{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater+--+Washington+%28D.C.%29\u0026page=2","prev":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater+--+Washington+%28D.C.%29\u0026page=1","last":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater+--+Washington+%28D.C.%29\u0026page=2"},"meta":{"pages":{"current_page":2,"next_page":null,"prev_page":1,"total_pages":2,"limit_value":10,"offset_value":10,"total_count":16,"first_page?":false,"last_page?":true}},"data":[{"id":"vifgm_repositories_2_resources_602","type":"collection","attributes":{"title":"Living Stage records","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_602#abstract_or_scope","type":"document_value","attributes":{"value":"The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_602#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_602","ead_ssi":"vifgm_repositories_2_resources_602","_root_":"vifgm_repositories_2_resources_602","_nest_parent_":"vifgm_repositories_2_resources_602","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_602.xml","title_filing_ssi":"Living Stage records","title_ssm":["Living Stage records"],"title_tesim":["Living Stage records"],"unitdate_ssm":["1965-2001"],"unitdate_inclusive_ssm":["1965-2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0277","/repositories/2/resources/602"],"text":["C0277","/repositories/2/resources/602","Living Stage records","Washington (D.C.)","Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript","There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.","The collection is divided into three series, each of which is divided into subseries.","Series Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56) Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85) Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)","The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. ","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. ","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.","The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.","Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.","The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.","The Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. ","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Series 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Series 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Copyright 1978","Folder 1 of 2","Folder 2 of 2","Folder 1 of 4","Folder 2 of 4","Folder 3 of 4","Folder 4 of 4","Folder 1 of 2","Folder 2 of 2","Series 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Folder 1 of 2","Folder 2 of 2","Large Box","VO 1 of 2","VO 2 of 2","Completely Unraveled - Large Box","Large Box","Franklin Sherman?","Large Box","Large Box","Continued from October 19, 1977 Tape","Loose","Color?","Large Box","Large Box","Large Box","Large Box","Smells like Vinegar","Semi-Unraveling","Semi-Unraveling","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","XL Roll","Semi-Unraveling","Large Box","Semi-Unraveling","Large Box","Large Box","Semi-Unraveling","Tape 3 of 3","Tape 1 of 3","Tape 2 of 3","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Betamax","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","VHS","U-matic","Betamax","VHS","VHS","VHS","VHS","Betamax","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","Betamax","VHS","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","Betamax","Betamax","VHS","VHS","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","Betamax","VHS","Betamax","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.","R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2","George Mason University. Libraries. Special Collections Research Center","English"],"unitid_tesim":["C0277","/repositories/2/resources/602"],"normalized_title_ssm":["Living Stage records"],"collection_title_tesim":["Living Stage records"],"collection_ssim":["Living Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Washington (D.C.)"],"geogname_ssim":["Washington (D.C.)"],"places_ssim":["Washington (D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000."],"access_subjects_ssim":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"access_subjects_ssm":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"has_online_content_ssim":["false"],"extent_ssm":["48.0 Linear Feet 106 boxes"],"extent_tesim":["48.0 Linear Feet 106 boxes"],"genreform_ssim":["Playscript"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3."],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into three series, each of which is divided into subseries.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is divided into three series, each of which is divided into subseries.","Series Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56) Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85) Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)"],"bioghist_html_tesm":["\u003cp\u003eThe Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. \u003c/p\u003e\n","\u003cp\u003eThe Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. \u003c/p\u003e\n","\u003cp\u003eThe projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"\u003c/p\u003e\n","\u003cp\u003eThe organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. ","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. ","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eLiving Stage records, C0277, Special Collections Reserch Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Living Stage records, C0277, Special Collections Reserch Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. \u003c/p\u003e\n","\u003cp\u003eSeries 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.\u003c/p\u003e","\u003cp\u003eSeries 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eSeries 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eCopyright 1978\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 4\u003c/p\u003e","\u003cp\u003eFolder 2 of 4\u003c/p\u003e","\u003cp\u003eFolder 3 of 4\u003c/p\u003e","\u003cp\u003eFolder 4 of 4\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eSeries 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eVO 1 of 2\u003c/p\u003e","\u003cp\u003eVO 2 of 2\u003c/p\u003e","\u003cp\u003eCompletely Unraveled - Large Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eFranklin Sherman?\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eContinued from October 19, 1977 Tape\u003c/p\u003e","\u003cp\u003eLoose\u003c/p\u003e","\u003cp\u003eColor?\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eSmells like Vinegar\u003c/p\u003e","\u003cp\u003eSemi-Unraveling\u003c/p\u003e","\u003cp\u003eSemi-Unraveling\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eXL Roll\u003c/p\u003e","\u003cp\u003eSemi-Unraveling\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eSemi-Unraveling\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eSemi-Unraveling\u003c/p\u003e","\u003cp\u003eTape 3 of 3\u003c/p\u003e","\u003cp\u003eTape 1 of 3\u003c/p\u003e","\u003cp\u003eTape 2 of 3\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eBeta Tape 1 of 2\u003c/p\u003e","\u003cp\u003eBeta Tape 2 of 2\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eU-matic\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eBeta Tape 1 of 2\u003c/p\u003e","\u003cp\u003eBeta Tape 2 of 2\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. ","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Series 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Series 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Copyright 1978","Folder 1 of 2","Folder 2 of 2","Folder 1 of 4","Folder 2 of 4","Folder 3 of 4","Folder 4 of 4","Folder 1 of 2","Folder 2 of 2","Series 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Folder 1 of 2","Folder 2 of 2","Large Box","VO 1 of 2","VO 2 of 2","Completely Unraveled - Large Box","Large Box","Franklin Sherman?","Large Box","Large Box","Continued from October 19, 1977 Tape","Loose","Color?","Large Box","Large Box","Large Box","Large Box","Smells like Vinegar","Semi-Unraveling","Semi-Unraveling","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","XL Roll","Semi-Unraveling","Large Box","Semi-Unraveling","Large Box","Large Box","Semi-Unraveling","Tape 3 of 3","Tape 1 of 3","Tape 2 of 3","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Betamax","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","VHS","U-matic","Betamax","VHS","VHS","VHS","VHS","Betamax","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","Betamax","VHS","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","Betamax","Betamax","VHS","VHS","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","Betamax","VHS","Betamax"],"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 Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.\u003c/abstract\u003e"],"abstract_tesim":["The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e176c0c8972614dd614b2ea45cfacaaf\"\u003eR 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2\u003c/physloc\u003e"],"physloc_tesim":["R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1502,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T05:25:00.697Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_602","ead_ssi":"vifgm_repositories_2_resources_602","_root_":"vifgm_repositories_2_resources_602","_nest_parent_":"vifgm_repositories_2_resources_602","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_602.xml","title_filing_ssi":"Living Stage records","title_ssm":["Living Stage records"],"title_tesim":["Living Stage records"],"unitdate_ssm":["1965-2001"],"unitdate_inclusive_ssm":["1965-2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0277","/repositories/2/resources/602"],"text":["C0277","/repositories/2/resources/602","Living Stage records","Washington (D.C.)","Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript","There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.","The collection is divided into three series, each of which is divided into subseries.","Series Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56) Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85) Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)","The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. ","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. ","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.","The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.","Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.","The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.","The Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. ","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Series 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Series 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Copyright 1978","Folder 1 of 2","Folder 2 of 2","Folder 1 of 4","Folder 2 of 4","Folder 3 of 4","Folder 4 of 4","Folder 1 of 2","Folder 2 of 2","Series 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Folder 1 of 2","Folder 2 of 2","Large Box","VO 1 of 2","VO 2 of 2","Completely Unraveled - Large Box","Large Box","Franklin Sherman?","Large Box","Large Box","Continued from October 19, 1977 Tape","Loose","Color?","Large Box","Large Box","Large Box","Large Box","Smells like Vinegar","Semi-Unraveling","Semi-Unraveling","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","XL Roll","Semi-Unraveling","Large Box","Semi-Unraveling","Large Box","Large Box","Semi-Unraveling","Tape 3 of 3","Tape 1 of 3","Tape 2 of 3","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Betamax","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","VHS","U-matic","Betamax","VHS","VHS","VHS","VHS","Betamax","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","Betamax","VHS","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","Betamax","Betamax","VHS","VHS","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","Betamax","VHS","Betamax","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.","R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2","George Mason University. Libraries. Special Collections Research Center","English"],"unitid_tesim":["C0277","/repositories/2/resources/602"],"normalized_title_ssm":["Living Stage records"],"collection_title_tesim":["Living Stage records"],"collection_ssim":["Living Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Washington (D.C.)"],"geogname_ssim":["Washington (D.C.)"],"places_ssim":["Washington (D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000."],"access_subjects_ssim":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"access_subjects_ssm":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"has_online_content_ssim":["false"],"extent_ssm":["48.0 Linear Feet 106 boxes"],"extent_tesim":["48.0 Linear Feet 106 boxes"],"genreform_ssim":["Playscript"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3."],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into three series, each of which is divided into subseries.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is divided into three series, each of which is divided into subseries.","Series Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56) Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85) Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)"],"bioghist_html_tesm":["\u003cp\u003eThe Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. \u003c/p\u003e\n","\u003cp\u003eThe Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. \u003c/p\u003e\n","\u003cp\u003eThe projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"\u003c/p\u003e\n","\u003cp\u003eThe organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. ","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. ","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eLiving Stage records, C0277, Special Collections Reserch Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Living Stage records, C0277, Special Collections Reserch Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. \u003c/p\u003e\n","\u003cp\u003eSeries 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.\u003c/p\u003e","\u003cp\u003eSeries 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 3\u003c/p\u003e","\u003cp\u003eFolder 2 of 3\u003c/p\u003e","\u003cp\u003eFolder 3 of 3\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eSeries 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eCopyright 1978\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eFolder 1 of 4\u003c/p\u003e","\u003cp\u003eFolder 2 of 4\u003c/p\u003e","\u003cp\u003eFolder 3 of 4\u003c/p\u003e","\u003cp\u003eFolder 4 of 4\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eSeries 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.\u003c/p\u003e","\u003cp\u003eFolder 1 of 2\u003c/p\u003e","\u003cp\u003eFolder 2 of 2\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eVO 1 of 2\u003c/p\u003e","\u003cp\u003eVO 2 of 2\u003c/p\u003e","\u003cp\u003eCompletely Unraveled - Large Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eFranklin Sherman?\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eContinued from October 19, 1977 Tape\u003c/p\u003e","\u003cp\u003eLoose\u003c/p\u003e","\u003cp\u003eColor?\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eLarge Box\u003c/p\u003e","\u003cp\u003eSmells like 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Tape 1 of 2\u003c/p\u003e","\u003cp\u003eBeta Tape 2 of 2\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e","\u003cp\u003eVHS\u003c/p\u003e","\u003cp\u003eBetamax\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and 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Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. ","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Series 1. Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 3","Folder 2 of 3","Folder 3 of 3","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Series 2. Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams\". Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Folder 1 of 2","Folder 2 of 2","Copyright 1978","Folder 1 of 2","Folder 2 of 2","Folder 1 of 4","Folder 2 of 4","Folder 3 of 4","Folder 4 of 4","Folder 1 of 2","Folder 2 of 2","Series 3. Audiovisual Materials (1967-1998) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times as well as production stills. Unfortunately, the majority of these documents are undated or have little in the way of description. Subseries 3.2 Reel to Reel Materials includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Cassete and VHS tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","Folder 1 of 2","Folder 2 of 2","Large Box","VO 1 of 2","VO 2 of 2","Completely Unraveled - Large Box","Large Box","Franklin Sherman?","Large Box","Large Box","Continued from October 19, 1977 Tape","Loose","Color?","Large Box","Large Box","Large Box","Large Box","Smells like Vinegar","Semi-Unraveling","Semi-Unraveling","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","Large Box","XL Roll","Semi-Unraveling","Large Box","Semi-Unraveling","Large Box","Large Box","Semi-Unraveling","Tape 3 of 3","Tape 1 of 3","Tape 2 of 3","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Betamax","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","VHS","U-matic","Betamax","VHS","VHS","VHS","VHS","Betamax","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","Betamax","VHS","Betamax","Betamax","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","Betamax","Betamax","VHS","VHS","VHS","VHS","VHS","VHS","Betamax","VHS","VHS","VHS","VHS","VHS","Beta Tape 1 of 2","Beta Tape 2 of 2","Betamax","VHS","Betamax"],"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 Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.\u003c/abstract\u003e"],"abstract_tesim":["The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e176c0c8972614dd614b2ea45cfacaaf\"\u003eR 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2\u003c/physloc\u003e"],"physloc_tesim":["R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1502,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T05:25:00.697Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_602"}},{"id":"vifgm_repositories_2_resources_691","type":"collection","attributes":{"title":"Mary Lavigne programs collection","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_691#creator","type":"document_value","attributes":{"value":"Lavigne, Mary","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_691#abstract_or_scope","type":"document_value","attributes":{"value":"A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_691#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_691","ead_ssi":"vifgm_repositories_2_resources_691","_root_":"vifgm_repositories_2_resources_691","_nest_parent_":"vifgm_repositories_2_resources_691","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_691.xml","title_ssm":["Mary Lavigne programs collection"],"title_tesim":["Mary Lavigne programs collection"],"unitdate_ssm":["1950s-1980s"],"unitdate_inclusive_ssm":["1950s-1980s"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0417","/repositories/2/resources/691"],"text":["C0417","/repositories/2/resources/691","Mary Lavigne programs collection","Broadway (New York, N.Y.)","Richmond (Va.)","Berlin (Germany)","London (England)","Performing arts","Musical Theater","Musical Theater -- New York (State) -- New York","Theater","Theater -- New York (State) -- New York","Theater programs","Theater -- Washington (D.C.)","Ballet","Dance","Opera","Art","Art -- Exhibitions","There are no access restrictions.","This collection is arranged alphabetically by show title and then chronologically.","\"Fascinating History of Theater Programs.\" 2020. The Smith Center. July 13, 2020. https://thesmithcenter.com/explore/smith-center-blog/the-fascinating-history-of-theater-programs/.","Higgins, Sydney. 2009. \"A History of Playbills and Theatre Programs.\" 2009. http://www.ikjordan.plus.com/Players/Playbills/index.html.","Dating back to at least the 18th century, the term \"bill\" has been used to refer to printed advertisements for a theatrical event, starting first with small printed sheets delivered by hand and known as \"handbills.\" By the middle of the 19th century, the word \"bill\" was used to refer to large printed papers that were posted in public places and provided information about a theatrical production. The word \"programme\" or \"program\" came into use in the mid-19th century to refer to short printed pamphlets, containing a cast list, that was handed to audience members attending a theatrical performance. However, by the 1870s, the status of these as one of the only printed papers that were free and widely distributed led to the introduction of advertising into these play \"bills\" or \"programs.\"","Seeing an opportunity, in 1884 New York businessman Frank Vance Strauss created the first company to specialize in printing theatrical programs that would be provided free of charge to New York City's larger playhouses. Introducing the standard format for theatrical programs still in use today, Strauss' company expanded the short printed pamphlets into magazine-style multi-page programs containing short articles, advertisements, and information about the individual productions that changed weekly. Known in 1911 as the \"Strauss Magazine Theatre Program\", the publication would formally adopt the name \"The Playbill\" in 1934. These higher quality programs led to a new practice of keeping and collecting programs as souvenirs, leading to the creation of specially produced \"Souvenir Programs\" that were filled with full-color illustrations, photographs, and more detailed information on the productions and performers.","Processing and finding aid completed by Meghan Glasbrenner from November 2023 - January 2024.","The Special Collections Research Center holds other performing arts collections, including other collections of theatrical programs such as the  Charles Rodrigues playbill collection , and the  Virginia Nelson playbills collection .","A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne. Programs include a mix of types including colorful souvenir booklets and Broadway  Playbill  editions. Most programs include various inserts, including cast change notices and newspaper clippings, which have been removed and placed in the folder with the program. A number of the programs were also originally grouped into two small binders. All of these specifics have been noted at the folder level where applicable.","Musical Celebrities: The Concert Magazine , Vol. XXVII, No. 1. Includes \"Revised Program\" insert.","Musical Celebrities: The Concert Magazine , Vol. V, No. 12. Metropolitan Opera New Production. Libretto by A. Ghislanzoni, music by Giuseppe Verdi.","At the Virginia Museum Theatre","Playbill . Written by Marcelle Murette, English adaptation by Guy Bolton. Removed from binder 1 of 2.","Playbill , Vol. 1, No. 8. Written by Jerome Lawrence and Robert E. Lee. Removed from binder 1 of 2.","Playbill . Written by Maxwell Anderson. Removed from binder 1 of 2.","Playbill . Fourth performance by the New York City Opera Company. Includes NY City Center flyer and newspaper clipping about the show.","Musical Celebrities: The Concert Magazine , Vol. XXVIII, No. 9.","Includes ticket stub for Mosque Theatre April 29, 1954","The Barber of Seville , libretto by Cesare Sterbini, music by Gioacchino Rossini. Season 1954-1955.","Item is in German","Playbill . Written by Sandy Wilson. July program includes cast change note insert and was removed from binder 1 of 2.","Playbill . Music and lyrics by Irving Berlin, book by Howard Lindsay and Russel Crouse. Removed from binder 1 of 2.","Playbill . Music and lyrics by Cole Porter, book by Abe Burrows. Removed from binder 1 of 2.","Includes cast change note insert","Playbill . Written by Tennessee Williams. Removed from binder 1 of 2.","Playbill , Vol. 1, No. 4. Written by William Saroyan; Bijou Theatre Series Production No. 3. Removed from binder 1 of 2. Includes 3 newspaper clippings, including one duplicate of a review by Brooks Atkinson.","Playbill . Written by Enid Bagnold. Removed from binder 1 of 2.","Playbill , Vol. 1, No. 8. Written by William Wycherley. Removed from binder 1 of 2.","Written by Arthur Miller","Featuring Emily Frankel and Mark Ryder","Playbill , Vol. 2, No. 5. Written by William Inge. Removed from binder 1 of 2. Includes magazine clipping of a cartoon depicting characters from play.","Playbill . Written by Frances Goodrich and Albert Hackett. Removed from binder 1 of 2.","Libretto by Lorenzo Da Ponte, music by Wolfgang Amadeus Mozart. Season 1957-1958.","\"This is the first exhibition of the original works in wax by Degas from which the series of bronzes were cast by A.-A. Hébrard\". M. Knoedler \u0026 Company, Inc.","Off-B'way Showbill. Written by Samuel Beckett; American Premiere.","Playbill , Vol. 2, No. 9. Written by John Osborne. Removed from binder 1 of 2.","Playbill . Book by S.N. Behrman and Joshua Logan, music and lyrics by Harold Rome. Removed from binder 1 of 2.","Libretto by Jules Barbier and Michel Carré, music by Charles Gounod. Season 1955-1956.","The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin.","Musical Celebrities: The Concert Magazine , Vol. V, No. 2. The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin. Includes ticket stub and flyer; program has handwritten note on front cover.","Written by Tennessee Williams","Werner Singer at the Piano","\"In Honor of Professor Mabel Kate Whiteside, Teacher of Greek, 1904-1954\"","38th Season, 15th Concert. Featuring The Goldman Band, Edwin Franko Goldman, Conductor.","Playbill . Written by John Van Druten. Removed from binder 1 of 2.","Written by Eugene O'Neill","Manson Hall","Smith Memorial Auditorium","Off-B'way Showbill. Includes ticket stubs.","Includes newspaper clipping on Jose Limon's \"Missa Brevis\" from May 18, 1958","Musical Celebrities: The Concert Magazine , Vol. XXX, No. 12. Metropolitan Opera New Production. Libretto by F. M. Piave, music by Giuseppe Verdi. Includes 2 newspaper clippings on  A Streetcar Named Desire .","Playbill . Written by Graham Greene. Removed from binder 1 of 2.","Musical Celebrities: The Concert Magazine , Vol. XXVIII, No. 6.","21st Season","Playbill . Written by Eugene O'Neill. Both removed from binder 1 of 2. December 1956 program includes The Actor's Fund donation insert. October 1957  Playbill : Vol. 1, No. 3.","Playbill , Vol. 2, No. 5. Written by John Osborne. Removed from binder 1 of 2. Includes newspaper clipping about the show.","Playbill , Vol. 2, No. 16. Written by Ketti Frings. Removed from binder 1 of 2.","Libretto by Salvatore Cammarano, music by Gaetano Donizetti. Season 1956-1957.","Libretto by Luigi Illica and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958. Includes magazine clipping on the show.","Playbill . Written by George Bernard Shaw. Removed from binder 1 of 2.","Smith Memorial Hall. Repertory by Marcel Marceau.","Playbill , Vol. 2, No. 4","Inscription on last page","Inscription inside front cover","Playbill . Both programs Vol. 2, No. 14.","Institute of Contemporary Arts, Twentieth Anniversary Year. Includes 2 copies of season schedule insert.","Off-B'way Showbill. Written by Friedrich Schiller, new adaptation by Jean Stock Goldstone and John Reich. Includes 2 newspaper clippings about the show.","Playbill . Written by Thornton Wilder. Both removed from binder 1 of 2.","Antal Dorati, Conductor and Gerard Samuel, Assistant Conductor","Playbill . Written by Joshua Logan and Thomas Heggen. Removed from binder 2 of 2.","Playbill , Vol. 1, No. 10. Written by Dorothy and Michael Blankfort. Removed from binder 2 of 2.","Playbill . Book, music, and lyrics by Frank Loesser. Removed from binder 2 of 2. Includes cast change note insert.","Playbill . Lyrics and book/libretto by Alan Jay Lerner, music by Frederick Loewe. Includes two copies of August 1956 program; copy with date written on front and February 1958 programs both removed from binder 2 of 2.","Smith Memorial Hall. Founded by Hans Kindler in 1931, Howard Mitchell Music Director, 26th Season.","Playbill","Playbill , Vol. 1, No. 8 (1957) and Vol. 2, No. 1 (1958). New York City Ballet Company, Winter Season 1957-1958.","Stagebill , Volume III, No. 8","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958). Includes magazine clipping on the show.","One Hundred Sixteenth Season (1957-1958)","Manson Hall","Playbill . Written by Ira Levin. Removed from binder 2 of 2.","Playbill , Vol. 1, No. 8. Written by Noel Coward. Removed from binder 2 of 2. Includes newspaper clipping on the show.","Libretto by Arrigo Boito, music by Guiseppe Verdi. Season 1957-1958. Includes special ticket for Working Rehearsal on March 18 and a magazine and newspaper clipping about the show.","Playbill . Book by George Abbott and Richard Bissell, music and lyrics by Richard Adler, and Jerry Ross. Removed from binder 2 of 2.","Written by Robert E. Sherwood","Musical Celebrities: The Concert Magazine , Vol. V, No. 4. Eugene Ormandy, Music Director-Conductor.","Playbill . Removed from binder 2 of 2.","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Radio Station WRVA presentation.","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Includes Act scene summary insert and inscription on first page.","Smith Memorial Building; with Lucile Turner, Contralto and The Randolph-Macon Glee Club, Jack Moehlenkamp, Pianist.","Robert Shaw, Conductor","Playbill , Vol. 2, No. 4. Written by Morton Wishengrad. Removed from binder 2 of 2.","Formerly the Sadler's Wells Ballet","\"Under the Patronage of His Majesty King Frederik IX of Denmark, First Visit to America of the Royal Danish Ballet\" from the Royal Theatre in Copenhagen","Magazine II. Howard Mitchell, Director.","Musical Celebrities: The Concert Magazine , Vol. V, No. 8","Covent Garden Books No. 9","Playbill . Two plays by Terence Rattigan. Removed from binder 2 of 2.","Playbill . Written by Joseph Kramm. Removed from binder 2 of 2.","Musical Celebrities: The Concert Magazine , Vol. XXVII, No. 3","Playbill . Music by Richard Rodgers, lyrics and book/libretto by Oscar Hammerstein II, book by Joshua Logan. Removed from binder 2 of 2.","Playbill . Written by Robert Anderson. Removed from binder 2 of 2.","Jose Limon and Dance Company with Pauline Koner, at the Virginia Museum Theatre","Music by Kurt Weill, book and lyrics/libretto by Bertolt (listed in program as Bert) Brecht, English adaptation of book and lyrics by Marc Blitzstein. Each program includes a cast change note insert.","Playbill . Written by Jean Giraudoux, translated by Christopher Fry. Removed from binder 2 of 2.","Playbill , Vol. 2, Nos. 4 and 20. Written by Jean Anouilh, English version by Patricia Moyes. Both removed from binder 2 of 2. January program includes magazine clipping of a cartoon depicting characters from play and May program includes a newspaper clipping photo of Helen Hayes.","Libretto by Victorien Sardou, Luigi Illica, and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958.","A New Play by Norman Rose, based on Dostoyevsky's \"The Brothers Karamazov\".","Playbill , Vol. 2, No. 15. Written by William Gibson. Removed from binder 2 of 2.","Two copies","Written by Anton Chekhov, translated by Stark Young. Third production in \"A Cycle of Four Chekhov Plays\".","Playbill . Written by Arthur Miller. Two copies; one removed from binder 2 of 2 and includes a promotional flyer insert on the show.","Adapted and staged by Margaret Perry. Front cover has possible pencil signature from founder and actor Robert Porterfield.","Playbill , Vol. 2, No. 21. Written by Friedrich Duerrenmatt, adapted by Maurice Valency. Removed from binder 2 of 2. Includes newspaper clipping on the show.","Playbill , Vol. 2, No. 4. Book by Arthur Laurents, music by Leonard Bernstein, and lyrics by Stephen Sondheim. Removed from binder 2 of 2. Includes cast change note insert.","Includes pamphlet advertising recordings by Bernstein. Both items in German.","David Stimer at the Piano","Playbill . Written by Agatha Christie. Removed from binder 2 of 2.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne.","R 71, C 1, S 7","George Mason University. Libraries. Special Collections Research Center","Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet","Lavigne, Mary","Graham, Martha","Marceau, Marcel","English \n,        German \n.    "],"unitid_tesim":["C0417","/repositories/2/resources/691"],"normalized_title_ssm":["Mary Lavigne programs collection"],"collection_title_tesim":["Mary Lavigne programs collection"],"collection_ssim":["Mary Lavigne programs collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Broadway (New York, N.Y.)","Richmond (Va.)","Berlin (Germany)","London (England)"],"geogname_ssim":["Broadway (New York, N.Y.)","Richmond (Va.)","Berlin (Germany)","London (England)"],"creator_ssm":["Lavigne, Mary"],"creator_ssim":["Lavigne, Mary"],"creator_persname_ssim":["Lavigne, Mary"],"creators_ssim":["Lavigne, Mary"],"places_ssim":["Broadway (New York, N.Y.)","Richmond (Va.)","Berlin (Germany)","London (England)"],"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 in 2019 by Mary Lavigne."],"access_subjects_ssim":["Performing arts","Musical Theater","Musical Theater -- New York (State) -- New York","Theater","Theater -- New York (State) -- New York","Theater programs","Theater -- Washington (D.C.)","Ballet","Dance","Opera","Art","Art -- Exhibitions"],"access_subjects_ssm":["Performing arts","Musical Theater","Musical Theater -- New York (State) -- New York","Theater","Theater -- New York (State) -- New York","Theater programs","Theater -- Washington (D.C.)","Ballet","Dance","Opera","Art","Art -- Exhibitions"],"has_online_content_ssim":["false"],"extent_ssm":["2 Linear Feet 4 boxes"],"extent_tesim":["2 Linear Feet 4 boxes"],"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 show title and then chronologically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged alphabetically by show title and then chronologically."],"bibliography_html_tesm":["\u003cp\u003e\"Fascinating History of Theater Programs.\" 2020. The Smith Center. July 13, 2020. https://thesmithcenter.com/explore/smith-center-blog/the-fascinating-history-of-theater-programs/.\u003c/p\u003e\n","\u003cp\u003eHiggins, Sydney. 2009. \"A History of Playbills and Theatre Programs.\" 2009. http://www.ikjordan.plus.com/Players/Playbills/index.html.\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["\"Fascinating History of Theater Programs.\" 2020. The Smith Center. July 13, 2020. https://thesmithcenter.com/explore/smith-center-blog/the-fascinating-history-of-theater-programs/.","Higgins, Sydney. 2009. \"A History of Playbills and Theatre Programs.\" 2009. http://www.ikjordan.plus.com/Players/Playbills/index.html."],"bioghist_html_tesm":["\u003cp\u003eDating back to at least the 18th century, the term \"bill\" has been used to refer to printed advertisements for a theatrical event, starting first with small printed sheets delivered by hand and known as \"handbills.\" By the middle of the 19th century, the word \"bill\" was used to refer to large printed papers that were posted in public places and provided information about a theatrical production. The word \"programme\" or \"program\" came into use in the mid-19th century to refer to short printed pamphlets, containing a cast list, that was handed to audience members attending a theatrical performance. However, by the 1870s, the status of these as one of the only printed papers that were free and widely distributed led to the introduction of advertising into these play \"bills\" or \"programs.\"\u003c/p\u003e\n","\u003cp\u003eSeeing an opportunity, in 1884 New York businessman Frank Vance Strauss created the first company to specialize in printing theatrical programs that would be provided free of charge to New York City's larger playhouses. Introducing the standard format for theatrical programs still in use today, Strauss' company expanded the short printed pamphlets into magazine-style multi-page programs containing short articles, advertisements, and information about the individual productions that changed weekly. Known in 1911 as the \"Strauss Magazine Theatre Program\", the publication would formally adopt the name \"The Playbill\" in 1934. These higher quality programs led to a new practice of keeping and collecting programs as souvenirs, leading to the creation of specially produced \"Souvenir Programs\" that were filled with full-color illustrations, photographs, and more detailed information on the productions and performers.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Dating back to at least the 18th century, the term \"bill\" has been used to refer to printed advertisements for a theatrical event, starting first with small printed sheets delivered by hand and known as \"handbills.\" By the middle of the 19th century, the word \"bill\" was used to refer to large printed papers that were posted in public places and provided information about a theatrical production. The word \"programme\" or \"program\" came into use in the mid-19th century to refer to short printed pamphlets, containing a cast list, that was handed to audience members attending a theatrical performance. However, by the 1870s, the status of these as one of the only printed papers that were free and widely distributed led to the introduction of advertising into these play \"bills\" or \"programs.\"","Seeing an opportunity, in 1884 New York businessman Frank Vance Strauss created the first company to specialize in printing theatrical programs that would be provided free of charge to New York City's larger playhouses. Introducing the standard format for theatrical programs still in use today, Strauss' company expanded the short printed pamphlets into magazine-style multi-page programs containing short articles, advertisements, and information about the individual productions that changed weekly. Known in 1911 as the \"Strauss Magazine Theatre Program\", the publication would formally adopt the name \"The Playbill\" in 1934. These higher quality programs led to a new practice of keeping and collecting programs as souvenirs, leading to the creation of specially produced \"Souvenir Programs\" that were filled with full-color illustrations, photographs, and more detailed information on the productions and performers."],"prefercite_html_tesm":["\u003cp\u003eMary Lavigne programs collection, C0417, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e"],"prefercite_tesim":["Mary Lavigne programs collection, C0417, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessing and finding aid completed by Meghan Glasbrenner from November 2023 - January 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and finding aid completed by Meghan Glasbrenner from November 2023 - January 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other performing arts collections, including other collections of theatrical programs such as the \u003ca href=\"https://aspace.gmu.edu/resources/c0184\"\u003eCharles Rodrigues playbill collection\u003c/a\u003e, and the \u003ca href=\"https://aspace.gmu.edu/resources/c0015\"\u003eVirginia Nelson playbills collection\u003c/a\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds other performing arts collections, including other collections of theatrical programs such as the  Charles Rodrigues playbill collection , and the  Virginia Nelson playbills collection ."],"scopecontent_html_tesm":["\u003cp\u003eA collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne. Programs include a mix of types including colorful souvenir booklets and Broadway \u003ctitle\u003ePlaybill\u003c/title\u003e editions. Most programs include various inserts, including cast change notices and newspaper clippings, which have been removed and placed in the folder with the program. A number of the programs were also originally grouped into two small binders. All of these specifics have been noted at the folder level where applicable.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXVII, No. 1. Includes \"Revised Program\" insert.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. V, No. 12. Metropolitan Opera New Production. Libretto by A. Ghislanzoni, music by Giuseppe Verdi.\u003c/p\u003e","\u003cp\u003eAt the Virginia Museum Theatre\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Marcelle Murette, English adaptation by Guy Bolton. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 8. Written by Jerome Lawrence and Robert E. Lee. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Maxwell Anderson. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Fourth performance by the New York City Opera Company. Includes NY City Center flyer and newspaper clipping about the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXVIII, No. 9.\u003c/p\u003e","\u003cp\u003eIncludes ticket stub for Mosque Theatre April 29, 1954\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eThe Barber of Seville\u003c/title\u003e, libretto by Cesare Sterbini, music by Gioacchino Rossini. Season 1954-1955.\u003c/p\u003e","\u003cp\u003eItem is in German\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Sandy Wilson. July program includes cast change note insert and was removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Music and lyrics by Irving Berlin, book by Howard Lindsay and Russel Crouse. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Music and lyrics by Cole Porter, book by Abe Burrows. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eIncludes cast change note insert\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Tennessee Williams. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 4. Written by William Saroyan; Bijou Theatre Series Production No. 3. Removed from binder 1 of 2. Includes 3 newspaper clippings, including one duplicate of a review by Brooks Atkinson.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Enid Bagnold. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 8. Written by William Wycherley. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eWritten by Arthur Miller\u003c/p\u003e","\u003cp\u003eFeaturing Emily Frankel and Mark Ryder\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 5. Written by William Inge. Removed from binder 1 of 2. Includes magazine clipping of a cartoon depicting characters from play.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Frances Goodrich and Albert Hackett. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eLibretto by Lorenzo Da Ponte, music by Wolfgang Amadeus Mozart. Season 1957-1958.\u003c/p\u003e","\u003cp\u003e\"This is the first exhibition of the original works in wax by Degas from which the series of bronzes were cast by A.-A. Hébrard\". M. Knoedler \u0026amp; Company, Inc.\u003c/p\u003e","\u003cp\u003eOff-B'way Showbill. Written by Samuel Beckett; American Premiere.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 9. Written by John Osborne. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Book by S.N. Behrman and Joshua Logan, music and lyrics by Harold Rome. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eLibretto by Jules Barbier and Michel Carré, music by Charles Gounod. Season 1955-1956.\u003c/p\u003e","\u003cp\u003eThe Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. V, No. 2. The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin. Includes ticket stub and flyer; program has handwritten note on front cover.\u003c/p\u003e","\u003cp\u003eWritten by Tennessee Williams\u003c/p\u003e","\u003cp\u003eWerner Singer at the Piano\u003c/p\u003e","\u003cp\u003e\"In Honor of Professor Mabel Kate Whiteside, Teacher of Greek, 1904-1954\"\u003c/p\u003e","\u003cp\u003e38th Season, 15th Concert. Featuring The Goldman Band, Edwin Franko Goldman, Conductor.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by John Van Druten. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eWritten by Eugene O'Neill\u003c/p\u003e","\u003cp\u003eManson Hall\u003c/p\u003e","\u003cp\u003eSmith Memorial Auditorium\u003c/p\u003e","\u003cp\u003eOff-B'way Showbill. Includes ticket stubs.\u003c/p\u003e","\u003cp\u003eIncludes newspaper clipping on Jose Limon's \"Missa Brevis\" from May 18, 1958\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXX, No. 12. Metropolitan Opera New Production. Libretto by F. M. Piave, music by Giuseppe Verdi. Includes 2 newspaper clippings on \u003ctitle\u003eA Streetcar Named Desire\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Graham Greene. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXVIII, No. 6.\u003c/p\u003e","\u003cp\u003e21st Season\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Eugene O'Neill. Both removed from binder 1 of 2. December 1956 program includes The Actor's Fund donation insert. October 1957 \u003ctitle\u003ePlaybill\u003c/title\u003e: Vol. 1, No. 3.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 5. Written by John Osborne. Removed from binder 1 of 2. Includes newspaper clipping about the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 16. Written by Ketti Frings. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eLibretto by Salvatore Cammarano, music by Gaetano Donizetti. Season 1956-1957.\u003c/p\u003e","\u003cp\u003eLibretto by Luigi Illica and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958. Includes magazine clipping on the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by George Bernard Shaw. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eSmith Memorial Hall. Repertory by Marcel Marceau.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 4\u003c/p\u003e","\u003cp\u003eInscription on last page\u003c/p\u003e","\u003cp\u003eInscription inside front cover\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Both programs Vol. 2, No. 14.\u003c/p\u003e","\u003cp\u003eInstitute of Contemporary Arts, Twentieth Anniversary Year. Includes 2 copies of season schedule insert.\u003c/p\u003e","\u003cp\u003eOff-B'way Showbill. Written by Friedrich Schiller, new adaptation by Jean Stock Goldstone and John Reich. Includes 2 newspaper clippings about the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Thornton Wilder. Both removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eAntal Dorati, Conductor and Gerard Samuel, Assistant Conductor\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Joshua Logan and Thomas Heggen. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 10. Written by Dorothy and Michael Blankfort. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Book, music, and lyrics by Frank Loesser. Removed from binder 2 of 2. Includes cast change note insert.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Lyrics and book/libretto by Alan Jay Lerner, music by Frederick Loewe. Includes two copies of August 1956 program; copy with date written on front and February 1958 programs both removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eSmith Memorial Hall. Founded by Hans Kindler in 1931, Howard Mitchell Music Director, 26th Season.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 8 (1957) and Vol. 2, No. 1 (1958). New York City Ballet Company, Winter Season 1957-1958.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eStagebill\u003c/title\u003e, Volume III, No. 8\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958). Includes magazine clipping on the show.\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eManson Hall\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Ira Levin. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 8. Written by Noel Coward. Removed from binder 2 of 2. Includes newspaper clipping on the show.\u003c/p\u003e","\u003cp\u003eLibretto by Arrigo Boito, music by Guiseppe Verdi. Season 1957-1958. Includes special ticket for Working Rehearsal on March 18 and a magazine and newspaper clipping about the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Book by George Abbott and Richard Bissell, music and lyrics by Richard Adler, and Jerry Ross. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eWritten by Robert E. Sherwood\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. V, No. 4. Eugene Ormandy, Music Director-Conductor.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eMusic by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin\u003c/p\u003e","\u003cp\u003eMusic by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Radio Station WRVA presentation.\u003c/p\u003e","\u003cp\u003eMusic by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Includes Act scene summary insert and inscription on first page.\u003c/p\u003e","\u003cp\u003eSmith Memorial Building; with Lucile Turner, Contralto and The Randolph-Macon Glee Club, Jack Moehlenkamp, Pianist.\u003c/p\u003e","\u003cp\u003eRobert Shaw, Conductor\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 4. Written by Morton Wishengrad. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eFormerly the Sadler's Wells Ballet\u003c/p\u003e","\u003cp\u003e\"Under the Patronage of His Majesty King Frederik IX of Denmark, First Visit to America of the Royal Danish Ballet\" from the Royal Theatre in Copenhagen\u003c/p\u003e","\u003cp\u003eMagazine II. Howard Mitchell, Director.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. V, No. 8\u003c/p\u003e","\u003cp\u003eCovent Garden Books No. 9\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Two plays by Terence Rattigan. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Joseph Kramm. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXVII, No. 3\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Music by Richard Rodgers, lyrics and book/libretto by Oscar Hammerstein II, book by Joshua Logan. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Robert Anderson. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eJose Limon and Dance Company with Pauline Koner, at the Virginia Museum Theatre\u003c/p\u003e","\u003cp\u003eMusic by Kurt Weill, book and lyrics/libretto by Bertolt (listed in program as Bert) Brecht, English adaptation of book and lyrics by Marc Blitzstein. Each program includes a cast change note insert.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Jean Giraudoux, translated by Christopher Fry. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, Nos. 4 and 20. Written by Jean Anouilh, English version by Patricia Moyes. Both removed from binder 2 of 2. January program includes magazine clipping of a cartoon depicting characters from play and May program includes a newspaper clipping photo of Helen Hayes.\u003c/p\u003e","\u003cp\u003eLibretto by Victorien Sardou, Luigi Illica, and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958.\u003c/p\u003e","\u003cp\u003eA New Play by Norman Rose, based on Dostoyevsky's \"The Brothers Karamazov\".\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 15. Written by William Gibson. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eTwo copies\u003c/p\u003e","\u003cp\u003eWritten by Anton Chekhov, translated by Stark Young. Third production in \"A Cycle of Four Chekhov Plays\".\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Arthur Miller. Two copies; one removed from binder 2 of 2 and includes a promotional flyer insert on the show.\u003c/p\u003e","\u003cp\u003eAdapted and staged by Margaret Perry. Front cover has possible pencil signature from founder and actor Robert Porterfield.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 21. Written by Friedrich Duerrenmatt, adapted by Maurice Valency. Removed from binder 2 of 2. Includes newspaper clipping on the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 4. Book by Arthur Laurents, music by Leonard Bernstein, and lyrics by Stephen Sondheim. Removed from binder 2 of 2. Includes cast change note insert.\u003c/p\u003e","\u003cp\u003eIncludes pamphlet advertising recordings by Bernstein. Both items in German.\u003c/p\u003e","\u003cp\u003eDavid Stimer at the Piano\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Agatha Christie. Removed from binder 2 of 2.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content"],"scopecontent_tesim":["A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne. Programs include a mix of types including colorful souvenir booklets and Broadway  Playbill  editions. Most programs include various inserts, including cast change notices and newspaper clippings, which have been removed and placed in the folder with the program. A number of the programs were also originally grouped into two small binders. All of these specifics have been noted at the folder level where applicable.","Musical Celebrities: The Concert Magazine , Vol. XXVII, No. 1. Includes \"Revised Program\" insert.","Musical Celebrities: The Concert Magazine , Vol. V, No. 12. Metropolitan Opera New Production. Libretto by A. Ghislanzoni, music by Giuseppe Verdi.","At the Virginia Museum Theatre","Playbill . Written by Marcelle Murette, English adaptation by Guy Bolton. Removed from binder 1 of 2.","Playbill , Vol. 1, No. 8. Written by Jerome Lawrence and Robert E. Lee. Removed from binder 1 of 2.","Playbill . Written by Maxwell Anderson. Removed from binder 1 of 2.","Playbill . Fourth performance by the New York City Opera Company. Includes NY City Center flyer and newspaper clipping about the show.","Musical Celebrities: The Concert Magazine , Vol. XXVIII, No. 9.","Includes ticket stub for Mosque Theatre April 29, 1954","The Barber of Seville , libretto by Cesare Sterbini, music by Gioacchino Rossini. Season 1954-1955.","Item is in German","Playbill . Written by Sandy Wilson. July program includes cast change note insert and was removed from binder 1 of 2.","Playbill . Music and lyrics by Irving Berlin, book by Howard Lindsay and Russel Crouse. Removed from binder 1 of 2.","Playbill . Music and lyrics by Cole Porter, book by Abe Burrows. Removed from binder 1 of 2.","Includes cast change note insert","Playbill . Written by Tennessee Williams. Removed from binder 1 of 2.","Playbill , Vol. 1, No. 4. Written by William Saroyan; Bijou Theatre Series Production No. 3. Removed from binder 1 of 2. Includes 3 newspaper clippings, including one duplicate of a review by Brooks Atkinson.","Playbill . Written by Enid Bagnold. Removed from binder 1 of 2.","Playbill , Vol. 1, No. 8. Written by William Wycherley. Removed from binder 1 of 2.","Written by Arthur Miller","Featuring Emily Frankel and Mark Ryder","Playbill , Vol. 2, No. 5. Written by William Inge. Removed from binder 1 of 2. Includes magazine clipping of a cartoon depicting characters from play.","Playbill . Written by Frances Goodrich and Albert Hackett. Removed from binder 1 of 2.","Libretto by Lorenzo Da Ponte, music by Wolfgang Amadeus Mozart. Season 1957-1958.","\"This is the first exhibition of the original works in wax by Degas from which the series of bronzes were cast by A.-A. Hébrard\". M. Knoedler \u0026 Company, Inc.","Off-B'way Showbill. Written by Samuel Beckett; American Premiere.","Playbill , Vol. 2, No. 9. Written by John Osborne. Removed from binder 1 of 2.","Playbill . Book by S.N. Behrman and Joshua Logan, music and lyrics by Harold Rome. Removed from binder 1 of 2.","Libretto by Jules Barbier and Michel Carré, music by Charles Gounod. Season 1955-1956.","The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin.","Musical Celebrities: The Concert Magazine , Vol. V, No. 2. The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin. Includes ticket stub and flyer; program has handwritten note on front cover.","Written by Tennessee Williams","Werner Singer at the Piano","\"In Honor of Professor Mabel Kate Whiteside, Teacher of Greek, 1904-1954\"","38th Season, 15th Concert. Featuring The Goldman Band, Edwin Franko Goldman, Conductor.","Playbill . Written by John Van Druten. Removed from binder 1 of 2.","Written by Eugene O'Neill","Manson Hall","Smith Memorial Auditorium","Off-B'way Showbill. Includes ticket stubs.","Includes newspaper clipping on Jose Limon's \"Missa Brevis\" from May 18, 1958","Musical Celebrities: The Concert Magazine , Vol. XXX, No. 12. Metropolitan Opera New Production. Libretto by F. M. Piave, music by Giuseppe Verdi. Includes 2 newspaper clippings on  A Streetcar Named Desire .","Playbill . Written by Graham Greene. Removed from binder 1 of 2.","Musical Celebrities: The Concert Magazine , Vol. XXVIII, No. 6.","21st Season","Playbill . Written by Eugene O'Neill. Both removed from binder 1 of 2. December 1956 program includes The Actor's Fund donation insert. October 1957  Playbill : Vol. 1, No. 3.","Playbill , Vol. 2, No. 5. Written by John Osborne. Removed from binder 1 of 2. Includes newspaper clipping about the show.","Playbill , Vol. 2, No. 16. Written by Ketti Frings. Removed from binder 1 of 2.","Libretto by Salvatore Cammarano, music by Gaetano Donizetti. Season 1956-1957.","Libretto by Luigi Illica and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958. Includes magazine clipping on the show.","Playbill . Written by George Bernard Shaw. Removed from binder 1 of 2.","Smith Memorial Hall. Repertory by Marcel Marceau.","Playbill , Vol. 2, No. 4","Inscription on last page","Inscription inside front cover","Playbill . Both programs Vol. 2, No. 14.","Institute of Contemporary Arts, Twentieth Anniversary Year. Includes 2 copies of season schedule insert.","Off-B'way Showbill. Written by Friedrich Schiller, new adaptation by Jean Stock Goldstone and John Reich. Includes 2 newspaper clippings about the show.","Playbill . Written by Thornton Wilder. Both removed from binder 1 of 2.","Antal Dorati, Conductor and Gerard Samuel, Assistant Conductor","Playbill . Written by Joshua Logan and Thomas Heggen. Removed from binder 2 of 2.","Playbill , Vol. 1, No. 10. Written by Dorothy and Michael Blankfort. Removed from binder 2 of 2.","Playbill . Book, music, and lyrics by Frank Loesser. Removed from binder 2 of 2. Includes cast change note insert.","Playbill . Lyrics and book/libretto by Alan Jay Lerner, music by Frederick Loewe. Includes two copies of August 1956 program; copy with date written on front and February 1958 programs both removed from binder 2 of 2.","Smith Memorial Hall. Founded by Hans Kindler in 1931, Howard Mitchell Music Director, 26th Season.","Playbill","Playbill , Vol. 1, No. 8 (1957) and Vol. 2, No. 1 (1958). New York City Ballet Company, Winter Season 1957-1958.","Stagebill , Volume III, No. 8","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958). Includes magazine clipping on the show.","One Hundred Sixteenth Season (1957-1958)","Manson Hall","Playbill . Written by Ira Levin. Removed from binder 2 of 2.","Playbill , Vol. 1, No. 8. Written by Noel Coward. Removed from binder 2 of 2. Includes newspaper clipping on the show.","Libretto by Arrigo Boito, music by Guiseppe Verdi. Season 1957-1958. Includes special ticket for Working Rehearsal on March 18 and a magazine and newspaper clipping about the show.","Playbill . Book by George Abbott and Richard Bissell, music and lyrics by Richard Adler, and Jerry Ross. Removed from binder 2 of 2.","Written by Robert E. Sherwood","Musical Celebrities: The Concert Magazine , Vol. V, No. 4. Eugene Ormandy, Music Director-Conductor.","Playbill . Removed from binder 2 of 2.","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Radio Station WRVA presentation.","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Includes Act scene summary insert and inscription on first page.","Smith Memorial Building; with Lucile Turner, Contralto and The Randolph-Macon Glee Club, Jack Moehlenkamp, Pianist.","Robert Shaw, Conductor","Playbill , Vol. 2, No. 4. Written by Morton Wishengrad. Removed from binder 2 of 2.","Formerly the Sadler's Wells Ballet","\"Under the Patronage of His Majesty King Frederik IX of Denmark, First Visit to America of the Royal Danish Ballet\" from the Royal Theatre in Copenhagen","Magazine II. Howard Mitchell, Director.","Musical Celebrities: The Concert Magazine , Vol. V, No. 8","Covent Garden Books No. 9","Playbill . Two plays by Terence Rattigan. Removed from binder 2 of 2.","Playbill . Written by Joseph Kramm. Removed from binder 2 of 2.","Musical Celebrities: The Concert Magazine , Vol. XXVII, No. 3","Playbill . Music by Richard Rodgers, lyrics and book/libretto by Oscar Hammerstein II, book by Joshua Logan. Removed from binder 2 of 2.","Playbill . Written by Robert Anderson. Removed from binder 2 of 2.","Jose Limon and Dance Company with Pauline Koner, at the Virginia Museum Theatre","Music by Kurt Weill, book and lyrics/libretto by Bertolt (listed in program as Bert) Brecht, English adaptation of book and lyrics by Marc Blitzstein. Each program includes a cast change note insert.","Playbill . Written by Jean Giraudoux, translated by Christopher Fry. Removed from binder 2 of 2.","Playbill , Vol. 2, Nos. 4 and 20. Written by Jean Anouilh, English version by Patricia Moyes. Both removed from binder 2 of 2. January program includes magazine clipping of a cartoon depicting characters from play and May program includes a newspaper clipping photo of Helen Hayes.","Libretto by Victorien Sardou, Luigi Illica, and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958.","A New Play by Norman Rose, based on Dostoyevsky's \"The Brothers Karamazov\".","Playbill , Vol. 2, No. 15. Written by William Gibson. Removed from binder 2 of 2.","Two copies","Written by Anton Chekhov, translated by Stark Young. Third production in \"A Cycle of Four Chekhov Plays\".","Playbill . Written by Arthur Miller. Two copies; one removed from binder 2 of 2 and includes a promotional flyer insert on the show.","Adapted and staged by Margaret Perry. Front cover has possible pencil signature from founder and actor Robert Porterfield.","Playbill , Vol. 2, No. 21. Written by Friedrich Duerrenmatt, adapted by Maurice Valency. Removed from binder 2 of 2. Includes newspaper clipping on the show.","Playbill , Vol. 2, No. 4. Book by Arthur Laurents, music by Leonard Bernstein, and lyrics by Stephen Sondheim. Removed from binder 2 of 2. Includes cast change note insert.","Includes pamphlet advertising recordings by Bernstein. Both items in German.","David Stimer at the Piano","Playbill . Written by Agatha Christie. Removed from binder 2 of 2."],"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_a8c54c9980d86e35454eaa6e8fcb0ba6\"\u003eA collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne.\u003c/abstract\u003e"],"abstract_tesim":["A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_d4e66d1c2241266f9e38d78e5e3d12eb\"\u003eR 71, C 1, S 7\u003c/physloc\u003e"],"physloc_tesim":["R 71, C 1, S 7"],"names_coll_ssim":["Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet","Graham, Martha","Marceau, Marcel"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet","Lavigne, Mary","Graham, Martha","Marceau, Marcel"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet"],"persname_ssim":["Lavigne, Mary","Graham, Martha","Marceau, Marcel"],"language_ssim":["English \n,        German \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":131,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T05:20:47.416Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_691","ead_ssi":"vifgm_repositories_2_resources_691","_root_":"vifgm_repositories_2_resources_691","_nest_parent_":"vifgm_repositories_2_resources_691","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_691.xml","title_ssm":["Mary Lavigne programs collection"],"title_tesim":["Mary Lavigne programs collection"],"unitdate_ssm":["1950s-1980s"],"unitdate_inclusive_ssm":["1950s-1980s"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0417","/repositories/2/resources/691"],"text":["C0417","/repositories/2/resources/691","Mary Lavigne programs collection","Broadway (New York, N.Y.)","Richmond (Va.)","Berlin (Germany)","London (England)","Performing arts","Musical Theater","Musical Theater -- New York (State) -- New York","Theater","Theater -- New York (State) -- New York","Theater programs","Theater -- Washington (D.C.)","Ballet","Dance","Opera","Art","Art -- Exhibitions","There are no access restrictions.","This collection is arranged alphabetically by show title and then chronologically.","\"Fascinating History of Theater Programs.\" 2020. The Smith Center. July 13, 2020. https://thesmithcenter.com/explore/smith-center-blog/the-fascinating-history-of-theater-programs/.","Higgins, Sydney. 2009. \"A History of Playbills and Theatre Programs.\" 2009. http://www.ikjordan.plus.com/Players/Playbills/index.html.","Dating back to at least the 18th century, the term \"bill\" has been used to refer to printed advertisements for a theatrical event, starting first with small printed sheets delivered by hand and known as \"handbills.\" By the middle of the 19th century, the word \"bill\" was used to refer to large printed papers that were posted in public places and provided information about a theatrical production. The word \"programme\" or \"program\" came into use in the mid-19th century to refer to short printed pamphlets, containing a cast list, that was handed to audience members attending a theatrical performance. However, by the 1870s, the status of these as one of the only printed papers that were free and widely distributed led to the introduction of advertising into these play \"bills\" or \"programs.\"","Seeing an opportunity, in 1884 New York businessman Frank Vance Strauss created the first company to specialize in printing theatrical programs that would be provided free of charge to New York City's larger playhouses. Introducing the standard format for theatrical programs still in use today, Strauss' company expanded the short printed pamphlets into magazine-style multi-page programs containing short articles, advertisements, and information about the individual productions that changed weekly. Known in 1911 as the \"Strauss Magazine Theatre Program\", the publication would formally adopt the name \"The Playbill\" in 1934. These higher quality programs led to a new practice of keeping and collecting programs as souvenirs, leading to the creation of specially produced \"Souvenir Programs\" that were filled with full-color illustrations, photographs, and more detailed information on the productions and performers.","Processing and finding aid completed by Meghan Glasbrenner from November 2023 - January 2024.","The Special Collections Research Center holds other performing arts collections, including other collections of theatrical programs such as the  Charles Rodrigues playbill collection , and the  Virginia Nelson playbills collection .","A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne. Programs include a mix of types including colorful souvenir booklets and Broadway  Playbill  editions. Most programs include various inserts, including cast change notices and newspaper clippings, which have been removed and placed in the folder with the program. A number of the programs were also originally grouped into two small binders. All of these specifics have been noted at the folder level where applicable.","Musical Celebrities: The Concert Magazine , Vol. XXVII, No. 1. Includes \"Revised Program\" insert.","Musical Celebrities: The Concert Magazine , Vol. V, No. 12. Metropolitan Opera New Production. Libretto by A. Ghislanzoni, music by Giuseppe Verdi.","At the Virginia Museum Theatre","Playbill . Written by Marcelle Murette, English adaptation by Guy Bolton. Removed from binder 1 of 2.","Playbill , Vol. 1, No. 8. Written by Jerome Lawrence and Robert E. Lee. Removed from binder 1 of 2.","Playbill . Written by Maxwell Anderson. Removed from binder 1 of 2.","Playbill . Fourth performance by the New York City Opera Company. Includes NY City Center flyer and newspaper clipping about the show.","Musical Celebrities: The Concert Magazine , Vol. XXVIII, No. 9.","Includes ticket stub for Mosque Theatre April 29, 1954","The Barber of Seville , libretto by Cesare Sterbini, music by Gioacchino Rossini. Season 1954-1955.","Item is in German","Playbill . Written by Sandy Wilson. July program includes cast change note insert and was removed from binder 1 of 2.","Playbill . Music and lyrics by Irving Berlin, book by Howard Lindsay and Russel Crouse. Removed from binder 1 of 2.","Playbill . Music and lyrics by Cole Porter, book by Abe Burrows. Removed from binder 1 of 2.","Includes cast change note insert","Playbill . Written by Tennessee Williams. Removed from binder 1 of 2.","Playbill , Vol. 1, No. 4. Written by William Saroyan; Bijou Theatre Series Production No. 3. Removed from binder 1 of 2. Includes 3 newspaper clippings, including one duplicate of a review by Brooks Atkinson.","Playbill . Written by Enid Bagnold. Removed from binder 1 of 2.","Playbill , Vol. 1, No. 8. Written by William Wycherley. Removed from binder 1 of 2.","Written by Arthur Miller","Featuring Emily Frankel and Mark Ryder","Playbill , Vol. 2, No. 5. Written by William Inge. Removed from binder 1 of 2. Includes magazine clipping of a cartoon depicting characters from play.","Playbill . Written by Frances Goodrich and Albert Hackett. Removed from binder 1 of 2.","Libretto by Lorenzo Da Ponte, music by Wolfgang Amadeus Mozart. Season 1957-1958.","\"This is the first exhibition of the original works in wax by Degas from which the series of bronzes were cast by A.-A. Hébrard\". M. Knoedler \u0026 Company, Inc.","Off-B'way Showbill. Written by Samuel Beckett; American Premiere.","Playbill , Vol. 2, No. 9. Written by John Osborne. Removed from binder 1 of 2.","Playbill . Book by S.N. Behrman and Joshua Logan, music and lyrics by Harold Rome. Removed from binder 1 of 2.","Libretto by Jules Barbier and Michel Carré, music by Charles Gounod. Season 1955-1956.","The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin.","Musical Celebrities: The Concert Magazine , Vol. V, No. 2. The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin. Includes ticket stub and flyer; program has handwritten note on front cover.","Written by Tennessee Williams","Werner Singer at the Piano","\"In Honor of Professor Mabel Kate Whiteside, Teacher of Greek, 1904-1954\"","38th Season, 15th Concert. Featuring The Goldman Band, Edwin Franko Goldman, Conductor.","Playbill . Written by John Van Druten. Removed from binder 1 of 2.","Written by Eugene O'Neill","Manson Hall","Smith Memorial Auditorium","Off-B'way Showbill. Includes ticket stubs.","Includes newspaper clipping on Jose Limon's \"Missa Brevis\" from May 18, 1958","Musical Celebrities: The Concert Magazine , Vol. XXX, No. 12. Metropolitan Opera New Production. Libretto by F. M. Piave, music by Giuseppe Verdi. Includes 2 newspaper clippings on  A Streetcar Named Desire .","Playbill . Written by Graham Greene. Removed from binder 1 of 2.","Musical Celebrities: The Concert Magazine , Vol. XXVIII, No. 6.","21st Season","Playbill . Written by Eugene O'Neill. Both removed from binder 1 of 2. December 1956 program includes The Actor's Fund donation insert. October 1957  Playbill : Vol. 1, No. 3.","Playbill , Vol. 2, No. 5. Written by John Osborne. Removed from binder 1 of 2. Includes newspaper clipping about the show.","Playbill , Vol. 2, No. 16. Written by Ketti Frings. Removed from binder 1 of 2.","Libretto by Salvatore Cammarano, music by Gaetano Donizetti. Season 1956-1957.","Libretto by Luigi Illica and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958. Includes magazine clipping on the show.","Playbill . Written by George Bernard Shaw. Removed from binder 1 of 2.","Smith Memorial Hall. Repertory by Marcel Marceau.","Playbill , Vol. 2, No. 4","Inscription on last page","Inscription inside front cover","Playbill . Both programs Vol. 2, No. 14.","Institute of Contemporary Arts, Twentieth Anniversary Year. Includes 2 copies of season schedule insert.","Off-B'way Showbill. Written by Friedrich Schiller, new adaptation by Jean Stock Goldstone and John Reich. Includes 2 newspaper clippings about the show.","Playbill . Written by Thornton Wilder. Both removed from binder 1 of 2.","Antal Dorati, Conductor and Gerard Samuel, Assistant Conductor","Playbill . Written by Joshua Logan and Thomas Heggen. Removed from binder 2 of 2.","Playbill , Vol. 1, No. 10. Written by Dorothy and Michael Blankfort. Removed from binder 2 of 2.","Playbill . Book, music, and lyrics by Frank Loesser. Removed from binder 2 of 2. Includes cast change note insert.","Playbill . Lyrics and book/libretto by Alan Jay Lerner, music by Frederick Loewe. Includes two copies of August 1956 program; copy with date written on front and February 1958 programs both removed from binder 2 of 2.","Smith Memorial Hall. Founded by Hans Kindler in 1931, Howard Mitchell Music Director, 26th Season.","Playbill","Playbill , Vol. 1, No. 8 (1957) and Vol. 2, No. 1 (1958). New York City Ballet Company, Winter Season 1957-1958.","Stagebill , Volume III, No. 8","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958). Includes magazine clipping on the show.","One Hundred Sixteenth Season (1957-1958)","Manson Hall","Playbill . Written by Ira Levin. Removed from binder 2 of 2.","Playbill , Vol. 1, No. 8. Written by Noel Coward. Removed from binder 2 of 2. Includes newspaper clipping on the show.","Libretto by Arrigo Boito, music by Guiseppe Verdi. Season 1957-1958. Includes special ticket for Working Rehearsal on March 18 and a magazine and newspaper clipping about the show.","Playbill . Book by George Abbott and Richard Bissell, music and lyrics by Richard Adler, and Jerry Ross. Removed from binder 2 of 2.","Written by Robert E. Sherwood","Musical Celebrities: The Concert Magazine , Vol. V, No. 4. Eugene Ormandy, Music Director-Conductor.","Playbill . Removed from binder 2 of 2.","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Radio Station WRVA presentation.","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Includes Act scene summary insert and inscription on first page.","Smith Memorial Building; with Lucile Turner, Contralto and The Randolph-Macon Glee Club, Jack Moehlenkamp, Pianist.","Robert Shaw, Conductor","Playbill , Vol. 2, No. 4. Written by Morton Wishengrad. Removed from binder 2 of 2.","Formerly the Sadler's Wells Ballet","\"Under the Patronage of His Majesty King Frederik IX of Denmark, First Visit to America of the Royal Danish Ballet\" from the Royal Theatre in Copenhagen","Magazine II. Howard Mitchell, Director.","Musical Celebrities: The Concert Magazine , Vol. V, No. 8","Covent Garden Books No. 9","Playbill . Two plays by Terence Rattigan. Removed from binder 2 of 2.","Playbill . Written by Joseph Kramm. Removed from binder 2 of 2.","Musical Celebrities: The Concert Magazine , Vol. XXVII, No. 3","Playbill . Music by Richard Rodgers, lyrics and book/libretto by Oscar Hammerstein II, book by Joshua Logan. Removed from binder 2 of 2.","Playbill . Written by Robert Anderson. Removed from binder 2 of 2.","Jose Limon and Dance Company with Pauline Koner, at the Virginia Museum Theatre","Music by Kurt Weill, book and lyrics/libretto by Bertolt (listed in program as Bert) Brecht, English adaptation of book and lyrics by Marc Blitzstein. Each program includes a cast change note insert.","Playbill . Written by Jean Giraudoux, translated by Christopher Fry. Removed from binder 2 of 2.","Playbill , Vol. 2, Nos. 4 and 20. Written by Jean Anouilh, English version by Patricia Moyes. Both removed from binder 2 of 2. January program includes magazine clipping of a cartoon depicting characters from play and May program includes a newspaper clipping photo of Helen Hayes.","Libretto by Victorien Sardou, Luigi Illica, and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958.","A New Play by Norman Rose, based on Dostoyevsky's \"The Brothers Karamazov\".","Playbill , Vol. 2, No. 15. Written by William Gibson. Removed from binder 2 of 2.","Two copies","Written by Anton Chekhov, translated by Stark Young. Third production in \"A Cycle of Four Chekhov Plays\".","Playbill . Written by Arthur Miller. Two copies; one removed from binder 2 of 2 and includes a promotional flyer insert on the show.","Adapted and staged by Margaret Perry. Front cover has possible pencil signature from founder and actor Robert Porterfield.","Playbill , Vol. 2, No. 21. Written by Friedrich Duerrenmatt, adapted by Maurice Valency. Removed from binder 2 of 2. Includes newspaper clipping on the show.","Playbill , Vol. 2, No. 4. Book by Arthur Laurents, music by Leonard Bernstein, and lyrics by Stephen Sondheim. Removed from binder 2 of 2. Includes cast change note insert.","Includes pamphlet advertising recordings by Bernstein. Both items in German.","David Stimer at the Piano","Playbill . Written by Agatha Christie. Removed from binder 2 of 2.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne.","R 71, C 1, S 7","George Mason University. Libraries. Special Collections Research Center","Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet","Lavigne, Mary","Graham, Martha","Marceau, Marcel","English \n,        German \n.    "],"unitid_tesim":["C0417","/repositories/2/resources/691"],"normalized_title_ssm":["Mary Lavigne programs collection"],"collection_title_tesim":["Mary Lavigne programs collection"],"collection_ssim":["Mary Lavigne programs collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Broadway (New York, N.Y.)","Richmond (Va.)","Berlin (Germany)","London (England)"],"geogname_ssim":["Broadway (New York, N.Y.)","Richmond (Va.)","Berlin (Germany)","London (England)"],"creator_ssm":["Lavigne, Mary"],"creator_ssim":["Lavigne, Mary"],"creator_persname_ssim":["Lavigne, Mary"],"creators_ssim":["Lavigne, Mary"],"places_ssim":["Broadway (New York, N.Y.)","Richmond (Va.)","Berlin (Germany)","London (England)"],"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 in 2019 by Mary Lavigne."],"access_subjects_ssim":["Performing arts","Musical Theater","Musical Theater -- New York (State) -- New York","Theater","Theater -- New York (State) -- New York","Theater programs","Theater -- Washington (D.C.)","Ballet","Dance","Opera","Art","Art -- Exhibitions"],"access_subjects_ssm":["Performing arts","Musical Theater","Musical Theater -- New York (State) -- New York","Theater","Theater -- New York (State) -- New York","Theater programs","Theater -- Washington (D.C.)","Ballet","Dance","Opera","Art","Art -- Exhibitions"],"has_online_content_ssim":["false"],"extent_ssm":["2 Linear Feet 4 boxes"],"extent_tesim":["2 Linear Feet 4 boxes"],"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 show title and then chronologically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged alphabetically by show title and then chronologically."],"bibliography_html_tesm":["\u003cp\u003e\"Fascinating History of Theater Programs.\" 2020. The Smith Center. July 13, 2020. https://thesmithcenter.com/explore/smith-center-blog/the-fascinating-history-of-theater-programs/.\u003c/p\u003e\n","\u003cp\u003eHiggins, Sydney. 2009. \"A History of Playbills and Theatre Programs.\" 2009. http://www.ikjordan.plus.com/Players/Playbills/index.html.\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["\"Fascinating History of Theater Programs.\" 2020. The Smith Center. July 13, 2020. https://thesmithcenter.com/explore/smith-center-blog/the-fascinating-history-of-theater-programs/.","Higgins, Sydney. 2009. \"A History of Playbills and Theatre Programs.\" 2009. http://www.ikjordan.plus.com/Players/Playbills/index.html."],"bioghist_html_tesm":["\u003cp\u003eDating back to at least the 18th century, the term \"bill\" has been used to refer to printed advertisements for a theatrical event, starting first with small printed sheets delivered by hand and known as \"handbills.\" By the middle of the 19th century, the word \"bill\" was used to refer to large printed papers that were posted in public places and provided information about a theatrical production. The word \"programme\" or \"program\" came into use in the mid-19th century to refer to short printed pamphlets, containing a cast list, that was handed to audience members attending a theatrical performance. However, by the 1870s, the status of these as one of the only printed papers that were free and widely distributed led to the introduction of advertising into these play \"bills\" or \"programs.\"\u003c/p\u003e\n","\u003cp\u003eSeeing an opportunity, in 1884 New York businessman Frank Vance Strauss created the first company to specialize in printing theatrical programs that would be provided free of charge to New York City's larger playhouses. Introducing the standard format for theatrical programs still in use today, Strauss' company expanded the short printed pamphlets into magazine-style multi-page programs containing short articles, advertisements, and information about the individual productions that changed weekly. Known in 1911 as the \"Strauss Magazine Theatre Program\", the publication would formally adopt the name \"The Playbill\" in 1934. These higher quality programs led to a new practice of keeping and collecting programs as souvenirs, leading to the creation of specially produced \"Souvenir Programs\" that were filled with full-color illustrations, photographs, and more detailed information on the productions and performers.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Dating back to at least the 18th century, the term \"bill\" has been used to refer to printed advertisements for a theatrical event, starting first with small printed sheets delivered by hand and known as \"handbills.\" By the middle of the 19th century, the word \"bill\" was used to refer to large printed papers that were posted in public places and provided information about a theatrical production. The word \"programme\" or \"program\" came into use in the mid-19th century to refer to short printed pamphlets, containing a cast list, that was handed to audience members attending a theatrical performance. However, by the 1870s, the status of these as one of the only printed papers that were free and widely distributed led to the introduction of advertising into these play \"bills\" or \"programs.\"","Seeing an opportunity, in 1884 New York businessman Frank Vance Strauss created the first company to specialize in printing theatrical programs that would be provided free of charge to New York City's larger playhouses. Introducing the standard format for theatrical programs still in use today, Strauss' company expanded the short printed pamphlets into magazine-style multi-page programs containing short articles, advertisements, and information about the individual productions that changed weekly. Known in 1911 as the \"Strauss Magazine Theatre Program\", the publication would formally adopt the name \"The Playbill\" in 1934. These higher quality programs led to a new practice of keeping and collecting programs as souvenirs, leading to the creation of specially produced \"Souvenir Programs\" that were filled with full-color illustrations, photographs, and more detailed information on the productions and performers."],"prefercite_html_tesm":["\u003cp\u003eMary Lavigne programs collection, C0417, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e"],"prefercite_tesim":["Mary Lavigne programs collection, C0417, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessing and finding aid completed by Meghan Glasbrenner from November 2023 - January 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and finding aid completed by Meghan Glasbrenner from November 2023 - January 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other performing arts collections, including other collections of theatrical programs such as the \u003ca href=\"https://aspace.gmu.edu/resources/c0184\"\u003eCharles Rodrigues playbill collection\u003c/a\u003e, and the \u003ca href=\"https://aspace.gmu.edu/resources/c0015\"\u003eVirginia Nelson playbills collection\u003c/a\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds other performing arts collections, including other collections of theatrical programs such as the  Charles Rodrigues playbill collection , and the  Virginia Nelson playbills collection ."],"scopecontent_html_tesm":["\u003cp\u003eA collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne. Programs include a mix of types including colorful souvenir booklets and Broadway \u003ctitle\u003ePlaybill\u003c/title\u003e editions. Most programs include various inserts, including cast change notices and newspaper clippings, which have been removed and placed in the folder with the program. A number of the programs were also originally grouped into two small binders. All of these specifics have been noted at the folder level where applicable.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXVII, No. 1. Includes \"Revised Program\" insert.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. V, No. 12. Metropolitan Opera New Production. Libretto by A. Ghislanzoni, music by Giuseppe Verdi.\u003c/p\u003e","\u003cp\u003eAt the Virginia Museum Theatre\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Marcelle Murette, English adaptation by Guy Bolton. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 8. Written by Jerome Lawrence and Robert E. Lee. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Maxwell Anderson. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Fourth performance by the New York City Opera Company. Includes NY City Center flyer and newspaper clipping about the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXVIII, No. 9.\u003c/p\u003e","\u003cp\u003eIncludes ticket stub for Mosque Theatre April 29, 1954\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eThe Barber of Seville\u003c/title\u003e, libretto by Cesare Sterbini, music by Gioacchino Rossini. Season 1954-1955.\u003c/p\u003e","\u003cp\u003eItem is in German\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Sandy Wilson. July program includes cast change note insert and was removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Music and lyrics by Irving Berlin, book by Howard Lindsay and Russel Crouse. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Music and lyrics by Cole Porter, book by Abe Burrows. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eIncludes cast change note insert\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Tennessee Williams. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 4. Written by William Saroyan; Bijou Theatre Series Production No. 3. Removed from binder 1 of 2. Includes 3 newspaper clippings, including one duplicate of a review by Brooks Atkinson.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Enid Bagnold. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 8. Written by William Wycherley. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eWritten by Arthur Miller\u003c/p\u003e","\u003cp\u003eFeaturing Emily Frankel and Mark Ryder\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 5. Written by William Inge. Removed from binder 1 of 2. Includes magazine clipping of a cartoon depicting characters from play.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Frances Goodrich and Albert Hackett. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eLibretto by Lorenzo Da Ponte, music by Wolfgang Amadeus Mozart. Season 1957-1958.\u003c/p\u003e","\u003cp\u003e\"This is the first exhibition of the original works in wax by Degas from which the series of bronzes were cast by A.-A. Hébrard\". M. Knoedler \u0026amp; Company, Inc.\u003c/p\u003e","\u003cp\u003eOff-B'way Showbill. Written by Samuel Beckett; American Premiere.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 9. Written by John Osborne. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Book by S.N. Behrman and Joshua Logan, music and lyrics by Harold Rome. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eLibretto by Jules Barbier and Michel Carré, music by Charles Gounod. Season 1955-1956.\u003c/p\u003e","\u003cp\u003eThe Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. V, No. 2. The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin. Includes ticket stub and flyer; program has handwritten note on front cover.\u003c/p\u003e","\u003cp\u003eWritten by Tennessee Williams\u003c/p\u003e","\u003cp\u003eWerner Singer at the Piano\u003c/p\u003e","\u003cp\u003e\"In Honor of Professor Mabel Kate Whiteside, Teacher of Greek, 1904-1954\"\u003c/p\u003e","\u003cp\u003e38th Season, 15th Concert. Featuring The Goldman Band, Edwin Franko Goldman, Conductor.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by John Van Druten. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eWritten by Eugene O'Neill\u003c/p\u003e","\u003cp\u003eManson Hall\u003c/p\u003e","\u003cp\u003eSmith Memorial Auditorium\u003c/p\u003e","\u003cp\u003eOff-B'way Showbill. Includes ticket stubs.\u003c/p\u003e","\u003cp\u003eIncludes newspaper clipping on Jose Limon's \"Missa Brevis\" from May 18, 1958\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXX, No. 12. Metropolitan Opera New Production. Libretto by F. M. Piave, music by Giuseppe Verdi. Includes 2 newspaper clippings on \u003ctitle\u003eA Streetcar Named Desire\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Graham Greene. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXVIII, No. 6.\u003c/p\u003e","\u003cp\u003e21st Season\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Eugene O'Neill. Both removed from binder 1 of 2. December 1956 program includes The Actor's Fund donation insert. October 1957 \u003ctitle\u003ePlaybill\u003c/title\u003e: Vol. 1, No. 3.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 5. Written by John Osborne. Removed from binder 1 of 2. Includes newspaper clipping about the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 16. Written by Ketti Frings. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eLibretto by Salvatore Cammarano, music by Gaetano Donizetti. Season 1956-1957.\u003c/p\u003e","\u003cp\u003eLibretto by Luigi Illica and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958. Includes magazine clipping on the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by George Bernard Shaw. Removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eSmith Memorial Hall. Repertory by Marcel Marceau.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 4\u003c/p\u003e","\u003cp\u003eInscription on last page\u003c/p\u003e","\u003cp\u003eInscription inside front cover\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Both programs Vol. 2, No. 14.\u003c/p\u003e","\u003cp\u003eInstitute of Contemporary Arts, Twentieth Anniversary Year. Includes 2 copies of season schedule insert.\u003c/p\u003e","\u003cp\u003eOff-B'way Showbill. Written by Friedrich Schiller, new adaptation by Jean Stock Goldstone and John Reich. Includes 2 newspaper clippings about the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Thornton Wilder. Both removed from binder 1 of 2.\u003c/p\u003e","\u003cp\u003eAntal Dorati, Conductor and Gerard Samuel, Assistant Conductor\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Joshua Logan and Thomas Heggen. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 10. Written by Dorothy and Michael Blankfort. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Book, music, and lyrics by Frank Loesser. Removed from binder 2 of 2. Includes cast change note insert.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Lyrics and book/libretto by Alan Jay Lerner, music by Frederick Loewe. Includes two copies of August 1956 program; copy with date written on front and February 1958 programs both removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eSmith Memorial Hall. Founded by Hans Kindler in 1931, Howard Mitchell Music Director, 26th Season.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 8 (1957) and Vol. 2, No. 1 (1958). New York City Ballet Company, Winter Season 1957-1958.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eStagebill\u003c/title\u003e, Volume III, No. 8\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958). Includes magazine clipping on the show.\u003c/p\u003e","\u003cp\u003eOne Hundred Sixteenth Season (1957-1958)\u003c/p\u003e","\u003cp\u003eManson Hall\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Ira Levin. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 1, No. 8. Written by Noel Coward. Removed from binder 2 of 2. Includes newspaper clipping on the show.\u003c/p\u003e","\u003cp\u003eLibretto by Arrigo Boito, music by Guiseppe Verdi. Season 1957-1958. Includes special ticket for Working Rehearsal on March 18 and a magazine and newspaper clipping about the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Book by George Abbott and Richard Bissell, music and lyrics by Richard Adler, and Jerry Ross. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eWritten by Robert E. Sherwood\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. V, No. 4. Eugene Ormandy, Music Director-Conductor.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eMusic by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin\u003c/p\u003e","\u003cp\u003eMusic by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Radio Station WRVA presentation.\u003c/p\u003e","\u003cp\u003eMusic by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Includes Act scene summary insert and inscription on first page.\u003c/p\u003e","\u003cp\u003eSmith Memorial Building; with Lucile Turner, Contralto and The Randolph-Macon Glee Club, Jack Moehlenkamp, Pianist.\u003c/p\u003e","\u003cp\u003eRobert Shaw, Conductor\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 4. Written by Morton Wishengrad. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eFormerly the Sadler's Wells Ballet\u003c/p\u003e","\u003cp\u003e\"Under the Patronage of His Majesty King Frederik IX of Denmark, First Visit to America of the Royal Danish Ballet\" from the Royal Theatre in Copenhagen\u003c/p\u003e","\u003cp\u003eMagazine II. Howard Mitchell, Director.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. V, No. 8\u003c/p\u003e","\u003cp\u003eCovent Garden Books No. 9\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Two plays by Terence Rattigan. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Joseph Kramm. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003eMusical Celebrities: The Concert Magazine\u003c/title\u003e, Vol. XXVII, No. 3\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Music by Richard Rodgers, lyrics and book/libretto by Oscar Hammerstein II, book by Joshua Logan. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Robert Anderson. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eJose Limon and Dance Company with Pauline Koner, at the Virginia Museum Theatre\u003c/p\u003e","\u003cp\u003eMusic by Kurt Weill, book and lyrics/libretto by Bertolt (listed in program as Bert) Brecht, English adaptation of book and lyrics by Marc Blitzstein. Each program includes a cast change note insert.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Jean Giraudoux, translated by Christopher Fry. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, Nos. 4 and 20. Written by Jean Anouilh, English version by Patricia Moyes. Both removed from binder 2 of 2. January program includes magazine clipping of a cartoon depicting characters from play and May program includes a newspaper clipping photo of Helen Hayes.\u003c/p\u003e","\u003cp\u003eLibretto by Victorien Sardou, Luigi Illica, and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958.\u003c/p\u003e","\u003cp\u003eA New Play by Norman Rose, based on Dostoyevsky's \"The Brothers Karamazov\".\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 15. Written by William Gibson. Removed from binder 2 of 2.\u003c/p\u003e","\u003cp\u003eTwo copies\u003c/p\u003e","\u003cp\u003eWritten by Anton Chekhov, translated by Stark Young. Third production in \"A Cycle of Four Chekhov Plays\".\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Arthur Miller. Two copies; one removed from binder 2 of 2 and includes a promotional flyer insert on the show.\u003c/p\u003e","\u003cp\u003eAdapted and staged by Margaret Perry. Front cover has possible pencil signature from founder and actor Robert Porterfield.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 21. Written by Friedrich Duerrenmatt, adapted by Maurice Valency. Removed from binder 2 of 2. Includes newspaper clipping on the show.\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e, Vol. 2, No. 4. Book by Arthur Laurents, music by Leonard Bernstein, and lyrics by Stephen Sondheim. Removed from binder 2 of 2. Includes cast change note insert.\u003c/p\u003e","\u003cp\u003eIncludes pamphlet advertising recordings by Bernstein. Both items in German.\u003c/p\u003e","\u003cp\u003eDavid Stimer at the Piano\u003c/p\u003e","\u003cp\u003e\u003ctitle\u003ePlaybill\u003c/title\u003e. Written by Agatha Christie. Removed from binder 2 of 2.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content"],"scopecontent_tesim":["A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne. Programs include a mix of types including colorful souvenir booklets and Broadway  Playbill  editions. Most programs include various inserts, including cast change notices and newspaper clippings, which have been removed and placed in the folder with the program. A number of the programs were also originally grouped into two small binders. All of these specifics have been noted at the folder level where applicable.","Musical Celebrities: The Concert Magazine , Vol. XXVII, No. 1. Includes \"Revised Program\" insert.","Musical Celebrities: The Concert Magazine , Vol. V, No. 12. Metropolitan Opera New Production. Libretto by A. Ghislanzoni, music by Giuseppe Verdi.","At the Virginia Museum Theatre","Playbill . Written by Marcelle Murette, English adaptation by Guy Bolton. Removed from binder 1 of 2.","Playbill , Vol. 1, No. 8. Written by Jerome Lawrence and Robert E. Lee. Removed from binder 1 of 2.","Playbill . Written by Maxwell Anderson. Removed from binder 1 of 2.","Playbill . Fourth performance by the New York City Opera Company. Includes NY City Center flyer and newspaper clipping about the show.","Musical Celebrities: The Concert Magazine , Vol. XXVIII, No. 9.","Includes ticket stub for Mosque Theatre April 29, 1954","The Barber of Seville , libretto by Cesare Sterbini, music by Gioacchino Rossini. Season 1954-1955.","Item is in German","Playbill . Written by Sandy Wilson. July program includes cast change note insert and was removed from binder 1 of 2.","Playbill . Music and lyrics by Irving Berlin, book by Howard Lindsay and Russel Crouse. Removed from binder 1 of 2.","Playbill . Music and lyrics by Cole Porter, book by Abe Burrows. Removed from binder 1 of 2.","Includes cast change note insert","Playbill . Written by Tennessee Williams. Removed from binder 1 of 2.","Playbill , Vol. 1, No. 4. Written by William Saroyan; Bijou Theatre Series Production No. 3. Removed from binder 1 of 2. Includes 3 newspaper clippings, including one duplicate of a review by Brooks Atkinson.","Playbill . Written by Enid Bagnold. Removed from binder 1 of 2.","Playbill , Vol. 1, No. 8. Written by William Wycherley. Removed from binder 1 of 2.","Written by Arthur Miller","Featuring Emily Frankel and Mark Ryder","Playbill , Vol. 2, No. 5. Written by William Inge. Removed from binder 1 of 2. Includes magazine clipping of a cartoon depicting characters from play.","Playbill . Written by Frances Goodrich and Albert Hackett. Removed from binder 1 of 2.","Libretto by Lorenzo Da Ponte, music by Wolfgang Amadeus Mozart. Season 1957-1958.","\"This is the first exhibition of the original works in wax by Degas from which the series of bronzes were cast by A.-A. Hébrard\". M. Knoedler \u0026 Company, Inc.","Off-B'way Showbill. Written by Samuel Beckett; American Premiere.","Playbill , Vol. 2, No. 9. Written by John Osborne. Removed from binder 1 of 2.","Playbill . Book by S.N. Behrman and Joshua Logan, music and lyrics by Harold Rome. Removed from binder 1 of 2.","Libretto by Jules Barbier and Michel Carré, music by Charles Gounod. Season 1955-1956.","The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin.","Musical Celebrities: The Concert Magazine , Vol. V, No. 2. The Metropolitan Opera's New English Version. Music by Johann Strauss, lyrics by Howard Dietz, and book by Garson Kanin. Includes ticket stub and flyer; program has handwritten note on front cover.","Written by Tennessee Williams","Werner Singer at the Piano","\"In Honor of Professor Mabel Kate Whiteside, Teacher of Greek, 1904-1954\"","38th Season, 15th Concert. Featuring The Goldman Band, Edwin Franko Goldman, Conductor.","Playbill . Written by John Van Druten. Removed from binder 1 of 2.","Written by Eugene O'Neill","Manson Hall","Smith Memorial Auditorium","Off-B'way Showbill. Includes ticket stubs.","Includes newspaper clipping on Jose Limon's \"Missa Brevis\" from May 18, 1958","Musical Celebrities: The Concert Magazine , Vol. XXX, No. 12. Metropolitan Opera New Production. Libretto by F. M. Piave, music by Giuseppe Verdi. Includes 2 newspaper clippings on  A Streetcar Named Desire .","Playbill . Written by Graham Greene. Removed from binder 1 of 2.","Musical Celebrities: The Concert Magazine , Vol. XXVIII, No. 6.","21st Season","Playbill . Written by Eugene O'Neill. Both removed from binder 1 of 2. December 1956 program includes The Actor's Fund donation insert. October 1957  Playbill : Vol. 1, No. 3.","Playbill , Vol. 2, No. 5. Written by John Osborne. Removed from binder 1 of 2. Includes newspaper clipping about the show.","Playbill , Vol. 2, No. 16. Written by Ketti Frings. Removed from binder 1 of 2.","Libretto by Salvatore Cammarano, music by Gaetano Donizetti. Season 1956-1957.","Libretto by Luigi Illica and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958. Includes magazine clipping on the show.","Playbill . Written by George Bernard Shaw. Removed from binder 1 of 2.","Smith Memorial Hall. Repertory by Marcel Marceau.","Playbill , Vol. 2, No. 4","Inscription on last page","Inscription inside front cover","Playbill . Both programs Vol. 2, No. 14.","Institute of Contemporary Arts, Twentieth Anniversary Year. Includes 2 copies of season schedule insert.","Off-B'way Showbill. Written by Friedrich Schiller, new adaptation by Jean Stock Goldstone and John Reich. Includes 2 newspaper clippings about the show.","Playbill . Written by Thornton Wilder. Both removed from binder 1 of 2.","Antal Dorati, Conductor and Gerard Samuel, Assistant Conductor","Playbill . Written by Joshua Logan and Thomas Heggen. Removed from binder 2 of 2.","Playbill , Vol. 1, No. 10. Written by Dorothy and Michael Blankfort. Removed from binder 2 of 2.","Playbill . Book, music, and lyrics by Frank Loesser. Removed from binder 2 of 2. Includes cast change note insert.","Playbill . Lyrics and book/libretto by Alan Jay Lerner, music by Frederick Loewe. Includes two copies of August 1956 program; copy with date written on front and February 1958 programs both removed from binder 2 of 2.","Smith Memorial Hall. Founded by Hans Kindler in 1931, Howard Mitchell Music Director, 26th Season.","Playbill","Playbill , Vol. 1, No. 8 (1957) and Vol. 2, No. 1 (1958). New York City Ballet Company, Winter Season 1957-1958.","Stagebill , Volume III, No. 8","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958)","One Hundred Sixteenth Season (1957-1958). Includes magazine clipping on the show.","One Hundred Sixteenth Season (1957-1958)","Manson Hall","Playbill . Written by Ira Levin. Removed from binder 2 of 2.","Playbill , Vol. 1, No. 8. Written by Noel Coward. Removed from binder 2 of 2. Includes newspaper clipping on the show.","Libretto by Arrigo Boito, music by Guiseppe Verdi. Season 1957-1958. Includes special ticket for Working Rehearsal on March 18 and a magazine and newspaper clipping about the show.","Playbill . Book by George Abbott and Richard Bissell, music and lyrics by Richard Adler, and Jerry Ross. Removed from binder 2 of 2.","Written by Robert E. Sherwood","Musical Celebrities: The Concert Magazine , Vol. V, No. 4. Eugene Ormandy, Music Director-Conductor.","Playbill . Removed from binder 2 of 2.","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Radio Station WRVA presentation.","Music by George Gershwin, book and lyrics/libretto by DuBose Heyward and Ira Gershwin. Includes Act scene summary insert and inscription on first page.","Smith Memorial Building; with Lucile Turner, Contralto and The Randolph-Macon Glee Club, Jack Moehlenkamp, Pianist.","Robert Shaw, Conductor","Playbill , Vol. 2, No. 4. Written by Morton Wishengrad. Removed from binder 2 of 2.","Formerly the Sadler's Wells Ballet","\"Under the Patronage of His Majesty King Frederik IX of Denmark, First Visit to America of the Royal Danish Ballet\" from the Royal Theatre in Copenhagen","Magazine II. Howard Mitchell, Director.","Musical Celebrities: The Concert Magazine , Vol. V, No. 8","Covent Garden Books No. 9","Playbill . Two plays by Terence Rattigan. Removed from binder 2 of 2.","Playbill . Written by Joseph Kramm. Removed from binder 2 of 2.","Musical Celebrities: The Concert Magazine , Vol. XXVII, No. 3","Playbill . Music by Richard Rodgers, lyrics and book/libretto by Oscar Hammerstein II, book by Joshua Logan. Removed from binder 2 of 2.","Playbill . Written by Robert Anderson. Removed from binder 2 of 2.","Jose Limon and Dance Company with Pauline Koner, at the Virginia Museum Theatre","Music by Kurt Weill, book and lyrics/libretto by Bertolt (listed in program as Bert) Brecht, English adaptation of book and lyrics by Marc Blitzstein. Each program includes a cast change note insert.","Playbill . Written by Jean Giraudoux, translated by Christopher Fry. Removed from binder 2 of 2.","Playbill , Vol. 2, Nos. 4 and 20. Written by Jean Anouilh, English version by Patricia Moyes. Both removed from binder 2 of 2. January program includes magazine clipping of a cartoon depicting characters from play and May program includes a newspaper clipping photo of Helen Hayes.","Libretto by Victorien Sardou, Luigi Illica, and Giuseppe Giacosa, music by Giacomo Puccini. Season 1957-1958.","A New Play by Norman Rose, based on Dostoyevsky's \"The Brothers Karamazov\".","Playbill , Vol. 2, No. 15. Written by William Gibson. Removed from binder 2 of 2.","Two copies","Written by Anton Chekhov, translated by Stark Young. Third production in \"A Cycle of Four Chekhov Plays\".","Playbill . Written by Arthur Miller. Two copies; one removed from binder 2 of 2 and includes a promotional flyer insert on the show.","Adapted and staged by Margaret Perry. Front cover has possible pencil signature from founder and actor Robert Porterfield.","Playbill , Vol. 2, No. 21. Written by Friedrich Duerrenmatt, adapted by Maurice Valency. Removed from binder 2 of 2. Includes newspaper clipping on the show.","Playbill , Vol. 2, No. 4. Book by Arthur Laurents, music by Leonard Bernstein, and lyrics by Stephen Sondheim. Removed from binder 2 of 2. Includes cast change note insert.","Includes pamphlet advertising recordings by Bernstein. Both items in German.","David Stimer at the Piano","Playbill . Written by Agatha Christie. Removed from binder 2 of 2."],"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_a8c54c9980d86e35454eaa6e8fcb0ba6\"\u003eA collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne.\u003c/abstract\u003e"],"abstract_tesim":["A collection of opera, ballet, concert, art exhibition, and theatrical programs for performances and events in New York City, Richmond, Virginia, Washington, D.C., and various international locations attended by Mary Lavigne."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_d4e66d1c2241266f9e38d78e5e3d12eb\"\u003eR 71, C 1, S 7\u003c/physloc\u003e"],"physloc_tesim":["R 71, C 1, S 7"],"names_coll_ssim":["Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet","Graham, Martha","Marceau, Marcel"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet","Lavigne, Mary","Graham, Martha","Marceau, Marcel"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Carnegie Hall (New York, N.Y.)","City Center of Music and Drama (New York, N. Y.)","John F. Kennedy Center for the Performing Arts (U.S.)","Kongelige Danske ballet","London Festival Ballet","Metropolitan Opera (New York, N.Y.)","National Gallery of Art (U.S.)","New York City Ballet","New York City Center","New York Philharmonic","Randolph-Macon Woman's College","Royal Ballet","Sadler's Wells Ballet"],"persname_ssim":["Lavigne, Mary","Graham, Martha","Marceau, Marcel"],"language_ssim":["English \n,        German \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":131,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T05:20:47.416Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_691"}},{"id":"vifgm_repositories_2_resources_150","type":"collection","attributes":{"title":"Robert Prosky Papers","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_150#creator","type":"document_value","attributes":{"value":"Prosky, Robert, 1930-2008","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_150#abstract_or_scope","type":"document_value","attributes":{"value":"Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_150#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_150","ead_ssi":"vifgm_repositories_2_resources_150","_root_":"vifgm_repositories_2_resources_150","_nest_parent_":"vifgm_repositories_2_resources_150","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_150.xml","title_filing_ssi":"Robert Prosky papers","title_ssm":["Robert Prosky Papers"],"title_tesim":["Robert Prosky Papers"],"unitdate_ssm":["1909-2007"],"unitdate_inclusive_ssm":["1909-2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0022","/repositories/2/resources/150"],"text":["C0022","/repositories/2/resources/150","Robert Prosky Papers","Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings","There are no access restrictions.","Audiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information.","Arranged into six series:","Series Series 1: Professional, 1954-2007 (Boxes 1-5) Series 2: Personal, 1909-2007 (Boxes 5-8) Series 3: Photographs, 1930s-2005 (Boxes 9-11) Series 4: Audiovisual, 1960-2007 (Boxes 12-13) Series 5: Oversize, 1950s-2006 (Boxes 14-15) Series 6: Realia, 1998-2004 (Box 16)","Born in Philadelphia, Robert Prosky (1930-2008) spent much of his career as an actor in more than 200 plays at the Arena Stage in Washington, D.C., on Broadway in New York City, and in regional theatre. Prosky's association with the Arena Stage included more than 130 productions over the course of 20 years. His Broadway appearances included \"Glengarry Glenross,\" \"A Walk in the Woods,\" and \"A View from the Bridge.\" Highlights from regional theater include \"Death of a Salesman,\" \"Twelfth Night,\" and \"You Can't Take It With You.\" He also performed on stage in the Moscow Art Theatre in the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.","Beginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.","He received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C. ","Processed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025.","The Special Collections Research Center also holds the   and the papers of other Washington, D.C. theatre artists.","An oral history was performed with Robert Prosky for the   and is available for access.","Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials. ","The collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series. ","The second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks. ","The third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks. ","The fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations. ","The fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life. ","The sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs. ","Contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically.","Includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes.","Arena Stage. Contains press releases, reviews, and Arena Stage publications.","Arena Stage. Contains press releases, reviews, and Arena Stage publications.","Arena Stage.","Quarterdeck Theatre.","Gonzaga College. Prosky not in cast.","Arena Stage.","Lucille Lortel Theatre.","Berkshire Theatre Festival. Review by Herbert Wolff.","Arena Stage.","Old Academy.","Quarterdeck Theatre.","Arena Stage.","Arena Stage.","Brooks Atkinson Theatre.","Arena Stage.","Arena Stage. Review by Mel Gussow.","Ford's Theatre.","Also contains television reviews and biographical information.","Goodman Theatre.","John Golden Theatre.","Manhattan Ensemble Theater. Also contains postcards with advertisements.","Fred Miller Theatre.","Arena Stage.","Arena Stage.","Ford's Theatre.","Lee Strasberg Theatre Center.","Delaware Theatre Company (1993) and Arena Stage (1995).","Douglass College.","Arena Stage.","Arena Stage.","Fred Miller Theatre.","Morosco Theatre. Prosky not in cast.","Arena Stage.","Gate Theatre.","Cape May Stage.","Arena Stage. Also contains a pre-production announcement.","Quarterdeck Theatre.","Arena Stage. Contains press releases, reviews, and Arena Stage publications.","Colonial Theatre.","Quarterdeck Theatre.","Arena Stage.","Arena Stage.","Coronet Theatre. Prosky not in cast.","Ambassador Theatre.","Royal Poinciana Playhouse. Prosky not in cast.","Booth Theatre.","One copy entirely in Russian and one with only the title translated.","Booth Theatre. Also contains some correspondence.","Contains stories on Zelda Fichandler and Robert Prosky.","Fred Miller Theatre.","Hong Kong Arts Festival.","Guthrie Theatre.","Arena Stage.","Also contains advertisements, rosters, and announcements.","Contains mostly clippings and reviews about Prosky's film career, but there are also a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\"","Also contains correspondence.","Contains production facts, one color production still photograph, and one black and white photograph of the director Gayle Knutson.","Also includes information on \"Glengarry Glenn Ross\" and television work.","Contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\"","The second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically.","Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Arranged alphabetically by name type of correspondence, then chronologically.","RESTRICTED","Also includes correspondence about Prosky's Tony Award nomination.","Contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. This subseries also contains transcripts from a self-recorded autobiography by Prosky. Arranged alphabetically by article title and type of document, then chronologically.","Post Eagle newspaper.","Columbia Flier newspaper.","America 275 Illustrated Story no. 11-79.","Prosky nominated for \"Glengarry Glenross\".\"","Prosky nominated for \"A Walk in the Woods\".","Prosky won best actor in a short film for \"Grandfather's Birthday\".","Folder 1.","Folder 2.","Cynthia Snyder Public Relations.","Article by Zelda Fichandler.","Presented to both Prosky and his wife Ida.","Philadelphia magazine.","Prosky served as the master of ceremonies.","Prosky nominated for his role in \"Our Town\".","Prosky honored with the American Express Tribute.","Washington Post newspaper.","Roxborough Times newspaper.","Home News newspaper.","New York Times Newspaper.","Equity News newsletter.","New York Times newspaper.","Arena Stage.","Folder 1.","Folder 2.","Presented to Prosky for his role as Mr. Buchanan in \"Jabberwocky\".","Sun Weekly newspaper.","People Weekly magazine.","Relax magazine. In Polish.","New Jersey Lifestyle magazine.","Pen World magazine.","Washington Post Magazine.","Daily News newspaper.","Dossier magazine.","Washington Times newspaper. Article mentions Prosky's Hayes award for \"The Price\".","Also includes correspondence.","Contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically.","Contains copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public serve announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations.","VHS, 18 minutes, color","Audio reel.\nAvailable on digital format.","Reel, 60 seconds, color.\nAvailable on digital format.","Reel, 60 seconds, color, U.S. Dept. of Agriculture Food Safety and Quality Service.\nAvailable on digital format.","Audio reel.\nAvailable on digital format.","VHS, #466216, Final Viewing Cassette","VHS, #466217, Final Viewing Cassette","VHS, #466218, Final Viewing Cassette","VHS, #466219, Final Viewing Cassette","VHS, #466220, Final Viewing Cassette","VHS, #466221, Final Viewing Cassette","Audio, 6 Demo spots, 7.5 IPS.\nAvailable on digital format.","VHS, 30 minutes","CD, Arena Stage press photos","DVD, DEMO","DVD, Tape 1, Harris Theatre GMU","DVD, Tape 2, Harris Theatre GMU","DVD, Clips for Lecture","Audio cassette tape, WABC Talk Radio 77am","DVD","Video reel, 60 seconds.\nAvailable on digital format.","Audio cassette tape, Tape 1","Audio cassette tape, Tape 2","Audio Cassette Tape, WTOP Radio","DVD","Audio reel.\nAvailable on digital format.","The fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life.","Black binder with \"Thief\" label","Black binder with Robert Prosky","Photograph","Photograph - Appearances","Photograph - Theatre","Nomination for Best Supporting Actor in a Television Movie \"Into Thin Air\"","Six different shots","Interview page 37","Three matted portraits","Autographed film poster","Production poster","Photographs, newspaper clippings, playbills","Blue album with flowers on cover, photographs, newspaper clippings, playbills","Autographed copy by Kathryn Crosby","Consists of objects from Prosky's professional career and personal life.","Paperweight","Miniature briefcase","Robert Prosky's name monogrammed on one side.","Ford's Theatre, Dog tags","Plaque","Souvenir bag","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Prosky, Robert, 1930-2008","English \n.    "],"unitid_tesim":["C0022","/repositories/2/resources/150"],"normalized_title_ssm":["Robert Prosky Papers"],"collection_title_tesim":["Robert Prosky Papers"],"collection_ssim":["Robert Prosky Papers"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Prosky, Robert, 1930-2008"],"creator_ssim":["Prosky, Robert, 1930-2008"],"creator_persname_ssim":["Prosky, Robert, 1930-2008"],"creators_ssim":["Prosky, Robert, 1930-2008"],"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 Robert Prosky in 2007-2008."],"access_subjects_ssim":["Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings"],"access_subjects_ssm":["Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings"],"has_online_content_ssim":["false"],"extent_ssm":["9 Linear Feet 16 boxes"],"extent_tesim":["9 Linear Feet 16 boxes"],"genreform_ssim":["Photographs","Video recordings"],"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\u003eAudiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Audiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information."],"arrangement_html_tesm":["\u003cp\u003eArranged into six series:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Professional, 1954-2007 (Boxes 1-5)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Personal, 1909-2007 (Boxes 5-8)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, 1930s-2005 (Boxes 9-11)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Audiovisual, 1960-2007 (Boxes 12-13)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Oversize, 1950s-2006 (Boxes 14-15)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Realia, 1998-2004 (Box 16)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into six series:","Series Series 1: Professional, 1954-2007 (Boxes 1-5) Series 2: Personal, 1909-2007 (Boxes 5-8) Series 3: Photographs, 1930s-2005 (Boxes 9-11) Series 4: Audiovisual, 1960-2007 (Boxes 12-13) Series 5: Oversize, 1950s-2006 (Boxes 14-15) Series 6: Realia, 1998-2004 (Box 16)"],"bioghist_html_tesm":["\u003cp\u003eBorn in Philadelphia, Robert Prosky (1930-2008) spent much of his career as an actor in more than 200 plays at the Arena Stage in Washington, D.C., on Broadway in New York City, and in regional theatre. Prosky's association with the Arena Stage included more than 130 productions over the course of 20 years. His Broadway appearances included \"Glengarry Glenross,\" \"A Walk in the Woods,\" and \"A View from the Bridge.\" Highlights from regional theater include \"Death of a Salesman,\" \"Twelfth Night,\" and \"You Can't Take It With You.\" He also performed on stage in the Moscow Art Theatre in the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.\u003c/p\u003e\n","\u003cp\u003eBeginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.\u003c/p\u003e\n","\u003cp\u003eHe received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Born in Philadelphia, Robert Prosky (1930-2008) spent much of his career as an actor in more than 200 plays at the Arena Stage in Washington, D.C., on Broadway in New York City, and in regional theatre. Prosky's association with the Arena Stage included more than 130 productions over the course of 20 years. His Broadway appearances included \"Glengarry Glenross,\" \"A Walk in the Woods,\" and \"A View from the Bridge.\" Highlights from regional theater include \"Death of a Salesman,\" \"Twelfth Night,\" and \"You Can't Take It With You.\" He also performed on stage in the Moscow Art Theatre in the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.","Beginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.","He received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C. "],"prefercite_html_tesm":["\u003cp\u003eRobert Prosky papers, C0022, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Robert Prosky papers, C0022, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Arena Stage records\" href=\"https://aspace.gmu.edu/resources/c0017\"\u003e\u003c/extptr\u003e and the papers of other Washington, D.C. theatre artists.\u003c/p\u003e\n","\u003cp\u003eAn oral history was performed with Robert Prosky for the \u003cextptr show=\"new\" title=\"George Mason University Oral History Program collection\" href=\"https://aspace.gmu.edu/resources/r0121\"\u003e\u003c/extptr\u003e and is available for access.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the   and the papers of other Washington, D.C. theatre artists.","An oral history was performed with Robert Prosky for the   and is available for access."],"scopecontent_html_tesm":["\u003cp\u003eConsists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials. \u003c/p\u003e\n","\u003cp\u003eThe collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series. \u003c/p\u003e\n","\u003cp\u003eThe second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks. \u003c/p\u003e\n","\u003cp\u003eThe third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks. \u003c/p\u003e\n","\u003cp\u003eThe fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations. \u003c/p\u003e\n","\u003cp\u003eThe fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life. \u003c/p\u003e\n","\u003cp\u003eThe sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs. \u003c/p\u003e","\u003cp\u003eContains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically.\u003c/p\u003e","\u003cp\u003eIncludes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes.\u003c/p\u003e","\u003cp\u003eArena Stage. Contains press releases, reviews, and Arena Stage publications.\u003c/p\u003e","\u003cp\u003eArena Stage. Contains press releases, reviews, and Arena Stage publications.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eQuarterdeck Theatre.\u003c/p\u003e","\u003cp\u003eGonzaga College. Prosky not in cast.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eLucille Lortel Theatre.\u003c/p\u003e","\u003cp\u003eBerkshire Theatre Festival. Review by Herbert Wolff.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eOld Academy.\u003c/p\u003e","\u003cp\u003eQuarterdeck Theatre.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eBrooks Atkinson Theatre.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eArena Stage. Review by Mel Gussow.\u003c/p\u003e","\u003cp\u003eFord's Theatre.\u003c/p\u003e","\u003cp\u003eAlso contains television reviews and biographical information.\u003c/p\u003e","\u003cp\u003eGoodman Theatre.\u003c/p\u003e","\u003cp\u003eJohn Golden Theatre.\u003c/p\u003e","\u003cp\u003eManhattan Ensemble Theater. Also contains postcards with advertisements.\u003c/p\u003e","\u003cp\u003eFred Miller Theatre.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eFord's Theatre.\u003c/p\u003e","\u003cp\u003eLee Strasberg Theatre Center.\u003c/p\u003e","\u003cp\u003eDelaware Theatre Company (1993) and Arena Stage (1995).\u003c/p\u003e","\u003cp\u003eDouglass College.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eFred Miller Theatre.\u003c/p\u003e","\u003cp\u003eMorosco Theatre. Prosky not in cast.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eGate Theatre.\u003c/p\u003e","\u003cp\u003eCape May Stage.\u003c/p\u003e","\u003cp\u003eArena Stage. Also contains a pre-production announcement.\u003c/p\u003e","\u003cp\u003eQuarterdeck Theatre.\u003c/p\u003e","\u003cp\u003eArena Stage. Contains press releases, reviews, and Arena Stage publications.\u003c/p\u003e","\u003cp\u003eColonial Theatre.\u003c/p\u003e","\u003cp\u003eQuarterdeck Theatre.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eCoronet Theatre. Prosky not in cast.\u003c/p\u003e","\u003cp\u003eAmbassador Theatre.\u003c/p\u003e","\u003cp\u003eRoyal Poinciana Playhouse. Prosky not in cast.\u003c/p\u003e","\u003cp\u003eBooth Theatre.\u003c/p\u003e","\u003cp\u003eOne copy entirely in Russian and one with only the title translated.\u003c/p\u003e","\u003cp\u003eBooth Theatre. Also contains some correspondence.\u003c/p\u003e","\u003cp\u003eContains stories on Zelda Fichandler and Robert Prosky.\u003c/p\u003e","\u003cp\u003eFred Miller Theatre.\u003c/p\u003e","\u003cp\u003eHong Kong Arts Festival.\u003c/p\u003e","\u003cp\u003eGuthrie Theatre.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eAlso contains advertisements, rosters, and announcements.\u003c/p\u003e","\u003cp\u003eContains mostly clippings and reviews about Prosky's film career, but there are also a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\"\u003c/p\u003e","\u003cp\u003eAlso contains correspondence.\u003c/p\u003e","\u003cp\u003eContains production facts, one color production still photograph, and one black and white photograph of the director Gayle Knutson.\u003c/p\u003e","\u003cp\u003eAlso includes information on \"Glengarry Glenn Ross\" and television work.\u003c/p\u003e","\u003cp\u003eContains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\"\u003c/p\u003e","\u003cp\u003eThe second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically.\u003c/p\u003e","\u003cp\u003eSubseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Arranged alphabetically by name type of correspondence, then chronologically.\u003c/p\u003e","\u003cp\u003eRESTRICTED\u003c/p\u003e","\u003cp\u003eAlso includes correspondence about Prosky's Tony Award nomination.\u003c/p\u003e","\u003cp\u003eContains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. This subseries also contains transcripts from a self-recorded autobiography by Prosky. Arranged alphabetically by article title and type of document, then chronologically.\u003c/p\u003e","\u003cp\u003ePost Eagle newspaper.\u003c/p\u003e","\u003cp\u003eColumbia Flier newspaper.\u003c/p\u003e","\u003cp\u003eAmerica 275 Illustrated Story no. 11-79.\u003c/p\u003e","\u003cp\u003eProsky nominated for \"Glengarry Glenross\".\"\u003c/p\u003e","\u003cp\u003eProsky nominated for \"A Walk in the Woods\".\u003c/p\u003e","\u003cp\u003eProsky won best actor in a short film for \"Grandfather's Birthday\".\u003c/p\u003e","\u003cp\u003eFolder 1.\u003c/p\u003e","\u003cp\u003eFolder 2.\u003c/p\u003e","\u003cp\u003eCynthia Snyder Public Relations.\u003c/p\u003e","\u003cp\u003eArticle by Zelda Fichandler.\u003c/p\u003e","\u003cp\u003ePresented to both Prosky and his wife Ida.\u003c/p\u003e","\u003cp\u003ePhiladelphia magazine.\u003c/p\u003e","\u003cp\u003eProsky served as the master of ceremonies.\u003c/p\u003e","\u003cp\u003eProsky nominated for his role in \"Our Town\".\u003c/p\u003e","\u003cp\u003eProsky honored with the American Express Tribute.\u003c/p\u003e","\u003cp\u003eWashington Post newspaper.\u003c/p\u003e","\u003cp\u003eRoxborough Times newspaper.\u003c/p\u003e","\u003cp\u003eHome News newspaper.\u003c/p\u003e","\u003cp\u003eNew York Times Newspaper.\u003c/p\u003e","\u003cp\u003eEquity News newsletter.\u003c/p\u003e","\u003cp\u003eNew York Times newspaper.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eFolder 1.\u003c/p\u003e","\u003cp\u003eFolder 2.\u003c/p\u003e","\u003cp\u003ePresented to Prosky for his role as Mr. Buchanan in \"Jabberwocky\".\u003c/p\u003e","\u003cp\u003eSun Weekly newspaper.\u003c/p\u003e","\u003cp\u003ePeople Weekly magazine.\u003c/p\u003e","\u003cp\u003eRelax magazine. In Polish.\u003c/p\u003e","\u003cp\u003eNew Jersey Lifestyle magazine.\u003c/p\u003e","\u003cp\u003ePen World magazine.\u003c/p\u003e","\u003cp\u003eWashington Post Magazine.\u003c/p\u003e","\u003cp\u003eDaily News newspaper.\u003c/p\u003e","\u003cp\u003eDossier magazine.\u003c/p\u003e","\u003cp\u003eWashington Times newspaper. Article mentions Prosky's Hayes award for \"The Price\".\u003c/p\u003e","\u003cp\u003eAlso includes correspondence.\u003c/p\u003e","\u003cp\u003eContains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically.\u003c/p\u003e","\u003cp\u003eContains copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public serve announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations.\u003c/p\u003e","\u003cp\u003eVHS, 18 minutes, color\u003c/p\u003e","\u003cp\u003eAudio reel.\nAvailable on digital format.\u003c/p\u003e","\u003cp\u003eReel, 60 seconds, color.\nAvailable on digital format.\u003c/p\u003e","\u003cp\u003eReel, 60 seconds, color, U.S. Dept. of Agriculture Food Safety and Quality Service.\nAvailable on digital format.\u003c/p\u003e","\u003cp\u003eAudio reel.\nAvailable on digital format.\u003c/p\u003e","\u003cp\u003eVHS, #466216, Final Viewing Cassette\u003c/p\u003e","\u003cp\u003eVHS, #466217, Final Viewing Cassette\u003c/p\u003e","\u003cp\u003eVHS, #466218, Final Viewing Cassette\u003c/p\u003e","\u003cp\u003eVHS, #466219, Final Viewing Cassette\u003c/p\u003e","\u003cp\u003eVHS, #466220, Final Viewing Cassette\u003c/p\u003e","\u003cp\u003eVHS, #466221, Final Viewing Cassette\u003c/p\u003e","\u003cp\u003eAudio, 6 Demo spots, 7.5 IPS.\nAvailable on digital format.\u003c/p\u003e","\u003cp\u003eVHS, 30 minutes\u003c/p\u003e","\u003cp\u003eCD, Arena Stage press photos\u003c/p\u003e","\u003cp\u003eDVD, DEMO\u003c/p\u003e","\u003cp\u003eDVD, Tape 1, Harris Theatre GMU\u003c/p\u003e","\u003cp\u003eDVD, Tape 2, Harris Theatre GMU\u003c/p\u003e","\u003cp\u003eDVD, Clips for Lecture\u003c/p\u003e","\u003cp\u003eAudio cassette tape, WABC Talk Radio 77am\u003c/p\u003e","\u003cp\u003eDVD\u003c/p\u003e","\u003cp\u003eVideo reel, 60 seconds.\nAvailable on digital format.\u003c/p\u003e","\u003cp\u003eAudio cassette tape, Tape 1\u003c/p\u003e","\u003cp\u003eAudio cassette tape, Tape 2\u003c/p\u003e","\u003cp\u003eAudio Cassette Tape, WTOP Radio\u003c/p\u003e","\u003cp\u003eDVD\u003c/p\u003e","\u003cp\u003eAudio reel.\nAvailable on digital format.\u003c/p\u003e","\u003cp\u003eThe fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life.\u003c/p\u003e","\u003cp\u003eBlack binder with \"Thief\" label\u003c/p\u003e","\u003cp\u003eBlack binder with Robert Prosky\u003c/p\u003e","\u003cp\u003ePhotograph\u003c/p\u003e","\u003cp\u003ePhotograph - Appearances\u003c/p\u003e","\u003cp\u003ePhotograph - Theatre\u003c/p\u003e","\u003cp\u003eNomination for Best Supporting Actor in a Television Movie \"Into Thin Air\"\u003c/p\u003e","\u003cp\u003eSix different shots\u003c/p\u003e","\u003cp\u003eInterview page 37\u003c/p\u003e","\u003cp\u003eThree matted portraits\u003c/p\u003e","\u003cp\u003eAutographed film poster\u003c/p\u003e","\u003cp\u003eProduction poster\u003c/p\u003e","\u003cp\u003ePhotographs, newspaper clippings, playbills\u003c/p\u003e","\u003cp\u003eBlue album with flowers on cover, photographs, newspaper clippings, playbills\u003c/p\u003e","\u003cp\u003eAutographed copy by Kathryn Crosby\u003c/p\u003e","\u003cp\u003eConsists of objects from Prosky's professional career and personal life.\u003c/p\u003e","\u003cp\u003ePaperweight\u003c/p\u003e","\u003cp\u003eMiniature briefcase\u003c/p\u003e","\u003cp\u003eRobert Prosky's name monogrammed on one side.\u003c/p\u003e","\u003cp\u003eFord's Theatre, Dog tags\u003c/p\u003e","\u003cp\u003ePlaque\u003c/p\u003e","\u003cp\u003eSouvenir bag\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope 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and Contents note","Scope and Contents note","Scope and Contents note"],"scopecontent_tesim":["Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials. ","The collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series. ","The second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks. ","The third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks. ","The fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations. ","The fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life. ","The sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs. ","Contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically.","Includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes.","Arena Stage. Contains press releases, reviews, and Arena Stage publications.","Arena Stage. Contains press releases, reviews, and Arena Stage publications.","Arena Stage.","Quarterdeck Theatre.","Gonzaga College. Prosky not in cast.","Arena Stage.","Lucille Lortel Theatre.","Berkshire Theatre Festival. Review by Herbert Wolff.","Arena Stage.","Old Academy.","Quarterdeck Theatre.","Arena Stage.","Arena Stage.","Brooks Atkinson Theatre.","Arena Stage.","Arena Stage. Review by Mel Gussow.","Ford's Theatre.","Also contains television reviews and biographical information.","Goodman Theatre.","John Golden Theatre.","Manhattan Ensemble Theater. Also contains postcards with advertisements.","Fred Miller Theatre.","Arena Stage.","Arena Stage.","Ford's Theatre.","Lee Strasberg Theatre Center.","Delaware Theatre Company (1993) and Arena Stage (1995).","Douglass College.","Arena Stage.","Arena Stage.","Fred Miller Theatre.","Morosco Theatre. Prosky not in cast.","Arena Stage.","Gate Theatre.","Cape May Stage.","Arena Stage. Also contains a pre-production announcement.","Quarterdeck Theatre.","Arena Stage. Contains press releases, reviews, and Arena Stage publications.","Colonial Theatre.","Quarterdeck Theatre.","Arena Stage.","Arena Stage.","Coronet Theatre. Prosky not in cast.","Ambassador Theatre.","Royal Poinciana Playhouse. Prosky not in cast.","Booth Theatre.","One copy entirely in Russian and one with only the title translated.","Booth Theatre. Also contains some correspondence.","Contains stories on Zelda Fichandler and Robert Prosky.","Fred Miller Theatre.","Hong Kong Arts Festival.","Guthrie Theatre.","Arena Stage.","Also contains advertisements, rosters, and announcements.","Contains mostly clippings and reviews about Prosky's film career, but there are also a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\"","Also contains correspondence.","Contains production facts, one color production still photograph, and one black and white photograph of the director Gayle Knutson.","Also includes information on \"Glengarry Glenn Ross\" and television work.","Contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\"","The second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically.","Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Arranged alphabetically by name type of correspondence, then chronologically.","RESTRICTED","Also includes correspondence about Prosky's Tony Award nomination.","Contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. This subseries also contains transcripts from a self-recorded autobiography by Prosky. Arranged alphabetically by article title and type of document, then chronologically.","Post Eagle newspaper.","Columbia Flier newspaper.","America 275 Illustrated Story no. 11-79.","Prosky nominated for \"Glengarry Glenross\".\"","Prosky nominated for \"A Walk in the Woods\".","Prosky won best actor in a short film for \"Grandfather's Birthday\".","Folder 1.","Folder 2.","Cynthia Snyder Public Relations.","Article by Zelda Fichandler.","Presented to both Prosky and his wife Ida.","Philadelphia magazine.","Prosky served as the master of ceremonies.","Prosky nominated for his role in \"Our Town\".","Prosky honored with the American Express Tribute.","Washington Post newspaper.","Roxborough Times newspaper.","Home News newspaper.","New York Times Newspaper.","Equity News newsletter.","New York Times newspaper.","Arena Stage.","Folder 1.","Folder 2.","Presented to Prosky for his role as Mr. Buchanan in \"Jabberwocky\".","Sun Weekly newspaper.","People Weekly magazine.","Relax magazine. In Polish.","New Jersey Lifestyle magazine.","Pen World magazine.","Washington Post Magazine.","Daily News newspaper.","Dossier magazine.","Washington Times newspaper. Article mentions Prosky's Hayes award for \"The Price\".","Also includes correspondence.","Contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically.","Contains copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public serve announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations.","VHS, 18 minutes, color","Audio reel.\nAvailable on digital format.","Reel, 60 seconds, color.\nAvailable on digital format.","Reel, 60 seconds, color, U.S. Dept. of Agriculture Food Safety and Quality Service.\nAvailable on digital format.","Audio reel.\nAvailable on digital format.","VHS, #466216, Final Viewing Cassette","VHS, #466217, Final Viewing Cassette","VHS, #466218, Final Viewing Cassette","VHS, #466219, Final Viewing Cassette","VHS, #466220, Final Viewing Cassette","VHS, #466221, Final Viewing Cassette","Audio, 6 Demo spots, 7.5 IPS.\nAvailable on digital format.","VHS, 30 minutes","CD, Arena Stage press photos","DVD, DEMO","DVD, Tape 1, Harris Theatre GMU","DVD, Tape 2, Harris Theatre GMU","DVD, Clips for Lecture","Audio cassette tape, WABC Talk Radio 77am","DVD","Video reel, 60 seconds.\nAvailable on digital format.","Audio cassette tape, Tape 1","Audio cassette tape, Tape 2","Audio Cassette Tape, WTOP Radio","DVD","Audio reel.\nAvailable on digital format.","The fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life.","Black binder with \"Thief\" label","Black binder with Robert Prosky","Photograph","Photograph - Appearances","Photograph - Theatre","Nomination for Best Supporting Actor in a Television Movie \"Into Thin Air\"","Six different shots","Interview page 37","Three matted portraits","Autographed film poster","Production poster","Photographs, newspaper clippings, playbills","Blue album with flowers on cover, photographs, newspaper clippings, playbills","Autographed copy by Kathryn Crosby","Consists of objects from Prosky's professional career and personal life.","Paperweight","Miniature briefcase","Robert Prosky's name monogrammed on one side.","Ford's Theatre, Dog tags","Plaque","Souvenir bag"],"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_cb72825d540615d1fef3eb400e234f81\" label=\"Abstract\"\u003eConsists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.\u003c/abstract\u003e"],"abstract_tesim":["Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials."],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Prosky, Robert, 1930-2008"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Prosky, Robert, 1930-2008"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T05:32:14.503Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_150","ead_ssi":"vifgm_repositories_2_resources_150","_root_":"vifgm_repositories_2_resources_150","_nest_parent_":"vifgm_repositories_2_resources_150","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_150.xml","title_filing_ssi":"Robert Prosky papers","title_ssm":["Robert Prosky Papers"],"title_tesim":["Robert Prosky Papers"],"unitdate_ssm":["1909-2007"],"unitdate_inclusive_ssm":["1909-2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0022","/repositories/2/resources/150"],"text":["C0022","/repositories/2/resources/150","Robert Prosky Papers","Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings","There are no access restrictions.","Audiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information.","Arranged into six series:","Series Series 1: Professional, 1954-2007 (Boxes 1-5) Series 2: Personal, 1909-2007 (Boxes 5-8) Series 3: Photographs, 1930s-2005 (Boxes 9-11) Series 4: Audiovisual, 1960-2007 (Boxes 12-13) Series 5: Oversize, 1950s-2006 (Boxes 14-15) Series 6: Realia, 1998-2004 (Box 16)","Born in Philadelphia, Robert Prosky (1930-2008) spent much of his career as an actor in more than 200 plays at the Arena Stage in Washington, D.C., on Broadway in New York City, and in regional theatre. Prosky's association with the Arena Stage included more than 130 productions over the course of 20 years. His Broadway appearances included \"Glengarry Glenross,\" \"A Walk in the Woods,\" and \"A View from the Bridge.\" Highlights from regional theater include \"Death of a Salesman,\" \"Twelfth Night,\" and \"You Can't Take It With You.\" He also performed on stage in the Moscow Art Theatre in the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.","Beginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.","He received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C. ","Processed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025.","The Special Collections Research Center also holds the   and the papers of other Washington, D.C. theatre artists.","An oral history was performed with Robert Prosky for the   and is available for access.","Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials. ","The collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series. ","The second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks. ","The third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks. ","The fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations. ","The fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life. ","The sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs. ","Contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically.","Includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes.","Arena Stage. Contains press releases, reviews, and Arena Stage publications.","Arena Stage. Contains press releases, reviews, and Arena Stage publications.","Arena Stage.","Quarterdeck Theatre.","Gonzaga College. Prosky not in cast.","Arena Stage.","Lucille Lortel Theatre.","Berkshire Theatre Festival. Review by Herbert Wolff.","Arena Stage.","Old Academy.","Quarterdeck Theatre.","Arena Stage.","Arena Stage.","Brooks Atkinson Theatre.","Arena Stage.","Arena Stage. Review by Mel Gussow.","Ford's Theatre.","Also contains television reviews and biographical information.","Goodman Theatre.","John Golden Theatre.","Manhattan Ensemble Theater. Also contains postcards with advertisements.","Fred Miller Theatre.","Arena Stage.","Arena Stage.","Ford's Theatre.","Lee Strasberg Theatre Center.","Delaware Theatre Company (1993) and Arena Stage (1995).","Douglass College.","Arena Stage.","Arena Stage.","Fred Miller Theatre.","Morosco Theatre. Prosky not in cast.","Arena Stage.","Gate Theatre.","Cape May Stage.","Arena Stage. Also contains a pre-production announcement.","Quarterdeck Theatre.","Arena Stage. Contains press releases, reviews, and Arena Stage publications.","Colonial Theatre.","Quarterdeck Theatre.","Arena Stage.","Arena Stage.","Coronet Theatre. Prosky not in cast.","Ambassador Theatre.","Royal Poinciana Playhouse. Prosky not in cast.","Booth Theatre.","One copy entirely in Russian and one with only the title translated.","Booth Theatre. Also contains some correspondence.","Contains stories on Zelda Fichandler and Robert Prosky.","Fred Miller Theatre.","Hong Kong Arts Festival.","Guthrie Theatre.","Arena Stage.","Also contains advertisements, rosters, and announcements.","Contains mostly clippings and reviews about Prosky's film career, but there are also a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\"","Also contains correspondence.","Contains production facts, one color production still photograph, and one black and white photograph of the director Gayle Knutson.","Also includes information on \"Glengarry Glenn Ross\" and television work.","Contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\"","The second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically.","Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Arranged alphabetically by name type of correspondence, then chronologically.","RESTRICTED","Also includes correspondence about Prosky's Tony Award nomination.","Contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. This subseries also contains transcripts from a self-recorded autobiography by Prosky. Arranged alphabetically by article title and type of document, then chronologically.","Post Eagle newspaper.","Columbia Flier newspaper.","America 275 Illustrated Story no. 11-79.","Prosky nominated for \"Glengarry Glenross\".\"","Prosky nominated for \"A Walk in the Woods\".","Prosky won best actor in a short film for \"Grandfather's Birthday\".","Folder 1.","Folder 2.","Cynthia Snyder Public Relations.","Article by Zelda Fichandler.","Presented to both Prosky and his wife Ida.","Philadelphia magazine.","Prosky served as the master of ceremonies.","Prosky nominated for his role in \"Our Town\".","Prosky honored with the American Express Tribute.","Washington Post newspaper.","Roxborough Times newspaper.","Home News newspaper.","New York Times Newspaper.","Equity News newsletter.","New York Times newspaper.","Arena Stage.","Folder 1.","Folder 2.","Presented to Prosky for his role as Mr. Buchanan in \"Jabberwocky\".","Sun Weekly newspaper.","People Weekly magazine.","Relax magazine. In Polish.","New Jersey Lifestyle magazine.","Pen World magazine.","Washington Post Magazine.","Daily News newspaper.","Dossier magazine.","Washington Times newspaper. Article mentions Prosky's Hayes award for \"The Price\".","Also includes correspondence.","Contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically.","Contains copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public serve announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations.","VHS, 18 minutes, color","Audio reel.\nAvailable on digital format.","Reel, 60 seconds, color.\nAvailable on digital format.","Reel, 60 seconds, color, U.S. Dept. of Agriculture Food Safety and Quality Service.\nAvailable on digital format.","Audio reel.\nAvailable on digital format.","VHS, #466216, Final Viewing Cassette","VHS, #466217, Final Viewing Cassette","VHS, #466218, Final Viewing Cassette","VHS, #466219, Final Viewing Cassette","VHS, #466220, Final Viewing Cassette","VHS, #466221, Final Viewing Cassette","Audio, 6 Demo spots, 7.5 IPS.\nAvailable on digital format.","VHS, 30 minutes","CD, Arena Stage press photos","DVD, DEMO","DVD, Tape 1, Harris Theatre GMU","DVD, Tape 2, Harris Theatre GMU","DVD, Clips for Lecture","Audio cassette tape, WABC Talk Radio 77am","DVD","Video reel, 60 seconds.\nAvailable on digital format.","Audio cassette tape, Tape 1","Audio cassette tape, Tape 2","Audio Cassette Tape, WTOP Radio","DVD","Audio reel.\nAvailable on digital format.","The fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life.","Black binder with \"Thief\" label","Black binder with Robert Prosky","Photograph","Photograph - Appearances","Photograph - Theatre","Nomination for Best Supporting Actor in a Television Movie \"Into Thin Air\"","Six different shots","Interview page 37","Three matted portraits","Autographed film poster","Production poster","Photographs, newspaper clippings, playbills","Blue album with flowers on cover, photographs, newspaper clippings, playbills","Autographed copy by Kathryn Crosby","Consists of objects from Prosky's professional career and personal life.","Paperweight","Miniature briefcase","Robert Prosky's name monogrammed on one side.","Ford's Theatre, Dog tags","Plaque","Souvenir bag","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Prosky, Robert, 1930-2008","English \n.    "],"unitid_tesim":["C0022","/repositories/2/resources/150"],"normalized_title_ssm":["Robert Prosky Papers"],"collection_title_tesim":["Robert Prosky Papers"],"collection_ssim":["Robert Prosky Papers"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Prosky, Robert, 1930-2008"],"creator_ssim":["Prosky, Robert, 1930-2008"],"creator_persname_ssim":["Prosky, Robert, 1930-2008"],"creators_ssim":["Prosky, Robert, 1930-2008"],"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 Robert Prosky in 2007-2008."],"access_subjects_ssim":["Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings"],"access_subjects_ssm":["Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings"],"has_online_content_ssim":["false"],"extent_ssm":["9 Linear Feet 16 boxes"],"extent_tesim":["9 Linear Feet 16 boxes"],"genreform_ssim":["Photographs","Video recordings"],"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\u003eAudiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Audiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information."],"arrangement_html_tesm":["\u003cp\u003eArranged into six series:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Professional, 1954-2007 (Boxes 1-5)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Personal, 1909-2007 (Boxes 5-8)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, 1930s-2005 (Boxes 9-11)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Audiovisual, 1960-2007 (Boxes 12-13)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Oversize, 1950s-2006 (Boxes 14-15)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Realia, 1998-2004 (Box 16)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into six series:","Series Series 1: Professional, 1954-2007 (Boxes 1-5) Series 2: Personal, 1909-2007 (Boxes 5-8) Series 3: Photographs, 1930s-2005 (Boxes 9-11) Series 4: Audiovisual, 1960-2007 (Boxes 12-13) Series 5: Oversize, 1950s-2006 (Boxes 14-15) Series 6: Realia, 1998-2004 (Box 16)"],"bioghist_html_tesm":["\u003cp\u003eBorn in Philadelphia, Robert Prosky (1930-2008) spent much of his career as an actor in more than 200 plays at the Arena Stage in Washington, D.C., on Broadway in New York City, and in regional theatre. Prosky's association with the Arena Stage included more than 130 productions over the course of 20 years. His Broadway appearances included \"Glengarry Glenross,\" \"A Walk in the Woods,\" and \"A View from the Bridge.\" Highlights from regional theater include \"Death of a Salesman,\" \"Twelfth Night,\" and \"You Can't Take It With You.\" He also performed on stage in the Moscow Art Theatre in the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.\u003c/p\u003e\n","\u003cp\u003eBeginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.\u003c/p\u003e\n","\u003cp\u003eHe received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Born in Philadelphia, Robert Prosky (1930-2008) spent much of his career as an actor in more than 200 plays at the Arena Stage in Washington, D.C., on Broadway in New York City, and in regional theatre. Prosky's association with the Arena Stage included more than 130 productions over the course of 20 years. His Broadway appearances included \"Glengarry Glenross,\" \"A Walk in the Woods,\" and \"A View from the Bridge.\" Highlights from regional theater include \"Death of a Salesman,\" \"Twelfth Night,\" and \"You Can't Take It With You.\" He also performed on stage in the Moscow Art Theatre in the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.","Beginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.","He received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C. "],"prefercite_html_tesm":["\u003cp\u003eRobert Prosky papers, C0022, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Robert Prosky papers, C0022, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Arena Stage records\" href=\"https://aspace.gmu.edu/resources/c0017\"\u003e\u003c/extptr\u003e and the papers of other Washington, D.C. theatre artists.\u003c/p\u003e\n","\u003cp\u003eAn oral history was performed with Robert Prosky for the \u003cextptr show=\"new\" title=\"George Mason University Oral History Program collection\" href=\"https://aspace.gmu.edu/resources/r0121\"\u003e\u003c/extptr\u003e and is available for access.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the   and the papers of other Washington, D.C. theatre artists.","An oral history was performed with Robert Prosky for the   and is available for access."],"scopecontent_html_tesm":["\u003cp\u003eConsists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials. \u003c/p\u003e\n","\u003cp\u003eThe collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series. \u003c/p\u003e\n","\u003cp\u003eThe second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks. \u003c/p\u003e\n","\u003cp\u003eThe third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks. \u003c/p\u003e\n","\u003cp\u003eThe fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations. \u003c/p\u003e\n","\u003cp\u003eThe fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life. \u003c/p\u003e\n","\u003cp\u003eThe sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs. \u003c/p\u003e","\u003cp\u003eContains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically.\u003c/p\u003e","\u003cp\u003eIncludes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes.\u003c/p\u003e","\u003cp\u003eArena Stage. Contains press releases, reviews, and Arena Stage publications.\u003c/p\u003e","\u003cp\u003eArena Stage. Contains press releases, reviews, and Arena Stage publications.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eQuarterdeck Theatre.\u003c/p\u003e","\u003cp\u003eGonzaga College. Prosky not in cast.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eLucille Lortel Theatre.\u003c/p\u003e","\u003cp\u003eBerkshire Theatre Festival. Review by Herbert Wolff.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eOld Academy.\u003c/p\u003e","\u003cp\u003eQuarterdeck Theatre.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eBrooks Atkinson Theatre.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eArena Stage. Review by Mel Gussow.\u003c/p\u003e","\u003cp\u003eFord's Theatre.\u003c/p\u003e","\u003cp\u003eAlso contains television reviews and biographical information.\u003c/p\u003e","\u003cp\u003eGoodman Theatre.\u003c/p\u003e","\u003cp\u003eJohn Golden Theatre.\u003c/p\u003e","\u003cp\u003eManhattan Ensemble Theater. Also contains postcards with advertisements.\u003c/p\u003e","\u003cp\u003eFred Miller Theatre.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eFord's Theatre.\u003c/p\u003e","\u003cp\u003eLee Strasberg Theatre Center.\u003c/p\u003e","\u003cp\u003eDelaware Theatre Company (1993) and Arena Stage (1995).\u003c/p\u003e","\u003cp\u003eDouglass College.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eFred Miller Theatre.\u003c/p\u003e","\u003cp\u003eMorosco Theatre. Prosky not in cast.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eGate Theatre.\u003c/p\u003e","\u003cp\u003eCape May Stage.\u003c/p\u003e","\u003cp\u003eArena Stage. Also contains a pre-production announcement.\u003c/p\u003e","\u003cp\u003eQuarterdeck Theatre.\u003c/p\u003e","\u003cp\u003eArena Stage. Contains press releases, reviews, and Arena Stage publications.\u003c/p\u003e","\u003cp\u003eColonial Theatre.\u003c/p\u003e","\u003cp\u003eQuarterdeck Theatre.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eCoronet Theatre. Prosky not in cast.\u003c/p\u003e","\u003cp\u003eAmbassador Theatre.\u003c/p\u003e","\u003cp\u003eRoyal Poinciana Playhouse. Prosky not in cast.\u003c/p\u003e","\u003cp\u003eBooth Theatre.\u003c/p\u003e","\u003cp\u003eOne copy entirely in Russian and one with only the title translated.\u003c/p\u003e","\u003cp\u003eBooth Theatre. Also contains some correspondence.\u003c/p\u003e","\u003cp\u003eContains stories on Zelda Fichandler and Robert Prosky.\u003c/p\u003e","\u003cp\u003eFred Miller Theatre.\u003c/p\u003e","\u003cp\u003eHong Kong Arts Festival.\u003c/p\u003e","\u003cp\u003eGuthrie Theatre.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eAlso contains advertisements, rosters, and announcements.\u003c/p\u003e","\u003cp\u003eContains mostly clippings and reviews about Prosky's film career, but there are also a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\"\u003c/p\u003e","\u003cp\u003eAlso contains correspondence.\u003c/p\u003e","\u003cp\u003eContains production facts, one color production still photograph, and one black and white photograph of the director Gayle Knutson.\u003c/p\u003e","\u003cp\u003eAlso includes information on \"Glengarry Glenn Ross\" and television work.\u003c/p\u003e","\u003cp\u003eContains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\"\u003c/p\u003e","\u003cp\u003eThe second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically.\u003c/p\u003e","\u003cp\u003eSubseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Arranged alphabetically by name type of correspondence, then chronologically.\u003c/p\u003e","\u003cp\u003eRESTRICTED\u003c/p\u003e","\u003cp\u003eAlso includes correspondence about Prosky's Tony Award nomination.\u003c/p\u003e","\u003cp\u003eContains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. This subseries also contains transcripts from a self-recorded autobiography by Prosky. Arranged alphabetically by article title and type of document, then chronologically.\u003c/p\u003e","\u003cp\u003ePost Eagle newspaper.\u003c/p\u003e","\u003cp\u003eColumbia Flier newspaper.\u003c/p\u003e","\u003cp\u003eAmerica 275 Illustrated Story no. 11-79.\u003c/p\u003e","\u003cp\u003eProsky nominated for \"Glengarry Glenross\".\"\u003c/p\u003e","\u003cp\u003eProsky nominated for \"A Walk in the Woods\".\u003c/p\u003e","\u003cp\u003eProsky won best actor in a short film for \"Grandfather's Birthday\".\u003c/p\u003e","\u003cp\u003eFolder 1.\u003c/p\u003e","\u003cp\u003eFolder 2.\u003c/p\u003e","\u003cp\u003eCynthia Snyder Public Relations.\u003c/p\u003e","\u003cp\u003eArticle by Zelda Fichandler.\u003c/p\u003e","\u003cp\u003ePresented to both Prosky and his wife Ida.\u003c/p\u003e","\u003cp\u003ePhiladelphia magazine.\u003c/p\u003e","\u003cp\u003eProsky served as the master of ceremonies.\u003c/p\u003e","\u003cp\u003eProsky nominated for his role in \"Our Town\".\u003c/p\u003e","\u003cp\u003eProsky honored with the American Express Tribute.\u003c/p\u003e","\u003cp\u003eWashington Post newspaper.\u003c/p\u003e","\u003cp\u003eRoxborough Times newspaper.\u003c/p\u003e","\u003cp\u003eHome News newspaper.\u003c/p\u003e","\u003cp\u003eNew York Times Newspaper.\u003c/p\u003e","\u003cp\u003eEquity News newsletter.\u003c/p\u003e","\u003cp\u003eNew York Times newspaper.\u003c/p\u003e","\u003cp\u003eArena Stage.\u003c/p\u003e","\u003cp\u003eFolder 1.\u003c/p\u003e","\u003cp\u003eFolder 2.\u003c/p\u003e","\u003cp\u003ePresented to Prosky for his role as Mr. Buchanan in \"Jabberwocky\".\u003c/p\u003e","\u003cp\u003eSun Weekly newspaper.\u003c/p\u003e","\u003cp\u003ePeople Weekly magazine.\u003c/p\u003e","\u003cp\u003eRelax magazine. In Polish.\u003c/p\u003e","\u003cp\u003eNew Jersey Lifestyle magazine.\u003c/p\u003e","\u003cp\u003ePen World magazine.\u003c/p\u003e","\u003cp\u003eWashington Post Magazine.\u003c/p\u003e","\u003cp\u003eDaily News newspaper.\u003c/p\u003e","\u003cp\u003eDossier magazine.\u003c/p\u003e","\u003cp\u003eWashington Times newspaper. Article mentions Prosky's Hayes award for \"The Price\".\u003c/p\u003e","\u003cp\u003eAlso includes correspondence.\u003c/p\u003e","\u003cp\u003eContains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically.\u003c/p\u003e","\u003cp\u003eContains copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public serve announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations.\u003c/p\u003e","\u003cp\u003eVHS, 18 minutes, color\u003c/p\u003e","\u003cp\u003eAudio reel.\nAvailable on digital format.\u003c/p\u003e","\u003cp\u003eReel, 60 seconds, color.\nAvailable on digital format.\u003c/p\u003e","\u003cp\u003eReel, 60 seconds, color, U.S. Dept. of Agriculture Food Safety and Quality Service.\nAvailable on digital format.\u003c/p\u003e","\u003cp\u003eAudio reel.\nAvailable on digital format.\u003c/p\u003e","\u003cp\u003eVHS, #466216, Final Viewing Cassette\u003c/p\u003e","\u003cp\u003eVHS, #466217, Final Viewing Cassette\u003c/p\u003e","\u003cp\u003eVHS, #466218, Final Viewing Cassette\u003c/p\u003e","\u003cp\u003eVHS, #466219, Final Viewing Cassette\u003c/p\u003e","\u003cp\u003eVHS, #466220, Final Viewing Cassette\u003c/p\u003e","\u003cp\u003eVHS, #466221, Final Viewing Cassette\u003c/p\u003e","\u003cp\u003eAudio, 6 Demo spots, 7.5 IPS.\nAvailable on digital format.\u003c/p\u003e","\u003cp\u003eVHS, 30 minutes\u003c/p\u003e","\u003cp\u003eCD, Arena Stage press photos\u003c/p\u003e","\u003cp\u003eDVD, DEMO\u003c/p\u003e","\u003cp\u003eDVD, Tape 1, Harris Theatre GMU\u003c/p\u003e","\u003cp\u003eDVD, Tape 2, Harris Theatre GMU\u003c/p\u003e","\u003cp\u003eDVD, Clips for Lecture\u003c/p\u003e","\u003cp\u003eAudio cassette tape, WABC Talk Radio 77am\u003c/p\u003e","\u003cp\u003eDVD\u003c/p\u003e","\u003cp\u003eVideo reel, 60 seconds.\nAvailable on digital format.\u003c/p\u003e","\u003cp\u003eAudio cassette tape, Tape 1\u003c/p\u003e","\u003cp\u003eAudio cassette tape, Tape 2\u003c/p\u003e","\u003cp\u003eAudio Cassette Tape, WTOP Radio\u003c/p\u003e","\u003cp\u003eDVD\u003c/p\u003e","\u003cp\u003eAudio reel.\nAvailable on digital format.\u003c/p\u003e","\u003cp\u003eThe fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life.\u003c/p\u003e","\u003cp\u003eBlack binder with \"Thief\" label\u003c/p\u003e","\u003cp\u003eBlack binder with Robert Prosky\u003c/p\u003e","\u003cp\u003ePhotograph\u003c/p\u003e","\u003cp\u003ePhotograph - Appearances\u003c/p\u003e","\u003cp\u003ePhotograph - Theatre\u003c/p\u003e","\u003cp\u003eNomination for Best Supporting Actor in a Television Movie \"Into Thin Air\"\u003c/p\u003e","\u003cp\u003eSix different shots\u003c/p\u003e","\u003cp\u003eInterview page 37\u003c/p\u003e","\u003cp\u003eThree matted portraits\u003c/p\u003e","\u003cp\u003eAutographed film poster\u003c/p\u003e","\u003cp\u003eProduction poster\u003c/p\u003e","\u003cp\u003ePhotographs, newspaper clippings, playbills\u003c/p\u003e","\u003cp\u003eBlue album with flowers on cover, photographs, newspaper clippings, playbills\u003c/p\u003e","\u003cp\u003eAutographed copy by Kathryn Crosby\u003c/p\u003e","\u003cp\u003eConsists of objects from Prosky's professional career and personal life.\u003c/p\u003e","\u003cp\u003ePaperweight\u003c/p\u003e","\u003cp\u003eMiniature briefcase\u003c/p\u003e","\u003cp\u003eRobert Prosky's name monogrammed on one side.\u003c/p\u003e","\u003cp\u003eFord's Theatre, Dog tags\u003c/p\u003e","\u003cp\u003ePlaque\u003c/p\u003e","\u003cp\u003eSouvenir bag\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents 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and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents 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and Contents note","Scope and Contents note","Scope and Contents note"],"scopecontent_tesim":["Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials. ","The collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series. ","The second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks. ","The third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks. ","The fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations. ","The fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life. ","The sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs. ","Contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically.","Includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes.","Arena Stage. Contains press releases, reviews, and Arena Stage publications.","Arena Stage. Contains press releases, reviews, and Arena Stage publications.","Arena Stage.","Quarterdeck Theatre.","Gonzaga College. Prosky not in cast.","Arena Stage.","Lucille Lortel Theatre.","Berkshire Theatre Festival. Review by Herbert Wolff.","Arena Stage.","Old Academy.","Quarterdeck Theatre.","Arena Stage.","Arena Stage.","Brooks Atkinson Theatre.","Arena Stage.","Arena Stage. Review by Mel Gussow.","Ford's Theatre.","Also contains television reviews and biographical information.","Goodman Theatre.","John Golden Theatre.","Manhattan Ensemble Theater. Also contains postcards with advertisements.","Fred Miller Theatre.","Arena Stage.","Arena Stage.","Ford's Theatre.","Lee Strasberg Theatre Center.","Delaware Theatre Company (1993) and Arena Stage (1995).","Douglass College.","Arena Stage.","Arena Stage.","Fred Miller Theatre.","Morosco Theatre. Prosky not in cast.","Arena Stage.","Gate Theatre.","Cape May Stage.","Arena Stage. Also contains a pre-production announcement.","Quarterdeck Theatre.","Arena Stage. Contains press releases, reviews, and Arena Stage publications.","Colonial Theatre.","Quarterdeck Theatre.","Arena Stage.","Arena Stage.","Coronet Theatre. Prosky not in cast.","Ambassador Theatre.","Royal Poinciana Playhouse. Prosky not in cast.","Booth Theatre.","One copy entirely in Russian and one with only the title translated.","Booth Theatre. Also contains some correspondence.","Contains stories on Zelda Fichandler and Robert Prosky.","Fred Miller Theatre.","Hong Kong Arts Festival.","Guthrie Theatre.","Arena Stage.","Also contains advertisements, rosters, and announcements.","Contains mostly clippings and reviews about Prosky's film career, but there are also a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\"","Also contains correspondence.","Contains production facts, one color production still photograph, and one black and white photograph of the director Gayle Knutson.","Also includes information on \"Glengarry Glenn Ross\" and television work.","Contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\"","The second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically.","Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Arranged alphabetically by name type of correspondence, then chronologically.","RESTRICTED","Also includes correspondence about Prosky's Tony Award nomination.","Contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. This subseries also contains transcripts from a self-recorded autobiography by Prosky. Arranged alphabetically by article title and type of document, then chronologically.","Post Eagle newspaper.","Columbia Flier newspaper.","America 275 Illustrated Story no. 11-79.","Prosky nominated for \"Glengarry Glenross\".\"","Prosky nominated for \"A Walk in the Woods\".","Prosky won best actor in a short film for \"Grandfather's Birthday\".","Folder 1.","Folder 2.","Cynthia Snyder Public Relations.","Article by Zelda Fichandler.","Presented to both Prosky and his wife Ida.","Philadelphia magazine.","Prosky served as the master of ceremonies.","Prosky nominated for his role in \"Our Town\".","Prosky honored with the American Express Tribute.","Washington Post newspaper.","Roxborough Times newspaper.","Home News newspaper.","New York Times Newspaper.","Equity News newsletter.","New York Times newspaper.","Arena Stage.","Folder 1.","Folder 2.","Presented to Prosky for his role as Mr. Buchanan in \"Jabberwocky\".","Sun Weekly newspaper.","People Weekly magazine.","Relax magazine. In Polish.","New Jersey Lifestyle magazine.","Pen World magazine.","Washington Post Magazine.","Daily News newspaper.","Dossier magazine.","Washington Times newspaper. Article mentions Prosky's Hayes award for \"The Price\".","Also includes correspondence.","Contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically.","Contains copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public serve announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations.","VHS, 18 minutes, color","Audio reel.\nAvailable on digital format.","Reel, 60 seconds, color.\nAvailable on digital format.","Reel, 60 seconds, color, U.S. Dept. of Agriculture Food Safety and Quality Service.\nAvailable on digital format.","Audio reel.\nAvailable on digital format.","VHS, #466216, Final Viewing Cassette","VHS, #466217, Final Viewing Cassette","VHS, #466218, Final Viewing Cassette","VHS, #466219, Final Viewing Cassette","VHS, #466220, Final Viewing Cassette","VHS, #466221, Final Viewing Cassette","Audio, 6 Demo spots, 7.5 IPS.\nAvailable on digital format.","VHS, 30 minutes","CD, Arena Stage press photos","DVD, DEMO","DVD, Tape 1, Harris Theatre GMU","DVD, Tape 2, Harris Theatre GMU","DVD, Clips for Lecture","Audio cassette tape, WABC Talk Radio 77am","DVD","Video reel, 60 seconds.\nAvailable on digital format.","Audio cassette tape, Tape 1","Audio cassette tape, Tape 2","Audio Cassette Tape, WTOP Radio","DVD","Audio reel.\nAvailable on digital format.","The fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life.","Black binder with \"Thief\" label","Black binder with Robert Prosky","Photograph","Photograph - Appearances","Photograph - Theatre","Nomination for Best Supporting Actor in a Television Movie \"Into Thin Air\"","Six different shots","Interview page 37","Three matted portraits","Autographed film poster","Production poster","Photographs, newspaper clippings, playbills","Blue album with flowers on cover, photographs, newspaper clippings, playbills","Autographed copy by Kathryn Crosby","Consists of objects from Prosky's professional career and personal life.","Paperweight","Miniature briefcase","Robert Prosky's name monogrammed on one side.","Ford's Theatre, Dog tags","Plaque","Souvenir bag"],"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_cb72825d540615d1fef3eb400e234f81\" label=\"Abstract\"\u003eConsists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.\u003c/abstract\u003e"],"abstract_tesim":["Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials."],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Prosky, Robert, 1930-2008"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Prosky, Robert, 1930-2008"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T05:32:14.503Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_150"}},{"id":"vifgm_repositories_2_resources_739","type":"collection","attributes":{"title":"Susan Powers Kennelly Arena Stage scrapbook","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_739#creator","type":"document_value","attributes":{"value":"Kennelly, Susan Powers, 1937-2022","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_739#abstract_or_scope","type":"document_value","attributes":{"value":"Scrapbook of newspaper and periodical clippings covering Arena Stage's 1963-1964 season, compiled by Director of Public Relations Susan Powers Kennelly.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_739#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_739","ead_ssi":"vifgm_repositories_2_resources_739","_root_":"vifgm_repositories_2_resources_739","_nest_parent_":"vifgm_repositories_2_resources_739","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_739.xml","title_filing_ssi":"Susan Powers Kennelly Arena Stage scrapbook","title_ssm":["Susan Powers Kennelly Arena Stage scrapbook"],"title_tesim":["Susan Powers Kennelly Arena Stage scrapbook"],"unitdate_ssm":["1958, 1963-1964"],"unitdate_inclusive_ssm":["1958, 1963-1964"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0528","/repositories/2/resources/739"],"text":["C0528","/repositories/2/resources/739","Susan Powers Kennelly Arena Stage scrapbook","Theater","Performing arts","Theater programs","Theater -- Washington (D.C.)","Scrapbooks","Newspapers","Correspondence","There are no access restrictions.","This is a single item collection. Loose paper items were removed from the scrapbook and stored in two labeled folders.","St. Helena Star. 2022. \"Susan Kennelly Obituary (1937 - 2022) - Napa, CA.\" Legacy.Com. June 14, 2022. https://www.legacy.com/us/obituaries/sthelenastar/name/susan-kennelly-obituary?id=35210146.","Susan Powers (later known as Susan Powers Kennelly) was born in Omaha, Nebraska in 1937. She received a full tuition scholarship to attend the Catholic University of America in Washington, D.C. for her undergraduate studies where she majored in theatre, studying under the university's drama department founder Rev. Gilbert V. Hartke. In the early 1960s she joined Arena Stage as Director of Public Relations and later formed her own public relations firm, establishing relationships with folk singers and musicians performing in Washington, D.C. throughout the 1960s-1970s. In 1964, she married Justice Department lawyer Thomas Anthony Kennelly, with the ceremony being officiated by Father Hartke. Susan later left public relations and began a new career as a travel consultant. After raising their three children in Washington, D.C., Susan and Thomas moved to Napa, California in 1994 where Susan spent 18 years serving as director of tours and travel for the Fromm Institute for Lifelong Learning at the University of San Francisco. Susan passed away on June 5, 2022 at the age of 84.","One of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway ( The Great White Hope , 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals.","Processing completed by Meghan Glasbrenner in February 2025. Finding aid completed by Meghan Glasbrenner in March 2025.","The Special Collections Research Center holds other collections related to Arena Stage, including the  Arena Stage records ,  Zelda Fichandler papers , and  Thomas C. Fichandler papers .","Scrapbook of newspaper and periodical clippings covering Arena Stage's 1963-1964 season, compiled by Director of Public Relations Susan Powers Kennelly. The front inside cover included two loose letters, one addressed to J. Burke Knapp and signed by President Lyndon Johnson and one addressed to Zelda Fichandler and signed by First Lady Lady Bird Johnson. The inside back cover included a pile of loose newspaper clippings, most pertaining to Arena Stage productions, and Arena Stage programs for  The Front Page, Battle Dream, Hotel Paradiso, The Affair, Taming of the Shrew, Dark of the Moon , and  The Devils /. These items were removed and placed in two labeled folders.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Scrapbook of newspaper and periodical clippings covering Arena Stage's 1963-1964 season, compiled by Director of Public Relations Susan Powers Kennelly.","R 71, C 2, S 6","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Kennelly, Susan Powers, 1937-2022","Fichandler, Zelda, 1924-2016","Johnson, Lady Bird, 1912-2007","Johnson, Lyndon B. (Lyndon Baines), 1908-1973","Knapp, J. Burke (Joseph Burke), 1913-2009","English \n.    "],"unitid_tesim":["C0528","/repositories/2/resources/739"],"normalized_title_ssm":["Susan Powers Kennelly Arena Stage scrapbook"],"collection_title_tesim":["Susan Powers Kennelly Arena Stage scrapbook"],"collection_ssim":["Susan Powers Kennelly Arena Stage scrapbook"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Kennelly, Susan Powers, 1937-2022"],"creator_ssim":["Kennelly, Susan Powers, 1937-2022"],"creator_persname_ssim":["Kennelly, Susan Powers, 1937-2022"],"creators_ssim":["Kennelly, Susan Powers, 1937-2022"],"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 Thomas Kennelly, husband of Susan Powers Kennelly, in August 2023."],"access_subjects_ssim":["Theater","Performing arts","Theater programs","Theater -- Washington (D.C.)","Scrapbooks","Newspapers","Correspondence"],"access_subjects_ssm":["Theater","Performing arts","Theater programs","Theater -- Washington (D.C.)","Scrapbooks","Newspapers","Correspondence"],"has_online_content_ssim":["false"],"extent_ssm":["2 Linear Feet 1 box"],"extent_tesim":["2 Linear Feet 1 box"],"genreform_ssim":["Scrapbooks","Newspapers","Correspondence"],"date_range_isim":[1958,1959,1960,1961,1962,1963,1964],"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 is a single item collection. Loose paper items were removed from the scrapbook and stored in two labeled folders.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This is a single item collection. Loose paper items were removed from the scrapbook and stored in two labeled folders."],"bibliography_html_tesm":["\u003cp\u003eSt. Helena Star. 2022. \"Susan Kennelly Obituary (1937 - 2022) - Napa, CA.\" Legacy.Com. June 14, 2022. https://www.legacy.com/us/obituaries/sthelenastar/name/susan-kennelly-obituary?id=35210146.\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["St. Helena Star. 2022. \"Susan Kennelly Obituary (1937 - 2022) - Napa, CA.\" Legacy.Com. June 14, 2022. https://www.legacy.com/us/obituaries/sthelenastar/name/susan-kennelly-obituary?id=35210146."],"bioghist_html_tesm":["\u003cp\u003eSusan Powers (later known as Susan Powers Kennelly) was born in Omaha, Nebraska in 1937. She received a full tuition scholarship to attend the Catholic University of America in Washington, D.C. for her undergraduate studies where she majored in theatre, studying under the university's drama department founder Rev. Gilbert V. Hartke. In the early 1960s she joined Arena Stage as Director of Public Relations and later formed her own public relations firm, establishing relationships with folk singers and musicians performing in Washington, D.C. throughout the 1960s-1970s. In 1964, she married Justice Department lawyer Thomas Anthony Kennelly, with the ceremony being officiated by Father Hartke. Susan later left public relations and began a new career as a travel consultant. After raising their three children in Washington, D.C., Susan and Thomas moved to Napa, California in 1994 where Susan spent 18 years serving as director of tours and travel for the Fromm Institute for Lifelong Learning at the University of San Francisco. Susan passed away on June 5, 2022 at the age of 84.\u003c/p\u003e\n","\u003cp\u003eOne of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway (\u003ctitle\u003eThe Great White Hope\u003c/title\u003e, 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical and Historical Information"],"bioghist_tesim":["Susan Powers (later known as Susan Powers Kennelly) was born in Omaha, Nebraska in 1937. She received a full tuition scholarship to attend the Catholic University of America in Washington, D.C. for her undergraduate studies where she majored in theatre, studying under the university's drama department founder Rev. Gilbert V. Hartke. In the early 1960s she joined Arena Stage as Director of Public Relations and later formed her own public relations firm, establishing relationships with folk singers and musicians performing in Washington, D.C. throughout the 1960s-1970s. In 1964, she married Justice Department lawyer Thomas Anthony Kennelly, with the ceremony being officiated by Father Hartke. Susan later left public relations and began a new career as a travel consultant. After raising their three children in Washington, D.C., Susan and Thomas moved to Napa, California in 1994 where Susan spent 18 years serving as director of tours and travel for the Fromm Institute for Lifelong Learning at the University of San Francisco. Susan passed away on June 5, 2022 at the age of 84.","One of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway ( The Great White Hope , 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals."],"prefercite_html_tesm":["\u003cp\u003eSusan Powers Kennelly Arena Stage scrapbook, C0528, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e"],"prefercite_tesim":["Susan Powers Kennelly Arena Stage scrapbook, C0528, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Meghan Glasbrenner in February 2025. Finding aid completed by Meghan Glasbrenner in March 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Meghan Glasbrenner in February 2025. Finding aid completed by Meghan Glasbrenner in March 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other collections related to Arena Stage, including the \u003ca href=\"https://aspace.gmu.edu/resources/c0017\"\u003eArena Stage records\u003c/a\u003e, \u003ca href=\"https://aspace.gmu.edu/resources/c0010\"\u003eZelda Fichandler papers\u003c/a\u003e, and \u003ca href=\"https://aspace.gmu.edu/resources/c0197\"\u003eThomas C. Fichandler papers\u003c/a\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds other collections related to Arena Stage, including the  Arena Stage records ,  Zelda Fichandler papers , and  Thomas C. Fichandler papers ."],"scopecontent_html_tesm":["\u003cp\u003eScrapbook of newspaper and periodical clippings covering Arena Stage's 1963-1964 season, compiled by Director of Public Relations Susan Powers Kennelly. The front inside cover included two loose letters, one addressed to J. Burke Knapp and signed by President Lyndon Johnson and one addressed to Zelda Fichandler and signed by First Lady Lady Bird Johnson. The inside back cover included a pile of loose newspaper clippings, most pertaining to Arena Stage productions, and Arena Stage programs for \u003ctitle\u003eThe Front Page, Battle Dream, Hotel Paradiso, The Affair, Taming of the Shrew, Dark of the Moon\u003c/title\u003e, and \u003ctitle\u003eThe Devils\u003c/title\u003e/. These items were removed and placed in two labeled folders.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Scrapbook of newspaper and periodical clippings covering Arena Stage's 1963-1964 season, compiled by Director of Public Relations Susan Powers Kennelly. The front inside cover included two loose letters, one addressed to J. Burke Knapp and signed by President Lyndon Johnson and one addressed to Zelda Fichandler and signed by First Lady Lady Bird Johnson. The inside back cover included a pile of loose newspaper clippings, most pertaining to Arena Stage productions, and Arena Stage programs for  The Front Page, Battle Dream, Hotel Paradiso, The Affair, Taming of the Shrew, Dark of the Moon , and  The Devils /. These items were removed and placed in two labeled folders."],"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_996a7d5e2a48f38c8b48be7b212bd93f\"\u003eScrapbook of newspaper and periodical clippings covering Arena Stage's 1963-1964 season, compiled by Director of Public Relations Susan Powers Kennelly.\u003c/abstract\u003e"],"abstract_tesim":["Scrapbook of newspaper and periodical clippings covering Arena Stage's 1963-1964 season, compiled by Director of Public Relations Susan Powers Kennelly."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_32aaf65c06b7b5e97d89802fddae5aa2\"\u003eR 71, C 2, S 6\u003c/physloc\u003e"],"physloc_tesim":["R 71, C 2, S 6"],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)","Fichandler, Zelda, 1924-2016","Johnson, Lady Bird, 1912-2007","Johnson, Lyndon B. (Lyndon Baines), 1908-1973","Knapp, J. Burke (Joseph Burke), 1913-2009"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Kennelly, Susan Powers, 1937-2022","Fichandler, Zelda, 1924-2016","Johnson, Lady Bird, 1912-2007","Johnson, Lyndon B. (Lyndon Baines), 1908-1973","Knapp, J. Burke (Joseph Burke), 1913-2009"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Kennelly, Susan Powers, 1937-2022","Fichandler, Zelda, 1924-2016","Johnson, Lady Bird, 1912-2007","Johnson, Lyndon B. (Lyndon Baines), 1908-1973","Knapp, J. Burke (Joseph Burke), 1913-2009"],"language_ssim":["English \n.    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Loose paper items were removed from the scrapbook and stored in two labeled folders.","St. Helena Star. 2022. \"Susan Kennelly Obituary (1937 - 2022) - Napa, CA.\" Legacy.Com. June 14, 2022. https://www.legacy.com/us/obituaries/sthelenastar/name/susan-kennelly-obituary?id=35210146.","Susan Powers (later known as Susan Powers Kennelly) was born in Omaha, Nebraska in 1937. She received a full tuition scholarship to attend the Catholic University of America in Washington, D.C. for her undergraduate studies where she majored in theatre, studying under the university's drama department founder Rev. Gilbert V. Hartke. In the early 1960s she joined Arena Stage as Director of Public Relations and later formed her own public relations firm, establishing relationships with folk singers and musicians performing in Washington, D.C. throughout the 1960s-1970s. In 1964, she married Justice Department lawyer Thomas Anthony Kennelly, with the ceremony being officiated by Father Hartke. Susan later left public relations and began a new career as a travel consultant. After raising their three children in Washington, D.C., Susan and Thomas moved to Napa, California in 1994 where Susan spent 18 years serving as director of tours and travel for the Fromm Institute for Lifelong Learning at the University of San Francisco. Susan passed away on June 5, 2022 at the age of 84.","One of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway ( The Great White Hope , 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals.","Processing completed by Meghan Glasbrenner in February 2025. Finding aid completed by Meghan Glasbrenner in March 2025.","The Special Collections Research Center holds other collections related to Arena Stage, including the  Arena Stage records ,  Zelda Fichandler papers , and  Thomas C. Fichandler papers .","Scrapbook of newspaper and periodical clippings covering Arena Stage's 1963-1964 season, compiled by Director of Public Relations Susan Powers Kennelly. The front inside cover included two loose letters, one addressed to J. Burke Knapp and signed by President Lyndon Johnson and one addressed to Zelda Fichandler and signed by First Lady Lady Bird Johnson. The inside back cover included a pile of loose newspaper clippings, most pertaining to Arena Stage productions, and Arena Stage programs for  The Front Page, Battle Dream, Hotel Paradiso, The Affair, Taming of the Shrew, Dark of the Moon , and  The Devils /. These items were removed and placed in two labeled folders.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Scrapbook of newspaper and periodical clippings covering Arena Stage's 1963-1964 season, compiled by Director of Public Relations Susan Powers Kennelly.","R 71, C 2, S 6","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Kennelly, Susan Powers, 1937-2022","Fichandler, Zelda, 1924-2016","Johnson, Lady Bird, 1912-2007","Johnson, Lyndon B. (Lyndon Baines), 1908-1973","Knapp, J. Burke (Joseph Burke), 1913-2009","English \n.    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She received a full tuition scholarship to attend the Catholic University of America in Washington, D.C. for her undergraduate studies where she majored in theatre, studying under the university's drama department founder Rev. Gilbert V. Hartke. In the early 1960s she joined Arena Stage as Director of Public Relations and later formed her own public relations firm, establishing relationships with folk singers and musicians performing in Washington, D.C. throughout the 1960s-1970s. In 1964, she married Justice Department lawyer Thomas Anthony Kennelly, with the ceremony being officiated by Father Hartke. Susan later left public relations and began a new career as a travel consultant. After raising their three children in Washington, D.C., Susan and Thomas moved to Napa, California in 1994 where Susan spent 18 years serving as director of tours and travel for the Fromm Institute for Lifelong Learning at the University of San Francisco. Susan passed away on June 5, 2022 at the age of 84.\u003c/p\u003e\n","\u003cp\u003eOne of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway (\u003ctitle\u003eThe Great White Hope\u003c/title\u003e, 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical and Historical Information"],"bioghist_tesim":["Susan Powers (later known as Susan Powers Kennelly) was born in Omaha, Nebraska in 1937. She received a full tuition scholarship to attend the Catholic University of America in Washington, D.C. for her undergraduate studies where she majored in theatre, studying under the university's drama department founder Rev. Gilbert V. Hartke. In the early 1960s she joined Arena Stage as Director of Public Relations and later formed her own public relations firm, establishing relationships with folk singers and musicians performing in Washington, D.C. throughout the 1960s-1970s. In 1964, she married Justice Department lawyer Thomas Anthony Kennelly, with the ceremony being officiated by Father Hartke. Susan later left public relations and began a new career as a travel consultant. After raising their three children in Washington, D.C., Susan and Thomas moved to Napa, California in 1994 where Susan spent 18 years serving as director of tours and travel for the Fromm Institute for Lifelong Learning at the University of San Francisco. Susan passed away on June 5, 2022 at the age of 84.","One of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway ( The Great White Hope , 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. 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Finding aid completed by Meghan Glasbrenner in March 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other collections related to Arena Stage, including the \u003ca href=\"https://aspace.gmu.edu/resources/c0017\"\u003eArena Stage records\u003c/a\u003e, \u003ca href=\"https://aspace.gmu.edu/resources/c0010\"\u003eZelda Fichandler papers\u003c/a\u003e, and \u003ca href=\"https://aspace.gmu.edu/resources/c0197\"\u003eThomas C. Fichandler papers\u003c/a\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds other collections related to Arena Stage, including the  Arena Stage records ,  Zelda Fichandler papers , and  Thomas C. Fichandler papers ."],"scopecontent_html_tesm":["\u003cp\u003eScrapbook of newspaper and periodical clippings covering Arena Stage's 1963-1964 season, compiled by Director of Public Relations Susan Powers Kennelly. The front inside cover included two loose letters, one addressed to J. Burke Knapp and signed by President Lyndon Johnson and one addressed to Zelda Fichandler and signed by First Lady Lady Bird Johnson. The inside back cover included a pile of loose newspaper clippings, most pertaining to Arena Stage productions, and Arena Stage programs for \u003ctitle\u003eThe Front Page, Battle Dream, Hotel Paradiso, The Affair, Taming of the Shrew, Dark of the Moon\u003c/title\u003e, and \u003ctitle\u003eThe Devils\u003c/title\u003e/. These items were removed and placed in two labeled folders.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Scrapbook of newspaper and periodical clippings covering Arena Stage's 1963-1964 season, compiled by Director of Public Relations Susan Powers Kennelly. The front inside cover included two loose letters, one addressed to J. 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These items were removed and placed in two labeled folders."],"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_996a7d5e2a48f38c8b48be7b212bd93f\"\u003eScrapbook of newspaper and periodical clippings covering Arena Stage's 1963-1964 season, compiled by Director of Public Relations Susan Powers Kennelly.\u003c/abstract\u003e"],"abstract_tesim":["Scrapbook of newspaper and periodical clippings covering Arena Stage's 1963-1964 season, compiled by Director of Public Relations Susan Powers Kennelly."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_32aaf65c06b7b5e97d89802fddae5aa2\"\u003eR 71, C 2, S 6\u003c/physloc\u003e"],"physloc_tesim":["R 71, C 2, S 6"],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)","Fichandler, Zelda, 1924-2016","Johnson, Lady Bird, 1912-2007","Johnson, Lyndon B. 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Fichandler.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_122#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_122","ead_ssi":"vifgm_repositories_2_resources_122","_root_":"vifgm_repositories_2_resources_122","_nest_parent_":"vifgm_repositories_2_resources_122","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_122.xml","title_filing_ssi":"Thomas C. Fichandler papers","title_ssm":["Thomas C. Fichandler papers"],"title_tesim":["Thomas C. Fichandler papers"],"unitdate_ssm":["1950-1997"],"unitdate_inclusive_ssm":["1950-1997"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0197","/repositories/2/resources/122"],"text":["C0197","/repositories/2/resources/122","Thomas C. Fichandler papers","Theater -- Washington (D.C.)","There are no access restrictions.","Arena Stage was an early leader in the resident theater movement. 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Many now- famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardly Smith and Samuel L. Jackson. Donated to George Mason University in fall of 2000, the Arena Stage Collection contains materials spanning the theater's 50 year history including production notebooks, photographs, playbills, scrapbooks, scripts and handwritten correspondence and other production materials.","This collection is unprocessed.","The Special Collections Research Center also holds the  , the  , and the  .","This collection is unprocessed. Please see the inventory for a current box list.","Letters from the U.S. Department of the Interior","Letters from the Commission on the Arts and Humanities","application to the National Capitals Planning Commission's Joint Committee on Application for the Designation of Historic Landmarks","Loose leaf plans","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).","Contains correspondence, memos, reports and other papers created by Thomas C. Fichandler.","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","English \n.    "],"unitid_tesim":["C0197","/repositories/2/resources/122"],"normalized_title_ssm":["Thomas C. Fichandler papers"],"collection_title_tesim":["Thomas C. Fichandler papers"],"collection_ssim":["Thomas C. 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Co-founded in 1950 by Edward Mangum a teacher from the George Washington University, and Zelda Fichandler one of his students, Arena Stage was opened in Washington D.C. to fill the void left by the closing of the National Theater in 1948. Deriving it's name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theaters in the United States, beginning with a company of only eight actors. Today, Arena performs to over 250,000 patrons during a September to June season and employs nearly 200 theater professionals and craftpersons, who are responsible for all the costumes and scenery seen on stage. Many now- famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardly Smith and Samuel L. Jackson. 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