collection_ssim":["Robert and Wilva Breen papers, 1831/2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0004","/repositories/2/resources/521"],"unitid_tesim":["C0004","/repositories/2/resources/521"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"geogname_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"places_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"creator_ssm":["Breen, Robert","Breen, Wilva"],"creator_ssim":["Breen, Robert","Breen, Wilva"],"creator_persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"creators_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"acqinfo_ssim":["This collection was donated by the trustees of the Robert and Wilva Breen papers in 1988, and Wilva Breen and The Ohio State University in 1989. There were multiple accessions of materials throughout the 1990s. Additional materials were donated by Diana Lawrence and Mike Timoney in 2011."],"access_subjects_ssim":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"access_subjects_ssm":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["80.5 Linear Feet 207 boxes, 1 map case"],"extent_tesim":["80.5 Linear Feet 207 boxes, 1 map case"],"genreform_ssim":["Theatrical posters","Photographs"],"date_range_isim":[1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eBox 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.\u003c/p\u003e","\u003cp\u003eBox 89, Folder 8 and 9 are restricted due to personally identifiable information.\u003c/p\u003e","\u003cp\u003eThere are no other access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions."],"altformavail_html_tesm":["\u003cp\u003eSelections from the Robert and Wilva Breen papers are also available digitally on \u003cextptr href=\"http://mars.gmu.edu/handle/1920/4609\" title=\"Mason Archival Respository Service (MARS).\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003eIn 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Selections from the Robert and Wilva Breen papers are also available digitally on","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room."],"arrangement_html_tesm":["\u003cp\u003eThe collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center."],"bibliography_html_tesm":["\u003cp\u003eStrom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com. \u003cbibref\u003e\u003cextptr href=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" title=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eOliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com. \u003cbibref\u003e\u003cextptr href=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" title=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eRiedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com. \u003cbibref\u003e\u003cextptr href=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" title=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA. \u003cbibref\u003e\u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018)."],"bioghist_html_tesm":["\u003cp\u003eRobert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.\u003c/p\u003e","\u003cp\u003e The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.\u003c/p\u003e","\u003cp\u003e Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.\u003c/p\u003e","\u003cp\u003e Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.\u003c/p\u003e","\u003cp\u003e Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.\u003c/p\u003e","\u003cp\u003e ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical and Historical Note"],"bioghist_tesim":["Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region."],"custodhist_html_tesm":["\u003cp\u003ePart of the Robert and Wilva Breen papers was donated to The Ohio State University.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Part of the Robert and Wilva Breen papers was donated to The Ohio State University."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.\u003c/p\u003e  "],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eRobert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Robert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center also holds the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0145\" title=\"Porgy and Bess poster collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0002\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0043\" title=\"Robert C. Schnitzer papers\" show=\"new\"\u003e\u003c/extptr\u003e, and many other \u003cextptr href=\"https://scrc.gmu.edu/collections-subject.php#THEATRE\" title=\"performing arts collections.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the \u003cextptr href=\"https://library.osu.edu/collections/spec.tri.rb\" title=\"Robert Breen and Wilva papers.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The UCLA Library Special Collections, Charles E. Young Research Library holds the \u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"ANTA West records.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the"],"scopecontent_html_tesm":["\u003cp\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. 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