{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater--Washington+%28D.C.%29\u0026f%5Blevel%5D%5B%5D=Collection\u0026view=list","next":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater--Washington+%28D.C.%29\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=2\u0026view=list","last":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater--Washington+%28D.C.%29\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=2\u0026view=list"},"meta":{"pages":{"current_page":1,"next_page":2,"prev_page":null,"total_pages":2,"limit_value":10,"offset_value":0,"total_count":13,"first_page?":true,"last_page?":false}},"data":[{"id":"vifgm_arenastage","type":"collection","attributes":{"title":"Arena Stage records, 1949/2010","creator":{"id":"https://arvasarchive.org/catalog/vifgm_arenastage#creator","type":"document_value","attributes":{"value":"Arena Stage","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_arenastage#abstract_or_scope","type":"document_value","attributes":{"value":"The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_arenastage#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_arenastage","ead_ssi":"vifgm_arenastage","_root_":"vifgm_arenastage","_nest_parent_":"vifgm_arenastage","ead_source_url_ssi":"data/gmu/arenastage.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/arenastage.html","title_ssm":["Arena Stage records"],"title_tesim":["Arena Stage records"],"unitdate_ssm":["1949-2010"],"unitdate_inclusive_ssm":["1949-2010"],"normalized_date_ssm":["1949/2010"],"normalized_title_ssm":["Arena Stage records, 1949/2010"],"text":["Arena Stage records, 1949/2010","C0017","Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings.","Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","Some records in sub-subseries 3 (Personnel/staff) contain personal identification information, such as social security numbers. Folders in this sub-subseries must be screened by an archivist before being given to researchers.","The collection is arranged into five series, each of which is further divided into subseries:","Series 1: Administrative records, 1949-2007 (Boxes 1-196)\n        Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\n        Series 3: Photographs, 1950-1991 (Boxes 589-639)\n        Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\n        Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)","Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.","From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.","The Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.","Processed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016.","Special Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections.","The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.","This series documents the creation, operation, and maintenance of Arena Stage and its various programs.","This subseries includes correspondence, most of which is arranged alphabetically by the correspondent's last name or by organizational name.","This subseries includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.","This subseries is broken up into four sub-subseries. Sub-subseries 1: Financial papers documents Arena's finances.  Sub-subseries 2: Personnel records includes information on staff at Arena Stage, as well as correspondence with actors who were offered Arena roles. Sub-subseries 3: Casting information contains notes on casting for productions. Sub-subseries 4: Production contracts includes official agreements between Arena and others.","Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.","Sub-subseries 1.3.2: Sub-subseries 2: Personnel records includes information on staff at Arena Stage, as well as correspondence with actors who were offered Arena roles.","Contains a letter from Annette Bening.","Contains headshots and a letter from Olympia Dukakis.","Contains a letter from Rosemary Harris.","Contains letters, headshots, and a CV from John Lithgow.","Contains letters from Sigourney Weaver.","Sub-subseries 3: Casting information contains notes on casting for productions arranged alphabetically by play.","Sub-subseries 4: Production contracts includes official agreements between Arena and others.","This subseries contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization.","This subseries is divided into four sub-subseries. Sub-subseries 1: Events documents special events held by Arena Stage. Sub-subseries 2: Communications and Marketing includes records produced by the Communications and Marketing departments. Sub-subseries 3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group.","Sub-subseries 1: Events documents special events held by Arena Stage.","Sub-subseries 2: Communications and Marketing includes records produced by the Communications and Marketing departments.","Sub-subseries 3: Printed material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.","Sub-subseries 4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group.","This subseries includes information about and architectural plans for Arena's various buildings over the years.","This series is comprised of records related to the artistic development and performance of Arena's plays.","This subseries documents literary, historical and background research done by Arena's literary department for various plays.","This subseries contains research on various playwrights, both living and dead, whose work has been performed at Arena.","This subseries includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.","This subseries includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.","This subseries contains documents collected from throughout the runs of various productions.","This subseries contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.","This series includes photographic prints from Arena's productions, as well as books of professional photography labelled by production. There are also photos of Arena's buildings, staff members, and trips to the Soviet Union and Israel, as well as a few negatives and slides.","This subseries includes photos of scenes from Arena's productions arranged alphabetically by play.","This subseries contains production photos collected in books.","This subseries includes photographs of Arena's buildings, staff and cast portraits, and event photographs.","This subseries includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","This series includes Braille programs for various shows, scrapbooks with material organized by season, posters, costume sketches, and other miscellaneous oversized material.","This subseries contains programs in Braille for various Arena productions from the 1990s and early 2000s.","This subseries includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material.","Model sits on top of map case","This subseries contains scrapbooks created for each of Arena's seasons up until 1988, as well as for events and visitors.","This series includes VHS tapes of a number of productions (a few of which have DVD versions), reel-to-reel tapes, audiocassette, Betacam, U-matic tapes, and VHS versions of miscellaneous events.","This subseries contains VHS tapes (a few of which have associated DVDs) of performances at Arena.","This subseries contains production and event footage on reel-to-reel film.","Reel 1 of 3, Includes Program for event","Reel 2 of 3","Reel 3 of 3","Partially Unraveling","Vinegar","Unraveling - Vinegar","Both the title (besides Reel 1) and the date have been blacked out","Title has been blacked out","This subseries contains footage of events and productions on audiocassette, Betacam, and U-matic tapes, as well as some miscellaneous VHS tapes.","Tape 3","Tape 4","Tape 5","Tape 6","Reel #168","Reel #169","Reel #170","3 copies","2 copies","2 copies","There are no restrictions.","The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)","English"],"collection_title_tesim":["Arena Stage records, 1949/2010"],"collection_ssim":["Arena Stage records, 1949/2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0017"],"unitid_tesim":["C0017"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage"],"creator_ssim":["Arena Stage"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["There are no restrictions."],"acqinfo_ssim":["Donated by Arena Stage in 2000-2011."],"access_subjects_ssim":["Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings."],"access_subjects_ssm":["Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings."],"has_online_content_ssim":["false"],"extent_ssm":["739 boxes"],"extent_tesim":["739 boxes"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.\u003c/p\u003e\n    ","\u003cp\u003eSome records in sub-subseries 3 (Personnel/staff) contain personal identification information, such as social security numbers. Folders in this sub-subseries must be screened by an archivist before being given to researchers.\u003c/p\u003e\n            "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","Some records in sub-subseries 3 (Personnel/staff) contain personal identification information, such as social security numbers. Folders in this sub-subseries must be screened by an archivist before being given to researchers."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e\n      ","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Administrative records, 1949-2007 (Boxes 1-196)\u003c/item\u003e\n        \u003citem\u003eSeries 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\u003c/item\u003e\n        \u003citem\u003eSeries 3: Photographs, 1950-1991 (Boxes 589-639)\u003c/item\u003e\n        \u003citem\u003eSeries 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\u003c/item\u003e\n        \u003citem\u003eSeries 5: Audiovisual materials, 1970-2007 (Boxes 721-739)\u003c/item\u003e\n      \u003c/list\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series, each of which is further divided into subseries:","Series 1: Administrative records, 1949-2007 (Boxes 1-196)\n        Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\n        Series 3: Photographs, 1950-1991 (Boxes 589-639)\n        Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\n        Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)"],"bibliography_html_tesm":["\u003cp\u003e\n        \u003cextptr type=\"simple\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\" href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\"\u003e\u003c/extptr\u003e\n      \u003c/p\u003e\n      ","\u003cp\u003e Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.\u003c/p\u003e\n      ","\u003cp\u003e\n        \u003cextptr type=\"simple\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\" href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\"\u003e\u003c/extptr\u003e\n      \u003c/p\u003e\n    "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990."],"bioghist_html_tesm":["\u003cp\u003eFrom its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.\u003c/p\u003e\n      ","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.\u003c/p\u003e\n      ","\u003cp\u003eDuring the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.\u003c/p\u003e\n      ","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.\u003c/p\u003e\n      ","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.\u003c/p\u003e\n      ","\u003cp\u003eThe early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.\u003c/p\u003e\n      ","\u003cp\u003e1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.\u003c/p\u003e\n      ","\u003cp\u003eMany now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e\n    "],"phystech_heading_ssm":["Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eArena Stage records, C0017, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e\n    "],"prefercite_tesim":["Arena Stage records, C0017, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016.\u003c/p\u003e\n    "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections.\u003c/p\u003e\n    "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections."],"scopecontent_html_tesm":["\u003cp\u003eThe Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.\u003c/p\u003e\n      ","\u003cp\u003eSeries 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.\u003c/p\u003e\n      ","\u003cp\u003eSeries 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.\u003c/p\u003e\n      ","\u003cp\u003eSeries 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e\n      ","\u003cp\u003eSeries 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.\u003c/p\u003e\n      ","\u003cp\u003eSeries 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.  \u003c/p\u003e\n    ","\u003cp\u003eThis series documents the creation, operation, and maintenance of Arena Stage and its various programs.\u003c/p\u003e\n        ","\u003cp\u003eThis subseries includes correspondence, most of which is arranged alphabetically by the correspondent's last name or by organizational name.\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            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Sub-subseries 1: Financial papers documents Arena's finances.  Sub-subseries 2: Personnel records includes information on staff at Arena Stage, as well as correspondence with actors who were offered Arena roles. Sub-subseries 3: Casting information contains notes on casting for productions. Sub-subseries 4: Production contracts includes official agreements between Arena and others.\u003c/p\u003e\n          ","\u003cp\u003eSub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              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","\u003cp\u003eSub-subseries 1.3.2: Sub-subseries 2: Personnel records includes information on staff at Arena Stage, as well as correspondence with actors who were offered Arena roles.\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003eContains a letter from Annette Bening.\n\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003eContains headshots and a letter from Olympia Dukakis.\n\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003eContains a letter from Rosemary Harris.\n\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003eContains letters, headshots, and a CV from John Lithgow.\n\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\nContains letters from Sigourney Weaver.\n\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n   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Board of Trustees, staff, and other subgroups within the organization.\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            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Sub-subseries 1: Events documents special events held by Arena Stage. Sub-subseries 2: Communications and Marketing includes records produced by the Communications and Marketing departments. Sub-subseries 3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group.\u003c/p\u003e\n          ","\u003cp\u003eSub-subseries 1: Events documents special events held by Arena Stage.\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n           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Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group.\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n 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photography labelled by production. There are also photos of Arena's buildings, staff members, and trips to the Soviet Union and Israel, as well as a few negatives and slides.\u003c/p\u003e\n        ","\u003cp\u003eThis subseries includes photos of scenes from Arena's productions arranged alphabetically by play.\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n      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subseries includes photographs of Arena's buildings, staff and cast portraits, and event photographs.\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n      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Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            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and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.","This series documents the creation, operation, and maintenance of Arena Stage and its various programs.","This subseries includes correspondence, most of which is arranged alphabetically by the correspondent's last name or by organizational name.","This subseries includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.","This subseries is broken up into four sub-subseries. Sub-subseries 1: Financial papers documents Arena's finances.  Sub-subseries 2: Personnel records includes information on staff at Arena Stage, as well as correspondence with actors who were offered Arena roles. Sub-subseries 3: Casting information contains notes on casting for productions. Sub-subseries 4: Production contracts includes official agreements between Arena and others.","Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.","Sub-subseries 1.3.2: Sub-subseries 2: Personnel records includes information on staff at Arena Stage, as well as correspondence with actors who were offered Arena roles.","Contains a letter from Annette Bening.","Contains headshots and a letter from Olympia Dukakis.","Contains a letter from Rosemary Harris.","Contains letters, headshots, and a CV from John Lithgow.","Contains letters from Sigourney Weaver.","Sub-subseries 3: Casting information contains notes on casting for productions arranged alphabetically by play.","Sub-subseries 4: Production contracts includes official agreements between Arena and others.","This subseries contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization.","This subseries is divided into four sub-subseries. Sub-subseries 1: Events documents special events held by Arena Stage. Sub-subseries 2: Communications and Marketing includes records produced by the Communications and Marketing departments. Sub-subseries 3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group.","Sub-subseries 1: Events documents special events held by Arena Stage.","Sub-subseries 2: Communications and Marketing includes records produced by the Communications and Marketing departments.","Sub-subseries 3: Printed material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.","Sub-subseries 4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group.","This subseries includes information about and architectural plans for Arena's various buildings over the years.","This series is comprised of records related to the artistic development and performance of Arena's plays.","This subseries documents literary, historical and background research done by Arena's literary department for various plays.","This subseries contains research on various playwrights, both living and dead, whose work has been performed at Arena.","This subseries includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.","This subseries includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.","This subseries contains documents collected from throughout the runs of various productions.","This subseries contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.","This series includes photographic prints from Arena's productions, as well as books of professional photography labelled by production. There are also photos of Arena's buildings, staff members, and trips to the Soviet Union and Israel, as well as a few negatives and slides.","This subseries includes photos of scenes from Arena's productions arranged alphabetically by play.","This subseries contains production photos collected in books.","This subseries includes photographs of Arena's buildings, staff and cast portraits, and event photographs.","This subseries includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","This series includes Braille programs for various shows, scrapbooks with material organized by season, posters, costume sketches, and other miscellaneous oversized material.","This subseries contains programs in Braille for various Arena productions from the 1990s and early 2000s.","This subseries includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material.","Model sits on top of map case","This subseries contains scrapbooks created for each of Arena's seasons up until 1988, as well as for events and visitors.","This series includes VHS tapes of a number of productions (a few of which have DVD versions), reel-to-reel tapes, audiocassette, Betacam, U-matic tapes, and VHS versions of miscellaneous events.","This subseries contains VHS tapes (a few of which have associated DVDs) of performances at Arena.","This subseries contains production and event footage on reel-to-reel film.","Reel 1 of 3, Includes Program for event","Reel 2 of 3","Reel 3 of 3","Partially Unraveling","Vinegar","Unraveling - Vinegar","Both the title (besides Reel 1) and the date have been blacked out","Title has been blacked out","This subseries contains footage of events and productions on audiocassette, Betacam, and U-matic tapes, as well as some miscellaneous VHS tapes.","Tape 3","Tape 4","Tape 5","Tape 6","Reel #168","Reel #169","Reel #170","3 copies","2 copies","2 copies"],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\u003c/p\u003e\n    "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract id=\"ref2\" label=\"Abstract\"\u003eThe Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.\u003c/abstract\u003e\n      "],"abstract_tesim":["The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:51:57.452Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_arenastage","ead_ssi":"vifgm_arenastage","_root_":"vifgm_arenastage","_nest_parent_":"vifgm_arenastage","ead_source_url_ssi":"data/gmu/arenastage.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/arenastage.html","title_ssm":["Arena Stage records"],"title_tesim":["Arena Stage records"],"unitdate_ssm":["1949-2010"],"unitdate_inclusive_ssm":["1949-2010"],"normalized_date_ssm":["1949/2010"],"normalized_title_ssm":["Arena Stage records, 1949/2010"],"text":["Arena Stage records, 1949/2010","C0017","Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings.","Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","Some records in sub-subseries 3 (Personnel/staff) contain personal identification information, such as social security numbers. Folders in this sub-subseries must be screened by an archivist before being given to researchers.","The collection is arranged into five series, each of which is further divided into subseries:","Series 1: Administrative records, 1949-2007 (Boxes 1-196)\n        Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\n        Series 3: Photographs, 1950-1991 (Boxes 589-639)\n        Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\n        Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)","Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.","From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.","The Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.","Processed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016.","Special Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections.","The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.","This series documents the creation, operation, and maintenance of Arena Stage and its various programs.","This subseries includes correspondence, most of which is arranged alphabetically by the correspondent's last name or by organizational name.","This subseries includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.","This subseries is broken up into four sub-subseries. Sub-subseries 1: Financial papers documents Arena's finances.  Sub-subseries 2: Personnel records includes information on staff at Arena Stage, as well as correspondence with actors who were offered Arena roles. Sub-subseries 3: Casting information contains notes on casting for productions. Sub-subseries 4: Production contracts includes official agreements between Arena and others.","Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.","Sub-subseries 1.3.2: Sub-subseries 2: Personnel records includes information on staff at Arena Stage, as well as correspondence with actors who were offered Arena roles.","Contains a letter from Annette Bening.","Contains headshots and a letter from Olympia Dukakis.","Contains a letter from Rosemary Harris.","Contains letters, headshots, and a CV from John Lithgow.","Contains letters from Sigourney Weaver.","Sub-subseries 3: Casting information contains notes on casting for productions arranged alphabetically by play.","Sub-subseries 4: Production contracts includes official agreements between Arena and others.","This subseries contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization.","This subseries is divided into four sub-subseries. Sub-subseries 1: Events documents special events held by Arena Stage. Sub-subseries 2: Communications and Marketing includes records produced by the Communications and Marketing departments. Sub-subseries 3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group.","Sub-subseries 1: Events documents special events held by Arena Stage.","Sub-subseries 2: Communications and Marketing includes records produced by the Communications and Marketing departments.","Sub-subseries 3: Printed material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.","Sub-subseries 4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group.","This subseries includes information about and architectural plans for Arena's various buildings over the years.","This series is comprised of records related to the artistic development and performance of Arena's plays.","This subseries documents literary, historical and background research done by Arena's literary department for various plays.","This subseries contains research on various playwrights, both living and dead, whose work has been performed at Arena.","This subseries includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.","This subseries includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.","This subseries contains documents collected from throughout the runs of various productions.","This subseries contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.","This series includes photographic prints from Arena's productions, as well as books of professional photography labelled by production. There are also photos of Arena's buildings, staff members, and trips to the Soviet Union and Israel, as well as a few negatives and slides.","This subseries includes photos of scenes from Arena's productions arranged alphabetically by play.","This subseries contains production photos collected in books.","This subseries includes photographs of Arena's buildings, staff and cast portraits, and event photographs.","This subseries includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","This series includes Braille programs for various shows, scrapbooks with material organized by season, posters, costume sketches, and other miscellaneous oversized material.","This subseries contains programs in Braille for various Arena productions from the 1990s and early 2000s.","This subseries includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material.","Model sits on top of map case","This subseries contains scrapbooks created for each of Arena's seasons up until 1988, as well as for events and visitors.","This series includes VHS tapes of a number of productions (a few of which have DVD versions), reel-to-reel tapes, audiocassette, Betacam, U-matic tapes, and VHS versions of miscellaneous events.","This subseries contains VHS tapes (a few of which have associated DVDs) of performances at Arena.","This subseries contains production and event footage on reel-to-reel film.","Reel 1 of 3, Includes Program for event","Reel 2 of 3","Reel 3 of 3","Partially Unraveling","Vinegar","Unraveling - Vinegar","Both the title (besides Reel 1) and the date have been blacked out","Title has been blacked out","This subseries contains footage of events and productions on audiocassette, Betacam, and U-matic tapes, as well as some miscellaneous VHS tapes.","Tape 3","Tape 4","Tape 5","Tape 6","Reel #168","Reel #169","Reel #170","3 copies","2 copies","2 copies","There are no restrictions.","The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)","English"],"collection_title_tesim":["Arena Stage records, 1949/2010"],"collection_ssim":["Arena Stage records, 1949/2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0017"],"unitid_tesim":["C0017"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage"],"creator_ssim":["Arena Stage"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["There are no restrictions."],"acqinfo_ssim":["Donated by Arena Stage in 2000-2011."],"access_subjects_ssim":["Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings."],"access_subjects_ssm":["Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings."],"has_online_content_ssim":["false"],"extent_ssm":["739 boxes"],"extent_tesim":["739 boxes"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.\u003c/p\u003e\n    ","\u003cp\u003eSome records in sub-subseries 3 (Personnel/staff) contain personal identification information, such as social security numbers. Folders in this sub-subseries must be screened by an archivist before being given to researchers.\u003c/p\u003e\n            "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","Some records in sub-subseries 3 (Personnel/staff) contain personal identification information, such as social security numbers. Folders in this sub-subseries must be screened by an archivist before being given to researchers."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e\n      ","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Administrative records, 1949-2007 (Boxes 1-196)\u003c/item\u003e\n        \u003citem\u003eSeries 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\u003c/item\u003e\n        \u003citem\u003eSeries 3: Photographs, 1950-1991 (Boxes 589-639)\u003c/item\u003e\n        \u003citem\u003eSeries 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\u003c/item\u003e\n        \u003citem\u003eSeries 5: Audiovisual materials, 1970-2007 (Boxes 721-739)\u003c/item\u003e\n      \u003c/list\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series, each of which is further divided into subseries:","Series 1: Administrative records, 1949-2007 (Boxes 1-196)\n        Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\n        Series 3: Photographs, 1950-1991 (Boxes 589-639)\n        Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\n        Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)"],"bibliography_html_tesm":["\u003cp\u003e\n        \u003cextptr type=\"simple\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\" href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\"\u003e\u003c/extptr\u003e\n      \u003c/p\u003e\n      ","\u003cp\u003e Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.\u003c/p\u003e\n      ","\u003cp\u003e\n        \u003cextptr type=\"simple\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\" href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\"\u003e\u003c/extptr\u003e\n      \u003c/p\u003e\n    "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990."],"bioghist_html_tesm":["\u003cp\u003eFrom its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.\u003c/p\u003e\n      ","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.\u003c/p\u003e\n      ","\u003cp\u003eDuring the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.\u003c/p\u003e\n      ","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.\u003c/p\u003e\n      ","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.\u003c/p\u003e\n      ","\u003cp\u003eThe early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.\u003c/p\u003e\n      ","\u003cp\u003e1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.\u003c/p\u003e\n      ","\u003cp\u003eMany now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e\n    "],"phystech_heading_ssm":["Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eArena Stage records, C0017, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e\n    "],"prefercite_tesim":["Arena Stage records, C0017, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016.\u003c/p\u003e\n    "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections.\u003c/p\u003e\n    "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections."],"scopecontent_html_tesm":["\u003cp\u003eThe Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.\u003c/p\u003e\n      ","\u003cp\u003eSeries 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.\u003c/p\u003e\n      ","\u003cp\u003eSeries 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.\u003c/p\u003e\n      ","\u003cp\u003eSeries 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e\n      ","\u003cp\u003eSeries 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.\u003c/p\u003e\n      ","\u003cp\u003eSeries 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.  \u003c/p\u003e\n    ","\u003cp\u003eThis series documents the creation, operation, and maintenance of Arena Stage and its various programs.\u003c/p\u003e\n        ","\u003cp\u003eThis subseries includes correspondence, most of which is arranged alphabetically by the correspondent's last name or by organizational name.\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            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Sub-subseries 1: Financial papers documents Arena's finances.  Sub-subseries 2: Personnel records includes information on staff at Arena Stage, as well as correspondence with actors who were offered Arena roles. Sub-subseries 3: Casting information contains notes on casting for productions. Sub-subseries 4: Production contracts includes official agreements between Arena and others.\u003c/p\u003e\n          ","\u003cp\u003eSub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              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","\u003cp\u003eSub-subseries 1.3.2: Sub-subseries 2: Personnel records includes information on staff at Arena Stage, as well as correspondence with actors who were offered Arena roles.\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003eContains a letter from Annette Bening.\n\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003eContains headshots and a letter from Olympia Dukakis.\n\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003eContains a letter from Rosemary Harris.\n\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003eContains letters, headshots, and a CV from John Lithgow.\n\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\nContains letters from Sigourney Weaver.\n\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              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Board of Trustees, staff, and other subgroups within the organization.\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            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Sub-subseries 1: Events documents special events held by Arena Stage. Sub-subseries 2: Communications and Marketing includes records produced by the Communications and Marketing departments. Sub-subseries 3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group.\u003c/p\u003e\n          ","\u003cp\u003eSub-subseries 1: Events documents special events held by Arena Stage.\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n           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Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group.\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n              ","\u003cp\u003e\u003c/p\u003e\n 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subseries includes photographs of Arena's buildings, staff and cast portraits, and event photographs.\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            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           ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eVinegar\n\u003c/p\u003e\n            ","\u003cp\u003eUnraveling - Vinegar\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eBoth the title (besides Reel 1) and the date have been blacked out\n\u003c/p\u003e\n            ","\u003cp\u003eTitle has been blacked out\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eThis subseries contains footage of events and productions on audiocassette, Betacam, and U-matic tapes, as well as some miscellaneous VHS tapes.\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eTape 3\n\u003c/p\u003e\n            ","\u003cp\u003eTape 4\n\u003c/p\u003e\n            ","\u003cp\u003eTape 5\n\u003c/p\u003e\n            ","\u003cp\u003eTape 6\n\u003c/p\u003e\n            ","\u003cp\u003eReel #168\n\u003c/p\u003e\n            ","\u003cp\u003eReel #169\n\u003c/p\u003e\n            ","\u003cp\u003eReel #170\n\u003c/p\u003e\n            ","\u003cp\u003e3 copies\n\u003c/p\u003e\n            ","\u003cp\u003e2 copies\n\u003c/p\u003e\n            ","\u003cp\u003e2 copies\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            "],"scopecontent_heading_ssm":["Scope and Content","Scope and Content"],"scopecontent_tesim":["The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.","This series documents the creation, operation, and maintenance of Arena Stage and its various programs.","This subseries includes correspondence, most of which is arranged alphabetically by the correspondent's last name or by organizational name.","This subseries includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.","This subseries is broken up into four sub-subseries. Sub-subseries 1: Financial papers documents Arena's finances.  Sub-subseries 2: Personnel records includes information on staff at Arena Stage, as well as correspondence with actors who were offered Arena roles. Sub-subseries 3: Casting information contains notes on casting for productions. Sub-subseries 4: Production contracts includes official agreements between Arena and others.","Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.","Sub-subseries 1.3.2: Sub-subseries 2: Personnel records includes information on staff at Arena Stage, as well as correspondence with actors who were offered Arena roles.","Contains a letter from Annette Bening.","Contains headshots and a letter from Olympia Dukakis.","Contains a letter from Rosemary Harris.","Contains letters, headshots, and a CV from John Lithgow.","Contains letters from Sigourney Weaver.","Sub-subseries 3: Casting information contains notes on casting for productions arranged alphabetically by play.","Sub-subseries 4: Production contracts includes official agreements between Arena and others.","This subseries contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization.","This subseries is divided into four sub-subseries. Sub-subseries 1: Events documents special events held by Arena Stage. Sub-subseries 2: Communications and Marketing includes records produced by the Communications and Marketing departments. Sub-subseries 3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group.","Sub-subseries 1: Events documents special events held by Arena Stage.","Sub-subseries 2: Communications and Marketing includes records produced by the Communications and Marketing departments.","Sub-subseries 3: Printed material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.","Sub-subseries 4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group.","This subseries includes information about and architectural plans for Arena's various buildings over the years.","This series is comprised of records related to the artistic development and performance of Arena's plays.","This subseries documents literary, historical and background research done by Arena's literary department for various plays.","This subseries contains research on various playwrights, both living and dead, whose work has been performed at Arena.","This subseries includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.","This subseries includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.","This subseries contains documents collected from throughout the runs of various productions.","This subseries contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.","This series includes photographic prints from Arena's productions, as well as books of professional photography labelled by production. There are also photos of Arena's buildings, staff members, and trips to the Soviet Union and Israel, as well as a few negatives and slides.","This subseries includes photos of scenes from Arena's productions arranged alphabetically by play.","This subseries contains production photos collected in books.","This subseries includes photographs of Arena's buildings, staff and cast portraits, and event photographs.","This subseries includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","This series includes Braille programs for various shows, scrapbooks with material organized by season, posters, costume sketches, and other miscellaneous oversized material.","This subseries contains programs in Braille for various Arena productions from the 1990s and early 2000s.","This subseries includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material.","Model sits on top of map case","This subseries contains scrapbooks created for each of Arena's seasons up until 1988, as well as for events and visitors.","This series includes VHS tapes of a number of productions (a few of which have DVD versions), reel-to-reel tapes, audiocassette, Betacam, U-matic tapes, and VHS versions of miscellaneous events.","This subseries contains VHS tapes (a few of which have associated DVDs) of performances at Arena.","This subseries contains production and event footage on reel-to-reel film.","Reel 1 of 3, Includes Program for event","Reel 2 of 3","Reel 3 of 3","Partially Unraveling","Vinegar","Unraveling - Vinegar","Both the title (besides Reel 1) and the date have been blacked out","Title has been blacked out","This subseries contains footage of events and productions on audiocassette, Betacam, and U-matic tapes, as well as some miscellaneous VHS tapes.","Tape 3","Tape 4","Tape 5","Tape 6","Reel #168","Reel #169","Reel #170","3 copies","2 copies","2 copies"],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\u003c/p\u003e\n    "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract id=\"ref2\" label=\"Abstract\"\u003eThe Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.\u003c/abstract\u003e\n      "],"abstract_tesim":["The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:51:57.452Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_arenastage"}},{"id":"vifgm_kincannon","type":"collection","attributes":{"title":"Claire Kincannon theatre collection, 1955/2011","creator":{"id":"https://arvasarchive.org/catalog/vifgm_kincannon#creator","type":"document_value","attributes":{"value":"Lois Claire Kincannon","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_kincannon#abstract_or_scope","type":"document_value","attributes":{"value":"This collection contains promotional materials for plays in the Washington, D.C., area, including programs, photographs, and press kits as well as a selection of programs and playbills from theaters in New York, London, and regional theaters in Ohio dating back to 1955, as well as some limited film-related materials. In addition to paper materials there are also audio visual materials featuring Kincannon's radio show Behind the Scenes and a project on Hungary.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_kincannon#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_kincannon","ead_ssi":"vifgm_kincannon","_root_":"vifgm_kincannon","_nest_parent_":"vifgm_kincannon","ead_source_url_ssi":"data/gmu/kincannon.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/kincannon.html","title_ssm":["Claire Kincannon theatre collection"],"title_tesim":["Claire Kincannon theatre collection"],"unitdate_ssm":["1955-2011"],"unitdate_other_ssim":["1955-2011"],"normalized_date_ssm":["1955/2011"],"normalized_title_ssm":["Claire Kincannon theatre collection, 1955/2011"],"text":["Claire Kincannon theatre collection, 1955/2011","C0018","Motion pictures.","Theater--England--London.","Theater--New York (State)--New York.","Theater--Ohio.","Theater--Washington (D.C.)","Live sound recordings.","Photographic prints.","Sound recordings.","Video recordings.","There are no access restrictions.","All of the \"Behind the Scenes with Claire Kincannon\" shows on audiotape are available in digital format.","Organized into five series.","Series 1: Washington, D.C., 1971-2008 (Boxes 1-20, 28, 30, 32, 33)\n        Series 2: Ohio Regional Theatres, 1955-1982 (Boxes 21-24, 31)\n        Series 3: Broadway and London Productions, 1955-2007 (Boxes 25-27)\n        Series 4: Film-related Materials, 1956-1992 (Box 29)\n        Series 5: Audiovisual Materials, 1983-1986 (Boxes 34-40)","Claire Kincannon graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she became a radio journalist and theatre critic in the Washington, D.C., area, starring in her own radio program, Behind the Scenes. It was during this time that she worked as a theatre critic, reviewing the performances she attended on her radio show. She moved to Paris, France in late 1992 with her husband, eventually returning in 2000. She founded Dancing Ink Press while in Paris, using it to publish several books including Paeonian to Paris, Sheets for Men Only, Sheets to the Wind, and Rockin' with Porch Memories. She still lives in the Washington, D.C., area and continues to write books and exhibit artwork.","Processed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012.","Special Collections and Archives also holds many other \n                theatre collections.","The Claire Kincannon theatre collection represents a lifetime and a career of theatre appreciation and attendance. Materials that comprise this collection track Kincannon's attendance at area performances in Ohio (1955-1982) and on Broadway (1955-2007), as well as her work as a theatre critic in Washington, D.C. (1971-2011).","The collection includes programs, press releases, photographs, and other outreach materials of various theatre productions. Also included in the collection are ticket stubs, invitations, schedules, and advertisements for certain productions. Some of the programs also contain the hand-written notes of Kincannon from when she worked as a critic; these notes provide unique insights into the job of a critic. There are also marketing releases for motion pictures, including photographs, press releases, and \"behind the scenes\" information.","Many of the programs are from the Kennedy Center, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and other various theaters in the D.C. area. Also included in the collection are productions by the Kenley Players and Victory Theatre in Dayton, OH, among others in the area. The Broadway collection encompasses several theaters' productions.","The first series covers Kincannon's time as a critic in Washington, D.C., from 1971-2008. This series contains programs, press releases, photographs, and other behind the scenes and marketing information. The second series covers Kincannon's early interest in theatre while in the Ohio area (1955-1982). It contains mostly playbooks and programs from area performances. The third series is the collection of Broadway and London productions Kincannon attended from 1955-2007. This series consists of mostly playbills and programs. The fourth series is film-related materials from 1956-1992, consisting of souvenir books, magazines, and press packets relating to each film. The fifth series is audiovisual materials from 1983-1992, consisting of reel-to-reel audiotapes, audiotape cartridges, and videocassettes. Much of the material is from the Behind the Scenes with Claire Kincannon radio program. Behind the Scenes was a three-minute feature on the performing arts, and was available via the Public Radio Satellite System.","The first series covers Kincannon's time as a critic in Washington, D.C. from 1971-2008. This series contains programs, press releases, photographs, and other behind the scenes and marketing information.","Program for multiple performances.","Press packet. Ten photographs.","Program.","Production of the National Theatre of Great Britain. Stagebill.","Documents regarding workshops. Press releases.","Invitation; Program, photographs.","Program.","Program.","Program.","Photograph; Program.","Program.","Program.","Stagebill.","Production of the New York Metropolitan Opera. Stagebill.","Stagebill.","Program.","Program.","Production of the Tokyo Kid Brothers. Stagebill.","Stagebill.","Program.","Program.","Preview Materials.","Program.","Stagebill.","Stagebill.","Program.","Stagebill; Photograph.","Stagebill.","Program.","Program.","Program.","Stagebill.","Stagebill.","Two photographs.","Stagebill.","News Release; Program.","Press Release; Program.","Program.","News Release; Program.","Press Release; Program; Photograph.","Program.","Program.","Invitation; Program.","Program.","Stagebill.","Stagebill.","Production of the Metropolitan Opera. Stagebill.","Program.","Program.","Program. Photograph.","Stagebill.","Invitation; Program; Photograph.","Invitation; Program.","Program.","Program.","Program.","Stagebill.","Production of the Elizabeth Theatre Group. Stagebill.","Program.","Production of the Elizabeth Theatre Group. Stagebill.","Program.","Stagebill.","Program.","Program.","Program.","Donor list; Program.","Stagebill; Photograph.","Production of the American Ballet Theatre. Stagebill.","Production of the American Ballet Theatre. Stagebill.","James Joyce's The Dead, Kennedy Center","Native Storyteller: Ron Ki-Ke-In Hamilton (Nuu-Chah-Nulth), Smithsonian","Our Town, Arena Stage","She Always Said, Pablo, Kennedy Center","Still Life, Arena Stage","Press packet.","Program.","Stagebill. Photograph.","Stagebill.","Stagebill.","Program; Two Photographs.","Program; Invitation.","Program.","Program.","Program.","Invitation; Photograph; Program.","Stagebill.","Stagebill.","Stagebill.","Invitation; Program; Photograph.","Program.","Program.","Program.","Stagebill; Photograph.","Program.","Program; Photograph.","Program; Two photographs.","Invitation; Program.","Program.","Invitation; Program.","35mm slides.","Stagebill; Photograph.","Production of the New York Metropolitan Opera. Stagebill.","Program.","Stagebill.","Program; Photograph.","Program.","Program.","Program.","Ticket stub; Program; 35mm Slides.","Invitation; Program.","Stagebill.","Program.","Photograph; Program.","Program.","Program.","Production of the Houston Grand Opera and Teatro alla Scala. Stagebill; Photograph.","Program.","Program; Photograph.","Brochure.","Program.","Stagebill; Photograph.","Stagebill.","Program.","Invitation; Program.","Production of the New York Shakespeare Festival. Stagebill; Photograph.","Program.","Photograph.","Invitation; Program.","Program.","Photograph; Program.","Program.","Program.","Invitation; Program.","Program.","Production of the Paramount Theatre Prod. Stagebill.","Stagebill.","Invitation; Program.","Program.","Program; Photograph.","Program.","Stagebill.","Program.","Program.","Production of the Royal Shakespeare Company. Stagebill; Three photographs.","Invitation; Program; Photograph.","Program; Photograph.","Program; Invitation.","Showbill.","Program.","Program; Two Photographs.","Invitation; Program; Photograph.","Stagebill; Photograph.","Production of the Opera House; Three Photographs; Stagebill.","Program.","Program.","Invitation; Program.","Invitation; Program; Two Photographs.","Program.","Stagebill.","Press Release.","Invitation; Program.","Stagebill.","Flyer; Stagebill.","Stagebill; Photograph.","Program; Photograph.","Invitation; Program.","Invitation; Program; Photograph.","Program; Press Release; Newspaper Articles.","Invitation; Program.","Presented by Piccolo Spoleto. Program.","Presented by the Spoleto Festival, Charleston, SC. Program.","Presented by the Spoleto Festival, Charleston, SC. Program.","Presented by the Spoleto Festival, Charleston, SC. Program.","Presented by the Spoleto Festival, Charleston, SC. Program. Festival Brochures; Travel Aids; Postcard.","Program.","Production of the Human Bridge Theater Company. Press Kit.","Stagebill.","Program.","Program.","Program; Press Release; Notes.","Stagebill.","Photograph; Tickets; Stagebill.","Program.","Invitation; Program.","Program.","Program.","Invitation; Program.","Photograph; Program.","Invitation; Program; Four slides.","Program.","Invitation; Program; Photograph.","Invitation; Program; Photograph.","Stagebill.","Two Photographs.","Program.","Program.","Invitation; Program.","Production of the American National Theatre. Stagebill.","Stagebill; Photograph.","Program.","Programs; Invitations; Louisville guide; Notes.","Program.","Stagebill.","Program.","Program.","Invitation; Program.","Invitation; Program.","Stagebill; Photograph.","Invitation; Program.","Invitation; Program.","Stagebill.","Stagebill; Photograph.","Program.","Invitation; Program.","Stagebill.","Stagebill; Press Release.","Program.","Program; Tickets.","Two Photographs; Program.","Program.","Invitation; Program.","Stagebill; Press Release; Media Kit.","Production of the Haifa Municipal Theatre of Israel. Stagebill.","Stagebill.","Program.","Program.","Invitation; Program.","Program; Press Release.","Tickets; Stagebill; Press Release.","Stagebill.","Production of the La Jolla Playhouse. Stagebill; Photograph.","Invitation; Program.","Stagebill.","Schedule.","Stagebill; Photograph.","Press Release; Newspaper Articles; Publicity Packet; Program.","Program; Magazine; Newspaper Article.","Program; Press Release; Studio Theatre Newspaper.","Press Release; Program; Mailer.","Tickets; Press Release; Stagebill.","Program; Press Release.","Press Release; Program.","Stagebill; Photograph.","Program.","Program.","Stagebill; Press Release.","Souvenir Brochure; Stagebill.","Program; Press Release; American's Arena Publication.","Stagebill; Press Release; Newspaper Article.","Program; Newspaper Article; America's Arena Publication.","Program; Newspaper Article; Press Release.","Stagebill.","Press Release; Program.","Photograph; Press Release; Mailer; Program.","Invitation; Program; Press Release.","Program; Press Release.","Program; Press Release; Newspaper Article.","Program.","Stagebill.","Photograph; Press Release; Media Kit, Stagebill.","Press Release; Invitation.","Invitation; Program.","Invitation; Press Releases; Program.","Program; Press Release.","Media Package","Invitation; Program; Photograph","Stagebill; Press Release.","Press Release; Stagebill.","Ticket stub; Invitation; Program; Press Release; Newspaper Article.","Press Release; Stagebill.","Stagebill.","Press Release; Stagebill.","Press Release; Two Photographs","Press Release; Stagebill.","Stagebill; Press Release.","Invitation; Program; Press Release; Newspaper Article.","Program.","Press Release; Program.","Program; Press Release; Newspaper Article.","Program.","Stagebill.","Stagebill.","Newspaper Article; Program; Ticket Stubs; Mailer.","Invitation; Program; Ticket Stubs; Press Release.","Ten photographs.","Invitation; Program.","Program; Press Release.","Photograph; Press Release; Program.","Program.","Invitation; Program; Photograph; Magazine Article.","Stagebill; Press Release; Photograph.","Stagebill.","Program; Press Release; Photograph.","Program.","Stagebill; Photograph.","Stagebill; Press Release.","Magazine Article; Tickets; Program; Photograph; Press Release.","Program.","Press Releases.","Program.","Invitation.","Press Kit; Stagebill.","Press Release; Stagebill; Photograph.","Photograph; Program.","Stagebill.","Program; Photograph.","Program; Photograph.","Media Kit; Program.","Stagebill.","Program.","Stagebill; Photograph.","Media Kit; Program.","Program; Press Release; Photograph.","Photograph; Letter.","Program; Photograph.","Program; Photographs.","Program; Playbills","Moscow Art Theatre: Past, Present, Future publication","Program; Press Release; Photograph.","Stagebill; Photograph.","Press Kit; Program.","Brochure.","Program.","Invitation; Program.","Program; Photograph.","Photographs; Stagebill; Program; Tickets.","Photographs; Stagebill.","Stagebill; Photograph.","Tickets; Stagebill; Photographs.","Program.","Photograph; Press Release; Stagebill.","Photograph; Stagebill; Press Release.","Stagebill; Photograph.","Photograph; Press Release; Stagebill.","Program; Photograph; Press Release.","Press Release; Photograph; Program.","Press Release.","Invitation; Press Release; Newspaper Articles.","Photograph; Stagebill.","Invitation; Program; Photograph; Press Release.","Stagebill; Photograph.","Invitation; Photograph; Program.","Invitation; Program; Media Kit.","Program; Press Release; Newspaper Article.","Invitation; Program; Photograph.","Program, Photographs.","Invitation; Program; Media Kit.","Program; Media Kit.","Program; Media Kit.","Invitation; Photograph; Program; Press Release.","Invitation; Program; Media Kit.","Stagebill.","Stagebill; Press Release.","Program.","Brochure.","Stagebill; Photograph.","Stagebill.","Invitation; Program; Newspaper Article; Photograph.","Invitation; Program.","Press Release.","Program.","Program; Press Release.","Program.","Program.","Stagebill.","Stagebill.","Stagebill; Press release; Notes.","Stagebill; Photograph.","Program; Photograph; Newspaper Articles; Magazine; Press Release.","Program; Photograph.","Program.","Stagebill.","Stagebill; Media Kit; Newspaper Articles.","Invitation; Program; Photograph.","News release; Photograph; Program.","Press release; Newsletter; Program.","Invitation; Program; News Release.","News Release; Invitation; Program.","Press Release; Program; Invitation; Newspaper Article.","Stagebill; Press Release.","Program; Press Release.","Program.","Production of the Bolshoi Opera. Program; Photograph.","Program; Photograph.","Stagebill; Press Release.","Program.","Program; Press Release; Newsletter.","Three Photographs.","Playbill; Two Photographs.","Invitation; Program.","Press Release; Program.","Press Release; Postcard.","Stagebill.","Press Kit.","Press Release.","Invitation; Program; Press Release.","Program; Press Release; Photograph.","Stagebill; Press Kit.","Program; Press Kit.","Invitation.","Program; Photograph.","Stagebill; Press Release; Photograph.","Program; Photograph; Press Release.","Program; Press Release; Newspaper Article.","Invitation; Program; Photograph.","Invitation; Program; Press Release; Photograph.","Program; Guest list.","Program; Press Kit; Two photographs.","Stagebill; Press Release; Photograph.","Program; Press Kit.","Program; Press Kit.","Stagebill; Press Kit; Photograph.","Program; Press Kit.","Program; Press Release; Key chain.","Program.","Program; Press Kit.","Production of the Theater des Westens. Stagebill; Press Kit.","Stagebill; Press Kit.","Stagebill; Press Release; Photograph.","Program; Press Release; Photograph.","Program.","Invitation; Program; Press Release.","Press Release; Program.","Program.","Program.","Loudoun Symphony 10th anniversary concert","Waterford concert series: The Back Sinfonia","Waterford concert series: Musical Remarks","Capitol Steps: Who put the mock in democracy? It's the Capital Steps","Oklahoma!, Arena Stage","August Wilson's Gem of the Ocean, Arena Stage","She Loves Me, Arena Stage","A Tribute to Sergei Prokofiev, Kennedy Center","Ain't Misbehavin', Arena Stage","An Evening at the Oscars, Loudoun Symphony, Middleburg, VA","Anna Christie, Arena Stage","The Best Man, Radio Theatre Live!","Chicago, Knoxville Civic Auditorium, TN","Choral Arts Society of Washington, Kennedy Center","Diana Krall, Kennedy Center","Eudora Welty Remembered, Folger Shakespeare Library","Hallelujah, Baby!, Arena Stage","Love's Labour's Lost, Catholic University of America","Mostly Sondheim, Kennedy Center","Pacific Overtures, Kennedy Center","Passion, Kennedy Center","PEN/Faulkner awards for fiction, Folger Shakespeare Library","The Play About the Baby, The Studio Theatre","Roberta Flack, Music Center at Strathmore","Runaway Home, The Studio Theatre","The Shape of Things, The Studio Theatre","Fourth Estate Award Dinner honoring Christiane Amanpour","The Order of the Owl, Initiating Art Buchwald","The Order of the Owl, Initiating Austing H. Kiplinger and Donald A. Ritchie","The Order of the Owl, Initiating Mark Russell","Spring Hoot: A Grand Old Club Salutes A Grand Old Hotel","The Order of the Owl, Initiating John Eaton","Kennedy Center News (September-October 2004 and May-August 2004)","Five by Tenn (ticket, press packet)","The Light in the Piazza","Salome","Madama Butterfly","Marian McPartland's 89th Birthday Celebration on Marian McPartland's Piano Jazz","Washington National Opera's Iphigenie en Tauride","Washington National Opera's Macbeth","A View from the Bridge, Washington National Opera","Madame Butterfly, Washington National Opera","National Symphony Orchestra","Sophie's Choice, Washington National Opera","Cabaret, Arena Stage","Connecting Lines: New Poetry from Mexico, The Cultural Institute of Mexico","The Evening Parade, Marine Barracks Washington","Fiddler on the Roof, Olney Theatre Center, MD","Hansel and Gretel, The Lincoln Theatre","Ibis, Waterford, VA","Opera in Waterford, Domingo-Cafritz Young Artists, Waterford, VA","The Persians, Shakespeare Theatre Company","Waterford Home Tours and Crafts Exhibit, Waterford, VA","Program.","Program; Photograph.","Playbill.","Playbill.","Applause at Strathmore","The Arthur Miller Festival: Death of a Salesman, A View from the Bridge, Arena Stage","Blues Alley Jazz Supper Club","Cymbeline, Round House Silver Spring","Kennedy Center News","La Traviata, Washington National Opera, Kennedy Center","Musical Remarks, John Wesley Church, Waterford, VA","The Pearl Fishers, Washington National Opera, Kennedy Center","The Price, Theatre J","Strathmore News","Program.","Program.","Production of the Washington National Opera. Playbill.","Antony and Cleopatra, Lansburgh Theatre","Ariadne auf Naxos, Washington National Opera, Kennedy Center","Chicago, National Theatre","Falstaff, Washington National Opera, Kennedy Center","I Love a Piano, Arena Stage","Master Singers of Virginia, Waterford, VA","PEN/Faulkner awards for fiction, Folger Shakespeare Library","Peter Grimes, Washington National Opera, Kennedy Center","Turandot, Washington National Opera, Kennedy Center","The Marriage of Figaro, Washington National Opera, Kennedy Center","Porgy and Bess, Washington National Opera, Kennedy Center","Reasons to be Pretty, The Studio Theatre","Photographs of Elizabeth Taylor, Mia Dillon, Zev Bufman, Peter Gallagher.","Photographs of Elizabeth Taylor, Mia Dillon, Zev Bufman, Peter Gallagher.","Vol. 2, no. 2; Vol. 3, no. 1-2; Vol. 4, no. 1-2; Vol. 5, no. 2; Vol. 6, no. 1-3; Vol. 7, no. 1","Reports.","Brochure.","Articles.","Press Releases; Photograph.","Program.","Newspaper Articles; Photograph.","Newsletter.","Program.","Photograph.","Program.","Annual Reports; Schedules; Publication.","Invitations for plays not attended or no playbills.","Photographs.","Invitations.","Seven photographs.","Victor Borge and his Concert Orchestra","Spies in your eyes, JCA Playguild","Hamlet, Philharmonia Orchestra","Henry V: An interpretation of the Photoplay","From Washington DC and Virginia theatres","Includes schedules from: Arena Stage, Kennedy Center, Shakespeare Theatre at the Folger, Theatre J, Washington National Opera, Woolly Mammoth","Includes schedules from: Arena Stage, Ford's Theatre, Kennedy Center, PEN/Faulkner Foundation, Shakespeare Theatre at the Folger, The Studio Theatre, Washington National Opera, Washington Performing Arts Society, Wayside Theatre, Woolly Mammoth","Marilyn Monroe: Life as a Legend","Franklin Park Performing and Visual Arts Center (2008-2009)","Grease at the Olney Theatre Center","Shenandoah Summer Music Theatre (2011)","Includes schedules from: Arena Stage, George Mason University's Center for the Arts, Kennedy Center, Olney, PEN/Faulkner Foundation, Folger Theatre, Shenandoah Conservatory, The Studio Theatre, Theatre J, University of Notre Dame, Washington National Opera, Washington Performing Arts Society","Includes schedules from: Arena Stage, Contemporary American Theatre Festival, Olney, Folger Theatre, Shakespeare Theatre Company, Shenandoah Conservatory, Signature Theatre, Strathmore Music Center, The Studio Theatre, Theatre J, Washington National Cathedral, Washington National Opera, Woolly Mammoth","Includes schedules from: Arena Stage, Kennedy Center, Master Singers of Virginia, Washington National Opera","Programs; Playbills.","The second series covers Kincannon's early interest in theatre while in the Ohio area (1955-1982). It contains mostly playbooks and programs from area performances.","Playbill; Program.","Playbill; Program.","Playbill.","Program.","Program.","Playbill; Program.","Playbill; Program.","Dayton Philharmonic Orchestra, Memorial Hall, Dayton, OH","Philharmonic-Symphony Society of New York, Memorial Hall, Dayton, OH","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","The Antioch yellow springs festival, OH","Light up the sky, Victory Theatre, Dayton, OH","The magnificent Yankee, Cox Theatre, Cincinnati, OH","O mistress mine, Memorial Hall, Dayton, OH","Pick-up girl, Ellis Auditorium, Memphis, TN","State of the union, Cox Theatre, Cincinnati, OH","The wise have not spoken, Yellow Springs Area Theatre, OH","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbills.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Announcement.","Playbook; Program.","Program.","Program; Playbook.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Program.","Program.","Playbook; Program.","Program.","Program.","Program.","Souvenir Program.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Program.","Program; Playbook.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Playbook; Program.","Program.","Playbill; Program.","Playbill; Program.","Program.","Program.","Program.","Program.","Program.","Playbill; Program.","Program; Curtain Call.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program; Playbook.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Program.","Program.","Playbook; Program.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Program.","Playbook; Program.","Program.","Program.","Program.","Program.","Program.","Playbook; Program.","Playbook; Program.","Program.","Program.","Program.","Program.","Program.","Playbill.","The third series is the collection of Broadway and London productions Kincannon attended from 1955-2007. This series consists of mostly playbills and programs.","Program.","Playbill.","Program.","Program.","Program.","Calendar.","Program.","Program.","Playbill; Program.","Playbill.","Playbill; Program.","Playbill.","Playbill.","Playbill; Program.","Playbill; Program.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill; Program.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill; Program.","Playbill.","Playbill.","Playbill.","Program.","Playbill.","Playbill.","Playbill; Program.","Playbill; Program.","Program.","Playbill; Program.","Playbill.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playgram.","Playgram.","Playgram.","Reviews.","Program.","Program.","Program.","Playbill.","Playbill.","Playbill.","Playbill; Program.","Playbill.","Showcard.","Showcard.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Program.","Program.","Magazine.","Magazine.","Picture book.","Publication.","Program.","Program.","Playbill.","Playbill.","Program.","Program.","Program.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill; City Guide.","The fourth series is film-related materials from 1943-1992, consisting of souvenir books, magazines, and press packets relating to each movie.","Souvenir Book.","Magazine. Vol 4, no. 8.","Magazine. Vol 4, no. 9.","Book.","Program.","Cinebills for The Iceman Cometh; Luther; Rhinoceros; Lost in the Stars; Butley; The Three Sisters.","Programs for Jacques Brel is Alive and Well and Living; The Maids; In Celebration; The Man in the Glass Booth; Galileo.","Press Release.","Press Packet.","Press Packet.","Press Packet.","Press Packet; Production Information; Photographs.","Press Packet.","Program; magazine.","The fifth series is audiovisual materials from 1983-1986, consisting of reel-to-reel audiotapes, audiotape cartridges, and videocassettes. Much of the material is from the Behind the Scenes with Claire Kincannon radio program. Behind the Scenes was a three-minute feature on the Performing Arts, and was available via the Public Radio Satellite System.","7\" reel-to-reel audiotape. Program ends at 00:10:08.","Videotape.","Pamphlet.","7\" reel-to-reel audiotape. Run Time: 00:08:05.","7\" reel-to-reel audiotape. Program ends at 00:24:45.","7\" reel-to-reel audiotape. Program ends at 00:31:40.","9 discs containing digital access copies and a storage drive with access copies and master digital files.","7\" reel-to-reel audiotape. Program ends at 00:06:08.","7\" reel-to-reel audiotape. Program ends at 00:16:15.","5\" reel-to-reel audiotape. Run time is 00:07:36.","Audiotape cartridge. Run Time: 00:03:44.","Audiotape cartridge. Run Time: 00:00:44. Tape only contains approximately 2 seconds of audio.","5\" reel-to-reel audiotape. Run Time: 00:03:24.","5\" reel-to-reel audiotape. Approximately 1 minute of silence in the middle of program. Tape entered silence at approximately 00:04:44.","5\" reel-to-reel audiotape. Tape entered silence at approximately 00:07:01.","10.5\" reel-to-reel audiotape rehoused onto 7\" reel. Run Time: 00:16:12.","10.5\" reel-to-reel audiotape. Run Time: 0:23:59.","5\" reel-to-reel audiotape. Tape starts mid-program. Program ends at 00:06:04.","7\" reel-to-reel audiotape. Program ends at 00:10:00.","7\" reel-to-reel audiotape. Run time is 00:07:28.","5\" reel-to-reel audiotape. Run Time: 00:11:09.","7\" reel-to-reel audiotape. Program ends at 00:04:59.","7\" reel-to-reel audiotape. Box reads \"1984 October 6\". Program ends at 00:03:13.","7\" reel-to-reel audiotape. Program ends at approximately 00:05:46.","7\" reel-to-reel audiotape. Program ends at 00:05:46.","7\" reel-to-reel audiotape. Program ends at 00:06:25.","7\" reel-to-reel audiotape. Run time is 00:04:28.","7\" reel-to-reel audiotape. Run time is 00:06:11.","7\" reel-to-reel audiotape. Program ends at 00:05:37.","7\" reel-to-reel audiotape. Program ends at 00:05:02.","5\" reel-to-reel audiotape. Run time is 00:05:57.","7\" reel-to-reel audiotape. Program ends at 00:05:07.","7\" reel-to-reel audiotape. Program ends at 00:05:10.","7\" reel-to-reel audiotape. Program ends at 00:05:27.","7\" reel-to-reel audiotape. Program ends at 00:04:58.","5\" reel-to-reel audiotape. Run time is 00:06:20.","7\" reel-to-reel audiotape. Runt time is 00:05:26.","7\" reel-to-reel audiotape. Program ends at 00:07:15.","Videotape cassette.","Videotape cassette. Women in film: Streetwise, Old Enough; Gin Game; short run; Mayor of ?; End of World.","7\" reel-to-reel audiotape. Program ends at 00:04:50.","7\" reel-to-reel audiotape. Run time is 00:26:46.","7\" reel-to-reel audiotape. Program ends at 00:04:06.","7\" reel-to-reel audiotape. Program ends at 00:06:52.","7\" reel-to-reel audiotape. Program ends at 00:05:16.","7\" reel-to-reel audiotape. Program ends at 00:05:47.","7\" reel-to-reel audiotape. Program ends at 00:06:07.","7\" reel-to-reel audiotape. Program ends at 00:03:44.","5\" reel-to-reel audiotape. Tape entered silence at approximately 00:05:30.","7\" reel-to-reel audiotape. Program ends at approx 00:05:06.","7\" reel-to-reel audiotape. Box reads \"Rebecca Rice Liv Stage\", \"#7, 10/12/83\". Program ends at 00:07:11.","7\" reel-to-reel audiotape. Program switches from stereo to mono (left channel only) from 00:02:50 until 00:04:22 Program ends at 00:26:23.","7\" reel-to-reel audiotape. Run time is 00:20:27. Approx 1 minute of silence before program begins.","7\" reel-to-reel audiotape. Program ends at 00:21:50.","7\" reel-to-reel audiotape. Run time is 00:47:10.","7\" reel-to-reel audiotape. Run time is 00:41:45.","7\" reel to reel audiotape. Program ends at approx 00:05:34.","7\" reel-to-reel audiotape. Run Time: 01:05:27.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette. Clips from Streetwise and Old Enough.","There are no restrictions on personal use. Permission to publish material from the Claire Kincannon theatre collection must be obtained from the Special Collections Research Center, George Mason University Libraries.","This collection contains promotional materials for plays in the Washington, D.C., area, including programs, photographs, and press kits as well as a selection of programs and playbills from theaters in New York, London, and regional theaters in Ohio dating back to 1955, as well as some limited film-related materials. In addition to paper materials there are also audio visual materials featuring Kincannon's radio show Behind the Scenes and a project on Hungary.","George Mason University Special Collections \u0026 Archives","Lois Claire Kincannon","Kincannon, Lois Claire.","English"],"collection_title_tesim":["Claire Kincannon theatre collection, 1955/2011"],"collection_ssim":["Claire Kincannon theatre collection, 1955/2011"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0018"],"unitid_tesim":["C0018"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Lois Claire Kincannon"],"creator_ssim":["Lois Claire Kincannon"],"creator_persname_ssim":["Lois Claire Kincannon","Kincannon, Lois Claire."],"creator_corpname_ssim":["George Mason University Special Collections \u0026 Archives"],"creators_ssim":["Lois Claire Kincannon","Kincannon, Lois Claire.","George Mason University Special Collections \u0026 Archives"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Claire Kincannon theatre collection must be obtained from the Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Collection donated by Claire Kincannon in 2007-2008 and 2011."],"access_subjects_ssim":["Motion pictures.","Theater--England--London.","Theater--New York (State)--New York.","Theater--Ohio.","Theater--Washington (D.C.)","Live sound recordings.","Photographic prints.","Sound recordings.","Video recordings."],"access_subjects_ssm":["Motion pictures.","Theater--England--London.","Theater--New York (State)--New York.","Theater--Ohio.","Theater--Washington (D.C.)","Live sound recordings.","Photographic prints.","Sound recordings.","Video recordings."],"has_online_content_ssim":["false"],"extent_ssm":["20.0 Linear feet (40 boxes)"],"extent_tesim":["20.0 Linear feet (40 boxes)"],"date_range_isim":[1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e\n    "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eAll of the \"Behind the Scenes with Claire Kincannon\" shows on audiotape are available in digital format.\u003c/p\u003e\n    "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["All of the \"Behind the Scenes with Claire Kincannon\" shows on audiotape are available in digital format."],"arrangement_html_tesm":["\u003cp\u003eOrganized into five series.\u003c/p\u003e\n      ","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Washington, D.C., 1971-2008 (Boxes 1-20, 28, 30, 32, 33)\u003c/item\u003e\n        \u003citem\u003eSeries 2: Ohio Regional Theatres, 1955-1982 (Boxes 21-24, 31)\u003c/item\u003e\n        \u003citem\u003eSeries 3: Broadway and London Productions, 1955-2007 (Boxes 25-27)\u003c/item\u003e\n        \u003citem\u003eSeries 4: Film-related Materials, 1956-1992 (Box 29)\u003c/item\u003e\n        \u003citem\u003eSeries 5: Audiovisual Materials, 1983-1986 (Boxes 34-40)\u003c/item\u003e\n      \u003c/list\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized into five series.","Series 1: Washington, D.C., 1971-2008 (Boxes 1-20, 28, 30, 32, 33)\n        Series 2: Ohio Regional Theatres, 1955-1982 (Boxes 21-24, 31)\n        Series 3: Broadway and London Productions, 1955-2007 (Boxes 25-27)\n        Series 4: Film-related Materials, 1956-1992 (Box 29)\n        Series 5: Audiovisual Materials, 1983-1986 (Boxes 34-40)"],"bioghist_html_tesm":["\u003cp\u003eClaire Kincannon graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she became a radio journalist and theatre critic in the Washington, D.C., area, starring in her own radio program, Behind the Scenes. It was during this time that she worked as a theatre critic, reviewing the performances she attended on her radio show. She moved to Paris, France in late 1992 with her husband, eventually returning in 2000. She founded Dancing Ink Press while in Paris, using it to publish several books including Paeonian to Paris, Sheets for Men Only, Sheets to the Wind, and Rockin' with Porch Memories. She still lives in the Washington, D.C., area and continues to write books and exhibit artwork.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Claire Kincannon graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she became a radio journalist and theatre critic in the Washington, D.C., area, starring in her own radio program, Behind the Scenes. It was during this time that she worked as a theatre critic, reviewing the performances she attended on her radio show. She moved to Paris, France in late 1992 with her husband, eventually returning in 2000. She founded Dancing Ink Press while in Paris, using it to publish several books including Paeonian to Paris, Sheets for Men Only, Sheets to the Wind, and Rockin' with Porch Memories. She still lives in the Washington, D.C., area and continues to write books and exhibit artwork."],"prefercite_html_tesm":["\u003cp\u003eClaire Kincannon theatre collection, C0018, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e\n    "],"prefercite_tesim":["Claire Kincannon theatre collection, C0018, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012.\u003c/p\u003e\n    "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds many other \n                theatre collections.\u003c/p\u003e\n    "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives also holds many other \n                theatre collections."],"scopecontent_html_tesm":["\u003cp\u003eThe Claire Kincannon theatre collection represents a lifetime and a career of theatre appreciation and attendance. Materials that comprise this collection track Kincannon's attendance at area performances in Ohio (1955-1982) and on Broadway (1955-2007), as well as her work as a theatre critic in Washington, D.C. (1971-2011).\u003c/p\u003e\n      ","\u003cp\u003eThe collection includes programs, press releases, photographs, and other outreach materials of various theatre productions. Also included in the collection are ticket stubs, invitations, schedules, and advertisements for certain productions. Some of the programs also contain the hand-written notes of Kincannon from when she worked as a critic; these notes provide unique insights into the job of a critic. There are also marketing releases for motion pictures, including photographs, press releases, and \"behind the scenes\" information.\u003c/p\u003e\n      ","\u003cp\u003eMany of the programs are from the Kennedy Center, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and other various theaters in the D.C. area. Also included in the collection are productions by the Kenley Players and Victory Theatre in Dayton, OH, among others in the area. The Broadway collection encompasses several theaters' productions.\u003c/p\u003e\n      ","\u003cp\u003eThe first series covers Kincannon's time as a critic in Washington, D.C., from 1971-2008. This series contains programs, press releases, photographs, and other behind the scenes and marketing information. The second series covers Kincannon's early interest in theatre while in the Ohio area (1955-1982). It contains mostly playbooks and programs from area performances. The third series is the collection of Broadway and London productions Kincannon attended from 1955-2007. This series consists of mostly playbills and programs. The fourth series is film-related materials from 1956-1992, consisting of souvenir books, magazines, and press packets relating to each film. The fifth series is audiovisual materials from 1983-1992, consisting of reel-to-reel audiotapes, audiotape cartridges, and videocassettes. Much of the material is from the Behind the Scenes with Claire Kincannon radio program. Behind the Scenes was a three-minute feature on the performing arts, and was available via the Public Radio Satellite System.\u003c/p\u003e\n    ","\u003cp\u003eThe first series covers Kincannon's time as a critic in Washington, D.C. from 1971-2008. This series contains programs, press releases, photographs, and other behind the scenes and marketing information.\u003c/p\u003e\n        ","\u003cp\u003eProgram for multiple performances.\u003c/p\u003e\n          ","\u003cp\u003ePress packet. Ten photographs.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the National Theatre of Great Britain. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eDocuments regarding workshops. Press releases.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program, photographs.\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the New York Metropolitan Opera. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Tokyo Kid Brothers. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePreview Materials.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eTwo photographs.\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eNews Release; Program.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eNews Release; Program.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Metropolitan Opera. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram. Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Elizabeth Theatre Group. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Elizabeth Theatre Group. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eDonor list; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the American Ballet Theatre. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the American Ballet Theatre. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eJames Joyce's The Dead, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eNative Storyteller: Ron Ki-Ke-In Hamilton (Nuu-Chah-Nulth), Smithsonian\u003c/p\u003e\n            ","\u003cp\u003eOur Town, Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eShe Always Said, Pablo, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eStill Life, Arena Stage\u003c/p\u003e\n          ","\u003cp\u003ePress packet.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill. Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Two Photographs.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Invitation.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Photograph; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Two photographs.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003e35mm slides.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the New York Metropolitan Opera. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eTicket stub; Program; 35mm Slides.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Houston Grand Opera and Teatro alla Scala. Stagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eBrochure.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the New York Shakespeare Festival. Stagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Paramount Theatre Prod. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Royal Shakespeare Company. Stagebill; Three photographs.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Invitation.\u003c/p\u003e\n          ","\u003cp\u003eShowbill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Two Photographs.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Opera House; Three Photographs; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Two Photographs.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003ePress Release.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eFlyer; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Newspaper Articles.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003ePresented by Piccolo Spoleto. Program.\u003c/p\u003e\n          ","\u003cp\u003ePresented by the Spoleto Festival, Charleston, SC. Program.\u003c/p\u003e\n          ","\u003cp\u003ePresented by the Spoleto Festival, Charleston, SC. Program.\u003c/p\u003e\n          ","\u003cp\u003ePresented by the Spoleto Festival, Charleston, SC. Program.\u003c/p\u003e\n          ","\u003cp\u003ePresented by the Spoleto Festival, Charleston, SC. Program. Festival Brochures; Travel Aids; Postcard.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Human Bridge Theater Company. Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Notes.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Tickets; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Four slides.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eTwo Photographs.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the American National Theatre. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePrograms; Invitations; Louisville guide; Notes.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Tickets.\u003c/p\u003e\n          ","\u003cp\u003eTwo Photographs; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release; Media Kit.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Haifa Municipal Theatre of Israel. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eTickets; Stagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the La Jolla Playhouse. Stagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eSchedule.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Newspaper Articles; Publicity Packet; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Magazine; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Studio Theatre Newspaper.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program; Mailer.\u003c/p\u003e\n          ","\u003cp\u003eTickets; Press Release; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eSouvenir Brochure; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; American's Arena Publication.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Newspaper Article; America's Arena Publication.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Newspaper Article; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Press Release; Mailer; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Press Release; Media Kit, Stagebill.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Invitation.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Press Releases; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eMedia Package\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eTicket stub; Invitation; Program; Press Release; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Two Photographs\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Press Release; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eNewspaper Article; Program; Ticket Stubs; Mailer.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Ticket Stubs; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eTen photographs.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Press Release; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph; Magazine Article.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eMagazine Article; Tickets; Program; Photograph; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePress Releases.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation.\u003c/p\u003e\n          ","\u003cp\u003ePress Kit; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Stagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eMedia Kit; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eMedia Kit; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Letter.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photographs.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Playbills\u003c/p\u003e\n            ","\u003cp\u003eMoscow Art Theatre: Past, Present, Future publication\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003ePress Kit; Program.\u003c/p\u003e\n          ","\u003cp\u003eBrochure.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003ePhotographs; Stagebill; Program; Tickets.\u003c/p\u003e\n          ","\u003cp\u003ePhotographs; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eTickets; Stagebill; Photographs.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Press Release; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Stagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Press Release; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph; Press Release.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Photograph; Program.\u003c/p\u003e\n          ","\u003cp\u003ePress Release.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Press Release; Newspaper Articles.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Photograph; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Media Kit.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram, Photographs.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Media Kit.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Media Kit.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Media Kit.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Photograph; Program; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Media Kit.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eBrochure.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Newspaper Article; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003ePress Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press release; Notes.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph; Newspaper Articles; Magazine; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Media Kit; Newspaper Articles.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eNews release; Photograph; Program.\u003c/p\u003e\n          ","\u003cp\u003ePress release; Newsletter; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; News Release.\u003c/p\u003e\n          ","\u003cp\u003eNews Release; Invitation; Program.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program; Invitation; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Bolshoi Opera. Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Newsletter.\u003c/p\u003e\n          ","\u003cp\u003eThree Photographs.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Two Photographs.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Postcard.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003ePress Kit.\u003c/p\u003e\n          ","\u003cp\u003ePress Release.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eInvitation.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Guest list.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Kit; Two photographs.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Kit; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Key chain.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Theater des Westens. Stagebill; Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Press Release.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eLoudoun Symphony 10th anniversary concert\u003c/p\u003e\n            ","\u003cp\u003eWaterford concert series: The Back Sinfonia\u003c/p\u003e\n            ","\u003cp\u003eWaterford concert series: Musical Remarks\u003c/p\u003e\n            ","\u003cp\u003eCapitol Steps: Who put the mock in democracy? It's the Capital Steps\u003c/p\u003e\n            ","\u003cp\u003eOklahoma!, Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eAugust Wilson's Gem of the Ocean, Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eShe Loves Me, Arena Stage\u003c/p\u003e\n          ","\u003cp\u003eA Tribute to Sergei Prokofiev, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eAin't Misbehavin', Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eAn Evening at the Oscars, Loudoun Symphony, Middleburg, VA\u003c/p\u003e\n            ","\u003cp\u003eAnna Christie, Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eThe Best Man, Radio Theatre Live!\u003c/p\u003e\n            ","\u003cp\u003eChicago, Knoxville Civic Auditorium, TN\u003c/p\u003e\n            ","\u003cp\u003eChoral Arts Society of Washington, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eDiana Krall, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eEudora Welty Remembered, Folger Shakespeare Library\u003c/p\u003e\n            ","\u003cp\u003eHallelujah, Baby!, Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eLove's Labour's Lost, Catholic University of America\u003c/p\u003e\n            ","\u003cp\u003eMostly Sondheim, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003ePacific Overtures, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003ePassion, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003ePEN/Faulkner awards for fiction, Folger Shakespeare Library\u003c/p\u003e\n            ","\u003cp\u003eThe Play About the Baby, The Studio Theatre\u003c/p\u003e\n            ","\u003cp\u003eRoberta Flack, Music Center at Strathmore\u003c/p\u003e\n            ","\u003cp\u003eRunaway Home, The Studio Theatre\u003c/p\u003e\n            ","\u003cp\u003eThe Shape of Things, The Studio Theatre\u003c/p\u003e\n          ","\u003cp\u003eFourth Estate Award Dinner honoring Christiane Amanpour\u003c/p\u003e\n            ","\u003cp\u003eThe Order of the Owl, Initiating Art Buchwald\u003c/p\u003e\n            ","\u003cp\u003eThe Order of the Owl, Initiating Austing H. Kiplinger and Donald A. Ritchie\u003c/p\u003e\n            ","\u003cp\u003eThe Order of the Owl, Initiating Mark Russell\u003c/p\u003e\n            ","\u003cp\u003eSpring Hoot: A Grand Old Club Salutes A Grand Old Hotel\u003c/p\u003e\n            ","\u003cp\u003eThe Order of the Owl, Initiating John Eaton\u003c/p\u003e\n          ","\u003cp\u003eKennedy Center News (September-October 2004 and May-August 2004)\u003c/p\u003e\n            ","\u003cp\u003eFive by Tenn (ticket, press packet)\u003c/p\u003e\n            ","\u003cp\u003eThe Light in the Piazza\u003c/p\u003e\n            ","\u003cp\u003eSalome\u003c/p\u003e\n            ","\u003cp\u003eMadama Butterfly\u003c/p\u003e\n            ","\u003cp\u003eMarian McPartland's 89th Birthday Celebration on Marian McPartland's Piano Jazz\u003c/p\u003e\n            ","\u003cp\u003eWashington National Opera's Iphigenie en Tauride\u003c/p\u003e\n            ","\u003cp\u003eWashington National Opera's Macbeth\u003c/p\u003e\n          ","\u003cp\u003eA View from the Bridge, Washington National Opera\u003c/p\u003e\n            ","\u003cp\u003eMadame Butterfly, Washington National Opera\u003c/p\u003e\n            ","\u003cp\u003eNational Symphony Orchestra\u003c/p\u003e\n            ","\u003cp\u003eSophie's Choice, Washington National Opera\u003c/p\u003e\n          ","\u003cp\u003eCabaret, Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eConnecting Lines: New Poetry from Mexico, The Cultural Institute of Mexico\u003c/p\u003e\n            ","\u003cp\u003eThe Evening Parade, Marine Barracks Washington\u003c/p\u003e\n            ","\u003cp\u003eFiddler on the Roof, Olney Theatre Center, MD\u003c/p\u003e\n            ","\u003cp\u003eHansel and Gretel, The Lincoln Theatre\u003c/p\u003e\n            ","\u003cp\u003eIbis, Waterford, VA\u003c/p\u003e\n            ","\u003cp\u003eOpera in Waterford, Domingo-Cafritz Young Artists, Waterford, VA\u003c/p\u003e\n            ","\u003cp\u003eThe Persians, Shakespeare Theatre Company\u003c/p\u003e\n            ","\u003cp\u003eWaterford Home Tours and Crafts Exhibit, Waterford, VA\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003eApplause at Strathmore\u003c/p\u003e\n            ","\u003cp\u003eThe Arthur Miller Festival: Death of a Salesman, A View from the Bridge, Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eBlues Alley Jazz Supper Club\u003c/p\u003e\n            ","\u003cp\u003eCymbeline, Round House Silver Spring\u003c/p\u003e\n            ","\u003cp\u003eKennedy Center News\u003c/p\u003e\n            ","\u003cp\u003eLa Traviata, Washington National Opera, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eMusical Remarks, John Wesley Church, Waterford, VA\u003c/p\u003e\n            ","\u003cp\u003eThe Pearl Fishers, Washington National Opera, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eThe Price, Theatre J\u003c/p\u003e\n            ","\u003cp\u003eStrathmore News\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Washington National Opera. Playbill.\u003c/p\u003e\n          ","\u003cp\u003eAntony and Cleopatra, Lansburgh Theatre\u003c/p\u003e\n            ","\u003cp\u003eAriadne auf Naxos, Washington National Opera, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eChicago, National Theatre\u003c/p\u003e\n            ","\u003cp\u003eFalstaff, Washington National Opera, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eI Love a Piano, Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eMaster Singers of Virginia, Waterford, VA\u003c/p\u003e\n            ","\u003cp\u003ePEN/Faulkner awards for fiction, Folger Shakespeare Library\u003c/p\u003e\n            ","\u003cp\u003ePeter Grimes, Washington National Opera, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eTurandot, Washington National Opera, Kennedy Center\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003eThe Marriage of Figaro, Washington National Opera, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003ePorgy and Bess, Washington National Opera, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eReasons to be Pretty, The Studio Theatre\u003c/p\u003e\n          ","\u003cp\u003ePhotographs of Elizabeth Taylor, Mia Dillon, Zev Bufman, Peter Gallagher.\u003c/p\u003e\n          ","\u003cp\u003ePhotographs of Elizabeth Taylor, Mia Dillon, Zev Bufman, Peter Gallagher.\u003c/p\u003e\n          ","\u003cp\u003eVol. 2, no. 2; Vol. 3, no. 1-2; Vol. 4, no. 1-2; Vol. 5, no. 2; Vol. 6, no. 1-3; Vol. 7, no. 1\u003c/p\u003e\n          ","\u003cp\u003eReports.\u003c/p\u003e\n          ","\u003cp\u003eBrochure.\u003c/p\u003e\n          ","\u003cp\u003eArticles.\u003c/p\u003e\n          ","\u003cp\u003ePress Releases; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eNewspaper Articles; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eNewsletter.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eAnnual Reports; Schedules; Publication.\u003c/p\u003e\n          ","\u003cp\u003eInvitations for plays not attended or no playbills.\u003c/p\u003e\n          ","\u003cp\u003ePhotographs.\u003c/p\u003e\n          ","\u003cp\u003eInvitations.\u003c/p\u003e\n          ","\u003cp\u003eSeven photographs.\u003c/p\u003e\n          ","\u003cp\u003eVictor Borge and his Concert Orchestra\u003c/p\u003e\n            ","\u003cp\u003eSpies in your eyes, JCA Playguild\u003c/p\u003e\n            ","\u003cp\u003eHamlet, Philharmonia Orchestra\u003c/p\u003e\n            ","\u003cp\u003eHenry V: An interpretation of the Photoplay\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003eFrom Washington DC and Virginia theatres\u003c/p\u003e\n          ","\u003cp\u003eIncludes schedules from: Arena Stage, Kennedy Center, Shakespeare Theatre at the Folger, Theatre J, Washington National Opera, Woolly Mammoth\u003c/p\u003e\n          ","\u003cp\u003eIncludes schedules from: Arena Stage, Ford's Theatre, Kennedy Center, PEN/Faulkner Foundation, Shakespeare Theatre at the Folger, The Studio Theatre, Washington National Opera, Washington Performing Arts Society, Wayside Theatre, Woolly Mammoth\u003c/p\u003e\n          ","\u003cp\u003eMarilyn Monroe: Life as a Legend\u003c/p\u003e\n            ","\u003cp\u003eFranklin Park Performing and Visual Arts Center (2008-2009)\u003c/p\u003e\n            ","\u003cp\u003eGrease at the Olney Theatre Center\u003c/p\u003e\n            ","\u003cp\u003eShenandoah Summer Music Theatre (2011)\u003c/p\u003e\n          ","\u003cp\u003eIncludes schedules from: Arena Stage, George Mason University's Center for the Arts, Kennedy Center, Olney, PEN/Faulkner Foundation, Folger Theatre, Shenandoah Conservatory, The Studio Theatre, Theatre J, University of Notre Dame, Washington National Opera, Washington Performing Arts Society\u003c/p\u003e\n          ","\u003cp\u003eIncludes schedules from: Arena Stage, Contemporary American Theatre Festival, Olney, Folger Theatre, Shakespeare Theatre Company, Shenandoah Conservatory, Signature Theatre, Strathmore Music Center, The Studio Theatre, Theatre J, Washington National Cathedral, Washington National Opera, Woolly Mammoth\u003c/p\u003e\n          ","\u003cp\u003eIncludes schedules from: Arena Stage, Kennedy Center, Master Singers of Virginia, Washington National Opera\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003ePrograms; Playbills.\u003c/p\u003e\n          ","\u003cp\u003eThe second series covers Kincannon's early interest in theatre while in the Ohio area (1955-1982). It contains mostly playbooks and programs from area performances.\u003c/p\u003e\n        ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003eDayton Philharmonic Orchestra, Memorial Hall, Dayton, OH\u003c/p\u003e\n            ","\u003cp\u003ePhilharmonic-Symphony Society of New York, Memorial Hall, Dayton, OH\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003eThe Antioch yellow springs festival, OH\u003c/p\u003e\n            ","\u003cp\u003eLight up the sky, Victory Theatre, Dayton, OH\u003c/p\u003e\n            ","\u003cp\u003eThe magnificent Yankee, Cox Theatre, Cincinnati, OH\u003c/p\u003e\n            ","\u003cp\u003eO mistress mine, Memorial Hall, Dayton, OH\u003c/p\u003e\n            ","\u003cp\u003ePick-up girl, Ellis Auditorium, Memphis, TN\u003c/p\u003e\n            ","\u003cp\u003eState of the union, Cox Theatre, Cincinnati, OH\u003c/p\u003e\n            ","\u003cp\u003eThe wise have not spoken, Yellow Springs Area Theatre, OH\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybills.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eAnnouncement.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Playbook.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; 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Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Curtain Call.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Playbook.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; 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Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003eThe third series is the collection of Broadway and London productions Kincannon attended from 1955-2007. This series consists of mostly playbills and programs.\u003c/p\u003e\n        ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eCalendar.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaygram.\u003c/p\u003e\n          ","\u003cp\u003ePlaygram.\u003c/p\u003e\n          ","\u003cp\u003ePlaygram.\u003c/p\u003e\n          ","\u003cp\u003eReviews.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003eShowcard.\u003c/p\u003e\n          ","\u003cp\u003eShowcard.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eMagazine.\u003c/p\u003e\n          ","\u003cp\u003eMagazine.\u003c/p\u003e\n          ","\u003cp\u003ePicture book.\u003c/p\u003e\n          ","\u003cp\u003ePublication.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; City Guide.\u003c/p\u003e\n          ","\u003cp\u003eThe fourth series is film-related materials from 1943-1992, consisting of souvenir books, magazines, and press packets relating to each movie.\u003c/p\u003e\n        ","\u003cp\u003eSouvenir Book.\u003c/p\u003e\n          ","\u003cp\u003eMagazine. Vol 4, no. 8.\u003c/p\u003e\n          ","\u003cp\u003eMagazine. Vol 4, no. 9.\u003c/p\u003e\n          ","\u003cp\u003eBook.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eCinebills for The Iceman Cometh; Luther; Rhinoceros; Lost in the Stars; Butley; The Three Sisters.\u003c/p\u003e\n          ","\u003cp\u003ePrograms for Jacques Brel is Alive and Well and Living; The Maids; In Celebration; The Man in the Glass Booth; Galileo.\u003c/p\u003e\n          ","\u003cp\u003ePress Release.\u003c/p\u003e\n          ","\u003cp\u003ePress Packet.\u003c/p\u003e\n          ","\u003cp\u003ePress Packet.\u003c/p\u003e\n          ","\u003cp\u003ePress Packet.\u003c/p\u003e\n          ","\u003cp\u003ePress Packet; Production Information; Photographs.\u003c/p\u003e\n          ","\u003cp\u003ePress Packet.\u003c/p\u003e\n          ","\u003cp\u003eProgram; magazine.\u003c/p\u003e\n          ","\u003cp\u003eThe fifth series is audiovisual materials from 1983-1986, consisting of reel-to-reel audiotapes, audiotape cartridges, and videocassettes. Much of the material is from the Behind the Scenes with Claire Kincannon radio program. Behind the Scenes was a three-minute feature on the Performing Arts, and was available via the Public Radio Satellite System.\u003c/p\u003e\n        ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:10:08.\u003c/p\u003e\n          ","\u003cp\u003eVideotape.\u003c/p\u003e\n          ","\u003cp\u003ePamphlet.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run Time: 00:08:05.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:24:45.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:31:40.\u003c/p\u003e\n          ","\u003cp\u003e9 discs containing digital access copies and a storage drive with access copies and master digital files.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:06:08.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:16:15.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Run time is 00:07:36.\u003c/p\u003e\n          ","\u003cp\u003eAudiotape cartridge. Run Time: 00:03:44.\u003c/p\u003e\n          ","\u003cp\u003eAudiotape cartridge. Run Time: 00:00:44. Tape only contains approximately 2 seconds of audio.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Run Time: 00:03:24.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Approximately 1 minute of silence in the middle of program. Tape entered silence at approximately 00:04:44.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Tape entered silence at approximately 00:07:01.\u003c/p\u003e\n          ","\u003cp\u003e10.5\" reel-to-reel audiotape rehoused onto 7\" reel. Run Time: 00:16:12.\u003c/p\u003e\n          ","\u003cp\u003e10.5\" reel-to-reel audiotape. Run Time: 0:23:59.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Tape starts mid-program. Program ends at 00:06:04.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:10:00.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run time is 00:07:28.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Run Time: 00:11:09.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:04:59.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Box reads \"1984 October 6\". Program ends at 00:03:13.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at approximately 00:05:46.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:05:46.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:06:25.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run time is 00:04:28.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run time is 00:06:11.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:05:37.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:05:02.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Run time is 00:05:57.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:05:07.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:05:10.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:05:27.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:04:58.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Run time is 00:06:20.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Runt time is 00:05:26.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:07:15.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette. Women in film: Streetwise, Old Enough; Gin Game; short run; Mayor of ?; End of World.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:04:50.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run time is 00:26:46.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:04:06.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:06:52.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:05:16.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:05:47.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:06:07.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:03:44.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Tape entered silence at approximately 00:05:30.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at approx 00:05:06.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Box reads \"Rebecca Rice Liv Stage\", \"#7, 10/12/83\". Program ends at 00:07:11.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program switches from stereo to mono (left channel only) from 00:02:50 until 00:04:22 Program ends at 00:26:23.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run time is 00:20:27. Approx 1 minute of silence before program begins.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:21:50.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run time is 00:47:10.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run time is 00:41:45.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel to reel audiotape. Program ends at approx 00:05:34.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run Time: 01:05:27.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette. Clips from Streetwise and Old Enough.\u003c/p\u003e\n          "],"scopecontent_heading_ssm":["Scope and Content","Scope and Contents note"],"scopecontent_tesim":["The Claire Kincannon theatre collection represents a lifetime and a career of theatre appreciation and attendance. Materials that comprise this collection track Kincannon's attendance at area performances in Ohio (1955-1982) and on Broadway (1955-2007), as well as her work as a theatre critic in Washington, D.C. (1971-2011).","The collection includes programs, press releases, photographs, and other outreach materials of various theatre productions. Also included in the collection are ticket stubs, invitations, schedules, and advertisements for certain productions. Some of the programs also contain the hand-written notes of Kincannon from when she worked as a critic; these notes provide unique insights into the job of a critic. There are also marketing releases for motion pictures, including photographs, press releases, and \"behind the scenes\" information.","Many of the programs are from the Kennedy Center, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and other various theaters in the D.C. area. Also included in the collection are productions by the Kenley Players and Victory Theatre in Dayton, OH, among others in the area. The Broadway collection encompasses several theaters' productions.","The first series covers Kincannon's time as a critic in Washington, D.C., from 1971-2008. This series contains programs, press releases, photographs, and other behind the scenes and marketing information. The second series covers Kincannon's early interest in theatre while in the Ohio area (1955-1982). It contains mostly playbooks and programs from area performances. The third series is the collection of Broadway and London productions Kincannon attended from 1955-2007. This series consists of mostly playbills and programs. The fourth series is film-related materials from 1956-1992, consisting of souvenir books, magazines, and press packets relating to each film. The fifth series is audiovisual materials from 1983-1992, consisting of reel-to-reel audiotapes, audiotape cartridges, and videocassettes. Much of the material is from the Behind the Scenes with Claire Kincannon radio program. Behind the Scenes was a three-minute feature on the performing arts, and was available via the Public Radio Satellite System.","The first series covers Kincannon's time as a critic in Washington, D.C. from 1971-2008. This series contains programs, press releases, photographs, and other behind the scenes and marketing information.","Program for multiple performances.","Press packet. Ten photographs.","Program.","Production of the National Theatre of Great Britain. Stagebill.","Documents regarding workshops. Press releases.","Invitation; Program, photographs.","Program.","Program.","Program.","Photograph; Program.","Program.","Program.","Stagebill.","Production of the New York Metropolitan Opera. Stagebill.","Stagebill.","Program.","Program.","Production of the Tokyo Kid Brothers. Stagebill.","Stagebill.","Program.","Program.","Preview Materials.","Program.","Stagebill.","Stagebill.","Program.","Stagebill; Photograph.","Stagebill.","Program.","Program.","Program.","Stagebill.","Stagebill.","Two photographs.","Stagebill.","News Release; Program.","Press Release; Program.","Program.","News Release; Program.","Press Release; Program; Photograph.","Program.","Program.","Invitation; Program.","Program.","Stagebill.","Stagebill.","Production of the Metropolitan Opera. Stagebill.","Program.","Program.","Program. Photograph.","Stagebill.","Invitation; Program; Photograph.","Invitation; Program.","Program.","Program.","Program.","Stagebill.","Production of the Elizabeth Theatre Group. Stagebill.","Program.","Production of the Elizabeth Theatre Group. Stagebill.","Program.","Stagebill.","Program.","Program.","Program.","Donor list; Program.","Stagebill; Photograph.","Production of the American Ballet Theatre. Stagebill.","Production of the American Ballet Theatre. Stagebill.","James Joyce's The Dead, Kennedy Center","Native Storyteller: Ron Ki-Ke-In Hamilton (Nuu-Chah-Nulth), Smithsonian","Our Town, Arena Stage","She Always Said, Pablo, Kennedy Center","Still Life, Arena Stage","Press packet.","Program.","Stagebill. Photograph.","Stagebill.","Stagebill.","Program; Two Photographs.","Program; Invitation.","Program.","Program.","Program.","Invitation; Photograph; Program.","Stagebill.","Stagebill.","Stagebill.","Invitation; Program; Photograph.","Program.","Program.","Program.","Stagebill; Photograph.","Program.","Program; Photograph.","Program; Two photographs.","Invitation; Program.","Program.","Invitation; Program.","35mm slides.","Stagebill; Photograph.","Production of the New York Metropolitan Opera. Stagebill.","Program.","Stagebill.","Program; Photograph.","Program.","Program.","Program.","Ticket stub; Program; 35mm Slides.","Invitation; Program.","Stagebill.","Program.","Photograph; Program.","Program.","Program.","Production of the Houston Grand Opera and Teatro alla Scala. Stagebill; Photograph.","Program.","Program; Photograph.","Brochure.","Program.","Stagebill; Photograph.","Stagebill.","Program.","Invitation; Program.","Production of the New York Shakespeare Festival. Stagebill; Photograph.","Program.","Photograph.","Invitation; Program.","Program.","Photograph; Program.","Program.","Program.","Invitation; Program.","Program.","Production of the Paramount Theatre Prod. Stagebill.","Stagebill.","Invitation; Program.","Program.","Program; Photograph.","Program.","Stagebill.","Program.","Program.","Production of the Royal Shakespeare Company. Stagebill; Three photographs.","Invitation; Program; Photograph.","Program; Photograph.","Program; Invitation.","Showbill.","Program.","Program; Two Photographs.","Invitation; Program; Photograph.","Stagebill; Photograph.","Production of the Opera House; Three Photographs; Stagebill.","Program.","Program.","Invitation; Program.","Invitation; Program; Two Photographs.","Program.","Stagebill.","Press Release.","Invitation; Program.","Stagebill.","Flyer; Stagebill.","Stagebill; Photograph.","Program; Photograph.","Invitation; Program.","Invitation; Program; Photograph.","Program; Press Release; Newspaper Articles.","Invitation; Program.","Presented by Piccolo Spoleto. Program.","Presented by the Spoleto Festival, Charleston, SC. Program.","Presented by the Spoleto Festival, Charleston, SC. Program.","Presented by the Spoleto Festival, Charleston, SC. Program.","Presented by the Spoleto Festival, Charleston, SC. Program. Festival Brochures; Travel Aids; Postcard.","Program.","Production of the Human Bridge Theater Company. Press Kit.","Stagebill.","Program.","Program.","Program; Press Release; Notes.","Stagebill.","Photograph; Tickets; Stagebill.","Program.","Invitation; Program.","Program.","Program.","Invitation; Program.","Photograph; Program.","Invitation; Program; Four slides.","Program.","Invitation; Program; Photograph.","Invitation; Program; Photograph.","Stagebill.","Two Photographs.","Program.","Program.","Invitation; Program.","Production of the American National Theatre. Stagebill.","Stagebill; Photograph.","Program.","Programs; Invitations; Louisville guide; Notes.","Program.","Stagebill.","Program.","Program.","Invitation; Program.","Invitation; Program.","Stagebill; Photograph.","Invitation; Program.","Invitation; Program.","Stagebill.","Stagebill; Photograph.","Program.","Invitation; Program.","Stagebill.","Stagebill; Press Release.","Program.","Program; Tickets.","Two Photographs; Program.","Program.","Invitation; Program.","Stagebill; Press Release; Media Kit.","Production of the Haifa Municipal Theatre of Israel. Stagebill.","Stagebill.","Program.","Program.","Invitation; Program.","Program; Press Release.","Tickets; Stagebill; Press Release.","Stagebill.","Production of the La Jolla Playhouse. Stagebill; Photograph.","Invitation; Program.","Stagebill.","Schedule.","Stagebill; Photograph.","Press Release; Newspaper Articles; Publicity Packet; Program.","Program; Magazine; Newspaper Article.","Program; Press Release; Studio Theatre Newspaper.","Press Release; Program; Mailer.","Tickets; Press Release; Stagebill.","Program; Press Release.","Press Release; Program.","Stagebill; Photograph.","Program.","Program.","Stagebill; Press Release.","Souvenir Brochure; Stagebill.","Program; Press Release; American's Arena Publication.","Stagebill; Press Release; Newspaper Article.","Program; Newspaper Article; America's Arena Publication.","Program; Newspaper Article; Press Release.","Stagebill.","Press Release; Program.","Photograph; Press Release; Mailer; Program.","Invitation; Program; Press Release.","Program; Press Release.","Program; Press Release; Newspaper Article.","Program.","Stagebill.","Photograph; Press Release; Media Kit, Stagebill.","Press Release; Invitation.","Invitation; Program.","Invitation; Press Releases; Program.","Program; Press Release.","Media Package","Invitation; Program; Photograph","Stagebill; Press Release.","Press Release; Stagebill.","Ticket stub; Invitation; Program; Press Release; Newspaper Article.","Press Release; Stagebill.","Stagebill.","Press Release; Stagebill.","Press Release; Two Photographs","Press Release; Stagebill.","Stagebill; Press Release.","Invitation; Program; Press Release; Newspaper Article.","Program.","Press Release; Program.","Program; Press Release; Newspaper Article.","Program.","Stagebill.","Stagebill.","Newspaper Article; Program; Ticket Stubs; Mailer.","Invitation; Program; Ticket Stubs; Press Release.","Ten photographs.","Invitation; Program.","Program; Press Release.","Photograph; Press Release; Program.","Program.","Invitation; Program; Photograph; Magazine Article.","Stagebill; Press Release; Photograph.","Stagebill.","Program; Press Release; Photograph.","Program.","Stagebill; Photograph.","Stagebill; Press Release.","Magazine Article; Tickets; Program; Photograph; Press Release.","Program.","Press Releases.","Program.","Invitation.","Press Kit; Stagebill.","Press Release; Stagebill; Photograph.","Photograph; Program.","Stagebill.","Program; Photograph.","Program; Photograph.","Media Kit; Program.","Stagebill.","Program.","Stagebill; Photograph.","Media Kit; Program.","Program; Press Release; Photograph.","Photograph; Letter.","Program; Photograph.","Program; Photographs.","Program; Playbills","Moscow Art Theatre: Past, Present, Future publication","Program; Press Release; Photograph.","Stagebill; Photograph.","Press Kit; Program.","Brochure.","Program.","Invitation; Program.","Program; Photograph.","Photographs; Stagebill; Program; Tickets.","Photographs; Stagebill.","Stagebill; Photograph.","Tickets; Stagebill; Photographs.","Program.","Photograph; Press Release; Stagebill.","Photograph; Stagebill; Press Release.","Stagebill; Photograph.","Photograph; Press Release; Stagebill.","Program; Photograph; Press Release.","Press Release; Photograph; Program.","Press Release.","Invitation; Press Release; Newspaper Articles.","Photograph; Stagebill.","Invitation; Program; Photograph; Press Release.","Stagebill; Photograph.","Invitation; Photograph; Program.","Invitation; Program; Media Kit.","Program; Press Release; Newspaper Article.","Invitation; Program; Photograph.","Program, Photographs.","Invitation; Program; Media Kit.","Program; Media Kit.","Program; Media Kit.","Invitation; Photograph; Program; Press Release.","Invitation; Program; Media Kit.","Stagebill.","Stagebill; Press Release.","Program.","Brochure.","Stagebill; Photograph.","Stagebill.","Invitation; Program; Newspaper Article; Photograph.","Invitation; Program.","Press Release.","Program.","Program; Press Release.","Program.","Program.","Stagebill.","Stagebill.","Stagebill; Press release; Notes.","Stagebill; Photograph.","Program; Photograph; Newspaper Articles; Magazine; Press Release.","Program; Photograph.","Program.","Stagebill.","Stagebill; Media Kit; Newspaper Articles.","Invitation; Program; Photograph.","News release; Photograph; Program.","Press release; Newsletter; Program.","Invitation; Program; News Release.","News Release; Invitation; Program.","Press Release; Program; Invitation; Newspaper Article.","Stagebill; Press Release.","Program; Press Release.","Program.","Production of the Bolshoi Opera. Program; Photograph.","Program; Photograph.","Stagebill; Press Release.","Program.","Program; Press Release; Newsletter.","Three Photographs.","Playbill; Two Photographs.","Invitation; Program.","Press Release; Program.","Press Release; Postcard.","Stagebill.","Press Kit.","Press Release.","Invitation; Program; Press Release.","Program; Press Release; Photograph.","Stagebill; Press Kit.","Program; Press Kit.","Invitation.","Program; Photograph.","Stagebill; Press Release; Photograph.","Program; Photograph; Press Release.","Program; Press Release; Newspaper Article.","Invitation; Program; Photograph.","Invitation; Program; Press Release; Photograph.","Program; Guest list.","Program; Press Kit; Two photographs.","Stagebill; Press Release; Photograph.","Program; Press Kit.","Program; Press Kit.","Stagebill; Press Kit; Photograph.","Program; Press Kit.","Program; Press Release; Key chain.","Program.","Program; Press Kit.","Production of the Theater des Westens. Stagebill; Press Kit.","Stagebill; Press Kit.","Stagebill; Press Release; Photograph.","Program; Press Release; Photograph.","Program.","Invitation; Program; Press Release.","Press Release; Program.","Program.","Program.","Loudoun Symphony 10th anniversary concert","Waterford concert series: The Back Sinfonia","Waterford concert series: Musical Remarks","Capitol Steps: Who put the mock in democracy? It's the Capital Steps","Oklahoma!, Arena Stage","August Wilson's Gem of the Ocean, Arena Stage","She Loves Me, Arena Stage","A Tribute to Sergei Prokofiev, Kennedy Center","Ain't Misbehavin', Arena Stage","An Evening at the Oscars, Loudoun Symphony, Middleburg, VA","Anna Christie, Arena Stage","The Best Man, Radio Theatre Live!","Chicago, Knoxville Civic Auditorium, TN","Choral Arts Society of Washington, Kennedy Center","Diana Krall, Kennedy Center","Eudora Welty Remembered, Folger Shakespeare Library","Hallelujah, Baby!, Arena Stage","Love's Labour's Lost, Catholic University of America","Mostly Sondheim, Kennedy Center","Pacific Overtures, Kennedy Center","Passion, Kennedy Center","PEN/Faulkner awards for fiction, Folger Shakespeare Library","The Play About the Baby, The Studio Theatre","Roberta Flack, Music Center at Strathmore","Runaway Home, The Studio Theatre","The Shape of Things, The Studio Theatre","Fourth Estate Award Dinner honoring Christiane Amanpour","The Order of the Owl, Initiating Art Buchwald","The Order of the Owl, Initiating Austing H. Kiplinger and Donald A. Ritchie","The Order of the Owl, Initiating Mark Russell","Spring Hoot: A Grand Old Club Salutes A Grand Old Hotel","The Order of the Owl, Initiating John Eaton","Kennedy Center News (September-October 2004 and May-August 2004)","Five by Tenn (ticket, press packet)","The Light in the Piazza","Salome","Madama Butterfly","Marian McPartland's 89th Birthday Celebration on Marian McPartland's Piano Jazz","Washington National Opera's Iphigenie en Tauride","Washington National Opera's Macbeth","A View from the Bridge, Washington National Opera","Madame Butterfly, Washington National Opera","National Symphony Orchestra","Sophie's Choice, Washington National Opera","Cabaret, Arena Stage","Connecting Lines: New Poetry from Mexico, The Cultural Institute of Mexico","The Evening Parade, Marine Barracks Washington","Fiddler on the Roof, Olney Theatre Center, MD","Hansel and Gretel, The Lincoln Theatre","Ibis, Waterford, VA","Opera in Waterford, Domingo-Cafritz Young Artists, Waterford, VA","The Persians, Shakespeare Theatre Company","Waterford Home Tours and Crafts Exhibit, Waterford, VA","Program.","Program; Photograph.","Playbill.","Playbill.","Applause at Strathmore","The Arthur Miller Festival: Death of a Salesman, A View from the Bridge, Arena Stage","Blues Alley Jazz Supper Club","Cymbeline, Round House Silver Spring","Kennedy Center News","La Traviata, Washington National Opera, Kennedy Center","Musical Remarks, John Wesley Church, Waterford, VA","The Pearl Fishers, Washington National Opera, Kennedy Center","The Price, Theatre J","Strathmore News","Program.","Program.","Production of the Washington National Opera. Playbill.","Antony and Cleopatra, Lansburgh Theatre","Ariadne auf Naxos, Washington National Opera, Kennedy Center","Chicago, National Theatre","Falstaff, Washington National Opera, Kennedy Center","I Love a Piano, Arena Stage","Master Singers of Virginia, Waterford, VA","PEN/Faulkner awards for fiction, Folger Shakespeare Library","Peter Grimes, Washington National Opera, Kennedy Center","Turandot, Washington National Opera, Kennedy Center","The Marriage of Figaro, Washington National Opera, Kennedy Center","Porgy and Bess, Washington National Opera, Kennedy Center","Reasons to be Pretty, The Studio Theatre","Photographs of Elizabeth Taylor, Mia Dillon, Zev Bufman, Peter Gallagher.","Photographs of Elizabeth Taylor, Mia Dillon, Zev Bufman, Peter Gallagher.","Vol. 2, no. 2; Vol. 3, no. 1-2; Vol. 4, no. 1-2; Vol. 5, no. 2; Vol. 6, no. 1-3; Vol. 7, no. 1","Reports.","Brochure.","Articles.","Press Releases; Photograph.","Program.","Newspaper Articles; Photograph.","Newsletter.","Program.","Photograph.","Program.","Annual Reports; Schedules; Publication.","Invitations for plays not attended or no playbills.","Photographs.","Invitations.","Seven photographs.","Victor Borge and his Concert Orchestra","Spies in your eyes, JCA Playguild","Hamlet, Philharmonia Orchestra","Henry V: An interpretation of the Photoplay","From Washington DC and Virginia theatres","Includes schedules from: Arena Stage, Kennedy Center, Shakespeare Theatre at the Folger, Theatre J, Washington National Opera, Woolly Mammoth","Includes schedules from: Arena Stage, Ford's Theatre, Kennedy Center, PEN/Faulkner Foundation, Shakespeare Theatre at the Folger, The Studio Theatre, Washington National Opera, Washington Performing Arts Society, Wayside Theatre, Woolly Mammoth","Marilyn Monroe: Life as a Legend","Franklin Park Performing and Visual Arts Center (2008-2009)","Grease at the Olney Theatre Center","Shenandoah Summer Music Theatre (2011)","Includes schedules from: Arena Stage, George Mason University's Center for the Arts, Kennedy Center, Olney, PEN/Faulkner Foundation, Folger Theatre, Shenandoah Conservatory, The Studio Theatre, Theatre J, University of Notre Dame, Washington National Opera, Washington Performing Arts Society","Includes schedules from: Arena Stage, Contemporary American Theatre Festival, Olney, Folger Theatre, Shakespeare Theatre Company, Shenandoah Conservatory, Signature Theatre, Strathmore Music Center, The Studio Theatre, Theatre J, Washington National Cathedral, Washington National Opera, Woolly Mammoth","Includes schedules from: Arena Stage, Kennedy Center, Master Singers of Virginia, Washington National Opera","Programs; Playbills.","The second series covers Kincannon's early interest in theatre while in the Ohio area (1955-1982). It contains mostly playbooks and programs from area performances.","Playbill; Program.","Playbill; Program.","Playbill.","Program.","Program.","Playbill; Program.","Playbill; Program.","Dayton Philharmonic Orchestra, Memorial Hall, Dayton, OH","Philharmonic-Symphony Society of New York, Memorial Hall, Dayton, OH","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","The Antioch yellow springs festival, OH","Light up the sky, Victory Theatre, Dayton, OH","The magnificent Yankee, Cox Theatre, Cincinnati, OH","O mistress mine, Memorial Hall, Dayton, OH","Pick-up girl, Ellis Auditorium, Memphis, TN","State of the union, Cox Theatre, Cincinnati, OH","The wise have not spoken, Yellow Springs Area Theatre, OH","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbills.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Announcement.","Playbook; Program.","Program.","Program; Playbook.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Program.","Program.","Playbook; Program.","Program.","Program.","Program.","Souvenir Program.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Program.","Program; Playbook.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Playbook; Program.","Program.","Playbill; Program.","Playbill; Program.","Program.","Program.","Program.","Program.","Program.","Playbill; Program.","Program; Curtain Call.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program; Playbook.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Program.","Program.","Playbook; Program.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Program.","Playbook; Program.","Program.","Program.","Program.","Program.","Program.","Playbook; Program.","Playbook; Program.","Program.","Program.","Program.","Program.","Program.","Playbill.","The third series is the collection of Broadway and London productions Kincannon attended from 1955-2007. This series consists of mostly playbills and programs.","Program.","Playbill.","Program.","Program.","Program.","Calendar.","Program.","Program.","Playbill; Program.","Playbill.","Playbill; Program.","Playbill.","Playbill.","Playbill; Program.","Playbill; Program.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill; Program.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill; Program.","Playbill.","Playbill.","Playbill.","Program.","Playbill.","Playbill.","Playbill; Program.","Playbill; Program.","Program.","Playbill; Program.","Playbill.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playgram.","Playgram.","Playgram.","Reviews.","Program.","Program.","Program.","Playbill.","Playbill.","Playbill.","Playbill; Program.","Playbill.","Showcard.","Showcard.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Program.","Program.","Magazine.","Magazine.","Picture book.","Publication.","Program.","Program.","Playbill.","Playbill.","Program.","Program.","Program.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill; City Guide.","The fourth series is film-related materials from 1943-1992, consisting of souvenir books, magazines, and press packets relating to each movie.","Souvenir Book.","Magazine. Vol 4, no. 8.","Magazine. Vol 4, no. 9.","Book.","Program.","Cinebills for The Iceman Cometh; Luther; Rhinoceros; Lost in the Stars; Butley; The Three Sisters.","Programs for Jacques Brel is Alive and Well and Living; The Maids; In Celebration; The Man in the Glass Booth; Galileo.","Press Release.","Press Packet.","Press Packet.","Press Packet.","Press Packet; Production Information; Photographs.","Press Packet.","Program; magazine.","The fifth series is audiovisual materials from 1983-1986, consisting of reel-to-reel audiotapes, audiotape cartridges, and videocassettes. Much of the material is from the Behind the Scenes with Claire Kincannon radio program. Behind the Scenes was a three-minute feature on the Performing Arts, and was available via the Public Radio Satellite System.","7\" reel-to-reel audiotape. Program ends at 00:10:08.","Videotape.","Pamphlet.","7\" reel-to-reel audiotape. Run Time: 00:08:05.","7\" reel-to-reel audiotape. Program ends at 00:24:45.","7\" reel-to-reel audiotape. Program ends at 00:31:40.","9 discs containing digital access copies and a storage drive with access copies and master digital files.","7\" reel-to-reel audiotape. Program ends at 00:06:08.","7\" reel-to-reel audiotape. Program ends at 00:16:15.","5\" reel-to-reel audiotape. Run time is 00:07:36.","Audiotape cartridge. Run Time: 00:03:44.","Audiotape cartridge. Run Time: 00:00:44. Tape only contains approximately 2 seconds of audio.","5\" reel-to-reel audiotape. Run Time: 00:03:24.","5\" reel-to-reel audiotape. Approximately 1 minute of silence in the middle of program. Tape entered silence at approximately 00:04:44.","5\" reel-to-reel audiotape. Tape entered silence at approximately 00:07:01.","10.5\" reel-to-reel audiotape rehoused onto 7\" reel. Run Time: 00:16:12.","10.5\" reel-to-reel audiotape. Run Time: 0:23:59.","5\" reel-to-reel audiotape. Tape starts mid-program. Program ends at 00:06:04.","7\" reel-to-reel audiotape. Program ends at 00:10:00.","7\" reel-to-reel audiotape. Run time is 00:07:28.","5\" reel-to-reel audiotape. Run Time: 00:11:09.","7\" reel-to-reel audiotape. Program ends at 00:04:59.","7\" reel-to-reel audiotape. Box reads \"1984 October 6\". Program ends at 00:03:13.","7\" reel-to-reel audiotape. Program ends at approximately 00:05:46.","7\" reel-to-reel audiotape. Program ends at 00:05:46.","7\" reel-to-reel audiotape. Program ends at 00:06:25.","7\" reel-to-reel audiotape. Run time is 00:04:28.","7\" reel-to-reel audiotape. Run time is 00:06:11.","7\" reel-to-reel audiotape. Program ends at 00:05:37.","7\" reel-to-reel audiotape. Program ends at 00:05:02.","5\" reel-to-reel audiotape. Run time is 00:05:57.","7\" reel-to-reel audiotape. Program ends at 00:05:07.","7\" reel-to-reel audiotape. Program ends at 00:05:10.","7\" reel-to-reel audiotape. Program ends at 00:05:27.","7\" reel-to-reel audiotape. Program ends at 00:04:58.","5\" reel-to-reel audiotape. Run time is 00:06:20.","7\" reel-to-reel audiotape. Runt time is 00:05:26.","7\" reel-to-reel audiotape. Program ends at 00:07:15.","Videotape cassette.","Videotape cassette. Women in film: Streetwise, Old Enough; Gin Game; short run; Mayor of ?; End of World.","7\" reel-to-reel audiotape. Program ends at 00:04:50.","7\" reel-to-reel audiotape. Run time is 00:26:46.","7\" reel-to-reel audiotape. Program ends at 00:04:06.","7\" reel-to-reel audiotape. Program ends at 00:06:52.","7\" reel-to-reel audiotape. Program ends at 00:05:16.","7\" reel-to-reel audiotape. Program ends at 00:05:47.","7\" reel-to-reel audiotape. Program ends at 00:06:07.","7\" reel-to-reel audiotape. Program ends at 00:03:44.","5\" reel-to-reel audiotape. Tape entered silence at approximately 00:05:30.","7\" reel-to-reel audiotape. Program ends at approx 00:05:06.","7\" reel-to-reel audiotape. Box reads \"Rebecca Rice Liv Stage\", \"#7, 10/12/83\". Program ends at 00:07:11.","7\" reel-to-reel audiotape. Program switches from stereo to mono (left channel only) from 00:02:50 until 00:04:22 Program ends at 00:26:23.","7\" reel-to-reel audiotape. Run time is 00:20:27. Approx 1 minute of silence before program begins.","7\" reel-to-reel audiotape. Program ends at 00:21:50.","7\" reel-to-reel audiotape. Run time is 00:47:10.","7\" reel-to-reel audiotape. Run time is 00:41:45.","7\" reel to reel audiotape. Program ends at approx 00:05:34.","7\" reel-to-reel audiotape. Run Time: 01:05:27.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette. Clips from Streetwise and Old Enough."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Claire Kincannon theatre collection must be obtained from the Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e\n    "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Claire Kincannon theatre collection must be obtained from the Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref2\" label=\"Abstract\"\u003eThis collection contains promotional materials for plays in the Washington, D.C., area, including programs, photographs, and press kits as well as a selection of programs and playbills from theaters in New York, London, and regional theaters in Ohio dating back to 1955, as well as some limited film-related materials. In addition to paper materials there are also audio visual materials featuring Kincannon's radio show Behind the Scenes and a project on Hungary.\u003c/abstract\u003e\n      "],"abstract_tesim":["This collection contains promotional materials for plays in the Washington, D.C., area, including programs, photographs, and press kits as well as a selection of programs and playbills from theaters in New York, London, and regional theaters in Ohio dating back to 1955, as well as some limited film-related materials. In addition to paper materials there are also audio visual materials featuring Kincannon's radio show Behind the Scenes and a project on Hungary."],"corpname_ssim":["George Mason University Special Collections \u0026 Archives"],"persname_ssim":["Lois Claire Kincannon","Kincannon, Lois Claire."],"names_ssim":["George Mason University Special Collections \u0026 Archives","Lois Claire Kincannon","Kincannon, Lois Claire."],"language_ssim":["English"],"total_component_count_is":853,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:52:28.036Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_kincannon","ead_ssi":"vifgm_kincannon","_root_":"vifgm_kincannon","_nest_parent_":"vifgm_kincannon","ead_source_url_ssi":"data/gmu/kincannon.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/kincannon.html","title_ssm":["Claire Kincannon theatre collection"],"title_tesim":["Claire Kincannon theatre collection"],"unitdate_ssm":["1955-2011"],"unitdate_other_ssim":["1955-2011"],"normalized_date_ssm":["1955/2011"],"normalized_title_ssm":["Claire Kincannon theatre collection, 1955/2011"],"text":["Claire Kincannon theatre collection, 1955/2011","C0018","Motion pictures.","Theater--England--London.","Theater--New York (State)--New York.","Theater--Ohio.","Theater--Washington (D.C.)","Live sound recordings.","Photographic prints.","Sound recordings.","Video recordings.","There are no access restrictions.","All of the \"Behind the Scenes with Claire Kincannon\" shows on audiotape are available in digital format.","Organized into five series.","Series 1: Washington, D.C., 1971-2008 (Boxes 1-20, 28, 30, 32, 33)\n        Series 2: Ohio Regional Theatres, 1955-1982 (Boxes 21-24, 31)\n        Series 3: Broadway and London Productions, 1955-2007 (Boxes 25-27)\n        Series 4: Film-related Materials, 1956-1992 (Box 29)\n        Series 5: Audiovisual Materials, 1983-1986 (Boxes 34-40)","Claire Kincannon graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she became a radio journalist and theatre critic in the Washington, D.C., area, starring in her own radio program, Behind the Scenes. It was during this time that she worked as a theatre critic, reviewing the performances she attended on her radio show. She moved to Paris, France in late 1992 with her husband, eventually returning in 2000. She founded Dancing Ink Press while in Paris, using it to publish several books including Paeonian to Paris, Sheets for Men Only, Sheets to the Wind, and Rockin' with Porch Memories. She still lives in the Washington, D.C., area and continues to write books and exhibit artwork.","Processed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012.","Special Collections and Archives also holds many other \n                theatre collections.","The Claire Kincannon theatre collection represents a lifetime and a career of theatre appreciation and attendance. Materials that comprise this collection track Kincannon's attendance at area performances in Ohio (1955-1982) and on Broadway (1955-2007), as well as her work as a theatre critic in Washington, D.C. (1971-2011).","The collection includes programs, press releases, photographs, and other outreach materials of various theatre productions. Also included in the collection are ticket stubs, invitations, schedules, and advertisements for certain productions. Some of the programs also contain the hand-written notes of Kincannon from when she worked as a critic; these notes provide unique insights into the job of a critic. There are also marketing releases for motion pictures, including photographs, press releases, and \"behind the scenes\" information.","Many of the programs are from the Kennedy Center, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and other various theaters in the D.C. area. Also included in the collection are productions by the Kenley Players and Victory Theatre in Dayton, OH, among others in the area. The Broadway collection encompasses several theaters' productions.","The first series covers Kincannon's time as a critic in Washington, D.C., from 1971-2008. This series contains programs, press releases, photographs, and other behind the scenes and marketing information. The second series covers Kincannon's early interest in theatre while in the Ohio area (1955-1982). It contains mostly playbooks and programs from area performances. The third series is the collection of Broadway and London productions Kincannon attended from 1955-2007. This series consists of mostly playbills and programs. The fourth series is film-related materials from 1956-1992, consisting of souvenir books, magazines, and press packets relating to each film. The fifth series is audiovisual materials from 1983-1992, consisting of reel-to-reel audiotapes, audiotape cartridges, and videocassettes. Much of the material is from the Behind the Scenes with Claire Kincannon radio program. Behind the Scenes was a three-minute feature on the performing arts, and was available via the Public Radio Satellite System.","The first series covers Kincannon's time as a critic in Washington, D.C. from 1971-2008. This series contains programs, press releases, photographs, and other behind the scenes and marketing information.","Program for multiple performances.","Press packet. Ten photographs.","Program.","Production of the National Theatre of Great Britain. Stagebill.","Documents regarding workshops. Press releases.","Invitation; Program, photographs.","Program.","Program.","Program.","Photograph; Program.","Program.","Program.","Stagebill.","Production of the New York Metropolitan Opera. Stagebill.","Stagebill.","Program.","Program.","Production of the Tokyo Kid Brothers. Stagebill.","Stagebill.","Program.","Program.","Preview Materials.","Program.","Stagebill.","Stagebill.","Program.","Stagebill; Photograph.","Stagebill.","Program.","Program.","Program.","Stagebill.","Stagebill.","Two photographs.","Stagebill.","News Release; Program.","Press Release; Program.","Program.","News Release; Program.","Press Release; Program; Photograph.","Program.","Program.","Invitation; Program.","Program.","Stagebill.","Stagebill.","Production of the Metropolitan Opera. Stagebill.","Program.","Program.","Program. Photograph.","Stagebill.","Invitation; Program; Photograph.","Invitation; Program.","Program.","Program.","Program.","Stagebill.","Production of the Elizabeth Theatre Group. Stagebill.","Program.","Production of the Elizabeth Theatre Group. Stagebill.","Program.","Stagebill.","Program.","Program.","Program.","Donor list; Program.","Stagebill; Photograph.","Production of the American Ballet Theatre. Stagebill.","Production of the American Ballet Theatre. Stagebill.","James Joyce's The Dead, Kennedy Center","Native Storyteller: Ron Ki-Ke-In Hamilton (Nuu-Chah-Nulth), Smithsonian","Our Town, Arena Stage","She Always Said, Pablo, Kennedy Center","Still Life, Arena Stage","Press packet.","Program.","Stagebill. Photograph.","Stagebill.","Stagebill.","Program; Two Photographs.","Program; Invitation.","Program.","Program.","Program.","Invitation; Photograph; Program.","Stagebill.","Stagebill.","Stagebill.","Invitation; Program; Photograph.","Program.","Program.","Program.","Stagebill; Photograph.","Program.","Program; Photograph.","Program; Two photographs.","Invitation; Program.","Program.","Invitation; Program.","35mm slides.","Stagebill; Photograph.","Production of the New York Metropolitan Opera. Stagebill.","Program.","Stagebill.","Program; Photograph.","Program.","Program.","Program.","Ticket stub; Program; 35mm Slides.","Invitation; Program.","Stagebill.","Program.","Photograph; Program.","Program.","Program.","Production of the Houston Grand Opera and Teatro alla Scala. Stagebill; Photograph.","Program.","Program; Photograph.","Brochure.","Program.","Stagebill; Photograph.","Stagebill.","Program.","Invitation; Program.","Production of the New York Shakespeare Festival. Stagebill; Photograph.","Program.","Photograph.","Invitation; Program.","Program.","Photograph; Program.","Program.","Program.","Invitation; Program.","Program.","Production of the Paramount Theatre Prod. Stagebill.","Stagebill.","Invitation; Program.","Program.","Program; Photograph.","Program.","Stagebill.","Program.","Program.","Production of the Royal Shakespeare Company. Stagebill; Three photographs.","Invitation; Program; Photograph.","Program; Photograph.","Program; Invitation.","Showbill.","Program.","Program; Two Photographs.","Invitation; Program; Photograph.","Stagebill; Photograph.","Production of the Opera House; Three Photographs; Stagebill.","Program.","Program.","Invitation; Program.","Invitation; Program; Two Photographs.","Program.","Stagebill.","Press Release.","Invitation; Program.","Stagebill.","Flyer; Stagebill.","Stagebill; Photograph.","Program; Photograph.","Invitation; Program.","Invitation; Program; Photograph.","Program; Press Release; Newspaper Articles.","Invitation; Program.","Presented by Piccolo Spoleto. Program.","Presented by the Spoleto Festival, Charleston, SC. Program.","Presented by the Spoleto Festival, Charleston, SC. Program.","Presented by the Spoleto Festival, Charleston, SC. Program.","Presented by the Spoleto Festival, Charleston, SC. Program. Festival Brochures; Travel Aids; Postcard.","Program.","Production of the Human Bridge Theater Company. Press Kit.","Stagebill.","Program.","Program.","Program; Press Release; Notes.","Stagebill.","Photograph; Tickets; Stagebill.","Program.","Invitation; Program.","Program.","Program.","Invitation; Program.","Photograph; Program.","Invitation; Program; Four slides.","Program.","Invitation; Program; Photograph.","Invitation; Program; Photograph.","Stagebill.","Two Photographs.","Program.","Program.","Invitation; Program.","Production of the American National Theatre. Stagebill.","Stagebill; Photograph.","Program.","Programs; Invitations; Louisville guide; Notes.","Program.","Stagebill.","Program.","Program.","Invitation; Program.","Invitation; Program.","Stagebill; Photograph.","Invitation; Program.","Invitation; Program.","Stagebill.","Stagebill; Photograph.","Program.","Invitation; Program.","Stagebill.","Stagebill; Press Release.","Program.","Program; Tickets.","Two Photographs; Program.","Program.","Invitation; Program.","Stagebill; Press Release; Media Kit.","Production of the Haifa Municipal Theatre of Israel. Stagebill.","Stagebill.","Program.","Program.","Invitation; Program.","Program; Press Release.","Tickets; Stagebill; Press Release.","Stagebill.","Production of the La Jolla Playhouse. Stagebill; Photograph.","Invitation; Program.","Stagebill.","Schedule.","Stagebill; Photograph.","Press Release; Newspaper Articles; Publicity Packet; Program.","Program; Magazine; Newspaper Article.","Program; Press Release; Studio Theatre Newspaper.","Press Release; Program; Mailer.","Tickets; Press Release; Stagebill.","Program; Press Release.","Press Release; Program.","Stagebill; Photograph.","Program.","Program.","Stagebill; Press Release.","Souvenir Brochure; Stagebill.","Program; Press Release; American's Arena Publication.","Stagebill; Press Release; Newspaper Article.","Program; Newspaper Article; America's Arena Publication.","Program; Newspaper Article; Press Release.","Stagebill.","Press Release; Program.","Photograph; Press Release; Mailer; Program.","Invitation; Program; Press Release.","Program; Press Release.","Program; Press Release; Newspaper Article.","Program.","Stagebill.","Photograph; Press Release; Media Kit, Stagebill.","Press Release; Invitation.","Invitation; Program.","Invitation; Press Releases; Program.","Program; Press Release.","Media Package","Invitation; Program; Photograph","Stagebill; Press Release.","Press Release; Stagebill.","Ticket stub; Invitation; Program; Press Release; Newspaper Article.","Press Release; Stagebill.","Stagebill.","Press Release; Stagebill.","Press Release; Two Photographs","Press Release; Stagebill.","Stagebill; Press Release.","Invitation; Program; Press Release; Newspaper Article.","Program.","Press Release; Program.","Program; Press Release; Newspaper Article.","Program.","Stagebill.","Stagebill.","Newspaper Article; Program; Ticket Stubs; Mailer.","Invitation; Program; Ticket Stubs; Press Release.","Ten photographs.","Invitation; Program.","Program; Press Release.","Photograph; Press Release; Program.","Program.","Invitation; Program; Photograph; Magazine Article.","Stagebill; Press Release; Photograph.","Stagebill.","Program; Press Release; Photograph.","Program.","Stagebill; Photograph.","Stagebill; Press Release.","Magazine Article; Tickets; Program; Photograph; Press Release.","Program.","Press Releases.","Program.","Invitation.","Press Kit; Stagebill.","Press Release; Stagebill; Photograph.","Photograph; Program.","Stagebill.","Program; Photograph.","Program; Photograph.","Media Kit; Program.","Stagebill.","Program.","Stagebill; Photograph.","Media Kit; Program.","Program; Press Release; Photograph.","Photograph; Letter.","Program; Photograph.","Program; Photographs.","Program; Playbills","Moscow Art Theatre: Past, Present, Future publication","Program; Press Release; Photograph.","Stagebill; Photograph.","Press Kit; Program.","Brochure.","Program.","Invitation; Program.","Program; Photograph.","Photographs; Stagebill; Program; Tickets.","Photographs; Stagebill.","Stagebill; Photograph.","Tickets; Stagebill; Photographs.","Program.","Photograph; Press Release; Stagebill.","Photograph; Stagebill; Press Release.","Stagebill; Photograph.","Photograph; Press Release; Stagebill.","Program; Photograph; Press Release.","Press Release; Photograph; Program.","Press Release.","Invitation; Press Release; Newspaper Articles.","Photograph; Stagebill.","Invitation; Program; Photograph; Press Release.","Stagebill; Photograph.","Invitation; Photograph; Program.","Invitation; Program; Media Kit.","Program; Press Release; Newspaper Article.","Invitation; Program; Photograph.","Program, Photographs.","Invitation; Program; Media Kit.","Program; Media Kit.","Program; Media Kit.","Invitation; Photograph; Program; Press Release.","Invitation; Program; Media Kit.","Stagebill.","Stagebill; Press Release.","Program.","Brochure.","Stagebill; Photograph.","Stagebill.","Invitation; Program; Newspaper Article; Photograph.","Invitation; Program.","Press Release.","Program.","Program; Press Release.","Program.","Program.","Stagebill.","Stagebill.","Stagebill; Press release; Notes.","Stagebill; Photograph.","Program; Photograph; Newspaper Articles; Magazine; Press Release.","Program; Photograph.","Program.","Stagebill.","Stagebill; Media Kit; Newspaper Articles.","Invitation; Program; Photograph.","News release; Photograph; Program.","Press release; Newsletter; Program.","Invitation; Program; News Release.","News Release; Invitation; Program.","Press Release; Program; Invitation; Newspaper Article.","Stagebill; Press Release.","Program; Press Release.","Program.","Production of the Bolshoi Opera. Program; Photograph.","Program; Photograph.","Stagebill; Press Release.","Program.","Program; Press Release; Newsletter.","Three Photographs.","Playbill; Two Photographs.","Invitation; Program.","Press Release; Program.","Press Release; Postcard.","Stagebill.","Press Kit.","Press Release.","Invitation; Program; Press Release.","Program; Press Release; Photograph.","Stagebill; Press Kit.","Program; Press Kit.","Invitation.","Program; Photograph.","Stagebill; Press Release; Photograph.","Program; Photograph; Press Release.","Program; Press Release; Newspaper Article.","Invitation; Program; Photograph.","Invitation; Program; Press Release; Photograph.","Program; Guest list.","Program; Press Kit; Two photographs.","Stagebill; Press Release; Photograph.","Program; Press Kit.","Program; Press Kit.","Stagebill; Press Kit; Photograph.","Program; Press Kit.","Program; Press Release; Key chain.","Program.","Program; Press Kit.","Production of the Theater des Westens. Stagebill; Press Kit.","Stagebill; Press Kit.","Stagebill; Press Release; Photograph.","Program; Press Release; Photograph.","Program.","Invitation; Program; Press Release.","Press Release; Program.","Program.","Program.","Loudoun Symphony 10th anniversary concert","Waterford concert series: The Back Sinfonia","Waterford concert series: Musical Remarks","Capitol Steps: Who put the mock in democracy? It's the Capital Steps","Oklahoma!, Arena Stage","August Wilson's Gem of the Ocean, Arena Stage","She Loves Me, Arena Stage","A Tribute to Sergei Prokofiev, Kennedy Center","Ain't Misbehavin', Arena Stage","An Evening at the Oscars, Loudoun Symphony, Middleburg, VA","Anna Christie, Arena Stage","The Best Man, Radio Theatre Live!","Chicago, Knoxville Civic Auditorium, TN","Choral Arts Society of Washington, Kennedy Center","Diana Krall, Kennedy Center","Eudora Welty Remembered, Folger Shakespeare Library","Hallelujah, Baby!, Arena Stage","Love's Labour's Lost, Catholic University of America","Mostly Sondheim, Kennedy Center","Pacific Overtures, Kennedy Center","Passion, Kennedy Center","PEN/Faulkner awards for fiction, Folger Shakespeare Library","The Play About the Baby, The Studio Theatre","Roberta Flack, Music Center at Strathmore","Runaway Home, The Studio Theatre","The Shape of Things, The Studio Theatre","Fourth Estate Award Dinner honoring Christiane Amanpour","The Order of the Owl, Initiating Art Buchwald","The Order of the Owl, Initiating Austing H. Kiplinger and Donald A. Ritchie","The Order of the Owl, Initiating Mark Russell","Spring Hoot: A Grand Old Club Salutes A Grand Old Hotel","The Order of the Owl, Initiating John Eaton","Kennedy Center News (September-October 2004 and May-August 2004)","Five by Tenn (ticket, press packet)","The Light in the Piazza","Salome","Madama Butterfly","Marian McPartland's 89th Birthday Celebration on Marian McPartland's Piano Jazz","Washington National Opera's Iphigenie en Tauride","Washington National Opera's Macbeth","A View from the Bridge, Washington National Opera","Madame Butterfly, Washington National Opera","National Symphony Orchestra","Sophie's Choice, Washington National Opera","Cabaret, Arena Stage","Connecting Lines: New Poetry from Mexico, The Cultural Institute of Mexico","The Evening Parade, Marine Barracks Washington","Fiddler on the Roof, Olney Theatre Center, MD","Hansel and Gretel, The Lincoln Theatre","Ibis, Waterford, VA","Opera in Waterford, Domingo-Cafritz Young Artists, Waterford, VA","The Persians, Shakespeare Theatre Company","Waterford Home Tours and Crafts Exhibit, Waterford, VA","Program.","Program; Photograph.","Playbill.","Playbill.","Applause at Strathmore","The Arthur Miller Festival: Death of a Salesman, A View from the Bridge, Arena Stage","Blues Alley Jazz Supper Club","Cymbeline, Round House Silver Spring","Kennedy Center News","La Traviata, Washington National Opera, Kennedy Center","Musical Remarks, John Wesley Church, Waterford, VA","The Pearl Fishers, Washington National Opera, Kennedy Center","The Price, Theatre J","Strathmore News","Program.","Program.","Production of the Washington National Opera. Playbill.","Antony and Cleopatra, Lansburgh Theatre","Ariadne auf Naxos, Washington National Opera, Kennedy Center","Chicago, National Theatre","Falstaff, Washington National Opera, Kennedy Center","I Love a Piano, Arena Stage","Master Singers of Virginia, Waterford, VA","PEN/Faulkner awards for fiction, Folger Shakespeare Library","Peter Grimes, Washington National Opera, Kennedy Center","Turandot, Washington National Opera, Kennedy Center","The Marriage of Figaro, Washington National Opera, Kennedy Center","Porgy and Bess, Washington National Opera, Kennedy Center","Reasons to be Pretty, The Studio Theatre","Photographs of Elizabeth Taylor, Mia Dillon, Zev Bufman, Peter Gallagher.","Photographs of Elizabeth Taylor, Mia Dillon, Zev Bufman, Peter Gallagher.","Vol. 2, no. 2; Vol. 3, no. 1-2; Vol. 4, no. 1-2; Vol. 5, no. 2; Vol. 6, no. 1-3; Vol. 7, no. 1","Reports.","Brochure.","Articles.","Press Releases; Photograph.","Program.","Newspaper Articles; Photograph.","Newsletter.","Program.","Photograph.","Program.","Annual Reports; Schedules; Publication.","Invitations for plays not attended or no playbills.","Photographs.","Invitations.","Seven photographs.","Victor Borge and his Concert Orchestra","Spies in your eyes, JCA Playguild","Hamlet, Philharmonia Orchestra","Henry V: An interpretation of the Photoplay","From Washington DC and Virginia theatres","Includes schedules from: Arena Stage, Kennedy Center, Shakespeare Theatre at the Folger, Theatre J, Washington National Opera, Woolly Mammoth","Includes schedules from: Arena Stage, Ford's Theatre, Kennedy Center, PEN/Faulkner Foundation, Shakespeare Theatre at the Folger, The Studio Theatre, Washington National Opera, Washington Performing Arts Society, Wayside Theatre, Woolly Mammoth","Marilyn Monroe: Life as a Legend","Franklin Park Performing and Visual Arts Center (2008-2009)","Grease at the Olney Theatre Center","Shenandoah Summer Music Theatre (2011)","Includes schedules from: Arena Stage, George Mason University's Center for the Arts, Kennedy Center, Olney, PEN/Faulkner Foundation, Folger Theatre, Shenandoah Conservatory, The Studio Theatre, Theatre J, University of Notre Dame, Washington National Opera, Washington Performing Arts Society","Includes schedules from: Arena Stage, Contemporary American Theatre Festival, Olney, Folger Theatre, Shakespeare Theatre Company, Shenandoah Conservatory, Signature Theatre, Strathmore Music Center, The Studio Theatre, Theatre J, Washington National Cathedral, Washington National Opera, Woolly Mammoth","Includes schedules from: Arena Stage, Kennedy Center, Master Singers of Virginia, Washington National Opera","Programs; Playbills.","The second series covers Kincannon's early interest in theatre while in the Ohio area (1955-1982). It contains mostly playbooks and programs from area performances.","Playbill; Program.","Playbill; Program.","Playbill.","Program.","Program.","Playbill; Program.","Playbill; Program.","Dayton Philharmonic Orchestra, Memorial Hall, Dayton, OH","Philharmonic-Symphony Society of New York, Memorial Hall, Dayton, OH","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","The Antioch yellow springs festival, OH","Light up the sky, Victory Theatre, Dayton, OH","The magnificent Yankee, Cox Theatre, Cincinnati, OH","O mistress mine, Memorial Hall, Dayton, OH","Pick-up girl, Ellis Auditorium, Memphis, TN","State of the union, Cox Theatre, Cincinnati, OH","The wise have not spoken, Yellow Springs Area Theatre, OH","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbills.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Announcement.","Playbook; Program.","Program.","Program; Playbook.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Program.","Program.","Playbook; Program.","Program.","Program.","Program.","Souvenir Program.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Program.","Program; Playbook.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Playbook; Program.","Program.","Playbill; Program.","Playbill; Program.","Program.","Program.","Program.","Program.","Program.","Playbill; Program.","Program; Curtain Call.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program; Playbook.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Program.","Program.","Playbook; Program.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Program.","Playbook; Program.","Program.","Program.","Program.","Program.","Program.","Playbook; Program.","Playbook; Program.","Program.","Program.","Program.","Program.","Program.","Playbill.","The third series is the collection of Broadway and London productions Kincannon attended from 1955-2007. This series consists of mostly playbills and programs.","Program.","Playbill.","Program.","Program.","Program.","Calendar.","Program.","Program.","Playbill; Program.","Playbill.","Playbill; Program.","Playbill.","Playbill.","Playbill; Program.","Playbill; Program.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill; Program.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill; Program.","Playbill.","Playbill.","Playbill.","Program.","Playbill.","Playbill.","Playbill; Program.","Playbill; Program.","Program.","Playbill; Program.","Playbill.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playgram.","Playgram.","Playgram.","Reviews.","Program.","Program.","Program.","Playbill.","Playbill.","Playbill.","Playbill; Program.","Playbill.","Showcard.","Showcard.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Program.","Program.","Magazine.","Magazine.","Picture book.","Publication.","Program.","Program.","Playbill.","Playbill.","Program.","Program.","Program.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill; City Guide.","The fourth series is film-related materials from 1943-1992, consisting of souvenir books, magazines, and press packets relating to each movie.","Souvenir Book.","Magazine. Vol 4, no. 8.","Magazine. Vol 4, no. 9.","Book.","Program.","Cinebills for The Iceman Cometh; Luther; Rhinoceros; Lost in the Stars; Butley; The Three Sisters.","Programs for Jacques Brel is Alive and Well and Living; The Maids; In Celebration; The Man in the Glass Booth; Galileo.","Press Release.","Press Packet.","Press Packet.","Press Packet.","Press Packet; Production Information; Photographs.","Press Packet.","Program; magazine.","The fifth series is audiovisual materials from 1983-1986, consisting of reel-to-reel audiotapes, audiotape cartridges, and videocassettes. Much of the material is from the Behind the Scenes with Claire Kincannon radio program. Behind the Scenes was a three-minute feature on the Performing Arts, and was available via the Public Radio Satellite System.","7\" reel-to-reel audiotape. Program ends at 00:10:08.","Videotape.","Pamphlet.","7\" reel-to-reel audiotape. Run Time: 00:08:05.","7\" reel-to-reel audiotape. Program ends at 00:24:45.","7\" reel-to-reel audiotape. Program ends at 00:31:40.","9 discs containing digital access copies and a storage drive with access copies and master digital files.","7\" reel-to-reel audiotape. Program ends at 00:06:08.","7\" reel-to-reel audiotape. Program ends at 00:16:15.","5\" reel-to-reel audiotape. Run time is 00:07:36.","Audiotape cartridge. Run Time: 00:03:44.","Audiotape cartridge. Run Time: 00:00:44. Tape only contains approximately 2 seconds of audio.","5\" reel-to-reel audiotape. Run Time: 00:03:24.","5\" reel-to-reel audiotape. Approximately 1 minute of silence in the middle of program. Tape entered silence at approximately 00:04:44.","5\" reel-to-reel audiotape. Tape entered silence at approximately 00:07:01.","10.5\" reel-to-reel audiotape rehoused onto 7\" reel. Run Time: 00:16:12.","10.5\" reel-to-reel audiotape. Run Time: 0:23:59.","5\" reel-to-reel audiotape. Tape starts mid-program. Program ends at 00:06:04.","7\" reel-to-reel audiotape. Program ends at 00:10:00.","7\" reel-to-reel audiotape. Run time is 00:07:28.","5\" reel-to-reel audiotape. Run Time: 00:11:09.","7\" reel-to-reel audiotape. Program ends at 00:04:59.","7\" reel-to-reel audiotape. Box reads \"1984 October 6\". Program ends at 00:03:13.","7\" reel-to-reel audiotape. Program ends at approximately 00:05:46.","7\" reel-to-reel audiotape. Program ends at 00:05:46.","7\" reel-to-reel audiotape. Program ends at 00:06:25.","7\" reel-to-reel audiotape. Run time is 00:04:28.","7\" reel-to-reel audiotape. Run time is 00:06:11.","7\" reel-to-reel audiotape. Program ends at 00:05:37.","7\" reel-to-reel audiotape. Program ends at 00:05:02.","5\" reel-to-reel audiotape. Run time is 00:05:57.","7\" reel-to-reel audiotape. Program ends at 00:05:07.","7\" reel-to-reel audiotape. Program ends at 00:05:10.","7\" reel-to-reel audiotape. Program ends at 00:05:27.","7\" reel-to-reel audiotape. Program ends at 00:04:58.","5\" reel-to-reel audiotape. Run time is 00:06:20.","7\" reel-to-reel audiotape. Runt time is 00:05:26.","7\" reel-to-reel audiotape. Program ends at 00:07:15.","Videotape cassette.","Videotape cassette. Women in film: Streetwise, Old Enough; Gin Game; short run; Mayor of ?; End of World.","7\" reel-to-reel audiotape. Program ends at 00:04:50.","7\" reel-to-reel audiotape. Run time is 00:26:46.","7\" reel-to-reel audiotape. Program ends at 00:04:06.","7\" reel-to-reel audiotape. Program ends at 00:06:52.","7\" reel-to-reel audiotape. Program ends at 00:05:16.","7\" reel-to-reel audiotape. Program ends at 00:05:47.","7\" reel-to-reel audiotape. Program ends at 00:06:07.","7\" reel-to-reel audiotape. Program ends at 00:03:44.","5\" reel-to-reel audiotape. Tape entered silence at approximately 00:05:30.","7\" reel-to-reel audiotape. Program ends at approx 00:05:06.","7\" reel-to-reel audiotape. Box reads \"Rebecca Rice Liv Stage\", \"#7, 10/12/83\". Program ends at 00:07:11.","7\" reel-to-reel audiotape. Program switches from stereo to mono (left channel only) from 00:02:50 until 00:04:22 Program ends at 00:26:23.","7\" reel-to-reel audiotape. Run time is 00:20:27. Approx 1 minute of silence before program begins.","7\" reel-to-reel audiotape. Program ends at 00:21:50.","7\" reel-to-reel audiotape. Run time is 00:47:10.","7\" reel-to-reel audiotape. Run time is 00:41:45.","7\" reel to reel audiotape. Program ends at approx 00:05:34.","7\" reel-to-reel audiotape. Run Time: 01:05:27.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette. Clips from Streetwise and Old Enough.","There are no restrictions on personal use. Permission to publish material from the Claire Kincannon theatre collection must be obtained from the Special Collections Research Center, George Mason University Libraries.","This collection contains promotional materials for plays in the Washington, D.C., area, including programs, photographs, and press kits as well as a selection of programs and playbills from theaters in New York, London, and regional theaters in Ohio dating back to 1955, as well as some limited film-related materials. In addition to paper materials there are also audio visual materials featuring Kincannon's radio show Behind the Scenes and a project on Hungary.","George Mason University Special Collections \u0026 Archives","Lois Claire Kincannon","Kincannon, Lois Claire.","English"],"collection_title_tesim":["Claire Kincannon theatre collection, 1955/2011"],"collection_ssim":["Claire Kincannon theatre collection, 1955/2011"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0018"],"unitid_tesim":["C0018"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Lois Claire Kincannon"],"creator_ssim":["Lois Claire Kincannon"],"creator_persname_ssim":["Lois Claire Kincannon","Kincannon, Lois Claire."],"creator_corpname_ssim":["George Mason University Special Collections \u0026 Archives"],"creators_ssim":["Lois Claire Kincannon","Kincannon, Lois Claire.","George Mason University Special Collections \u0026 Archives"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Claire Kincannon theatre collection must be obtained from the Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Collection donated by Claire Kincannon in 2007-2008 and 2011."],"access_subjects_ssim":["Motion pictures.","Theater--England--London.","Theater--New York (State)--New York.","Theater--Ohio.","Theater--Washington (D.C.)","Live sound recordings.","Photographic prints.","Sound recordings.","Video recordings."],"access_subjects_ssm":["Motion pictures.","Theater--England--London.","Theater--New York (State)--New York.","Theater--Ohio.","Theater--Washington (D.C.)","Live sound recordings.","Photographic prints.","Sound recordings.","Video recordings."],"has_online_content_ssim":["false"],"extent_ssm":["20.0 Linear feet (40 boxes)"],"extent_tesim":["20.0 Linear feet (40 boxes)"],"date_range_isim":[1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e\n    "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eAll of the \"Behind the Scenes with Claire Kincannon\" shows on audiotape are available in digital format.\u003c/p\u003e\n    "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["All of the \"Behind the Scenes with Claire Kincannon\" shows on audiotape are available in digital format."],"arrangement_html_tesm":["\u003cp\u003eOrganized into five series.\u003c/p\u003e\n      ","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Washington, D.C., 1971-2008 (Boxes 1-20, 28, 30, 32, 33)\u003c/item\u003e\n        \u003citem\u003eSeries 2: Ohio Regional Theatres, 1955-1982 (Boxes 21-24, 31)\u003c/item\u003e\n        \u003citem\u003eSeries 3: Broadway and London Productions, 1955-2007 (Boxes 25-27)\u003c/item\u003e\n        \u003citem\u003eSeries 4: Film-related Materials, 1956-1992 (Box 29)\u003c/item\u003e\n        \u003citem\u003eSeries 5: Audiovisual Materials, 1983-1986 (Boxes 34-40)\u003c/item\u003e\n      \u003c/list\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized into five series.","Series 1: Washington, D.C., 1971-2008 (Boxes 1-20, 28, 30, 32, 33)\n        Series 2: Ohio Regional Theatres, 1955-1982 (Boxes 21-24, 31)\n        Series 3: Broadway and London Productions, 1955-2007 (Boxes 25-27)\n        Series 4: Film-related Materials, 1956-1992 (Box 29)\n        Series 5: Audiovisual Materials, 1983-1986 (Boxes 34-40)"],"bioghist_html_tesm":["\u003cp\u003eClaire Kincannon graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she became a radio journalist and theatre critic in the Washington, D.C., area, starring in her own radio program, Behind the Scenes. It was during this time that she worked as a theatre critic, reviewing the performances she attended on her radio show. She moved to Paris, France in late 1992 with her husband, eventually returning in 2000. She founded Dancing Ink Press while in Paris, using it to publish several books including Paeonian to Paris, Sheets for Men Only, Sheets to the Wind, and Rockin' with Porch Memories. She still lives in the Washington, D.C., area and continues to write books and exhibit artwork.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Claire Kincannon graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she became a radio journalist and theatre critic in the Washington, D.C., area, starring in her own radio program, Behind the Scenes. It was during this time that she worked as a theatre critic, reviewing the performances she attended on her radio show. She moved to Paris, France in late 1992 with her husband, eventually returning in 2000. She founded Dancing Ink Press while in Paris, using it to publish several books including Paeonian to Paris, Sheets for Men Only, Sheets to the Wind, and Rockin' with Porch Memories. She still lives in the Washington, D.C., area and continues to write books and exhibit artwork."],"prefercite_html_tesm":["\u003cp\u003eClaire Kincannon theatre collection, C0018, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e\n    "],"prefercite_tesim":["Claire Kincannon theatre collection, C0018, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012.\u003c/p\u003e\n    "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds many other \n                theatre collections.\u003c/p\u003e\n    "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives also holds many other \n                theatre collections."],"scopecontent_html_tesm":["\u003cp\u003eThe Claire Kincannon theatre collection represents a lifetime and a career of theatre appreciation and attendance. Materials that comprise this collection track Kincannon's attendance at area performances in Ohio (1955-1982) and on Broadway (1955-2007), as well as her work as a theatre critic in Washington, D.C. (1971-2011).\u003c/p\u003e\n      ","\u003cp\u003eThe collection includes programs, press releases, photographs, and other outreach materials of various theatre productions. Also included in the collection are ticket stubs, invitations, schedules, and advertisements for certain productions. Some of the programs also contain the hand-written notes of Kincannon from when she worked as a critic; these notes provide unique insights into the job of a critic. There are also marketing releases for motion pictures, including photographs, press releases, and \"behind the scenes\" information.\u003c/p\u003e\n      ","\u003cp\u003eMany of the programs are from the Kennedy Center, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and other various theaters in the D.C. area. Also included in the collection are productions by the Kenley Players and Victory Theatre in Dayton, OH, among others in the area. The Broadway collection encompasses several theaters' productions.\u003c/p\u003e\n      ","\u003cp\u003eThe first series covers Kincannon's time as a critic in Washington, D.C., from 1971-2008. This series contains programs, press releases, photographs, and other behind the scenes and marketing information. The second series covers Kincannon's early interest in theatre while in the Ohio area (1955-1982). It contains mostly playbooks and programs from area performances. The third series is the collection of Broadway and London productions Kincannon attended from 1955-2007. This series consists of mostly playbills and programs. The fourth series is film-related materials from 1956-1992, consisting of souvenir books, magazines, and press packets relating to each film. The fifth series is audiovisual materials from 1983-1992, consisting of reel-to-reel audiotapes, audiotape cartridges, and videocassettes. Much of the material is from the Behind the Scenes with Claire Kincannon radio program. Behind the Scenes was a three-minute feature on the performing arts, and was available via the Public Radio Satellite System.\u003c/p\u003e\n    ","\u003cp\u003eThe first series covers Kincannon's time as a critic in Washington, D.C. from 1971-2008. This series contains programs, press releases, photographs, and other behind the scenes and marketing information.\u003c/p\u003e\n        ","\u003cp\u003eProgram for multiple performances.\u003c/p\u003e\n          ","\u003cp\u003ePress packet. Ten photographs.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the National Theatre of Great Britain. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eDocuments regarding workshops. Press releases.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program, photographs.\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the New York Metropolitan Opera. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Tokyo Kid Brothers. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePreview Materials.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eTwo photographs.\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eNews Release; Program.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eNews Release; Program.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Metropolitan Opera. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram. Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Elizabeth Theatre Group. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Elizabeth Theatre Group. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eDonor list; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the American Ballet Theatre. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the American Ballet Theatre. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eJames Joyce's The Dead, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eNative Storyteller: Ron Ki-Ke-In Hamilton (Nuu-Chah-Nulth), Smithsonian\u003c/p\u003e\n            ","\u003cp\u003eOur Town, Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eShe Always Said, Pablo, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eStill Life, Arena Stage\u003c/p\u003e\n          ","\u003cp\u003ePress packet.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill. Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Two Photographs.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Invitation.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Photograph; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Two photographs.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003e35mm slides.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the New York Metropolitan Opera. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eTicket stub; Program; 35mm Slides.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Houston Grand Opera and Teatro alla Scala. Stagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eBrochure.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the New York Shakespeare Festival. Stagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Paramount Theatre Prod. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Royal Shakespeare Company. Stagebill; Three photographs.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Invitation.\u003c/p\u003e\n          ","\u003cp\u003eShowbill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Two Photographs.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Opera House; Three Photographs; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Two Photographs.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003ePress Release.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eFlyer; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Newspaper Articles.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003ePresented by Piccolo Spoleto. Program.\u003c/p\u003e\n          ","\u003cp\u003ePresented by the Spoleto Festival, Charleston, SC. Program.\u003c/p\u003e\n          ","\u003cp\u003ePresented by the Spoleto Festival, Charleston, SC. Program.\u003c/p\u003e\n          ","\u003cp\u003ePresented by the Spoleto Festival, Charleston, SC. Program.\u003c/p\u003e\n          ","\u003cp\u003ePresented by the Spoleto Festival, Charleston, SC. Program. Festival Brochures; Travel Aids; Postcard.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Human Bridge Theater Company. Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Notes.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Tickets; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Four slides.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eTwo Photographs.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the American National Theatre. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePrograms; Invitations; Louisville guide; Notes.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Tickets.\u003c/p\u003e\n          ","\u003cp\u003eTwo Photographs; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release; Media Kit.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Haifa Municipal Theatre of Israel. Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eTickets; Stagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the La Jolla Playhouse. Stagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eSchedule.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Newspaper Articles; Publicity Packet; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Magazine; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Studio Theatre Newspaper.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program; Mailer.\u003c/p\u003e\n          ","\u003cp\u003eTickets; Press Release; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eSouvenir Brochure; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; American's Arena Publication.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Newspaper Article; America's Arena Publication.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Newspaper Article; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Press Release; Mailer; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Press Release; Media Kit, Stagebill.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Invitation.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Press Releases; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eMedia Package\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eTicket stub; Invitation; Program; Press Release; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Two Photographs\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Press Release; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eNewspaper Article; Program; Ticket Stubs; Mailer.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Ticket Stubs; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eTen photographs.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Press Release; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph; Magazine Article.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eMagazine Article; Tickets; Program; Photograph; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePress Releases.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation.\u003c/p\u003e\n          ","\u003cp\u003ePress Kit; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Stagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eMedia Kit; Program.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eMedia Kit; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Letter.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photographs.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Playbills\u003c/p\u003e\n            ","\u003cp\u003eMoscow Art Theatre: Past, Present, Future publication\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003ePress Kit; Program.\u003c/p\u003e\n          ","\u003cp\u003eBrochure.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003ePhotographs; Stagebill; Program; Tickets.\u003c/p\u003e\n          ","\u003cp\u003ePhotographs; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eTickets; Stagebill; Photographs.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Press Release; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Stagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Press Release; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph; Press Release.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Photograph; Program.\u003c/p\u003e\n          ","\u003cp\u003ePress Release.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Press Release; Newspaper Articles.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph; Stagebill.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Photograph; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Media Kit.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram, Photographs.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Media Kit.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Media Kit.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Media Kit.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Photograph; Program; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Media Kit.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eBrochure.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Newspaper Article; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003ePress Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press release; Notes.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph; Newspaper Articles; Magazine; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Media Kit; Newspaper Articles.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eNews release; Photograph; Program.\u003c/p\u003e\n          ","\u003cp\u003ePress release; Newsletter; Program.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; News Release.\u003c/p\u003e\n          ","\u003cp\u003eNews Release; Invitation; Program.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program; Invitation; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Bolshoi Opera. Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Newsletter.\u003c/p\u003e\n          ","\u003cp\u003eThree Photographs.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Two Photographs.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Postcard.\u003c/p\u003e\n          ","\u003cp\u003eStagebill.\u003c/p\u003e\n          ","\u003cp\u003ePress Kit.\u003c/p\u003e\n          ","\u003cp\u003ePress Release.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eInvitation.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph; Press Release.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Newspaper Article.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Guest list.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Kit; Two photographs.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Kit; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Key chain.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Theater des Westens. Stagebill; Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Kit.\u003c/p\u003e\n          ","\u003cp\u003eStagebill; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Press Release; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eInvitation; Program; Press Release.\u003c/p\u003e\n          ","\u003cp\u003ePress Release; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eLoudoun Symphony 10th anniversary concert\u003c/p\u003e\n            ","\u003cp\u003eWaterford concert series: The Back Sinfonia\u003c/p\u003e\n            ","\u003cp\u003eWaterford concert series: Musical Remarks\u003c/p\u003e\n            ","\u003cp\u003eCapitol Steps: Who put the mock in democracy? It's the Capital Steps\u003c/p\u003e\n            ","\u003cp\u003eOklahoma!, Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eAugust Wilson's Gem of the Ocean, Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eShe Loves Me, Arena Stage\u003c/p\u003e\n          ","\u003cp\u003eA Tribute to Sergei Prokofiev, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eAin't Misbehavin', Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eAn Evening at the Oscars, Loudoun Symphony, Middleburg, VA\u003c/p\u003e\n            ","\u003cp\u003eAnna Christie, Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eThe Best Man, Radio Theatre Live!\u003c/p\u003e\n            ","\u003cp\u003eChicago, Knoxville Civic Auditorium, TN\u003c/p\u003e\n            ","\u003cp\u003eChoral Arts Society of Washington, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eDiana Krall, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eEudora Welty Remembered, Folger Shakespeare Library\u003c/p\u003e\n            ","\u003cp\u003eHallelujah, Baby!, Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eLove's Labour's Lost, Catholic University of America\u003c/p\u003e\n            ","\u003cp\u003eMostly Sondheim, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003ePacific Overtures, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003ePassion, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003ePEN/Faulkner awards for fiction, Folger Shakespeare Library\u003c/p\u003e\n            ","\u003cp\u003eThe Play About the Baby, The Studio Theatre\u003c/p\u003e\n            ","\u003cp\u003eRoberta Flack, Music Center at Strathmore\u003c/p\u003e\n            ","\u003cp\u003eRunaway Home, The Studio Theatre\u003c/p\u003e\n            ","\u003cp\u003eThe Shape of Things, The Studio Theatre\u003c/p\u003e\n          ","\u003cp\u003eFourth Estate Award Dinner honoring Christiane Amanpour\u003c/p\u003e\n            ","\u003cp\u003eThe Order of the Owl, Initiating Art Buchwald\u003c/p\u003e\n            ","\u003cp\u003eThe Order of the Owl, Initiating Austing H. Kiplinger and Donald A. Ritchie\u003c/p\u003e\n            ","\u003cp\u003eThe Order of the Owl, Initiating Mark Russell\u003c/p\u003e\n            ","\u003cp\u003eSpring Hoot: A Grand Old Club Salutes A Grand Old Hotel\u003c/p\u003e\n            ","\u003cp\u003eThe Order of the Owl, Initiating John Eaton\u003c/p\u003e\n          ","\u003cp\u003eKennedy Center News (September-October 2004 and May-August 2004)\u003c/p\u003e\n            ","\u003cp\u003eFive by Tenn (ticket, press packet)\u003c/p\u003e\n            ","\u003cp\u003eThe Light in the Piazza\u003c/p\u003e\n            ","\u003cp\u003eSalome\u003c/p\u003e\n            ","\u003cp\u003eMadama Butterfly\u003c/p\u003e\n            ","\u003cp\u003eMarian McPartland's 89th Birthday Celebration on Marian McPartland's Piano Jazz\u003c/p\u003e\n            ","\u003cp\u003eWashington National Opera's Iphigenie en Tauride\u003c/p\u003e\n            ","\u003cp\u003eWashington National Opera's Macbeth\u003c/p\u003e\n          ","\u003cp\u003eA View from the Bridge, Washington National Opera\u003c/p\u003e\n            ","\u003cp\u003eMadame Butterfly, Washington National Opera\u003c/p\u003e\n            ","\u003cp\u003eNational Symphony Orchestra\u003c/p\u003e\n            ","\u003cp\u003eSophie's Choice, Washington National Opera\u003c/p\u003e\n          ","\u003cp\u003eCabaret, Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eConnecting Lines: New Poetry from Mexico, The Cultural Institute of Mexico\u003c/p\u003e\n            ","\u003cp\u003eThe Evening Parade, Marine Barracks Washington\u003c/p\u003e\n            ","\u003cp\u003eFiddler on the Roof, Olney Theatre Center, MD\u003c/p\u003e\n            ","\u003cp\u003eHansel and Gretel, The Lincoln Theatre\u003c/p\u003e\n            ","\u003cp\u003eIbis, Waterford, VA\u003c/p\u003e\n            ","\u003cp\u003eOpera in Waterford, Domingo-Cafritz Young Artists, Waterford, VA\u003c/p\u003e\n            ","\u003cp\u003eThe Persians, Shakespeare Theatre Company\u003c/p\u003e\n            ","\u003cp\u003eWaterford Home Tours and Crafts Exhibit, Waterford, VA\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Photograph.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003eApplause at Strathmore\u003c/p\u003e\n            ","\u003cp\u003eThe Arthur Miller Festival: Death of a Salesman, A View from the Bridge, Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eBlues Alley Jazz Supper Club\u003c/p\u003e\n            ","\u003cp\u003eCymbeline, Round House Silver Spring\u003c/p\u003e\n            ","\u003cp\u003eKennedy Center News\u003c/p\u003e\n            ","\u003cp\u003eLa Traviata, Washington National Opera, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eMusical Remarks, John Wesley Church, Waterford, VA\u003c/p\u003e\n            ","\u003cp\u003eThe Pearl Fishers, Washington National Opera, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eThe Price, Theatre J\u003c/p\u003e\n            ","\u003cp\u003eStrathmore News\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProduction of the Washington National Opera. Playbill.\u003c/p\u003e\n          ","\u003cp\u003eAntony and Cleopatra, Lansburgh Theatre\u003c/p\u003e\n            ","\u003cp\u003eAriadne auf Naxos, Washington National Opera, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eChicago, National Theatre\u003c/p\u003e\n            ","\u003cp\u003eFalstaff, Washington National Opera, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eI Love a Piano, Arena Stage\u003c/p\u003e\n            ","\u003cp\u003eMaster Singers of Virginia, Waterford, VA\u003c/p\u003e\n            ","\u003cp\u003ePEN/Faulkner awards for fiction, Folger Shakespeare Library\u003c/p\u003e\n            ","\u003cp\u003ePeter Grimes, Washington National Opera, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eTurandot, Washington National Opera, Kennedy Center\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003eThe Marriage of Figaro, Washington National Opera, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003ePorgy and Bess, Washington National Opera, Kennedy Center\u003c/p\u003e\n            ","\u003cp\u003eReasons to be Pretty, The Studio Theatre\u003c/p\u003e\n          ","\u003cp\u003ePhotographs of Elizabeth Taylor, Mia Dillon, Zev Bufman, Peter Gallagher.\u003c/p\u003e\n          ","\u003cp\u003ePhotographs of Elizabeth Taylor, Mia Dillon, Zev Bufman, Peter Gallagher.\u003c/p\u003e\n          ","\u003cp\u003eVol. 2, no. 2; Vol. 3, no. 1-2; Vol. 4, no. 1-2; Vol. 5, no. 2; Vol. 6, no. 1-3; Vol. 7, no. 1\u003c/p\u003e\n          ","\u003cp\u003eReports.\u003c/p\u003e\n          ","\u003cp\u003eBrochure.\u003c/p\u003e\n          ","\u003cp\u003eArticles.\u003c/p\u003e\n          ","\u003cp\u003ePress Releases; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eNewspaper Articles; Photograph.\u003c/p\u003e\n          ","\u003cp\u003eNewsletter.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePhotograph.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eAnnual Reports; Schedules; Publication.\u003c/p\u003e\n          ","\u003cp\u003eInvitations for plays not attended or no playbills.\u003c/p\u003e\n          ","\u003cp\u003ePhotographs.\u003c/p\u003e\n          ","\u003cp\u003eInvitations.\u003c/p\u003e\n          ","\u003cp\u003eSeven photographs.\u003c/p\u003e\n          ","\u003cp\u003eVictor Borge and his Concert Orchestra\u003c/p\u003e\n            ","\u003cp\u003eSpies in your eyes, JCA Playguild\u003c/p\u003e\n            ","\u003cp\u003eHamlet, Philharmonia Orchestra\u003c/p\u003e\n            ","\u003cp\u003eHenry V: An interpretation of the Photoplay\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003eFrom Washington DC and Virginia theatres\u003c/p\u003e\n          ","\u003cp\u003eIncludes schedules from: Arena Stage, Kennedy Center, Shakespeare Theatre at the Folger, Theatre J, Washington National Opera, Woolly Mammoth\u003c/p\u003e\n          ","\u003cp\u003eIncludes schedules from: Arena Stage, Ford's Theatre, Kennedy Center, PEN/Faulkner Foundation, Shakespeare Theatre at the Folger, The Studio Theatre, Washington National Opera, Washington Performing Arts Society, Wayside Theatre, Woolly Mammoth\u003c/p\u003e\n          ","\u003cp\u003eMarilyn Monroe: Life as a Legend\u003c/p\u003e\n            ","\u003cp\u003eFranklin Park Performing and Visual Arts Center (2008-2009)\u003c/p\u003e\n            ","\u003cp\u003eGrease at the Olney Theatre Center\u003c/p\u003e\n            ","\u003cp\u003eShenandoah Summer Music Theatre (2011)\u003c/p\u003e\n          ","\u003cp\u003eIncludes schedules from: Arena Stage, George Mason University's Center for the Arts, Kennedy Center, Olney, PEN/Faulkner Foundation, Folger Theatre, Shenandoah Conservatory, The Studio Theatre, Theatre J, University of Notre Dame, Washington National Opera, Washington Performing Arts Society\u003c/p\u003e\n          ","\u003cp\u003eIncludes schedules from: Arena Stage, Contemporary American Theatre Festival, Olney, Folger Theatre, Shakespeare Theatre Company, Shenandoah Conservatory, Signature Theatre, Strathmore Music Center, The Studio Theatre, Theatre J, Washington National Cathedral, Washington National Opera, Woolly Mammoth\u003c/p\u003e\n          ","\u003cp\u003eIncludes schedules from: Arena Stage, Kennedy Center, Master Singers of Virginia, Washington National Opera\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003ePrograms; Playbills.\u003c/p\u003e\n          ","\u003cp\u003eThe second series covers Kincannon's early interest in theatre while in the Ohio area (1955-1982). It contains mostly playbooks and programs from area performances.\u003c/p\u003e\n        ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003eDayton Philharmonic Orchestra, Memorial Hall, Dayton, OH\u003c/p\u003e\n            ","\u003cp\u003ePhilharmonic-Symphony Society of New York, Memorial Hall, Dayton, OH\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003eThe Antioch yellow springs festival, OH\u003c/p\u003e\n            ","\u003cp\u003eLight up the sky, Victory Theatre, Dayton, OH\u003c/p\u003e\n            ","\u003cp\u003eThe magnificent Yankee, Cox Theatre, Cincinnati, OH\u003c/p\u003e\n            ","\u003cp\u003eO mistress mine, Memorial Hall, Dayton, OH\u003c/p\u003e\n            ","\u003cp\u003ePick-up girl, Ellis Auditorium, Memphis, TN\u003c/p\u003e\n            ","\u003cp\u003eState of the union, Cox Theatre, Cincinnati, OH\u003c/p\u003e\n            ","\u003cp\u003eThe wise have not spoken, Yellow Springs Area Theatre, OH\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybills.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eAnnouncement.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Playbook.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; 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Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Curtain Call.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram; Playbook.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; 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Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybook; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003eThe third series is the collection of Broadway and London productions Kincannon attended from 1955-2007. This series consists of mostly playbills and programs.\u003c/p\u003e\n        ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eCalendar.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaygram.\u003c/p\u003e\n          ","\u003cp\u003ePlaygram.\u003c/p\u003e\n          ","\u003cp\u003ePlaygram.\u003c/p\u003e\n          ","\u003cp\u003eReviews.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003eShowcard.\u003c/p\u003e\n          ","\u003cp\u003eShowcard.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; Program.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eMagazine.\u003c/p\u003e\n          ","\u003cp\u003eMagazine.\u003c/p\u003e\n          ","\u003cp\u003ePicture book.\u003c/p\u003e\n          ","\u003cp\u003ePublication.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill.\u003c/p\u003e\n          ","\u003cp\u003ePlaybill; City Guide.\u003c/p\u003e\n          ","\u003cp\u003eThe fourth series is film-related materials from 1943-1992, consisting of souvenir books, magazines, and press packets relating to each movie.\u003c/p\u003e\n        ","\u003cp\u003eSouvenir Book.\u003c/p\u003e\n          ","\u003cp\u003eMagazine. Vol 4, no. 8.\u003c/p\u003e\n          ","\u003cp\u003eMagazine. Vol 4, no. 9.\u003c/p\u003e\n          ","\u003cp\u003eBook.\u003c/p\u003e\n          ","\u003cp\u003eProgram.\u003c/p\u003e\n          ","\u003cp\u003eCinebills for The Iceman Cometh; Luther; Rhinoceros; Lost in the Stars; Butley; The Three Sisters.\u003c/p\u003e\n          ","\u003cp\u003ePrograms for Jacques Brel is Alive and Well and Living; The Maids; In Celebration; The Man in the Glass Booth; Galileo.\u003c/p\u003e\n          ","\u003cp\u003ePress Release.\u003c/p\u003e\n          ","\u003cp\u003ePress Packet.\u003c/p\u003e\n          ","\u003cp\u003ePress Packet.\u003c/p\u003e\n          ","\u003cp\u003ePress Packet.\u003c/p\u003e\n          ","\u003cp\u003ePress Packet; Production Information; Photographs.\u003c/p\u003e\n          ","\u003cp\u003ePress Packet.\u003c/p\u003e\n          ","\u003cp\u003eProgram; magazine.\u003c/p\u003e\n          ","\u003cp\u003eThe fifth series is audiovisual materials from 1983-1986, consisting of reel-to-reel audiotapes, audiotape cartridges, and videocassettes. Much of the material is from the Behind the Scenes with Claire Kincannon radio program. Behind the Scenes was a three-minute feature on the Performing Arts, and was available via the Public Radio Satellite System.\u003c/p\u003e\n        ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:10:08.\u003c/p\u003e\n          ","\u003cp\u003eVideotape.\u003c/p\u003e\n          ","\u003cp\u003ePamphlet.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run Time: 00:08:05.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:24:45.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:31:40.\u003c/p\u003e\n          ","\u003cp\u003e9 discs containing digital access copies and a storage drive with access copies and master digital files.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:06:08.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:16:15.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Run time is 00:07:36.\u003c/p\u003e\n          ","\u003cp\u003eAudiotape cartridge. Run Time: 00:03:44.\u003c/p\u003e\n          ","\u003cp\u003eAudiotape cartridge. Run Time: 00:00:44. Tape only contains approximately 2 seconds of audio.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Run Time: 00:03:24.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Approximately 1 minute of silence in the middle of program. Tape entered silence at approximately 00:04:44.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Tape entered silence at approximately 00:07:01.\u003c/p\u003e\n          ","\u003cp\u003e10.5\" reel-to-reel audiotape rehoused onto 7\" reel. Run Time: 00:16:12.\u003c/p\u003e\n          ","\u003cp\u003e10.5\" reel-to-reel audiotape. Run Time: 0:23:59.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Tape starts mid-program. Program ends at 00:06:04.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:10:00.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run time is 00:07:28.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Run Time: 00:11:09.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:04:59.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Box reads \"1984 October 6\". Program ends at 00:03:13.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at approximately 00:05:46.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:05:46.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:06:25.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run time is 00:04:28.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run time is 00:06:11.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:05:37.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:05:02.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Run time is 00:05:57.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:05:07.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:05:10.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:05:27.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:04:58.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Run time is 00:06:20.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Runt time is 00:05:26.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:07:15.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette. Women in film: Streetwise, Old Enough; Gin Game; short run; Mayor of ?; End of World.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:04:50.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run time is 00:26:46.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:04:06.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:06:52.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:05:16.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:05:47.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:06:07.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:03:44.\u003c/p\u003e\n          ","\u003cp\u003e5\" reel-to-reel audiotape. Tape entered silence at approximately 00:05:30.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at approx 00:05:06.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Box reads \"Rebecca Rice Liv Stage\", \"#7, 10/12/83\". Program ends at 00:07:11.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program switches from stereo to mono (left channel only) from 00:02:50 until 00:04:22 Program ends at 00:26:23.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run time is 00:20:27. Approx 1 minute of silence before program begins.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Program ends at 00:21:50.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run time is 00:47:10.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run time is 00:41:45.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel to reel audiotape. Program ends at approx 00:05:34.\u003c/p\u003e\n          ","\u003cp\u003e7\" reel-to-reel audiotape. Run Time: 01:05:27.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette.\u003c/p\u003e\n          ","\u003cp\u003eVideotape cassette. Clips from Streetwise and Old Enough.\u003c/p\u003e\n          "],"scopecontent_heading_ssm":["Scope and Content","Scope and Contents note"],"scopecontent_tesim":["The Claire Kincannon theatre collection represents a lifetime and a career of theatre appreciation and attendance. Materials that comprise this collection track Kincannon's attendance at area performances in Ohio (1955-1982) and on Broadway (1955-2007), as well as her work as a theatre critic in Washington, D.C. (1971-2011).","The collection includes programs, press releases, photographs, and other outreach materials of various theatre productions. Also included in the collection are ticket stubs, invitations, schedules, and advertisements for certain productions. Some of the programs also contain the hand-written notes of Kincannon from when she worked as a critic; these notes provide unique insights into the job of a critic. There are also marketing releases for motion pictures, including photographs, press releases, and \"behind the scenes\" information.","Many of the programs are from the Kennedy Center, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and other various theaters in the D.C. area. Also included in the collection are productions by the Kenley Players and Victory Theatre in Dayton, OH, among others in the area. The Broadway collection encompasses several theaters' productions.","The first series covers Kincannon's time as a critic in Washington, D.C., from 1971-2008. This series contains programs, press releases, photographs, and other behind the scenes and marketing information. The second series covers Kincannon's early interest in theatre while in the Ohio area (1955-1982). It contains mostly playbooks and programs from area performances. The third series is the collection of Broadway and London productions Kincannon attended from 1955-2007. This series consists of mostly playbills and programs. The fourth series is film-related materials from 1956-1992, consisting of souvenir books, magazines, and press packets relating to each film. The fifth series is audiovisual materials from 1983-1992, consisting of reel-to-reel audiotapes, audiotape cartridges, and videocassettes. Much of the material is from the Behind the Scenes with Claire Kincannon radio program. Behind the Scenes was a three-minute feature on the performing arts, and was available via the Public Radio Satellite System.","The first series covers Kincannon's time as a critic in Washington, D.C. from 1971-2008. This series contains programs, press releases, photographs, and other behind the scenes and marketing information.","Program for multiple performances.","Press packet. Ten photographs.","Program.","Production of the National Theatre of Great Britain. Stagebill.","Documents regarding workshops. Press releases.","Invitation; Program, photographs.","Program.","Program.","Program.","Photograph; Program.","Program.","Program.","Stagebill.","Production of the New York Metropolitan Opera. Stagebill.","Stagebill.","Program.","Program.","Production of the Tokyo Kid Brothers. Stagebill.","Stagebill.","Program.","Program.","Preview Materials.","Program.","Stagebill.","Stagebill.","Program.","Stagebill; Photograph.","Stagebill.","Program.","Program.","Program.","Stagebill.","Stagebill.","Two photographs.","Stagebill.","News Release; Program.","Press Release; Program.","Program.","News Release; Program.","Press Release; Program; Photograph.","Program.","Program.","Invitation; Program.","Program.","Stagebill.","Stagebill.","Production of the Metropolitan Opera. Stagebill.","Program.","Program.","Program. Photograph.","Stagebill.","Invitation; Program; Photograph.","Invitation; Program.","Program.","Program.","Program.","Stagebill.","Production of the Elizabeth Theatre Group. Stagebill.","Program.","Production of the Elizabeth Theatre Group. Stagebill.","Program.","Stagebill.","Program.","Program.","Program.","Donor list; Program.","Stagebill; Photograph.","Production of the American Ballet Theatre. Stagebill.","Production of the American Ballet Theatre. Stagebill.","James Joyce's The Dead, Kennedy Center","Native Storyteller: Ron Ki-Ke-In Hamilton (Nuu-Chah-Nulth), Smithsonian","Our Town, Arena Stage","She Always Said, Pablo, Kennedy Center","Still Life, Arena Stage","Press packet.","Program.","Stagebill. Photograph.","Stagebill.","Stagebill.","Program; Two Photographs.","Program; Invitation.","Program.","Program.","Program.","Invitation; Photograph; Program.","Stagebill.","Stagebill.","Stagebill.","Invitation; Program; Photograph.","Program.","Program.","Program.","Stagebill; Photograph.","Program.","Program; Photograph.","Program; Two photographs.","Invitation; Program.","Program.","Invitation; Program.","35mm slides.","Stagebill; Photograph.","Production of the New York Metropolitan Opera. Stagebill.","Program.","Stagebill.","Program; Photograph.","Program.","Program.","Program.","Ticket stub; Program; 35mm Slides.","Invitation; Program.","Stagebill.","Program.","Photograph; Program.","Program.","Program.","Production of the Houston Grand Opera and Teatro alla Scala. Stagebill; Photograph.","Program.","Program; Photograph.","Brochure.","Program.","Stagebill; Photograph.","Stagebill.","Program.","Invitation; Program.","Production of the New York Shakespeare Festival. Stagebill; Photograph.","Program.","Photograph.","Invitation; Program.","Program.","Photograph; Program.","Program.","Program.","Invitation; Program.","Program.","Production of the Paramount Theatre Prod. Stagebill.","Stagebill.","Invitation; Program.","Program.","Program; Photograph.","Program.","Stagebill.","Program.","Program.","Production of the Royal Shakespeare Company. Stagebill; Three photographs.","Invitation; Program; Photograph.","Program; Photograph.","Program; Invitation.","Showbill.","Program.","Program; Two Photographs.","Invitation; Program; Photograph.","Stagebill; Photograph.","Production of the Opera House; Three Photographs; Stagebill.","Program.","Program.","Invitation; Program.","Invitation; Program; Two Photographs.","Program.","Stagebill.","Press Release.","Invitation; Program.","Stagebill.","Flyer; Stagebill.","Stagebill; Photograph.","Program; Photograph.","Invitation; Program.","Invitation; Program; Photograph.","Program; Press Release; Newspaper Articles.","Invitation; Program.","Presented by Piccolo Spoleto. Program.","Presented by the Spoleto Festival, Charleston, SC. Program.","Presented by the Spoleto Festival, Charleston, SC. Program.","Presented by the Spoleto Festival, Charleston, SC. Program.","Presented by the Spoleto Festival, Charleston, SC. Program. Festival Brochures; Travel Aids; Postcard.","Program.","Production of the Human Bridge Theater Company. Press Kit.","Stagebill.","Program.","Program.","Program; Press Release; Notes.","Stagebill.","Photograph; Tickets; Stagebill.","Program.","Invitation; Program.","Program.","Program.","Invitation; Program.","Photograph; Program.","Invitation; Program; Four slides.","Program.","Invitation; Program; Photograph.","Invitation; Program; Photograph.","Stagebill.","Two Photographs.","Program.","Program.","Invitation; Program.","Production of the American National Theatre. Stagebill.","Stagebill; Photograph.","Program.","Programs; Invitations; Louisville guide; Notes.","Program.","Stagebill.","Program.","Program.","Invitation; Program.","Invitation; Program.","Stagebill; Photograph.","Invitation; Program.","Invitation; Program.","Stagebill.","Stagebill; Photograph.","Program.","Invitation; Program.","Stagebill.","Stagebill; Press Release.","Program.","Program; Tickets.","Two Photographs; Program.","Program.","Invitation; Program.","Stagebill; Press Release; Media Kit.","Production of the Haifa Municipal Theatre of Israel. Stagebill.","Stagebill.","Program.","Program.","Invitation; Program.","Program; Press Release.","Tickets; Stagebill; Press Release.","Stagebill.","Production of the La Jolla Playhouse. Stagebill; Photograph.","Invitation; Program.","Stagebill.","Schedule.","Stagebill; Photograph.","Press Release; Newspaper Articles; Publicity Packet; Program.","Program; Magazine; Newspaper Article.","Program; Press Release; Studio Theatre Newspaper.","Press Release; Program; Mailer.","Tickets; Press Release; Stagebill.","Program; Press Release.","Press Release; Program.","Stagebill; Photograph.","Program.","Program.","Stagebill; Press Release.","Souvenir Brochure; Stagebill.","Program; Press Release; American's Arena Publication.","Stagebill; Press Release; Newspaper Article.","Program; Newspaper Article; America's Arena Publication.","Program; Newspaper Article; Press Release.","Stagebill.","Press Release; Program.","Photograph; Press Release; Mailer; Program.","Invitation; Program; Press Release.","Program; Press Release.","Program; Press Release; Newspaper Article.","Program.","Stagebill.","Photograph; Press Release; Media Kit, Stagebill.","Press Release; Invitation.","Invitation; Program.","Invitation; Press Releases; Program.","Program; Press Release.","Media Package","Invitation; Program; Photograph","Stagebill; Press Release.","Press Release; Stagebill.","Ticket stub; Invitation; Program; Press Release; Newspaper Article.","Press Release; Stagebill.","Stagebill.","Press Release; Stagebill.","Press Release; Two Photographs","Press Release; Stagebill.","Stagebill; Press Release.","Invitation; Program; Press Release; Newspaper Article.","Program.","Press Release; Program.","Program; Press Release; Newspaper Article.","Program.","Stagebill.","Stagebill.","Newspaper Article; Program; Ticket Stubs; Mailer.","Invitation; Program; Ticket Stubs; Press Release.","Ten photographs.","Invitation; Program.","Program; Press Release.","Photograph; Press Release; Program.","Program.","Invitation; Program; Photograph; Magazine Article.","Stagebill; Press Release; Photograph.","Stagebill.","Program; Press Release; Photograph.","Program.","Stagebill; Photograph.","Stagebill; Press Release.","Magazine Article; Tickets; Program; Photograph; Press Release.","Program.","Press Releases.","Program.","Invitation.","Press Kit; Stagebill.","Press Release; Stagebill; Photograph.","Photograph; Program.","Stagebill.","Program; Photograph.","Program; Photograph.","Media Kit; Program.","Stagebill.","Program.","Stagebill; Photograph.","Media Kit; Program.","Program; Press Release; Photograph.","Photograph; Letter.","Program; Photograph.","Program; Photographs.","Program; Playbills","Moscow Art Theatre: Past, Present, Future publication","Program; Press Release; Photograph.","Stagebill; Photograph.","Press Kit; Program.","Brochure.","Program.","Invitation; Program.","Program; Photograph.","Photographs; Stagebill; Program; Tickets.","Photographs; Stagebill.","Stagebill; Photograph.","Tickets; Stagebill; Photographs.","Program.","Photograph; Press Release; Stagebill.","Photograph; Stagebill; Press Release.","Stagebill; Photograph.","Photograph; Press Release; Stagebill.","Program; Photograph; Press Release.","Press Release; Photograph; Program.","Press Release.","Invitation; Press Release; Newspaper Articles.","Photograph; Stagebill.","Invitation; Program; Photograph; Press Release.","Stagebill; Photograph.","Invitation; Photograph; Program.","Invitation; Program; Media Kit.","Program; Press Release; Newspaper Article.","Invitation; Program; Photograph.","Program, Photographs.","Invitation; Program; Media Kit.","Program; Media Kit.","Program; Media Kit.","Invitation; Photograph; Program; Press Release.","Invitation; Program; Media Kit.","Stagebill.","Stagebill; Press Release.","Program.","Brochure.","Stagebill; Photograph.","Stagebill.","Invitation; Program; Newspaper Article; Photograph.","Invitation; Program.","Press Release.","Program.","Program; Press Release.","Program.","Program.","Stagebill.","Stagebill.","Stagebill; Press release; Notes.","Stagebill; Photograph.","Program; Photograph; Newspaper Articles; Magazine; Press Release.","Program; Photograph.","Program.","Stagebill.","Stagebill; Media Kit; Newspaper Articles.","Invitation; Program; Photograph.","News release; Photograph; Program.","Press release; Newsletter; Program.","Invitation; Program; News Release.","News Release; Invitation; Program.","Press Release; Program; Invitation; Newspaper Article.","Stagebill; Press Release.","Program; Press Release.","Program.","Production of the Bolshoi Opera. Program; Photograph.","Program; Photograph.","Stagebill; Press Release.","Program.","Program; Press Release; Newsletter.","Three Photographs.","Playbill; Two Photographs.","Invitation; Program.","Press Release; Program.","Press Release; Postcard.","Stagebill.","Press Kit.","Press Release.","Invitation; Program; Press Release.","Program; Press Release; Photograph.","Stagebill; Press Kit.","Program; Press Kit.","Invitation.","Program; Photograph.","Stagebill; Press Release; Photograph.","Program; Photograph; Press Release.","Program; Press Release; Newspaper Article.","Invitation; Program; Photograph.","Invitation; Program; Press Release; Photograph.","Program; Guest list.","Program; Press Kit; Two photographs.","Stagebill; Press Release; Photograph.","Program; Press Kit.","Program; Press Kit.","Stagebill; Press Kit; Photograph.","Program; Press Kit.","Program; Press Release; Key chain.","Program.","Program; Press Kit.","Production of the Theater des Westens. Stagebill; Press Kit.","Stagebill; Press Kit.","Stagebill; Press Release; Photograph.","Program; Press Release; Photograph.","Program.","Invitation; Program; Press Release.","Press Release; Program.","Program.","Program.","Loudoun Symphony 10th anniversary concert","Waterford concert series: The Back Sinfonia","Waterford concert series: Musical Remarks","Capitol Steps: Who put the mock in democracy? It's the Capital Steps","Oklahoma!, Arena Stage","August Wilson's Gem of the Ocean, Arena Stage","She Loves Me, Arena Stage","A Tribute to Sergei Prokofiev, Kennedy Center","Ain't Misbehavin', Arena Stage","An Evening at the Oscars, Loudoun Symphony, Middleburg, VA","Anna Christie, Arena Stage","The Best Man, Radio Theatre Live!","Chicago, Knoxville Civic Auditorium, TN","Choral Arts Society of Washington, Kennedy Center","Diana Krall, Kennedy Center","Eudora Welty Remembered, Folger Shakespeare Library","Hallelujah, Baby!, Arena Stage","Love's Labour's Lost, Catholic University of America","Mostly Sondheim, Kennedy Center","Pacific Overtures, Kennedy Center","Passion, Kennedy Center","PEN/Faulkner awards for fiction, Folger Shakespeare Library","The Play About the Baby, The Studio Theatre","Roberta Flack, Music Center at Strathmore","Runaway Home, The Studio Theatre","The Shape of Things, The Studio Theatre","Fourth Estate Award Dinner honoring Christiane Amanpour","The Order of the Owl, Initiating Art Buchwald","The Order of the Owl, Initiating Austing H. Kiplinger and Donald A. Ritchie","The Order of the Owl, Initiating Mark Russell","Spring Hoot: A Grand Old Club Salutes A Grand Old Hotel","The Order of the Owl, Initiating John Eaton","Kennedy Center News (September-October 2004 and May-August 2004)","Five by Tenn (ticket, press packet)","The Light in the Piazza","Salome","Madama Butterfly","Marian McPartland's 89th Birthday Celebration on Marian McPartland's Piano Jazz","Washington National Opera's Iphigenie en Tauride","Washington National Opera's Macbeth","A View from the Bridge, Washington National Opera","Madame Butterfly, Washington National Opera","National Symphony Orchestra","Sophie's Choice, Washington National Opera","Cabaret, Arena Stage","Connecting Lines: New Poetry from Mexico, The Cultural Institute of Mexico","The Evening Parade, Marine Barracks Washington","Fiddler on the Roof, Olney Theatre Center, MD","Hansel and Gretel, The Lincoln Theatre","Ibis, Waterford, VA","Opera in Waterford, Domingo-Cafritz Young Artists, Waterford, VA","The Persians, Shakespeare Theatre Company","Waterford Home Tours and Crafts Exhibit, Waterford, VA","Program.","Program; Photograph.","Playbill.","Playbill.","Applause at Strathmore","The Arthur Miller Festival: Death of a Salesman, A View from the Bridge, Arena Stage","Blues Alley Jazz Supper Club","Cymbeline, Round House Silver Spring","Kennedy Center News","La Traviata, Washington National Opera, Kennedy Center","Musical Remarks, John Wesley Church, Waterford, VA","The Pearl Fishers, Washington National Opera, Kennedy Center","The Price, Theatre J","Strathmore News","Program.","Program.","Production of the Washington National Opera. Playbill.","Antony and Cleopatra, Lansburgh Theatre","Ariadne auf Naxos, Washington National Opera, Kennedy Center","Chicago, National Theatre","Falstaff, Washington National Opera, Kennedy Center","I Love a Piano, Arena Stage","Master Singers of Virginia, Waterford, VA","PEN/Faulkner awards for fiction, Folger Shakespeare Library","Peter Grimes, Washington National Opera, Kennedy Center","Turandot, Washington National Opera, Kennedy Center","The Marriage of Figaro, Washington National Opera, Kennedy Center","Porgy and Bess, Washington National Opera, Kennedy Center","Reasons to be Pretty, The Studio Theatre","Photographs of Elizabeth Taylor, Mia Dillon, Zev Bufman, Peter Gallagher.","Photographs of Elizabeth Taylor, Mia Dillon, Zev Bufman, Peter Gallagher.","Vol. 2, no. 2; Vol. 3, no. 1-2; Vol. 4, no. 1-2; Vol. 5, no. 2; Vol. 6, no. 1-3; Vol. 7, no. 1","Reports.","Brochure.","Articles.","Press Releases; Photograph.","Program.","Newspaper Articles; Photograph.","Newsletter.","Program.","Photograph.","Program.","Annual Reports; Schedules; Publication.","Invitations for plays not attended or no playbills.","Photographs.","Invitations.","Seven photographs.","Victor Borge and his Concert Orchestra","Spies in your eyes, JCA Playguild","Hamlet, Philharmonia Orchestra","Henry V: An interpretation of the Photoplay","From Washington DC and Virginia theatres","Includes schedules from: Arena Stage, Kennedy Center, Shakespeare Theatre at the Folger, Theatre J, Washington National Opera, Woolly Mammoth","Includes schedules from: Arena Stage, Ford's Theatre, Kennedy Center, PEN/Faulkner Foundation, Shakespeare Theatre at the Folger, The Studio Theatre, Washington National Opera, Washington Performing Arts Society, Wayside Theatre, Woolly Mammoth","Marilyn Monroe: Life as a Legend","Franklin Park Performing and Visual Arts Center (2008-2009)","Grease at the Olney Theatre Center","Shenandoah Summer Music Theatre (2011)","Includes schedules from: Arena Stage, George Mason University's Center for the Arts, Kennedy Center, Olney, PEN/Faulkner Foundation, Folger Theatre, Shenandoah Conservatory, The Studio Theatre, Theatre J, University of Notre Dame, Washington National Opera, Washington Performing Arts Society","Includes schedules from: Arena Stage, Contemporary American Theatre Festival, Olney, Folger Theatre, Shakespeare Theatre Company, Shenandoah Conservatory, Signature Theatre, Strathmore Music Center, The Studio Theatre, Theatre J, Washington National Cathedral, Washington National Opera, Woolly Mammoth","Includes schedules from: Arena Stage, Kennedy Center, Master Singers of Virginia, Washington National Opera","Programs; Playbills.","The second series covers Kincannon's early interest in theatre while in the Ohio area (1955-1982). It contains mostly playbooks and programs from area performances.","Playbill; Program.","Playbill; Program.","Playbill.","Program.","Program.","Playbill; Program.","Playbill; Program.","Dayton Philharmonic Orchestra, Memorial Hall, Dayton, OH","Philharmonic-Symphony Society of New York, Memorial Hall, Dayton, OH","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","The Antioch yellow springs festival, OH","Light up the sky, Victory Theatre, Dayton, OH","The magnificent Yankee, Cox Theatre, Cincinnati, OH","O mistress mine, Memorial Hall, Dayton, OH","Pick-up girl, Ellis Auditorium, Memphis, TN","State of the union, Cox Theatre, Cincinnati, OH","The wise have not spoken, Yellow Springs Area Theatre, OH","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbills.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Announcement.","Playbook; Program.","Program.","Program; Playbook.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Program.","Program.","Playbook; Program.","Program.","Program.","Program.","Souvenir Program.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Program.","Program; Playbook.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Playbook; Program.","Program.","Playbill; Program.","Playbill; Program.","Program.","Program.","Program.","Program.","Program.","Playbill; Program.","Program; Curtain Call.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program; Playbook.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Program.","Program.","Playbook; Program.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Playbook; Program.","Program.","Playbook; Program.","Playbook; Program.","Playbook; Program.","Program.","Program.","Playbook; Program.","Program.","Program.","Program.","Program.","Program.","Playbook; Program.","Playbook; Program.","Program.","Program.","Program.","Program.","Program.","Playbill.","The third series is the collection of Broadway and London productions Kincannon attended from 1955-2007. This series consists of mostly playbills and programs.","Program.","Playbill.","Program.","Program.","Program.","Calendar.","Program.","Program.","Playbill; Program.","Playbill.","Playbill; Program.","Playbill.","Playbill.","Playbill; Program.","Playbill; Program.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill; Program.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill; Program.","Playbill.","Playbill.","Playbill.","Program.","Playbill.","Playbill.","Playbill; Program.","Playbill; Program.","Program.","Playbill; Program.","Playbill.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playgram.","Playgram.","Playgram.","Reviews.","Program.","Program.","Program.","Playbill.","Playbill.","Playbill.","Playbill; Program.","Playbill.","Showcard.","Showcard.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Playbill; Program.","Program.","Program.","Magazine.","Magazine.","Picture book.","Publication.","Program.","Program.","Playbill.","Playbill.","Program.","Program.","Program.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill.","Playbill; City Guide.","The fourth series is film-related materials from 1943-1992, consisting of souvenir books, magazines, and press packets relating to each movie.","Souvenir Book.","Magazine. Vol 4, no. 8.","Magazine. Vol 4, no. 9.","Book.","Program.","Cinebills for The Iceman Cometh; Luther; Rhinoceros; Lost in the Stars; Butley; The Three Sisters.","Programs for Jacques Brel is Alive and Well and Living; The Maids; In Celebration; The Man in the Glass Booth; Galileo.","Press Release.","Press Packet.","Press Packet.","Press Packet.","Press Packet; Production Information; Photographs.","Press Packet.","Program; magazine.","The fifth series is audiovisual materials from 1983-1986, consisting of reel-to-reel audiotapes, audiotape cartridges, and videocassettes. Much of the material is from the Behind the Scenes with Claire Kincannon radio program. Behind the Scenes was a three-minute feature on the Performing Arts, and was available via the Public Radio Satellite System.","7\" reel-to-reel audiotape. Program ends at 00:10:08.","Videotape.","Pamphlet.","7\" reel-to-reel audiotape. Run Time: 00:08:05.","7\" reel-to-reel audiotape. Program ends at 00:24:45.","7\" reel-to-reel audiotape. Program ends at 00:31:40.","9 discs containing digital access copies and a storage drive with access copies and master digital files.","7\" reel-to-reel audiotape. Program ends at 00:06:08.","7\" reel-to-reel audiotape. Program ends at 00:16:15.","5\" reel-to-reel audiotape. Run time is 00:07:36.","Audiotape cartridge. Run Time: 00:03:44.","Audiotape cartridge. Run Time: 00:00:44. Tape only contains approximately 2 seconds of audio.","5\" reel-to-reel audiotape. Run Time: 00:03:24.","5\" reel-to-reel audiotape. Approximately 1 minute of silence in the middle of program. Tape entered silence at approximately 00:04:44.","5\" reel-to-reel audiotape. Tape entered silence at approximately 00:07:01.","10.5\" reel-to-reel audiotape rehoused onto 7\" reel. Run Time: 00:16:12.","10.5\" reel-to-reel audiotape. Run Time: 0:23:59.","5\" reel-to-reel audiotape. Tape starts mid-program. Program ends at 00:06:04.","7\" reel-to-reel audiotape. Program ends at 00:10:00.","7\" reel-to-reel audiotape. Run time is 00:07:28.","5\" reel-to-reel audiotape. Run Time: 00:11:09.","7\" reel-to-reel audiotape. Program ends at 00:04:59.","7\" reel-to-reel audiotape. Box reads \"1984 October 6\". Program ends at 00:03:13.","7\" reel-to-reel audiotape. Program ends at approximately 00:05:46.","7\" reel-to-reel audiotape. Program ends at 00:05:46.","7\" reel-to-reel audiotape. Program ends at 00:06:25.","7\" reel-to-reel audiotape. Run time is 00:04:28.","7\" reel-to-reel audiotape. Run time is 00:06:11.","7\" reel-to-reel audiotape. Program ends at 00:05:37.","7\" reel-to-reel audiotape. Program ends at 00:05:02.","5\" reel-to-reel audiotape. Run time is 00:05:57.","7\" reel-to-reel audiotape. Program ends at 00:05:07.","7\" reel-to-reel audiotape. Program ends at 00:05:10.","7\" reel-to-reel audiotape. Program ends at 00:05:27.","7\" reel-to-reel audiotape. Program ends at 00:04:58.","5\" reel-to-reel audiotape. Run time is 00:06:20.","7\" reel-to-reel audiotape. Runt time is 00:05:26.","7\" reel-to-reel audiotape. Program ends at 00:07:15.","Videotape cassette.","Videotape cassette. Women in film: Streetwise, Old Enough; Gin Game; short run; Mayor of ?; End of World.","7\" reel-to-reel audiotape. Program ends at 00:04:50.","7\" reel-to-reel audiotape. Run time is 00:26:46.","7\" reel-to-reel audiotape. Program ends at 00:04:06.","7\" reel-to-reel audiotape. Program ends at 00:06:52.","7\" reel-to-reel audiotape. Program ends at 00:05:16.","7\" reel-to-reel audiotape. Program ends at 00:05:47.","7\" reel-to-reel audiotape. Program ends at 00:06:07.","7\" reel-to-reel audiotape. Program ends at 00:03:44.","5\" reel-to-reel audiotape. Tape entered silence at approximately 00:05:30.","7\" reel-to-reel audiotape. Program ends at approx 00:05:06.","7\" reel-to-reel audiotape. Box reads \"Rebecca Rice Liv Stage\", \"#7, 10/12/83\". Program ends at 00:07:11.","7\" reel-to-reel audiotape. Program switches from stereo to mono (left channel only) from 00:02:50 until 00:04:22 Program ends at 00:26:23.","7\" reel-to-reel audiotape. Run time is 00:20:27. Approx 1 minute of silence before program begins.","7\" reel-to-reel audiotape. Program ends at 00:21:50.","7\" reel-to-reel audiotape. Run time is 00:47:10.","7\" reel-to-reel audiotape. Run time is 00:41:45.","7\" reel to reel audiotape. Program ends at approx 00:05:34.","7\" reel-to-reel audiotape. Run Time: 01:05:27.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette.","Videotape cassette. Clips from Streetwise and Old Enough."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Claire Kincannon theatre collection must be obtained from the Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e\n    "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Claire Kincannon theatre collection must be obtained from the Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref2\" label=\"Abstract\"\u003eThis collection contains promotional materials for plays in the Washington, D.C., area, including programs, photographs, and press kits as well as a selection of programs and playbills from theaters in New York, London, and regional theaters in Ohio dating back to 1955, as well as some limited film-related materials. In addition to paper materials there are also audio visual materials featuring Kincannon's radio show Behind the Scenes and a project on Hungary.\u003c/abstract\u003e\n      "],"abstract_tesim":["This collection contains promotional materials for plays in the Washington, D.C., area, including programs, photographs, and press kits as well as a selection of programs and playbills from theaters in New York, London, and regional theaters in Ohio dating back to 1955, as well as some limited film-related materials. In addition to paper materials there are also audio visual materials featuring Kincannon's radio show Behind the Scenes and a project on Hungary."],"corpname_ssim":["George Mason University Special Collections \u0026 Archives"],"persname_ssim":["Lois Claire Kincannon","Kincannon, Lois Claire."],"names_ssim":["George Mason University Special Collections \u0026 Archives","Lois Claire Kincannon","Kincannon, Lois Claire."],"language_ssim":["English"],"total_component_count_is":853,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:52:28.036Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_kincannon"}},{"id":"vifgm_vifgm00079","type":"collection","attributes":{"title":"Frank Mack papers","creator":{"id":"https://arvasarchive.org/catalog/vifgm_vifgm00079#creator","type":"document_value","attributes":{"value":"Frank Mack","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_vifgm00079#abstract_or_scope","type":"document_value","attributes":{"value":"Collecton containes correspondence, memos, reports and other papers generated by Frank Mack. ","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_vifgm00079#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_vifgm00079","ead_ssi":"vifgm_vifgm00079","_root_":"vifgm_vifgm00079","_nest_parent_":"vifgm_vifgm00079","ead_source_url_ssi":"data/gmu/vifgm00079.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["Frank Mack papers"],"title_tesim":["Frank Mack papers"],"unitdate_ssm":["1980s-1990s"],"unitdate_inclusive_ssm":["1980s-1990s"],"normalized_title_ssm":["Frank Mack papers"],"text":["Frank Mack papers","C0058","Theater--Washington (D.C.)","Collection is open to research.","Organized by subject.","Arena Stage was an early leader in the resident theater movement.  One of the first not-for-profit theaters in the United States as well as a pioneer of the regional theater movement the Arena Stage was the first regional theater to transfer a production to Broadway, the first invited by the U.S. State Department to tour behind the Iron Curtain and the first to receive a Tony Award.\nCo-founded in 1950 by Edward Mangum a teacher from the George Washington University, and Zelda Fichandler one of his students, Arena Stage was opened in Washington D.C. to fill the void left by the closing of the National Theater in 1948.  Deriving it's name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theaters in the United States, beginning with a company of only eight actors. Today, Arena performs to over 250,000 patrons during a September to June season and employs nearly 200 theater professionals and craftpersons, who are responsible for all the costumes and scenery seen on stage.  Many now- famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardly Smith and Samuel L. Jackson.","A native of Kansas, Mr. Mack graduated from the University of Kansas in Lawrence in 1985 with a bachelor's degree in theatre arts then earned an MFA in directing from Virginia Tech in Blacksburg in 1988. Mr. Mack was awarded a grant from the North Carolina Arts Council, which enabled him to work in community arts administration at Durham Arts Council, Inc. He then accepted a position at Arena Stage in Washington DC as Project Manager where, in addition to general administrative duties, he worked on a three-year new play project with Anna Deavere Smith that resulted in the fall 1997 premiere of House Arrest, First Edition. Mr. Mack was then named Managing Director of the California Shakespeare Theatre in Berkeley where he helped lead a financial turn-around based on a doubling of contributed income and a substantial increase in ticket sales. Mr. Mack then served as Managing Director of Geva Theatre in Rochester, NY, a LORT B theatre before he became Managing Director of the NJ Shakespeare Festival in Madison, NJ, where he worked for one year before coming to CRT. Mr. Mack served as an institutional planning consultant for the Contemporary American Theatre Festival in Shepherdstown, WV and as a panelist for the Connecticut Commission for the Arts, and is currently serving as a facilities and business plan consultant to the African Continuum Theatre Company in Washington, D.C. He lives in Mansfield Center with his wife, Sarah Delia, and their two children Jason, Rebecca and their dog Chili.","Processed by Special Collections and Archives staff.","Special Collections and Archives holds the Arena Stage records.","Collecton containes correspondence, memos, reports and other papers generated by Frank Mack.","Individual Bound Statements.","Living Stage, Kreeger, Arena Parcels","There are no restrictions.","Collecton containes correspondence, memos, reports and other papers generated by Frank Mack.","George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)","Frank Mack","English"],"collection_title_tesim":["Frank Mack papers"],"collection_ssim":["Frank Mack papers"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0058"],"unitid_tesim":["C0058"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Frank Mack"],"creator_ssim":["Frank Mack"],"creator_persname_ssim":["Frank Mack"],"creator_corpname_ssim":["George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Frank Mack","George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)"],"acqinfo_ssim":["Donated by Arena Stage in 2000."],"access_subjects_ssim":["Theater--Washington (D.C.)"],"access_subjects_ssm":["Theater--Washington (D.C.)"],"has_online_content_ssim":["false"],"extent_ssm":["4.5 linear ft.; 9 boxes"],"extent_tesim":["4.5 linear ft.; 9 boxes"],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\n\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"arrangement_html_tesm":["\u003cp\u003eOrganized by subject.\n\u003c/p\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized by subject."],"bioghist_html_tesm":["\u003cp\u003eArena Stage was an early leader in the resident theater movement.  One of the first not-for-profit theaters in the United States as well as a pioneer of the regional theater movement the Arena Stage was the first regional theater to transfer a production to Broadway, the first invited by the U.S. State Department to tour behind the Iron Curtain and the first to receive a Tony Award.\nCo-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. \n\u003c/p\u003e\n      ","\u003cp\u003eA native of Kansas, Mr. Mack graduated from the University of Kansas in Lawrence in 1985 with a bachelor's degree in theatre arts then earned an MFA in directing from Virginia Tech in Blacksburg in 1988. Mr. Mack was awarded a grant from the North Carolina Arts Council, which enabled him to work in community arts administration at Durham Arts Council, Inc. He then accepted a position at Arena Stage in Washington DC as Project Manager where, in addition to general administrative duties, he worked on a three-year new play project with Anna Deavere Smith that resulted in the fall 1997 premiere of House Arrest, First Edition. Mr. Mack was then named Managing Director of the California Shakespeare Theatre in Berkeley where he helped lead a financial turn-around based on a doubling of contributed income and a substantial increase in ticket sales. Mr. Mack then served as Managing Director of Geva Theatre in Rochester, NY, a LORT B theatre before he became Managing Director of the NJ Shakespeare Festival in Madison, NJ, where he worked for one year before coming to CRT. Mr. Mack served as an institutional planning consultant for the Contemporary American Theatre Festival in Shepherdstown, WV and as a panelist for the Connecticut Commission for the Arts, and is currently serving as a facilities and business plan consultant to the African Continuum Theatre Company in Washington, D.C. He lives in Mansfield Center with his wife, Sarah Delia, and their two children Jason, Rebecca and their dog Chili.\n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Arena Stage was an early leader in the resident theater movement.  One of the first not-for-profit theaters in the United States as well as a pioneer of the regional theater movement the Arena Stage was the first regional theater to transfer a production to Broadway, the first invited by the U.S. State Department to tour behind the Iron Curtain and the first to receive a Tony Award.\nCo-founded in 1950 by Edward Mangum a teacher from the George Washington University, and Zelda Fichandler one of his students, Arena Stage was opened in Washington D.C. to fill the void left by the closing of the National Theater in 1948.  Deriving it's name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theaters in the United States, beginning with a company of only eight actors. Today, Arena performs to over 250,000 patrons during a September to June season and employs nearly 200 theater professionals and craftpersons, who are responsible for all the costumes and scenery seen on stage.  Many now- famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardly Smith and Samuel L. Jackson.","A native of Kansas, Mr. Mack graduated from the University of Kansas in Lawrence in 1985 with a bachelor's degree in theatre arts then earned an MFA in directing from Virginia Tech in Blacksburg in 1988. Mr. Mack was awarded a grant from the North Carolina Arts Council, which enabled him to work in community arts administration at Durham Arts Council, Inc. He then accepted a position at Arena Stage in Washington DC as Project Manager where, in addition to general administrative duties, he worked on a three-year new play project with Anna Deavere Smith that resulted in the fall 1997 premiere of House Arrest, First Edition. Mr. Mack was then named Managing Director of the California Shakespeare Theatre in Berkeley where he helped lead a financial turn-around based on a doubling of contributed income and a substantial increase in ticket sales. Mr. Mack then served as Managing Director of Geva Theatre in Rochester, NY, a LORT B theatre before he became Managing Director of the NJ Shakespeare Festival in Madison, NJ, where he worked for one year before coming to CRT. Mr. Mack served as an institutional planning consultant for the Contemporary American Theatre Festival in Shepherdstown, WV and as a panelist for the Connecticut Commission for the Arts, and is currently serving as a facilities and business plan consultant to the African Continuum Theatre Company in Washington, D.C. He lives in Mansfield Center with his wife, Sarah Delia, and their two children Jason, Rebecca and their dog Chili."],"prefercite_html_tesm":["\u003cp\u003eFrank Mack papers, Collection #C0017, Special Collections and Archives, George Mason University.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Frank Mack papers, Collection #C0017, Special Collections and Archives, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives staff.\n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections and Archives staff."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds the Arena Stage records.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eCollecton containes correspondence, memos, reports and other papers generated by Frank Mack.\n\u003c/p\u003e\n    ","\u003cp\u003eIndividual Bound Statements.\u003c/p\u003e\n          ","\u003cp\u003eLiving Stage, Kreeger, Arena Parcels\n\t\u003c/p\u003e\n          "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Collecton containes correspondence, memos, reports and other papers generated by Frank Mack.","Individual Bound Statements.","Living Stage, Kreeger, Arena Parcels"],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eCollecton containes correspondence, memos, reports and other papers generated by Frank Mack.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["Collecton containes correspondence, memos, reports and other papers generated by Frank Mack."],"corpname_ssim":["George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Frank Mack"],"names_ssim":["George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)","Frank Mack"],"language_ssim":["English"],"total_component_count_is":197,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:56:58.033Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_vifgm00079","ead_ssi":"vifgm_vifgm00079","_root_":"vifgm_vifgm00079","_nest_parent_":"vifgm_vifgm00079","ead_source_url_ssi":"data/gmu/vifgm00079.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["Frank Mack papers"],"title_tesim":["Frank Mack papers"],"unitdate_ssm":["1980s-1990s"],"unitdate_inclusive_ssm":["1980s-1990s"],"normalized_title_ssm":["Frank Mack papers"],"text":["Frank Mack papers","C0058","Theater--Washington (D.C.)","Collection is open to research.","Organized by subject.","Arena Stage was an early leader in the resident theater movement.  One of the first not-for-profit theaters in the United States as well as a pioneer of the regional theater movement the Arena Stage was the first regional theater to transfer a production to Broadway, the first invited by the U.S. State Department to tour behind the Iron Curtain and the first to receive a Tony Award.\nCo-founded in 1950 by Edward Mangum a teacher from the George Washington University, and Zelda Fichandler one of his students, Arena Stage was opened in Washington D.C. to fill the void left by the closing of the National Theater in 1948.  Deriving it's name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theaters in the United States, beginning with a company of only eight actors. Today, Arena performs to over 250,000 patrons during a September to June season and employs nearly 200 theater professionals and craftpersons, who are responsible for all the costumes and scenery seen on stage.  Many now- famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardly Smith and Samuel L. Jackson.","A native of Kansas, Mr. Mack graduated from the University of Kansas in Lawrence in 1985 with a bachelor's degree in theatre arts then earned an MFA in directing from Virginia Tech in Blacksburg in 1988. Mr. Mack was awarded a grant from the North Carolina Arts Council, which enabled him to work in community arts administration at Durham Arts Council, Inc. He then accepted a position at Arena Stage in Washington DC as Project Manager where, in addition to general administrative duties, he worked on a three-year new play project with Anna Deavere Smith that resulted in the fall 1997 premiere of House Arrest, First Edition. Mr. Mack was then named Managing Director of the California Shakespeare Theatre in Berkeley where he helped lead a financial turn-around based on a doubling of contributed income and a substantial increase in ticket sales. Mr. Mack then served as Managing Director of Geva Theatre in Rochester, NY, a LORT B theatre before he became Managing Director of the NJ Shakespeare Festival in Madison, NJ, where he worked for one year before coming to CRT. Mr. Mack served as an institutional planning consultant for the Contemporary American Theatre Festival in Shepherdstown, WV and as a panelist for the Connecticut Commission for the Arts, and is currently serving as a facilities and business plan consultant to the African Continuum Theatre Company in Washington, D.C. He lives in Mansfield Center with his wife, Sarah Delia, and their two children Jason, Rebecca and their dog Chili.","Processed by Special Collections and Archives staff.","Special Collections and Archives holds the Arena Stage records.","Collecton containes correspondence, memos, reports and other papers generated by Frank Mack.","Individual Bound Statements.","Living Stage, Kreeger, Arena Parcels","There are no restrictions.","Collecton containes correspondence, memos, reports and other papers generated by Frank Mack.","George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)","Frank Mack","English"],"collection_title_tesim":["Frank Mack papers"],"collection_ssim":["Frank Mack papers"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0058"],"unitid_tesim":["C0058"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Frank Mack"],"creator_ssim":["Frank Mack"],"creator_persname_ssim":["Frank Mack"],"creator_corpname_ssim":["George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Frank Mack","George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)"],"acqinfo_ssim":["Donated by Arena Stage in 2000."],"access_subjects_ssim":["Theater--Washington (D.C.)"],"access_subjects_ssm":["Theater--Washington (D.C.)"],"has_online_content_ssim":["false"],"extent_ssm":["4.5 linear ft.; 9 boxes"],"extent_tesim":["4.5 linear ft.; 9 boxes"],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\n\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"arrangement_html_tesm":["\u003cp\u003eOrganized by subject.\n\u003c/p\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized by subject."],"bioghist_html_tesm":["\u003cp\u003eArena Stage was an early leader in the resident theater movement.  One of the first not-for-profit theaters in the United States as well as a pioneer of the regional theater movement the Arena Stage was the first regional theater to transfer a production to Broadway, the first invited by the U.S. State Department to tour behind the Iron Curtain and the first to receive a Tony Award.\nCo-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. \n\u003c/p\u003e\n      ","\u003cp\u003eA native of Kansas, Mr. Mack graduated from the University of Kansas in Lawrence in 1985 with a bachelor's degree in theatre arts then earned an MFA in directing from Virginia Tech in Blacksburg in 1988. Mr. Mack was awarded a grant from the North Carolina Arts Council, which enabled him to work in community arts administration at Durham Arts Council, Inc. He then accepted a position at Arena Stage in Washington DC as Project Manager where, in addition to general administrative duties, he worked on a three-year new play project with Anna Deavere Smith that resulted in the fall 1997 premiere of House Arrest, First Edition. Mr. Mack was then named Managing Director of the California Shakespeare Theatre in Berkeley where he helped lead a financial turn-around based on a doubling of contributed income and a substantial increase in ticket sales. Mr. Mack then served as Managing Director of Geva Theatre in Rochester, NY, a LORT B theatre before he became Managing Director of the NJ Shakespeare Festival in Madison, NJ, where he worked for one year before coming to CRT. Mr. Mack served as an institutional planning consultant for the Contemporary American Theatre Festival in Shepherdstown, WV and as a panelist for the Connecticut Commission for the Arts, and is currently serving as a facilities and business plan consultant to the African Continuum Theatre Company in Washington, D.C. He lives in Mansfield Center with his wife, Sarah Delia, and their two children Jason, Rebecca and their dog Chili.\n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Arena Stage was an early leader in the resident theater movement.  One of the first not-for-profit theaters in the United States as well as a pioneer of the regional theater movement the Arena Stage was the first regional theater to transfer a production to Broadway, the first invited by the U.S. State Department to tour behind the Iron Curtain and the first to receive a Tony Award.\nCo-founded in 1950 by Edward Mangum a teacher from the George Washington University, and Zelda Fichandler one of his students, Arena Stage was opened in Washington D.C. to fill the void left by the closing of the National Theater in 1948.  Deriving it's name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theaters in the United States, beginning with a company of only eight actors. Today, Arena performs to over 250,000 patrons during a September to June season and employs nearly 200 theater professionals and craftpersons, who are responsible for all the costumes and scenery seen on stage.  Many now- famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardly Smith and Samuel L. Jackson.","A native of Kansas, Mr. Mack graduated from the University of Kansas in Lawrence in 1985 with a bachelor's degree in theatre arts then earned an MFA in directing from Virginia Tech in Blacksburg in 1988. Mr. Mack was awarded a grant from the North Carolina Arts Council, which enabled him to work in community arts administration at Durham Arts Council, Inc. He then accepted a position at Arena Stage in Washington DC as Project Manager where, in addition to general administrative duties, he worked on a three-year new play project with Anna Deavere Smith that resulted in the fall 1997 premiere of House Arrest, First Edition. Mr. Mack was then named Managing Director of the California Shakespeare Theatre in Berkeley where he helped lead a financial turn-around based on a doubling of contributed income and a substantial increase in ticket sales. Mr. Mack then served as Managing Director of Geva Theatre in Rochester, NY, a LORT B theatre before he became Managing Director of the NJ Shakespeare Festival in Madison, NJ, where he worked for one year before coming to CRT. Mr. Mack served as an institutional planning consultant for the Contemporary American Theatre Festival in Shepherdstown, WV and as a panelist for the Connecticut Commission for the Arts, and is currently serving as a facilities and business plan consultant to the African Continuum Theatre Company in Washington, D.C. He lives in Mansfield Center with his wife, Sarah Delia, and their two children Jason, Rebecca and their dog Chili."],"prefercite_html_tesm":["\u003cp\u003eFrank Mack papers, Collection #C0017, Special Collections and Archives, George Mason University.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Frank Mack papers, Collection #C0017, Special Collections and Archives, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives staff.\n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections and Archives staff."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds the Arena Stage records.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eCollecton containes correspondence, memos, reports and other papers generated by Frank Mack.\n\u003c/p\u003e\n    ","\u003cp\u003eIndividual Bound Statements.\u003c/p\u003e\n          ","\u003cp\u003eLiving Stage, Kreeger, Arena Parcels\n\t\u003c/p\u003e\n          "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Collecton containes correspondence, memos, reports and other papers generated by Frank Mack.","Individual Bound Statements.","Living Stage, Kreeger, Arena Parcels"],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eCollecton containes correspondence, memos, reports and other papers generated by Frank Mack.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["Collecton containes correspondence, memos, reports and other papers generated by Frank Mack."],"corpname_ssim":["George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Frank Mack"],"names_ssim":["George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)","Frank Mack"],"language_ssim":["English"],"total_component_count_is":197,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:56:58.033Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_vifgm00079"}},{"id":"vifgm_garrickplayers","type":"collection","attributes":{"title":"Garrick Players photograph collection, 1965/1968","creator":{"id":"https://arvasarchive.org/catalog/vifgm_garrickplayers#creator","type":"document_value","attributes":{"value":"Garrick Players.","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_garrickplayers#abstract_or_scope","type":"document_value","attributes":{"value":"The 28 photographs and 2 negatives document the Garrick Players, a theatre group that performed in the 1960s at Grace Episcopal Church in Georgetown in Washington, D.C. The photographs include images of Sylvia Soares and Chris Sarandon, two of the actors, and Gerald Slavet, the director.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_garrickplayers#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_garrickplayers","ead_ssi":"vifgm_garrickplayers","_root_":"vifgm_garrickplayers","_nest_parent_":"vifgm_garrickplayers","ead_source_url_ssi":"data/gmu/garrickplayers.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/garrick.html","title_ssm":["Garrick Players photograph collection"],"title_tesim":["Garrick Players photograph collection"],"unitdate_ssm":["circa 1965-1968"],"unitdate_inclusive_ssm":["circa 1965-1968"],"normalized_date_ssm":["1965/1968"],"normalized_title_ssm":["Garrick Players photograph collection, 1965/1968"],"text":["Garrick Players photograph collection, 1965/1968","C0243","Sarandon, Chris.","Slavet, Gerald.","Soares, Sylvia.","Actors--Photographs.","Theater--Washington (D.C.)","There are no access restrictions.","Organized by size.","The Garrick Players began by performing at the Grace Episcopal Church, (1041 Wisconsin Avenue), in the Georgetown neighborhood of Washington D.C., beginning in the late 1960s. Admission to the plays was affordable, allowing for a large part of the population to experience the performances. The group took it's name after the 18th century actor David Garrick who would meet with his audience after performances. In a similar vein the Garrick Players would encourage audiences to share coffee with them after seeing a play. The theatre group began in December of 1965 and was organized by Gerald (Jerry) Slavet, a graduate of Boston Latin School, Bowdoin College, and Catholic University. The Players originally consisted of Slavet and five professional actors and actresses. The group toured U.S. Army bases in Europe during the summer of 1966. In 1968, Slavet moved to Virginia to direct at the Wayside Theatre in Middletown.","Processing and EAD markup completed by Greta Kuriger Suiter in October 2013.","Special Collections and Archives holds other theatre collections.","This collection consists of 28 photographs and 2 negatives that document the Garrick Players, a theatre group that performed in the 1960s at Grace Episcopal Church in Georgetown in Washington, D.C. The photographs include images of Sylvia Soares and Chris Sarandon, two of the actors, and Gerald Slavet, the director. Photographs by George de Vincent, Carol C. Lee, Charles L. Freedman, and Dorothy L. Chace.","Two 5 inch by 7 inch black and white photographs, one of a woman sitting in front of a chalkboard and holding a mug, the other is of a man and woman sitting at a table and shaking hands on a stage set.","Two magazine clippings, one of Prince Charles with the words \"To My Pal the Prince\" written on it, the other is a portrait of a man and a woman.","Two negatives with an envelope marked \"Jerry.\" The negatives are images of a man, possibly Gerald (Jerry) Slavet, sitting and gesturing with his hands.","Twenty 10 inch by 8 inch photographs, and two slightly smaller, black and white photographs featuring actors on stage and headshots. These include images of Gerald Slavet, Chris Sarandon, Chet Carlin, and others.","Two photographs (one 10 inches by 8 inches, the other 6 1/8 inches by 9 3/8 inches) with a printed out caption that states: \"Sylvia Soares, who will appear in The Marriage Proposal as Natalia Stepanovna. Gerald (Jerry) Slavet, director of Garrick Players in the background.\"","Three small black and white photographs, each roughly 3.5 inches high by 2.5 inches wide. Two of these are portraits of young men. One is labeled Ted Walch on the verso. The third is of a man with a mask on. It is labeled \"Charles Lynch Ondine 11/66\" on the verso.","There are no restrictions on personal use. Permission to publish material from the Garrick Players photograph collection must be obtained from Special Collections and Archives, George Mason University Libraries.","The 28 photographs and 2 negatives document the Garrick Players, a theatre group that performed in the 1960s at Grace Episcopal Church in Georgetown in Washington, D.C. The photographs include images of Sylvia Soares and Chris Sarandon, two of the actors, and Gerald Slavet, the director.","George Mason University. Libraries. Special Collections \u0026 Archives","Garrick Players."],"collection_title_tesim":["Garrick Players photograph collection, 1965/1968"],"collection_ssim":["Garrick Players photograph collection, 1965/1968"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0243"],"unitid_tesim":["C0243"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Garrick Players."],"creator_ssim":["Garrick Players."],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Garrick Players."],"creators_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Garrick Players."],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Garrick Players photograph collection must be obtained from Special Collections and Archives, George Mason University Libraries."],"acqinfo_ssim":["Donated by Dr. James H. Laster in August 2013."],"access_subjects_ssim":["Sarandon, Chris.","Slavet, Gerald.","Soares, Sylvia.","Actors--Photographs.","Theater--Washington (D.C.)"],"access_subjects_ssm":["Sarandon, Chris.","Slavet, Gerald.","Soares, Sylvia.","Actors--Photographs.","Theater--Washington (D.C.)"],"has_online_content_ssim":["false"],"extent_ssm":["0.25 linear feet (1 folder)"],"extent_tesim":["0.25 linear feet (1 folder)"],"date_range_isim":[1965,1966,1967,1968],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e\n    "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eOrganized by size.\u003c/p\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized by size."],"bioghist_html_tesm":["\u003cp\u003eThe Garrick Players began by performing at the Grace Episcopal Church, (1041 Wisconsin Avenue), in the Georgetown neighborhood of Washington D.C., beginning in the late 1960s. Admission to the plays was affordable, allowing for a large part of the population to experience the performances. The group took it's name after the 18th century actor David Garrick who would meet with his audience after performances. In a similar vein the Garrick Players would encourage audiences to share coffee with them after seeing a play. The theatre group began in December of 1965 and was organized by Gerald (Jerry) Slavet, a graduate of Boston Latin School, Bowdoin College, and Catholic University. The Players originally consisted of Slavet and five professional actors and actresses. The group toured U.S. Army bases in Europe during the summer of 1966. In 1968, Slavet moved to Virginia to direct at the Wayside Theatre in Middletown.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Historical note"],"bioghist_tesim":["The Garrick Players began by performing at the Grace Episcopal Church, (1041 Wisconsin Avenue), in the Georgetown neighborhood of Washington D.C., beginning in the late 1960s. Admission to the plays was affordable, allowing for a large part of the population to experience the performances. The group took it's name after the 18th century actor David Garrick who would meet with his audience after performances. In a similar vein the Garrick Players would encourage audiences to share coffee with them after seeing a play. The theatre group began in December of 1965 and was organized by Gerald (Jerry) Slavet, a graduate of Boston Latin School, Bowdoin College, and Catholic University. The Players originally consisted of Slavet and five professional actors and actresses. The group toured U.S. Army bases in Europe during the summer of 1966. In 1968, Slavet moved to Virginia to direct at the Wayside Theatre in Middletown."],"prefercite_html_tesm":["\u003cp\u003eGarrick Players photograph collection, C0243, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e\n    "],"prefercite_tesim":["Garrick Players photograph collection, C0243, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing and EAD markup completed by Greta Kuriger Suiter in October 2013.\u003c/p\u003e\n    "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and EAD markup completed by Greta Kuriger Suiter in October 2013."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds other theatre collections.\u003c/p\u003e\n    "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds other theatre collections."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of 28 photographs and 2 negatives that document the Garrick Players, a theatre group that performed in the 1960s at Grace Episcopal Church in Georgetown in Washington, D.C. The photographs include images of Sylvia Soares and Chris Sarandon, two of the actors, and Gerald Slavet, the director. Photographs by George de Vincent, Carol C. Lee, Charles L. Freedman, and Dorothy L. Chace.\u003c/p\u003e\n    ","\u003cp\u003eTwo 5 inch by 7 inch black and white photographs, one of a woman sitting in front of a chalkboard and holding a mug, the other is of a man and woman sitting at a table and shaking hands on a stage set.\u003c/p\u003e\n          ","\u003cp\u003eTwo magazine clippings, one of Prince Charles with the words \"To My Pal the Prince\" written on it, the other is a portrait of a man and a woman.\u003c/p\u003e\n          ","\u003cp\u003eTwo negatives with an envelope marked \"Jerry.\" The negatives are images of a man, possibly Gerald (Jerry) Slavet, sitting and gesturing with his hands. \u003c/p\u003e\n          ","\u003cp\u003eTwenty 10 inch by 8 inch photographs, and two slightly smaller, black and white photographs featuring actors on stage and headshots. These include images of Gerald Slavet, Chris Sarandon, Chet Carlin, and others.\u003c/p\u003e\n          ","\u003cp\u003eTwo photographs (one 10 inches by 8 inches, the other 6 1/8 inches by 9 3/8 inches) with a printed out caption that states: \"Sylvia Soares, who will appear in The Marriage Proposal as Natalia Stepanovna. Gerald (Jerry) Slavet, director of Garrick Players in the background.\"\u003c/p\u003e\n          ","\u003cp\u003eThree small black and white photographs, each roughly 3.5 inches high by 2.5 inches wide. Two of these are portraits of young men. One is labeled Ted Walch on the verso. The third is of a man with a mask on. It is labeled \"Charles Lynch Ondine 11/66\" on the verso.\u003c/p\u003e\n          "],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["This collection consists of 28 photographs and 2 negatives that document the Garrick Players, a theatre group that performed in the 1960s at Grace Episcopal Church in Georgetown in Washington, D.C. The photographs include images of Sylvia Soares and Chris Sarandon, two of the actors, and Gerald Slavet, the director. Photographs by George de Vincent, Carol C. Lee, Charles L. Freedman, and Dorothy L. Chace.","Two 5 inch by 7 inch black and white photographs, one of a woman sitting in front of a chalkboard and holding a mug, the other is of a man and woman sitting at a table and shaking hands on a stage set.","Two magazine clippings, one of Prince Charles with the words \"To My Pal the Prince\" written on it, the other is a portrait of a man and a woman.","Two negatives with an envelope marked \"Jerry.\" The negatives are images of a man, possibly Gerald (Jerry) Slavet, sitting and gesturing with his hands.","Twenty 10 inch by 8 inch photographs, and two slightly smaller, black and white photographs featuring actors on stage and headshots. These include images of Gerald Slavet, Chris Sarandon, Chet Carlin, and others.","Two photographs (one 10 inches by 8 inches, the other 6 1/8 inches by 9 3/8 inches) with a printed out caption that states: \"Sylvia Soares, who will appear in The Marriage Proposal as Natalia Stepanovna. Gerald (Jerry) Slavet, director of Garrick Players in the background.\"","Three small black and white photographs, each roughly 3.5 inches high by 2.5 inches wide. Two of these are portraits of young men. One is labeled Ted Walch on the verso. The third is of a man with a mask on. It is labeled \"Charles Lynch Ondine 11/66\" on the verso."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Garrick Players photograph collection must be obtained from Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e\n    "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Garrick Players photograph collection must be obtained from Special Collections and Archives, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref348\" label=\"Abstract\"\u003eThe 28 photographs and 2 negatives document the Garrick Players, a theatre group that performed in the 1960s at Grace Episcopal Church in Georgetown in Washington, D.C. The photographs include images of Sylvia Soares and Chris Sarandon, two of the actors, and Gerald Slavet, the director.\u003c/abstract\u003e\n      "],"abstract_tesim":["The 28 photographs and 2 negatives document the Garrick Players, a theatre group that performed in the 1960s at Grace Episcopal Church in Georgetown in Washington, D.C. The photographs include images of Sylvia Soares and Chris Sarandon, two of the actors, and Gerald Slavet, the director."],"corpname_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Garrick Players."],"names_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Garrick Players."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":7,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:52:16.800Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_garrickplayers","ead_ssi":"vifgm_garrickplayers","_root_":"vifgm_garrickplayers","_nest_parent_":"vifgm_garrickplayers","ead_source_url_ssi":"data/gmu/garrickplayers.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/garrick.html","title_ssm":["Garrick Players photograph collection"],"title_tesim":["Garrick Players photograph collection"],"unitdate_ssm":["circa 1965-1968"],"unitdate_inclusive_ssm":["circa 1965-1968"],"normalized_date_ssm":["1965/1968"],"normalized_title_ssm":["Garrick Players photograph collection, 1965/1968"],"text":["Garrick Players photograph collection, 1965/1968","C0243","Sarandon, Chris.","Slavet, Gerald.","Soares, Sylvia.","Actors--Photographs.","Theater--Washington (D.C.)","There are no access restrictions.","Organized by size.","The Garrick Players began by performing at the Grace Episcopal Church, (1041 Wisconsin Avenue), in the Georgetown neighborhood of Washington D.C., beginning in the late 1960s. Admission to the plays was affordable, allowing for a large part of the population to experience the performances. The group took it's name after the 18th century actor David Garrick who would meet with his audience after performances. In a similar vein the Garrick Players would encourage audiences to share coffee with them after seeing a play. The theatre group began in December of 1965 and was organized by Gerald (Jerry) Slavet, a graduate of Boston Latin School, Bowdoin College, and Catholic University. The Players originally consisted of Slavet and five professional actors and actresses. The group toured U.S. Army bases in Europe during the summer of 1966. In 1968, Slavet moved to Virginia to direct at the Wayside Theatre in Middletown.","Processing and EAD markup completed by Greta Kuriger Suiter in October 2013.","Special Collections and Archives holds other theatre collections.","This collection consists of 28 photographs and 2 negatives that document the Garrick Players, a theatre group that performed in the 1960s at Grace Episcopal Church in Georgetown in Washington, D.C. The photographs include images of Sylvia Soares and Chris Sarandon, two of the actors, and Gerald Slavet, the director. Photographs by George de Vincent, Carol C. Lee, Charles L. Freedman, and Dorothy L. Chace.","Two 5 inch by 7 inch black and white photographs, one of a woman sitting in front of a chalkboard and holding a mug, the other is of a man and woman sitting at a table and shaking hands on a stage set.","Two magazine clippings, one of Prince Charles with the words \"To My Pal the Prince\" written on it, the other is a portrait of a man and a woman.","Two negatives with an envelope marked \"Jerry.\" The negatives are images of a man, possibly Gerald (Jerry) Slavet, sitting and gesturing with his hands.","Twenty 10 inch by 8 inch photographs, and two slightly smaller, black and white photographs featuring actors on stage and headshots. These include images of Gerald Slavet, Chris Sarandon, Chet Carlin, and others.","Two photographs (one 10 inches by 8 inches, the other 6 1/8 inches by 9 3/8 inches) with a printed out caption that states: \"Sylvia Soares, who will appear in The Marriage Proposal as Natalia Stepanovna. Gerald (Jerry) Slavet, director of Garrick Players in the background.\"","Three small black and white photographs, each roughly 3.5 inches high by 2.5 inches wide. Two of these are portraits of young men. One is labeled Ted Walch on the verso. The third is of a man with a mask on. It is labeled \"Charles Lynch Ondine 11/66\" on the verso.","There are no restrictions on personal use. Permission to publish material from the Garrick Players photograph collection must be obtained from Special Collections and Archives, George Mason University Libraries.","The 28 photographs and 2 negatives document the Garrick Players, a theatre group that performed in the 1960s at Grace Episcopal Church in Georgetown in Washington, D.C. The photographs include images of Sylvia Soares and Chris Sarandon, two of the actors, and Gerald Slavet, the director.","George Mason University. Libraries. Special Collections \u0026 Archives","Garrick Players."],"collection_title_tesim":["Garrick Players photograph collection, 1965/1968"],"collection_ssim":["Garrick Players photograph collection, 1965/1968"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0243"],"unitid_tesim":["C0243"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Garrick Players."],"creator_ssim":["Garrick Players."],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Garrick Players."],"creators_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Garrick Players."],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Garrick Players photograph collection must be obtained from Special Collections and Archives, George Mason University Libraries."],"acqinfo_ssim":["Donated by Dr. James H. Laster in August 2013."],"access_subjects_ssim":["Sarandon, Chris.","Slavet, Gerald.","Soares, Sylvia.","Actors--Photographs.","Theater--Washington (D.C.)"],"access_subjects_ssm":["Sarandon, Chris.","Slavet, Gerald.","Soares, Sylvia.","Actors--Photographs.","Theater--Washington (D.C.)"],"has_online_content_ssim":["false"],"extent_ssm":["0.25 linear feet (1 folder)"],"extent_tesim":["0.25 linear feet (1 folder)"],"date_range_isim":[1965,1966,1967,1968],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e\n    "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eOrganized by size.\u003c/p\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized by size."],"bioghist_html_tesm":["\u003cp\u003eThe Garrick Players began by performing at the Grace Episcopal Church, (1041 Wisconsin Avenue), in the Georgetown neighborhood of Washington D.C., beginning in the late 1960s. Admission to the plays was affordable, allowing for a large part of the population to experience the performances. The group took it's name after the 18th century actor David Garrick who would meet with his audience after performances. In a similar vein the Garrick Players would encourage audiences to share coffee with them after seeing a play. The theatre group began in December of 1965 and was organized by Gerald (Jerry) Slavet, a graduate of Boston Latin School, Bowdoin College, and Catholic University. The Players originally consisted of Slavet and five professional actors and actresses. The group toured U.S. Army bases in Europe during the summer of 1966. In 1968, Slavet moved to Virginia to direct at the Wayside Theatre in Middletown.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Historical note"],"bioghist_tesim":["The Garrick Players began by performing at the Grace Episcopal Church, (1041 Wisconsin Avenue), in the Georgetown neighborhood of Washington D.C., beginning in the late 1960s. Admission to the plays was affordable, allowing for a large part of the population to experience the performances. The group took it's name after the 18th century actor David Garrick who would meet with his audience after performances. In a similar vein the Garrick Players would encourage audiences to share coffee with them after seeing a play. The theatre group began in December of 1965 and was organized by Gerald (Jerry) Slavet, a graduate of Boston Latin School, Bowdoin College, and Catholic University. The Players originally consisted of Slavet and five professional actors and actresses. The group toured U.S. Army bases in Europe during the summer of 1966. In 1968, Slavet moved to Virginia to direct at the Wayside Theatre in Middletown."],"prefercite_html_tesm":["\u003cp\u003eGarrick Players photograph collection, C0243, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e\n    "],"prefercite_tesim":["Garrick Players photograph collection, C0243, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing and EAD markup completed by Greta Kuriger Suiter in October 2013.\u003c/p\u003e\n    "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and EAD markup completed by Greta Kuriger Suiter in October 2013."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds other theatre collections.\u003c/p\u003e\n    "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds other theatre collections."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of 28 photographs and 2 negatives that document the Garrick Players, a theatre group that performed in the 1960s at Grace Episcopal Church in Georgetown in Washington, D.C. The photographs include images of Sylvia Soares and Chris Sarandon, two of the actors, and Gerald Slavet, the director. Photographs by George de Vincent, Carol C. Lee, Charles L. Freedman, and Dorothy L. Chace.\u003c/p\u003e\n    ","\u003cp\u003eTwo 5 inch by 7 inch black and white photographs, one of a woman sitting in front of a chalkboard and holding a mug, the other is of a man and woman sitting at a table and shaking hands on a stage set.\u003c/p\u003e\n          ","\u003cp\u003eTwo magazine clippings, one of Prince Charles with the words \"To My Pal the Prince\" written on it, the other is a portrait of a man and a woman.\u003c/p\u003e\n          ","\u003cp\u003eTwo negatives with an envelope marked \"Jerry.\" The negatives are images of a man, possibly Gerald (Jerry) Slavet, sitting and gesturing with his hands. \u003c/p\u003e\n          ","\u003cp\u003eTwenty 10 inch by 8 inch photographs, and two slightly smaller, black and white photographs featuring actors on stage and headshots. These include images of Gerald Slavet, Chris Sarandon, Chet Carlin, and others.\u003c/p\u003e\n          ","\u003cp\u003eTwo photographs (one 10 inches by 8 inches, the other 6 1/8 inches by 9 3/8 inches) with a printed out caption that states: \"Sylvia Soares, who will appear in The Marriage Proposal as Natalia Stepanovna. Gerald (Jerry) Slavet, director of Garrick Players in the background.\"\u003c/p\u003e\n          ","\u003cp\u003eThree small black and white photographs, each roughly 3.5 inches high by 2.5 inches wide. Two of these are portraits of young men. One is labeled Ted Walch on the verso. The third is of a man with a mask on. It is labeled \"Charles Lynch Ondine 11/66\" on the verso.\u003c/p\u003e\n          "],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["This collection consists of 28 photographs and 2 negatives that document the Garrick Players, a theatre group that performed in the 1960s at Grace Episcopal Church in Georgetown in Washington, D.C. The photographs include images of Sylvia Soares and Chris Sarandon, two of the actors, and Gerald Slavet, the director. Photographs by George de Vincent, Carol C. Lee, Charles L. Freedman, and Dorothy L. Chace.","Two 5 inch by 7 inch black and white photographs, one of a woman sitting in front of a chalkboard and holding a mug, the other is of a man and woman sitting at a table and shaking hands on a stage set.","Two magazine clippings, one of Prince Charles with the words \"To My Pal the Prince\" written on it, the other is a portrait of a man and a woman.","Two negatives with an envelope marked \"Jerry.\" The negatives are images of a man, possibly Gerald (Jerry) Slavet, sitting and gesturing with his hands.","Twenty 10 inch by 8 inch photographs, and two slightly smaller, black and white photographs featuring actors on stage and headshots. These include images of Gerald Slavet, Chris Sarandon, Chet Carlin, and others.","Two photographs (one 10 inches by 8 inches, the other 6 1/8 inches by 9 3/8 inches) with a printed out caption that states: \"Sylvia Soares, who will appear in The Marriage Proposal as Natalia Stepanovna. Gerald (Jerry) Slavet, director of Garrick Players in the background.\"","Three small black and white photographs, each roughly 3.5 inches high by 2.5 inches wide. Two of these are portraits of young men. One is labeled Ted Walch on the verso. The third is of a man with a mask on. It is labeled \"Charles Lynch Ondine 11/66\" on the verso."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Garrick Players photograph collection must be obtained from Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e\n    "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Garrick Players photograph collection must be obtained from Special Collections and Archives, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref348\" label=\"Abstract\"\u003eThe 28 photographs and 2 negatives document the Garrick Players, a theatre group that performed in the 1960s at Grace Episcopal Church in Georgetown in Washington, D.C. The photographs include images of Sylvia Soares and Chris Sarandon, two of the actors, and Gerald Slavet, the director.\u003c/abstract\u003e\n      "],"abstract_tesim":["The 28 photographs and 2 negatives document the Garrick Players, a theatre group that performed in the 1960s at Grace Episcopal Church in Georgetown in Washington, D.C. The photographs include images of Sylvia Soares and Chris Sarandon, two of the actors, and Gerald Slavet, the director."],"corpname_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Garrick Players."],"names_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Garrick Players."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":7,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:52:16.800Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_garrickplayers"}},{"id":"vifgm_lander","type":"collection","attributes":{"title":"George Mason University Jean M. Lander collection, 1837/1896","creator":{"id":"https://arvasarchive.org/catalog/vifgm_lander#creator","type":"document_value","attributes":{"value":"Lander, J.M. (Jean Margaret), 1829-1903","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_lander#abstract_or_scope","type":"document_value","attributes":{"value":"This collection contains eleven handwritten letters from Jean Lander and others dated between 1837 - 1896.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_lander#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_lander","ead_ssi":"vifgm_lander","_root_":"vifgm_lander","_nest_parent_":"vifgm_lander","ead_source_url_ssi":"data/gmu/lander.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/landers.html","title_ssm":["George Mason University Jean M. Lander collection"],"title_tesim":["George Mason University Jean M. Lander collection"],"unitdate_ssm":["1837-1896"],"unitdate_inclusive_ssm":["1837-1896"],"normalized_date_ssm":["1837/1896"],"normalized_title_ssm":["George Mason University Jean M. Lander collection, 1837/1896"],"text":["George Mason University Jean M. Lander collection, 1837/1896","C0118","Acting.","Actors--United States.","England.","Theater--Washington (D.C.)","Theater.","Collection is open to research.","Arranged chronologically.","Jean Margaret Davenport Lander was a well-known 19th century actress. Born in England, she made her home in Washington, D.C., following her marriage to Fredrick W. Lander in 1860. She performed in plays in both the United States and Europe. Lander passed away on August 3, 1903 at her residence in Lynn, Massachusetts.","Processed by Special Collections Research center staff.  EAD markup completed by Eron Ackerman and Jordan Patty in August 2009.  Partial transcription of letters by Leigh Norman in October 2017. Reprocessed by Amy Blake in September 2018. EAD markup updated by Amy Blake in September 2018.","The Special Collections Research Center also holds many other , and several other 19th century correspondence collections such as the \n                 and the .","This collection contains eleven hand-written letters from Jean Lander and others, as well as a partial transcript of the letters.","There are no restrictions.","This collection contains eleven handwritten letters from Jean Lander and others dated between 1837 - 1896.","George Mason University. Libraries. Special Collections Research Center","Lander, J.M. (Jean Margaret), 1829-1903","Lander, Jean Margaret","English"],"collection_title_tesim":["George Mason University Jean M. Lander collection, 1837/1896"],"collection_ssim":["George Mason University Jean M. Lander collection, 1837/1896"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0118"],"unitid_tesim":["C0118"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Lander, J.M. (Jean Margaret), 1829-1903"],"creator_ssim":["Lander, J.M. (Jean Margaret), 1829-1903"],"creator_persname_ssim":["Lander, J.M. (Jean Margaret), 1829-1903","Lander, Jean Margaret"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creators_ssim":["Lander, J.M. (Jean Margaret), 1829-1903","Lander, Jean Margaret","George Mason University. Libraries. Special Collections Research Center"],"access_terms_ssm":["There are no restrictions."],"acqinfo_ssim":["Donor unknown."],"access_subjects_ssim":["Acting.","Actors--United States.","England.","Theater--Washington (D.C.)","Theater."],"access_subjects_ssm":["Acting.","Actors--United States.","England.","Theater--Washington (D.C.)","Theater."],"has_online_content_ssim":["false"],"extent_ssm":["0.25 linear feet (1 box)"],"extent_tesim":["0.25 linear feet (1 box)"],"date_range_isim":[1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e\n    "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"arrangement_html_tesm":["\u003cp\u003eArranged chronologically.\u003c/p\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged chronologically."],"bioghist_html_tesm":["\u003cp\u003eJean Margaret Davenport Lander was a well-known 19th century actress. Born in England, she made her home in Washington, D.C., following her marriage to Fredrick W. Lander in 1860. She performed in plays in both the United States and Europe. Lander passed away on August 3, 1903 at her residence in Lynn, Massachusetts.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Jean Margaret Davenport Lander was a well-known 19th century actress. Born in England, she made her home in Washington, D.C., following her marriage to Fredrick W. Lander in 1860. She performed in plays in both the United States and Europe. Lander passed away on August 3, 1903 at her residence in Lynn, Massachusetts."],"prefercite_html_tesm":["\u003cp\u003eJean M. Landers collection, C0118, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e\n    "],"prefercite_tesim":["Jean M. Landers collection, C0118, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research center staff.  EAD markup completed by Eron Ackerman and Jordan Patty in August 2009.  Partial transcription of letters by Leigh Norman in October 2017. Reprocessed by Amy Blake in September 2018. EAD markup updated by Amy Blake in September 2018.\u003c/p\u003e\n    "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research center staff.  EAD markup completed by Eron Ackerman and Jordan Patty in August 2009.  Partial transcription of letters by Leigh Norman in October 2017. Reprocessed by Amy Blake in September 2018. EAD markup updated by Amy Blake in September 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds many other \u003cextptr type=\"simple\" title=\"performing arts collections\" show=\"new\" href=\"http://scrc.gmu.edu/collections-subject.php#THEATRE\"\u003e\u003c/extptr\u003e, and several other 19th century correspondence collections such as the \n                \u003cextptr type=\"simple\" title=\"Milton Barnes papers\" show=\"new\" href=\"http://sca.gmu.edu/finding_aids/barnes.html\"\u003e\u003c/extptr\u003e and the \u003cextptr type=\"simple\" title=\"Alexander Haight family collection\" show=\"new\" href=\"http://sca.gmu.edu/finding_aids/haight.html\"\u003e\u003c/extptr\u003e.\u003c/p\u003e\n    "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds many other , and several other 19th century correspondence collections such as the \n                 and the ."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains eleven hand-written letters from Jean Lander and others, as well as a partial transcript of the letters.\u003c/p\u003e\n    ","\u003cp\u003e\u003c/p\u003e\n        ","\u003cp\u003e\u003c/p\u003e\n        "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains eleven hand-written letters from Jean Lander and others, as well as a partial transcript of the letters."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\u003c/p\u003e\n    "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract id=\"ref348\" label=\"Abstract\"\u003eThis collection contains eleven handwritten letters from Jean Lander and others dated between 1837 - 1896.\u003c/abstract\u003e\n      "],"abstract_tesim":["This collection contains eleven handwritten letters from Jean Lander and others dated between 1837 - 1896."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Lander, J.M. (Jean Margaret), 1829-1903","Lander, Jean Margaret"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Lander, J.M. (Jean Margaret), 1829-1903","Lander, Jean Margaret"],"language_ssim":["English"],"total_component_count_is":2,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:52:28.036Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_lander","ead_ssi":"vifgm_lander","_root_":"vifgm_lander","_nest_parent_":"vifgm_lander","ead_source_url_ssi":"data/gmu/lander.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/landers.html","title_ssm":["George Mason University Jean M. Lander collection"],"title_tesim":["George Mason University Jean M. Lander collection"],"unitdate_ssm":["1837-1896"],"unitdate_inclusive_ssm":["1837-1896"],"normalized_date_ssm":["1837/1896"],"normalized_title_ssm":["George Mason University Jean M. Lander collection, 1837/1896"],"text":["George Mason University Jean M. Lander collection, 1837/1896","C0118","Acting.","Actors--United States.","England.","Theater--Washington (D.C.)","Theater.","Collection is open to research.","Arranged chronologically.","Jean Margaret Davenport Lander was a well-known 19th century actress. Born in England, she made her home in Washington, D.C., following her marriage to Fredrick W. Lander in 1860. She performed in plays in both the United States and Europe. Lander passed away on August 3, 1903 at her residence in Lynn, Massachusetts.","Processed by Special Collections Research center staff.  EAD markup completed by Eron Ackerman and Jordan Patty in August 2009.  Partial transcription of letters by Leigh Norman in October 2017. Reprocessed by Amy Blake in September 2018. EAD markup updated by Amy Blake in September 2018.","The Special Collections Research Center also holds many other , and several other 19th century correspondence collections such as the \n                 and the .","This collection contains eleven hand-written letters from Jean Lander and others, as well as a partial transcript of the letters.","There are no restrictions.","This collection contains eleven handwritten letters from Jean Lander and others dated between 1837 - 1896.","George Mason University. Libraries. Special Collections Research Center","Lander, J.M. (Jean Margaret), 1829-1903","Lander, Jean Margaret","English"],"collection_title_tesim":["George Mason University Jean M. Lander collection, 1837/1896"],"collection_ssim":["George Mason University Jean M. 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Born in England, she made her home in Washington, D.C., following her marriage to Fredrick W. Lander in 1860. She performed in plays in both the United States and Europe. Lander passed away on August 3, 1903 at her residence in Lynn, Massachusetts.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Jean Margaret Davenport Lander was a well-known 19th century actress. Born in England, she made her home in Washington, D.C., following her marriage to Fredrick W. Lander in 1860. She performed in plays in both the United States and Europe. Lander passed away on August 3, 1903 at her residence in Lynn, Massachusetts."],"prefercite_html_tesm":["\u003cp\u003eJean M. Landers collection, C0118, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e\n    "],"prefercite_tesim":["Jean M. Landers collection, C0118, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research center staff.  EAD markup completed by Eron Ackerman and Jordan Patty in August 2009.  Partial transcription of letters by Leigh Norman in October 2017. Reprocessed by Amy Blake in September 2018. EAD markup updated by Amy Blake in September 2018.\u003c/p\u003e\n    "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research center staff.  EAD markup completed by Eron Ackerman and Jordan Patty in August 2009.  Partial transcription of letters by Leigh Norman in October 2017. Reprocessed by Amy Blake in September 2018. EAD markup updated by Amy Blake in September 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds many other \u003cextptr type=\"simple\" title=\"performing arts collections\" show=\"new\" href=\"http://scrc.gmu.edu/collections-subject.php#THEATRE\"\u003e\u003c/extptr\u003e, and several other 19th century correspondence collections such as the \n                \u003cextptr type=\"simple\" title=\"Milton Barnes papers\" show=\"new\" href=\"http://sca.gmu.edu/finding_aids/barnes.html\"\u003e\u003c/extptr\u003e and the \u003cextptr type=\"simple\" title=\"Alexander Haight family collection\" show=\"new\" href=\"http://sca.gmu.edu/finding_aids/haight.html\"\u003e\u003c/extptr\u003e.\u003c/p\u003e\n    "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds many other , and several other 19th century correspondence collections such as the \n                 and the ."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains eleven hand-written letters from Jean Lander and others, as well as a partial transcript of the letters.\u003c/p\u003e\n    ","\u003cp\u003e\u003c/p\u003e\n        ","\u003cp\u003e\u003c/p\u003e\n        "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains eleven hand-written letters from Jean Lander and others, as well as a partial transcript of the letters."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\u003c/p\u003e\n    "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract id=\"ref348\" label=\"Abstract\"\u003eThis collection contains eleven handwritten letters from Jean Lander and others dated between 1837 - 1896.\u003c/abstract\u003e\n      "],"abstract_tesim":["This collection contains eleven handwritten letters from Jean Lander and others dated between 1837 - 1896."],"corpname_ssim":["George Mason University. 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Jackson.","Mr. J Burke Knapp was an Economist for the Federal Reserve Board, 1940-44; adviser on German economic affairs, U.S. Department of State and German Military Government, 1944-45; special assistant to the chairman, Federal Reserve Board, 1945-48; director, Office of Financial and Development Policy, Department of State, 1948-49; economic adviser U.S. delegation to NATO, 1950-51; U.S. president of the Joint Brazil-U.S. Economic Development Commission, 1951-52; and assistant director, economics department, International Bank for Reconstruction and Development, 1950-52, director, Western Hemisphere department, 1952-56, vice president, IBRD, 1956 and President of the Washington Drama Society.","Processed by Special Collections and Archives staff.","Special Collections and Archives holds the Arena Stage records.","Collection containes materials relating to various financial matters of the Arena Stage during the 1960s.","There are no restrictions.","Collection containes materials relating to various financial matters of the Arena Stage during the 1960s.","George Mason University. 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Jackson. \n\u003c/p\u003e\n      ","\u003cp\u003eMr. J Burke Knapp was an Economist for the Federal Reserve Board, 1940-44; adviser on German economic affairs, U.S. Department of State and German Military Government, 1944-45; special assistant to the chairman, Federal Reserve Board, 1945-48; director, Office of Financial and Development Policy, Department of State, 1948-49; economic adviser U.S. delegation to NATO, 1950-51; U.S. president of the Joint Brazil-U.S. Economic Development Commission, 1951-52; and assistant director, economics department, International Bank for Reconstruction and Development, 1950-52, director, Western Hemisphere department, 1952-56, vice president, IBRD, 1956 and President of the Washington Drama Society.\n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Arena Stage was an early leader in the resident theater movement.  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Burke Knapp papers, Collection #C0017, Special Collections and Archives, George Mason University.\n\u003c/p\u003e\n      "],"prefercite_tesim":["J. 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Jackson.","Mr. J Burke Knapp was an Economist for the Federal Reserve Board, 1940-44; adviser on German economic affairs, U.S. Department of State and German Military Government, 1944-45; special assistant to the chairman, Federal Reserve Board, 1945-48; director, Office of Financial and Development Policy, Department of State, 1948-49; economic adviser U.S. delegation to NATO, 1950-51; U.S. president of the Joint Brazil-U.S. Economic Development Commission, 1951-52; and assistant director, economics department, International Bank for Reconstruction and Development, 1950-52, director, Western Hemisphere department, 1952-56, vice president, IBRD, 1956 and President of the Washington Drama Society.","Processed by Special Collections and Archives staff.","Special Collections and Archives holds the Arena Stage records.","Collection containes materials relating to various financial matters of the Arena Stage during the 1960s.","There are no restrictions.","Collection containes materials relating to various financial matters of the Arena Stage during the 1960s.","George Mason University. 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","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_vifgm00080#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_vifgm00080","ead_ssi":"vifgm_vifgm00080","_root_":"vifgm_vifgm00080","_nest_parent_":"vifgm_vifgm00080","ead_source_url_ssi":"data/gmu/vifgm00080.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["Ken Kitch papers"],"title_tesim":["Ken Kitch papers"],"unitdate_ssm":["1950-2000"],"unitdate_inclusive_ssm":["1950-2000"],"normalized_date_ssm":["1950/2000"],"normalized_title_ssm":["Ken Kitch papers, 1950/2000"],"text":["Ken Kitch papers, 1950/2000","C0198","Theater--Washington (D.C.)","Collection is open to research.","Organized by subject.","Arena Stage was an early leader in the resident theater movement.  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One of the first not-for-profit theaters in the United States as well as a pioneer of the regional theater movement the Arena Stage was the first regional theater to transfer a production to Broadway, the first invited by the U.S. State Department to tour behind the Iron Curtain and the first to receive a Tony Award.\nCo-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. \n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Arena Stage was an early leader in the resident theater movement.  One of the first not-for-profit theaters in the United States as well as a pioneer of the regional theater movement the Arena Stage was the first regional theater to transfer a production to Broadway, the first invited by the U.S. State Department to tour behind the Iron Curtain and the first to receive a Tony Award.\nCo-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."],"prefercite_html_tesm":["\u003cp\u003eKen Kitch papers, Collection #C0017, Special Collections and Archives, George Mason University.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Ken Kitch papers, Collection #C0017, Special Collections and Archives, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives staff.\n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections and Archives staff."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds the Arena Stage records.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eCollection includes correspondence, memos, reports and other papers generated by Ken Kitch.\n\u003c/p\u003e\n    "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Collection includes correspondence, memos, reports and other papers generated by Ken Kitch."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eCollection includes correspondence, memos, reports and other papers generated by Ken Kitch.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["Collection includes correspondence, memos, reports and other papers generated by Ken Kitch."],"corpname_ssim":["George Mason University. Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Ken Kitch"],"names_ssim":["George Mason University. 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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.","Processed by Special Collections and Archives staff.","Special Collections and Archives holds the Arena Stage records.","Collection includes correspondence, memos, reports and other papers generated by Ken Kitch.","There are no restrictions.","Collection includes correspondence, memos, reports and other papers generated by Ken Kitch.","George Mason University. 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Special Collections and Archives.","Arena Stage (Organization : Washington, D.C.)"],"acqinfo_ssim":["Donated by Arena Stage in 2000."],"access_subjects_ssim":["Theater--Washington (D.C.)"],"access_subjects_ssm":["Theater--Washington (D.C.)"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 linear ft.; 3 boxes"],"extent_tesim":["1.5 linear ft.; 3 boxes"],"date_range_isim":[1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\n\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"arrangement_html_tesm":["\u003cp\u003eOrganized by subject.\n\u003c/p\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized by subject."],"bioghist_html_tesm":["\u003cp\u003eArena Stage was an early leader in the resident theater movement.  One of the first not-for-profit theaters in the United States as well as a pioneer of the regional theater movement the Arena Stage was the first regional theater to transfer a production to Broadway, the first invited by the U.S. State Department to tour behind the Iron Curtain and the first to receive a Tony Award.\nCo-founded in 1950 by Edward Mangum a teacher from the George Washington University, and Zelda Fichandler one of his students, Arena Stage was opened in Washington D.C. to fill the void left by the closing of the National Theater in 1948.  Deriving it's name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theaters in the United States, beginning with a company of only eight actors. Today, Arena performs to over 250,000 patrons during a September to June season and employs nearly 200 theater professionals and craftpersons, who are responsible for all the costumes and scenery seen on stage.  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Jackson."],"prefercite_html_tesm":["\u003cp\u003eKen Kitch papers, Collection #C0017, Special Collections and Archives, George Mason University.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Ken Kitch papers, Collection #C0017, Special Collections and Archives, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives staff.\n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections and Archives staff."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds the Arena Stage records.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eCollection includes correspondence, memos, reports and other papers generated by Ken Kitch.\n\u003c/p\u003e\n    "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Collection includes correspondence, memos, reports and other papers generated by Ken Kitch."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eCollection includes correspondence, memos, reports and other papers generated by Ken Kitch.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["Collection includes correspondence, memos, reports and other papers generated by Ken Kitch."],"corpname_ssim":["George Mason University. 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Some, such as Ford's Theatre and the National Theatre, have histories dating back to the 19th century, while others, such as the Wolf Trap National Park for the Performing Arts and the John F. Kennedy Center for the Performing Arts, date from the second half of the 20th century.","Processing completed by Liz Beckman in December 2016. EAD markup completed by Liz Beckman in December 2016.","The collection contains playbills from shows at a variety of Washington, D.C. performance venues, including the National Theatre, Ford's Theatre, Wolf Trap, and the Kennedy Center, as well as other smaller DC area institutions. Many of the productions starred famous actors, such as Ian McKellan, Jane Seymour, and Tim Curry in \"Amadeus\" at the National Theatre circa 1980.  It also contains playbills from shows in other cities such as New York and Chicago (interesting productions include \"Othello\" at the American Shakespeare Theatre in Connecticut starring James Earl Jones and Christopher Plummer in 1981), as well as exhibition brochures from DC and Boston museums.","There are no restrictions on personal use. Permission to publish material from the Larry Schecker playbills and pamphlets collection must be obtained from the Special Collections Research Center, George Mason University Libraries.","Playbills and brochures, mainly for Washington, DC area institutions, collected by Larry Schecker.","George Mason University. Libraries. Special Collections Research Center.","John F. 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Kennedy Center for the Performing Arts, date from the second half of the 20th century."],"prefercite_html_tesm":["\u003cp\u003eLarry Schecker playbills and pamphlets collection, C0295, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e\n    "],"prefercite_tesim":["Larry Schecker playbills and pamphlets collection, C0295, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Liz Beckman in December 2016. EAD markup completed by Liz Beckman in December 2016.\u003c/p\u003e\n    "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Liz Beckman in December 2016. EAD markup completed by Liz Beckman in December 2016."],"scopecontent_html_tesm":["\u003cp\u003eThe collection contains playbills from shows at a variety of Washington, D.C. performance venues, including the National Theatre, Ford's Theatre, Wolf Trap, and the Kennedy Center, as well as other smaller DC area institutions. Many of the productions starred famous actors, such as Ian McKellan, Jane Seymour, and Tim Curry in \"Amadeus\" at the National Theatre circa 1980.  It also contains playbills from shows in other cities such as New York and Chicago (interesting productions include \"Othello\" at the American Shakespeare Theatre in Connecticut starring James Earl Jones and Christopher Plummer in 1981), as well as exhibition brochures from DC and Boston museums.\u003c/p\u003e\n    ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          "],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["The collection contains playbills from shows at a variety of Washington, D.C. performance venues, including the National Theatre, Ford's Theatre, Wolf Trap, and the Kennedy Center, as well as other smaller DC area institutions. Many of the productions starred famous actors, such as Ian McKellan, Jane Seymour, and Tim Curry in \"Amadeus\" at the National Theatre circa 1980.  It also contains playbills from shows in other cities such as New York and Chicago (interesting productions include \"Othello\" at the American Shakespeare Theatre in Connecticut starring James Earl Jones and Christopher Plummer in 1981), as well as exhibition brochures from DC and Boston museums."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Larry Schecker playbills and pamphlets collection must be obtained from the Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e\n    "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Larry Schecker playbills and pamphlets collection must be obtained from the Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref2\" label=\"Abstract\"\u003ePlaybills and brochures, mainly for Washington, DC area institutions, collected by Larry Schecker.\u003c/abstract\u003e\n      "],"abstract_tesim":["Playbills and brochures, mainly for Washington, DC area institutions, collected by Larry Schecker."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center.","John F. Kennedy Center for the Performing Arts (U.S.).","New National Theatre (Organization: Washington, \t\t\t  D.C.)."],"persname_ssim":["Schecker, Larry"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center.","John F. Kennedy Center for the Performing Arts (U.S.).","New National Theatre (Organization: Washington, \t\t\t  D.C.).","Schecker, Larry"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":9,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:56:08.718Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_schecker","ead_ssi":"vifgm_schecker","_root_":"vifgm_schecker","_nest_parent_":"vifgm_schecker","ead_source_url_ssi":"data/gmu/schecker.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/schecker.html","title_ssm":["Larry Schecker playbills and pamphlets collection"],"title_tesim":["Larry Schecker playbills and pamphlets collection"],"unitdate_ssm":["1970s-1999"],"unitdate_other_ssim":["1970s-1999"],"normalized_date_ssm":["1999"],"normalized_title_ssm":["Larry Schecker playbills and pamphlets collection, 1999"],"text":["Larry Schecker playbills and pamphlets collection, 1999","C0295","Theater--Washington (D.C.)","Theatre programs.","There are no access restrictions.","Playbills and brochures are arranged by theatre company, venue, or region.","Washington, DC and the surrounding region is home to numerous major theatre companies and performance venues that have themselves played major roles in American history. Some, such as Ford's Theatre and the National Theatre, have histories dating back to the 19th century, while others, such as the Wolf Trap National Park for the Performing Arts and the John F. Kennedy Center for the Performing Arts, date from the second half of the 20th century.","Processing completed by Liz Beckman in December 2016. EAD markup completed by Liz Beckman in December 2016.","The collection contains playbills from shows at a variety of Washington, D.C. performance venues, including the National Theatre, Ford's Theatre, Wolf Trap, and the Kennedy Center, as well as other smaller DC area institutions. Many of the productions starred famous actors, such as Ian McKellan, Jane Seymour, and Tim Curry in \"Amadeus\" at the National Theatre circa 1980.  It also contains playbills from shows in other cities such as New York and Chicago (interesting productions include \"Othello\" at the American Shakespeare Theatre in Connecticut starring James Earl Jones and Christopher Plummer in 1981), as well as exhibition brochures from DC and Boston museums.","There are no restrictions on personal use. Permission to publish material from the Larry Schecker playbills and pamphlets collection must be obtained from the Special Collections Research Center, George Mason University Libraries.","Playbills and brochures, mainly for Washington, DC area institutions, collected by Larry Schecker.","George Mason University. Libraries. Special Collections Research Center.","John F. Kennedy Center for the Performing Arts (U.S.).","New National Theatre (Organization: Washington, \t\t\t  D.C.).","Schecker, Larry","English"],"collection_title_tesim":["Larry Schecker playbills and pamphlets collection, 1999"],"collection_ssim":["Larry Schecker playbills and pamphlets collection, 1999"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0295"],"unitid_tesim":["C0295"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Schecker, Larry"],"creator_ssim":["Schecker, Larry"],"creator_persname_ssim":["Schecker, Larry"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center.","John F. Kennedy Center for the Performing Arts (U.S.).","New National Theatre (Organization: Washington, \t\t\t  D.C.)."],"creators_ssim":["Schecker, Larry","George Mason University. Libraries. Special Collections Research Center.","John F. Kennedy Center for the Performing Arts (U.S.).","New National Theatre (Organization: Washington, \t\t\t  D.C.)."],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Larry Schecker playbills and pamphlets collection must be obtained from the Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Donated by Larry Schecker on November 11, 2016."],"access_subjects_ssim":["Theater--Washington (D.C.)","Theatre programs."],"access_subjects_ssm":["Theater--Washington (D.C.)","Theatre programs."],"has_online_content_ssim":["false"],"extent_ssm":[".75 linear feet (2 boxes)"],"extent_tesim":[".75 linear feet (2 boxes)"],"date_range_isim":[1999],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e\n    "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003ePlaybills and brochures are arranged by theatre company, venue, or region.\u003c/p\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Playbills and brochures are arranged by theatre company, venue, or region."],"bioghist_html_tesm":["\u003cp\u003eWashington, DC and the surrounding region is home to numerous major theatre companies and performance venues that have themselves played major roles in American history. Some, such as Ford's Theatre and the National Theatre, have histories dating back to the 19th century, while others, such as the Wolf Trap National Park for the Performing Arts and the John F. Kennedy Center for the Performing Arts, date from the second half of the 20th century.\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Historical note"],"bioghist_tesim":["Washington, DC and the surrounding region is home to numerous major theatre companies and performance venues that have themselves played major roles in American history. Some, such as Ford's Theatre and the National Theatre, have histories dating back to the 19th century, while others, such as the Wolf Trap National Park for the Performing Arts and the John F. Kennedy Center for the Performing Arts, date from the second half of the 20th century."],"prefercite_html_tesm":["\u003cp\u003eLarry Schecker playbills and pamphlets collection, C0295, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e\n    "],"prefercite_tesim":["Larry Schecker playbills and pamphlets collection, C0295, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Liz Beckman in December 2016. EAD markup completed by Liz Beckman in December 2016.\u003c/p\u003e\n    "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Liz Beckman in December 2016. EAD markup completed by Liz Beckman in December 2016."],"scopecontent_html_tesm":["\u003cp\u003eThe collection contains playbills from shows at a variety of Washington, D.C. performance venues, including the National Theatre, Ford's Theatre, Wolf Trap, and the Kennedy Center, as well as other smaller DC area institutions. Many of the productions starred famous actors, such as Ian McKellan, Jane Seymour, and Tim Curry in \"Amadeus\" at the National Theatre circa 1980.  It also contains playbills from shows in other cities such as New York and Chicago (interesting productions include \"Othello\" at the American Shakespeare Theatre in Connecticut starring James Earl Jones and Christopher Plummer in 1981), as well as exhibition brochures from DC and Boston museums.\u003c/p\u003e\n    ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          "],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["The collection contains playbills from shows at a variety of Washington, D.C. performance venues, including the National Theatre, Ford's Theatre, Wolf Trap, and the Kennedy Center, as well as other smaller DC area institutions. Many of the productions starred famous actors, such as Ian McKellan, Jane Seymour, and Tim Curry in \"Amadeus\" at the National Theatre circa 1980.  It also contains playbills from shows in other cities such as New York and Chicago (interesting productions include \"Othello\" at the American Shakespeare Theatre in Connecticut starring James Earl Jones and Christopher Plummer in 1981), as well as exhibition brochures from DC and Boston museums."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Larry Schecker playbills and pamphlets collection must be obtained from the Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e\n    "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Larry Schecker playbills and pamphlets collection must be obtained from the Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref2\" label=\"Abstract\"\u003ePlaybills and brochures, mainly for Washington, DC area institutions, collected by Larry Schecker.\u003c/abstract\u003e\n      "],"abstract_tesim":["Playbills and brochures, mainly for Washington, DC area institutions, collected by Larry Schecker."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center.","John F. Kennedy Center for the Performing Arts (U.S.).","New National Theatre (Organization: Washington, \t\t\t  D.C.)."],"persname_ssim":["Schecker, Larry"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center.","John F. Kennedy Center for the Performing Arts (U.S.).","New National Theatre (Organization: Washington, \t\t\t  D.C.).","Schecker, Larry"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":9,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:56:08.718Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_schecker"}},{"id":"vifgm_LivingStage","type":"collection","attributes":{"title":"Living Stage records, 1965/2001","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_LivingStage#abstract_or_scope","type":"document_value","attributes":{"value":"The Living Stage records include pieces related to the traveling theater company, which was founded by Robert Alexander, between 1965 and 2001.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_LivingStage#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_LivingStage","ead_ssi":"vifgm_LivingStage","_root_":"vifgm_LivingStage","_nest_parent_":"vifgm_LivingStage","ead_source_url_ssi":"data/gmu/LivingStage.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/livingstage.html","title_ssm":["Living Stage records"],"title_tesim":["Living Stage records"],"unitdate_ssm":["1965-2001"],"unitdate_inclusive_ssm":["1965-2001"],"normalized_date_ssm":["1965/2001"],"normalized_title_ssm":["Living Stage records, 1965/2001"],"text":["Living Stage records, 1965/2001","C0277","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.)","Playscripts.","Theatre programs.","There are no access restrictions.","The collection is divided into three series, each of which is divided into subseries.","Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\n        Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\n        Series 3: Audiovisual Materials, 1967-1998 (Boxes 86-106)","The Living Stage Theatre Company began in 1966 as a venture of the 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 DC area after becoming disenchanted with traditional theater'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 DC 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. Then the actors 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 its twilight years in the first half of the 1990s as many of its founding and senior members began to take 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 Betacam, U-matic, reel-to-reel film and audio tapes contained 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.","The Special Collections and Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company collection Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Arena Stage collection and many other theater collections.","The Living Stage records consist of materials spanning the length of that organization's history from about 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files including financial papers, grant requests and applications, printed pieces, and correspondence and more creative materials including workshop reports and scripts, audiovisual files on reel-to-reel tapes, 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 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 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.","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","There are no restrictions on personal use. Permission to publish material from the Living Stage Records must be obtained from Special Collections and Archives, George Mason University Libraries.","The Living Stage records include pieces related to the traveling theater company, which was founded by Robert Alexander, between 1965 and 2001.","George Mason University. Libraries. Special Collections Research Center.","English"],"collection_title_tesim":["Living Stage records, 1965/2001"],"collection_ssim":["Living Stage records, 1965/2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0277"],"unitid_tesim":["C0277"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center."],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center."],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Living Stage Records must be obtained from Special Collections and Archives, George Mason University Libraries."],"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.)","Playscripts.","Theatre programs."],"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.)","Playscripts.","Theatre programs."],"has_online_content_ssim":["false"],"extent_ssm":["48.0 linear feet (106 boxes)"],"extent_tesim":["48.0 linear feet (106 boxes)"],"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.\u003c/p\u003e\n    "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into three series, each of which is divided into subseries.\u003c/p\u003e\n      ","\u003clist type=\"ordered\"\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 Materials, 1967-1998 (Boxes 86-106)\u003c/item\u003e\n      \u003c/list\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is divided into three series, each of which is divided into subseries.","Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\n        Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\n        Series 3: Audiovisual Materials, 1967-1998 (Boxes 86-106)"],"bioghist_html_tesm":["\u003cp\u003eThe Living Stage Theatre Company began in 1966 as a venture of the 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 DC area after becoming disenchanted with traditional theater'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 DC 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. Then the actors 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\u003e The organization began its twilight years in the first half of the 1990s as many of its founding and senior members began to take 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\n    "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Living Stage Theatre Company began in 1966 as a venture of the 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 DC area after becoming disenchanted with traditional theater'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 DC 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. Then the actors 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 its twilight years in the first half of the 1990s as many of its founding and senior members began to take 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 Betacam, U-matic, reel-to-reel film and audio tapes contained in Series 3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e\n    "],"phystech_heading_ssm":["Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch Betacam, U-matic, reel-to-reel film and audio tapes contained 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 and Archives, George Mason University Libraries.\u003c/p\u003e\n    "],"prefercite_tesim":["Living Stage Records, C0277, Special Collections and Archives, 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.\u003c/p\u003e\n    "],"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."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections and Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company collection Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Arena Stage collection and many other theater collections.\u003c/p\u003e\n    "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections and Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company collection Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Arena Stage collection and many other theater collections."],"scopecontent_html_tesm":["\u003cp\u003e The Living Stage records consist of materials spanning the length of that organization's history from about 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files including financial papers, grant requests and applications, printed pieces, and correspondence and more creative materials including workshop reports and scripts, audiovisual files on reel-to-reel tapes, 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\u003e 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. \u003c/p\u003e\n      ","\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 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\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\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            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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\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            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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\n        ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            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Tape\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eLoose\n\u003c/p\u003e\n            ","\u003cp\u003eColor?\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            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           ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eBeta Tape 1 of 2\n\u003c/p\u003e\n            ","\u003cp\u003eBeta Tape 2 of 2\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            "],"scopecontent_heading_ssm":["Scope and Content","Scope and Content","Scope and Content","Scope and Content"],"scopecontent_tesim":["The Living Stage records consist of materials spanning the length of that organization's history from about 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files including financial papers, grant requests and applications, printed pieces, and correspondence and more creative materials including workshop reports and scripts, audiovisual files on reel-to-reel tapes, 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 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 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.","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\u003eThere are no restrictions on personal use. Permission to publish material from the Living Stage Records must be obtained from Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e\n    "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Living Stage Records must be obtained from Special Collections and Archives, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref348\" label=\"Abstract\"\u003eThe Living Stage records include pieces related to the traveling theater company, which was founded by Robert Alexander, between 1965 and 2001.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Living Stage records include pieces related to the traveling theater company, which was founded by Robert Alexander, between 1965 and 2001."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center."],"names_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":"2026-06-23T06:51:52.945Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_LivingStage","ead_ssi":"vifgm_LivingStage","_root_":"vifgm_LivingStage","_nest_parent_":"vifgm_LivingStage","ead_source_url_ssi":"data/gmu/LivingStage.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/livingstage.html","title_ssm":["Living Stage records"],"title_tesim":["Living Stage records"],"unitdate_ssm":["1965-2001"],"unitdate_inclusive_ssm":["1965-2001"],"normalized_date_ssm":["1965/2001"],"normalized_title_ssm":["Living Stage records, 1965/2001"],"text":["Living Stage records, 1965/2001","C0277","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.)","Playscripts.","Theatre programs.","There are no access restrictions.","The collection is divided into three series, each of which is divided into subseries.","Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\n        Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\n        Series 3: Audiovisual Materials, 1967-1998 (Boxes 86-106)","The Living Stage Theatre Company began in 1966 as a venture of the 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 DC area after becoming disenchanted with traditional theater'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 DC 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. Then the actors 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 its twilight years in the first half of the 1990s as many of its founding and senior members began to take 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 Betacam, U-matic, reel-to-reel film and audio tapes contained 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.","The Special Collections and Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company collection Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Arena Stage collection and many other theater collections.","The Living Stage records consist of materials spanning the length of that organization's history from about 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files including financial papers, grant requests and applications, printed pieces, and correspondence and more creative materials including workshop reports and scripts, audiovisual files on reel-to-reel tapes, 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 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 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.","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","There are no restrictions on personal use. Permission to publish material from the Living Stage Records must be obtained from Special Collections and Archives, George Mason University Libraries.","The Living Stage records include pieces related to the traveling theater company, which was founded by Robert Alexander, between 1965 and 2001.","George Mason University. Libraries. Special Collections Research Center.","English"],"collection_title_tesim":["Living Stage records, 1965/2001"],"collection_ssim":["Living Stage records, 1965/2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0277"],"unitid_tesim":["C0277"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center."],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center."],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Living Stage Records must be obtained from Special Collections and Archives, George Mason University Libraries."],"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.)","Playscripts.","Theatre programs."],"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.)","Playscripts.","Theatre programs."],"has_online_content_ssim":["false"],"extent_ssm":["48.0 linear feet (106 boxes)"],"extent_tesim":["48.0 linear feet (106 boxes)"],"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.\u003c/p\u003e\n    "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into three series, each of which is divided into subseries.\u003c/p\u003e\n      ","\u003clist type=\"ordered\"\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 Materials, 1967-1998 (Boxes 86-106)\u003c/item\u003e\n      \u003c/list\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is divided into three series, each of which is divided into subseries.","Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\n        Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\n        Series 3: Audiovisual Materials, 1967-1998 (Boxes 86-106)"],"bioghist_html_tesm":["\u003cp\u003eThe Living Stage Theatre Company began in 1966 as a venture of the 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 DC area after becoming disenchanted with traditional theater'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 DC 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. Then the actors 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\u003e The organization began its twilight years in the first half of the 1990s as many of its founding and senior members began to take 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\n    "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Living Stage Theatre Company began in 1966 as a venture of the 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 DC area after becoming disenchanted with traditional theater'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 DC 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. Then the actors 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 its twilight years in the first half of the 1990s as many of its founding and senior members began to take 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 Betacam, U-matic, reel-to-reel film and audio tapes contained in Series 3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e\n    "],"phystech_heading_ssm":["Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch Betacam, U-matic, reel-to-reel film and audio tapes contained 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 and Archives, George Mason University Libraries.\u003c/p\u003e\n    "],"prefercite_tesim":["Living Stage Records, C0277, Special Collections and Archives, 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.\u003c/p\u003e\n    "],"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."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections and Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company collection Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Arena Stage collection and many other theater collections.\u003c/p\u003e\n    "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections and Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company collection Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Arena Stage collection and many other theater collections."],"scopecontent_html_tesm":["\u003cp\u003e The Living Stage records consist of materials spanning the length of that organization's history from about 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files including financial papers, grant requests and applications, printed pieces, and correspondence and more creative materials including workshop reports and scripts, audiovisual files on reel-to-reel tapes, 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\u003e 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. \u003c/p\u003e\n      ","\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 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\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\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            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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\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            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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\n        ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            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           ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eCompletely Unraveled - Large Box\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eFranklin Sherman?\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eContinued from October 19, 1977 Tape\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eLoose\n\u003c/p\u003e\n            ","\u003cp\u003eColor?\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eSmells like Vinegar\n\u003c/p\u003e\n            ","\u003cp\u003eSemi-Unraveling\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eSemi-Unraveling\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eXL Roll\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eSemi-Unraveling\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eSemi-Unraveling\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eLarge Box\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eSemi-Unraveling\n\u003c/p\u003e\n            ","\u003cp\u003eTape 3 of 3\n\u003c/p\u003e\n            ","\u003cp\u003eTape 1 of 3\n\u003c/p\u003e\n            ","\u003cp\u003eTape 2 of 3\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eCassette Tape\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eBeta Tape 1 of 2\n\u003c/p\u003e\n            ","\u003cp\u003eBeta Tape 2 of 2\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eU-matic\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eBeta Tape 1 of 2\n\u003c/p\u003e\n            ","\u003cp\u003eBeta Tape 2 of 2\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            ","\u003cp\u003eVHS\n\u003c/p\u003e\n            ","\u003cp\u003eBetamax\n\u003c/p\u003e\n            "],"scopecontent_heading_ssm":["Scope and Content","Scope and Content","Scope and Content","Scope and Content"],"scopecontent_tesim":["The Living Stage records consist of materials spanning the length of that organization's history from about 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files including financial papers, grant requests and applications, printed pieces, and correspondence and more creative materials including workshop reports and scripts, audiovisual files on reel-to-reel tapes, 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 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 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.","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\u003eThere are no restrictions on personal use. Permission to publish material from the Living Stage Records must be obtained from Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e\n    "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Living Stage Records must be obtained from Special Collections and Archives, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref348\" label=\"Abstract\"\u003eThe Living Stage records include pieces related to the traveling theater company, which was founded by Robert Alexander, between 1965 and 2001.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Living Stage records include pieces related to the traveling theater company, which was founded by Robert Alexander, between 1965 and 2001."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center."],"names_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":"2026-06-23T06:51:52.945Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_LivingStage"}},{"id":"vifgm_prosky","type":"collection","attributes":{"title":"Robert Prosky Papers, 1909/2007","creator":{"id":"https://arvasarchive.org/catalog/vifgm_prosky#creator","type":"document_value","attributes":{"value":"Robert Prosky, 1930-2008","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_prosky#abstract_or_scope","type":"document_value","attributes":{"value":"Consists of documents spanning Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual. ","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_prosky#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_prosky","ead_ssi":"vifgm_prosky","_root_":"vifgm_prosky","_nest_parent_":"vifgm_prosky","ead_source_url_ssi":"data/gmu/prosky.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/prosky.html","title_ssm":["Robert Prosky Papers"],"title_tesim":["Robert Prosky Papers"],"unitdate_ssm":["1909-2007"],"unitdate_inclusive_ssm":["1909-2007"],"normalized_date_ssm":["1909/2007"],"normalized_title_ssm":["Robert Prosky Papers, 1909/2007"],"text":["Robert Prosky Papers, 1909/2007","C0022","Actors--United States.","Motion pictures--United States.","Television--United States.","Theater--United States.","Theater--Washington (D.C.)","There are no access restrictions.","Organized into six series:","Series 1: Professional, 1954-2007 (Boxes 1-5)\n        Series 2: Personal, 1909-2007 (Boxes 5-8)\n        Series 3: Photographs, 1930s-2005 (Boxes 9-11)\n        Series 4: Audiovisual, 1960-2007 (Boxes 12-13)\n        Series 5: Oversize, 1950s-2006 (Boxes 14-15)\n        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 Russia, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.","Beginning in the 1980s, he began regularly appearing in films and television shows. His films include \"Mrs. Doubtfire,\" \"The Natural,\" 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.","Special Collections and Archives also holds the .","Consists of documents spanning Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual.","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.","Available on digital format.","Reel, 60 seconds, color.","Available on digital format.","Reel, 60 seconds, color, U.S. Dept. of Agriculture Food Safety and Quality Service.","Available on digital format.","Audio reel","Available 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","Available 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.","Available on digital format.","Audio cassette tape, Tape 1","Audio cassette tape, Tape 2","Audio Cassette Tape, WTOP Radio","DVD","Audio reel.","Available 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","There may be duplication restrictions because of copyright.","Consists of documents spanning Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual.","George Mason University. Special Collections and Archives","Arena Stage (Organization : Washington, D.C.)","Robert Prosky, 1930-2008","Prosky, Robert, 1930-","English"],"collection_title_tesim":["Robert Prosky Papers, 1909/2007"],"collection_ssim":["Robert Prosky Papers, 1909/2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0022"],"unitid_tesim":["C0022"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Robert Prosky, 1930-2008"],"creator_ssim":["Robert Prosky, 1930-2008"],"creator_persname_ssim":["Robert Prosky, 1930-2008","Prosky, Robert, 1930-"],"creator_corpname_ssim":["George Mason University. Special Collections and Archives","Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Robert Prosky, 1930-2008","Prosky, Robert, 1930-","George Mason University. Special Collections and Archives","Arena Stage (Organization : Washington, D.C.)"],"acqinfo_ssim":["Donated by Robert Prosky in 2007-2008."],"access_subjects_ssim":["Actors--United States.","Motion pictures--United States.","Television--United States.","Theater--United States.","Theater--Washington (D.C.)"],"access_subjects_ssm":["Actors--United States.","Motion pictures--United States.","Television--United States.","Theater--United States.","Theater--Washington (D.C.)"],"has_online_content_ssim":["false"],"extent_ssm":["9 linear feet (16 boxes)"],"extent_tesim":["9 linear feet (16 boxes)"],"date_range_isim":[1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\n\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eOrganized into six series:\u003c/p\u003e\n      ","\u003clist\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\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized into six series:","Series 1: Professional, 1954-2007 (Boxes 1-5)\n        Series 2: Personal, 1909-2007 (Boxes 5-8)\n        Series 3: Photographs, 1930s-2005 (Boxes 9-11)\n        Series 4: Audiovisual, 1960-2007 (Boxes 12-13)\n        Series 5: Oversize, 1950s-2006 (Boxes 14-15)\n        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 Russia, 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 began regularly appearing in films and television shows. His films include \"Mrs. Doubtfire,\" \"The Natural,\" 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.\n\u003c/p\u003e\n    "],"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 Russia, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.","Beginning in the 1980s, he began regularly appearing in films and television shows. His films include \"Mrs. Doubtfire,\" \"The Natural,\" 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 and Archives, George Mason University Libraries.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Robert Prosky papers, C0022, Special Collections and Archives, 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.\n\u003c/p\u003e\n      "],"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."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds the \u003cextptr type=\"simple\" title=\"Records of Arena Stage\" show=\"new\" href=\"http://sca.gmu.edu/collections-subject.php#THEATRE\"\u003e\u003c/extptr\u003e.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives also holds the ."],"scopecontent_html_tesm":["\u003cp\u003eConsists of documents spanning Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual.\n\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.  \n\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.\n\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.\n\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.\n\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. \n\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.\n\u003c/p\u003e\n    ","\u003cp\u003eContains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically.\n\u003c/p\u003e\n        ","\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.\n\t\u003c/p\u003e\n          ","\u003cp\u003eArena Stage. Contains press releases, reviews, and Arena Stage publications.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eArena Stage. Contains press releases, reviews, and Arena Stage publications.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eQuarterdeck Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eGonzaga College. Prosky not in cast.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eLucille Lortel Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eBerkshire Theatre Festival. Review by Herbert Wolff.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eOld Academy.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eQuarterdeck Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eBrooks Atkinson Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage. Review by Mel Gussow.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eFord's Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eAlso contains television reviews and biographical information.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eGoodman Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eJohn Golden Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eManhattan Ensemble Theater. Also contains postcards with advertisements.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eFred Miller Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eFord's Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eLee Strasberg Theatre Center.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eDelaware Theatre Company (1993) and Arena Stage (1995).\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eDouglass College. \n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage. \n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage. \n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eFred Miller Theatre. \n\t\t\u003c/p\u003e\n            ","\u003cp\u003eMorosco Theatre. Prosky not in cast.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eGate Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eCape May Stage. \n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage. Also contains a pre-production announcement. \n\t\t\u003c/p\u003e\n            ","\u003cp\u003eQuarterdeck Theatre. \n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage. Contains press releases, reviews, and Arena Stage publications.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eColonial Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eQuarterdeck Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eCoronet Theatre. Prosky not in cast.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eAmbassador Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eRoyal Poinciana Playhouse. Prosky not in cast.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eBooth Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eOne copy entirely in Russian and one with only the title translated.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eBooth Theatre. Also contains some correspondence.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eContains stories on Zelda Fichandler and Robert Prosky. \n\t\t\u003c/p\u003e\n            ","\u003cp\u003eFred Miller Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eHong Kong Arts Festival.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eGuthrie Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eAlso contains advertisements, rosters, and announcements.\n\t\t\u003c/p\u003e\n            ","\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.\" \n\t\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eAlso contains correspondence.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eContains production facts, one color production still photograph, and one black and white photograph of the director Gayle Knutson.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eAlso includes information on \"Glengarry Glenn Ross\" and television work.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eContains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\"\n\t\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eThe second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. \n\u003c/p\u003e\n        ","\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.\n\t\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eRESTRICTED\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eAlso includes correspondence about Prosky's Tony Award nomination.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\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.\n\t\u003c/p\u003e\n          ","\u003cp\u003ePost Eagle newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eColumbia Flier newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eAmerica 275 Illustrated Story no. 11-79.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eProsky nominated for \"Glengarry Glenross\".\"\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eProsky nominated for \"A Walk in the Woods\".\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eProsky won best actor in a short film for \"Grandfather's Birthday\".\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eFolder 1.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eFolder 2.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eCynthia Snyder Public Relations.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eArticle by Zelda Fichandler.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003ePresented to both Prosky and his wife Ida.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003ePhiladelphia magazine.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eProsky served as the master of ceremonies.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eProsky nominated for his role in \"Our Town\".\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eProsky honored with the American Express Tribute.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eWashington Post newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eRoxborough Times newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eHome News newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eNew York Times Newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eEquity News newsletter.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eNew York Times newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eFolder 1.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eFolder 2.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003ePresented to Prosky for his role as Mr. Buchanan in \"Jabberwocky\".\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eSun Weekly newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003ePeople Weekly magazine.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eRelax magazine. In Polish.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eNew Jersey Lifestyle magazine.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003ePen World magazine.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eWashington Post Magazine.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eDaily News newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eDossier magazine.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eWashington Times newspaper. Article mentions Prosky's Hayes award for \"The Price\".\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eAlso includes correspondence.\n\t\t\u003c/p\u003e\n            ","\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.\n\u003c/p\u003e\n        ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\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.  \n\u003c/p\u003e\n        ","\u003cp\u003eVHS, 18 minutes, color\n\t\u003c/p\u003e\n          ","\u003cp\u003eAudio reel.\n\t\u003c/p\u003e\n            ","\u003cp\u003eAvailable on digital format.\n\t\u003c/p\u003e\n          ","\u003cp\u003eReel, 60 seconds, color.\n\t\u003c/p\u003e\n            ","\u003cp\u003eAvailable on digital format.\n\t\u003c/p\u003e\n          ","\u003cp\u003eReel, 60 seconds, color, U.S. Dept. of Agriculture Food Safety and Quality Service.\n\t\u003c/p\u003e\n            ","\u003cp\u003eAvailable on digital format.\n\t\u003c/p\u003e\n          ","\u003cp\u003eAudio reel\n\t\u003c/p\u003e\n            ","\u003cp\u003eAvailable on digital format.\n\t\u003c/p\u003e\n          ","\u003cp\u003eVHS, #466216, Final Viewing Cassette\n\t\u003c/p\u003e\n          ","\u003cp\u003eVHS, #466217, Final Viewing Cassette\n\t\u003c/p\u003e\n          ","\u003cp\u003eVHS, #466218, Final Viewing Cassette\n\t\u003c/p\u003e\n          ","\u003cp\u003eVHS, #466219, Final Viewing Cassette\n\t\u003c/p\u003e\n          ","\u003cp\u003eVHS, #466220, Final Viewing Cassette\n\t\u003c/p\u003e\n          ","\u003cp\u003eVHS, #466221, Final Viewing Cassette\n\t\u003c/p\u003e\n          ","\u003cp\u003eAudio, 6 Demo spots, 7.5 IPS\n\t\u003c/p\u003e\n            ","\u003cp\u003eAvailable on digital format.\n\t\u003c/p\u003e\n          ","\u003cp\u003eVHS, 30 minutes\n\t\u003c/p\u003e\n          ","\u003cp\u003e CD, Arena Stage press photos\n\t\u003c/p\u003e\n          ","\u003cp\u003e DVD, DEMO\n\t\u003c/p\u003e\n          ","\u003cp\u003e DVD, Tape 1, Harris Theatre GMU\n\t\u003c/p\u003e\n          ","\u003cp\u003e DVD, Tape 2, Harris Theatre GMU\n\t\u003c/p\u003e\n          ","\u003cp\u003e DVD, Clips for Lecture\n\t\u003c/p\u003e\n          ","\u003cp\u003e Audio cassette tape, WABC Talk Radio 77am\n\t\u003c/p\u003e\n          ","\u003cp\u003e DVD\n\t\u003c/p\u003e\n          ","\u003cp\u003e Video reel, 60 seconds.\n\t\u003c/p\u003e\n            ","\u003cp\u003eAvailable on digital format.\n\t\u003c/p\u003e\n          ","\u003cp\u003e Audio cassette tape, Tape 1\n\t\u003c/p\u003e\n          ","\u003cp\u003e Audio cassette tape, Tape 2\n\t\u003c/p\u003e\n          ","\u003cp\u003e Audio Cassette Tape, WTOP Radio\n\t\u003c/p\u003e\n          ","\u003cp\u003e DVD\n\t\u003c/p\u003e\n          ","\u003cp\u003e Audio reel.\n\t\u003c/p\u003e\n            ","\u003cp\u003eAvailable on digital format.\n\t\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. \n\u003c/p\u003e\n        ","\u003cp\u003e Black binder with \"Thief\" label\n\t\u003c/p\u003e\n          ","\u003cp\u003e Black binder with Robert Prosky\n\t\u003c/p\u003e\n          ","\u003cp\u003e Photograph\n\t\u003c/p\u003e\n          ","\u003cp\u003e Photograph - Appearances\n\t\u003c/p\u003e\n          ","\u003cp\u003e Photograph - Theatre\n\t\u003c/p\u003e\n          ","\u003cp\u003e Nomination for Best Supporting Actor in a Television Movie \"Into Thin Air\"\n\t\u003c/p\u003e\n          ","\u003cp\u003e Six different shots\n\t\u003c/p\u003e\n          ","\u003cp\u003e Interview page 37\n\t\u003c/p\u003e\n          ","\u003cp\u003e Three matted portraits\n\t\u003c/p\u003e\n          ","\u003cp\u003e Autographed film poster\n\t\u003c/p\u003e\n          ","\u003cp\u003e Production poster\n\t\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e Photographs, newspaper clippings, playbills\n\t\u003c/p\u003e\n          ","\u003cp\u003e Blue album with flowers on cover, photographs, newspaper clippings, playbills\n\t\u003c/p\u003e\n          ","\u003cp\u003e Autographed copy by Kathryn Crosby\n\t\u003c/p\u003e\n          ","\u003cp\u003eConsists of objects from Prosky's professional career and personal life.\n\u003c/p\u003e\n        ","\u003cp\u003ePaperweight \n\t\u003c/p\u003e\n          ","\u003cp\u003e Miniature briefcase\n\t\u003c/p\u003e\n          ","\u003cp\u003eRobert Prosky's name monogrammed on one side. \n\t\u003c/p\u003e\n          ","\u003cp\u003e Ford's Theatre, Dog tags\n\t\u003c/p\u003e\n          ","\u003cp\u003e Plaque\n\t\u003c/p\u003e\n          ","\u003cp\u003e Souvenir bag\n\t\u003c/p\u003e\n          "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Consists of documents spanning Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual.","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.","Available on digital format.","Reel, 60 seconds, color.","Available on digital format.","Reel, 60 seconds, color, U.S. Dept. of Agriculture Food Safety and Quality Service.","Available on digital format.","Audio reel","Available 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","Available 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.","Available on digital format.","Audio cassette tape, Tape 1","Audio cassette tape, Tape 2","Audio Cassette Tape, WTOP Radio","DVD","Audio reel.","Available 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\u003eThere may be duplication restrictions because of copyright.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There may be duplication restrictions because of copyright."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eConsists of documents spanning Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual. \n\u003c/abstract\u003e\n      "],"abstract_tesim":["Consists of documents spanning Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual."],"corpname_ssim":["George Mason University. Special Collections and Archives","Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Robert Prosky, 1930-2008","Prosky, Robert, 1930-"],"names_ssim":["George Mason University. Special Collections and Archives","Arena Stage (Organization : Washington, D.C.)","Robert Prosky, 1930-2008","Prosky, Robert, 1930-"],"language_ssim":["English"],"total_component_count_is":331,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:52:39.323Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_prosky","ead_ssi":"vifgm_prosky","_root_":"vifgm_prosky","_nest_parent_":"vifgm_prosky","ead_source_url_ssi":"data/gmu/prosky.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/prosky.html","title_ssm":["Robert Prosky Papers"],"title_tesim":["Robert Prosky Papers"],"unitdate_ssm":["1909-2007"],"unitdate_inclusive_ssm":["1909-2007"],"normalized_date_ssm":["1909/2007"],"normalized_title_ssm":["Robert Prosky Papers, 1909/2007"],"text":["Robert Prosky Papers, 1909/2007","C0022","Actors--United States.","Motion pictures--United States.","Television--United States.","Theater--United States.","Theater--Washington (D.C.)","There are no access restrictions.","Organized into six series:","Series 1: Professional, 1954-2007 (Boxes 1-5)\n        Series 2: Personal, 1909-2007 (Boxes 5-8)\n        Series 3: Photographs, 1930s-2005 (Boxes 9-11)\n        Series 4: Audiovisual, 1960-2007 (Boxes 12-13)\n        Series 5: Oversize, 1950s-2006 (Boxes 14-15)\n        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 Russia, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.","Beginning in the 1980s, he began regularly appearing in films and television shows. His films include \"Mrs. Doubtfire,\" \"The Natural,\" 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.","Special Collections and Archives also holds the .","Consists of documents spanning Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual.","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.","Available on digital format.","Reel, 60 seconds, color.","Available on digital format.","Reel, 60 seconds, color, U.S. Dept. of Agriculture Food Safety and Quality Service.","Available on digital format.","Audio reel","Available 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","Available 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.","Available on digital format.","Audio cassette tape, Tape 1","Audio cassette tape, Tape 2","Audio Cassette Tape, WTOP Radio","DVD","Audio reel.","Available 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","There may be duplication restrictions because of copyright.","Consists of documents spanning Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual.","George Mason University. Special Collections and Archives","Arena Stage (Organization : Washington, D.C.)","Robert Prosky, 1930-2008","Prosky, Robert, 1930-","English"],"collection_title_tesim":["Robert Prosky Papers, 1909/2007"],"collection_ssim":["Robert Prosky Papers, 1909/2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0022"],"unitid_tesim":["C0022"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Robert Prosky, 1930-2008"],"creator_ssim":["Robert Prosky, 1930-2008"],"creator_persname_ssim":["Robert Prosky, 1930-2008","Prosky, Robert, 1930-"],"creator_corpname_ssim":["George Mason University. Special Collections and Archives","Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Robert Prosky, 1930-2008","Prosky, Robert, 1930-","George Mason University. Special Collections and Archives","Arena Stage (Organization : Washington, D.C.)"],"acqinfo_ssim":["Donated by Robert Prosky in 2007-2008."],"access_subjects_ssim":["Actors--United States.","Motion pictures--United States.","Television--United States.","Theater--United States.","Theater--Washington (D.C.)"],"access_subjects_ssm":["Actors--United States.","Motion pictures--United States.","Television--United States.","Theater--United States.","Theater--Washington (D.C.)"],"has_online_content_ssim":["false"],"extent_ssm":["9 linear feet (16 boxes)"],"extent_tesim":["9 linear feet (16 boxes)"],"date_range_isim":[1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\n\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eOrganized into six series:\u003c/p\u003e\n      ","\u003clist\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\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized into six series:","Series 1: Professional, 1954-2007 (Boxes 1-5)\n        Series 2: Personal, 1909-2007 (Boxes 5-8)\n        Series 3: Photographs, 1930s-2005 (Boxes 9-11)\n        Series 4: Audiovisual, 1960-2007 (Boxes 12-13)\n        Series 5: Oversize, 1950s-2006 (Boxes 14-15)\n        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 Russia, 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 began regularly appearing in films and television shows. His films include \"Mrs. Doubtfire,\" \"The Natural,\" 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.\n\u003c/p\u003e\n    "],"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 Russia, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.","Beginning in the 1980s, he began regularly appearing in films and television shows. His films include \"Mrs. Doubtfire,\" \"The Natural,\" 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 and Archives, George Mason University Libraries.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Robert Prosky papers, C0022, Special Collections and Archives, 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.\n\u003c/p\u003e\n      "],"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."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds the \u003cextptr type=\"simple\" title=\"Records of Arena Stage\" show=\"new\" href=\"http://sca.gmu.edu/collections-subject.php#THEATRE\"\u003e\u003c/extptr\u003e.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives also holds the ."],"scopecontent_html_tesm":["\u003cp\u003eConsists of documents spanning Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual.\n\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.  \n\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.\n\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.\n\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.\n\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. \n\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.\n\u003c/p\u003e\n    ","\u003cp\u003eContains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically.\n\u003c/p\u003e\n        ","\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.\n\t\u003c/p\u003e\n          ","\u003cp\u003eArena Stage. Contains press releases, reviews, and Arena Stage publications.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eArena Stage. Contains press releases, reviews, and Arena Stage publications.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eQuarterdeck Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eGonzaga College. Prosky not in cast.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eLucille Lortel Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eBerkshire Theatre Festival. Review by Herbert Wolff.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eOld Academy.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eQuarterdeck Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eBrooks Atkinson Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage. Review by Mel Gussow.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eFord's Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eAlso contains television reviews and biographical information.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eGoodman Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eJohn Golden Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eManhattan Ensemble Theater. Also contains postcards with advertisements.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eFred Miller Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eFord's Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eLee Strasberg Theatre Center.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eDelaware Theatre Company (1993) and Arena Stage (1995).\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eDouglass College. \n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage. \n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage. \n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eFred Miller Theatre. \n\t\t\u003c/p\u003e\n            ","\u003cp\u003eMorosco Theatre. Prosky not in cast.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eGate Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eCape May Stage. \n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage. Also contains a pre-production announcement. \n\t\t\u003c/p\u003e\n            ","\u003cp\u003eQuarterdeck Theatre. \n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage. Contains press releases, reviews, and Arena Stage publications.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eColonial Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eQuarterdeck Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eCoronet Theatre. Prosky not in cast.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eAmbassador Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eRoyal Poinciana Playhouse. Prosky not in cast.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eBooth Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eOne copy entirely in Russian and one with only the title translated.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eBooth Theatre. Also contains some correspondence.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eContains stories on Zelda Fichandler and Robert Prosky. \n\t\t\u003c/p\u003e\n            ","\u003cp\u003eFred Miller Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eHong Kong Arts Festival.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eGuthrie Theatre.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eAlso contains advertisements, rosters, and announcements.\n\t\t\u003c/p\u003e\n            ","\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.\" \n\t\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eAlso contains correspondence.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eContains production facts, one color production still photograph, and one black and white photograph of the director Gayle Knutson.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eAlso includes information on \"Glengarry Glenn Ross\" and television work.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eContains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\"\n\t\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eThe second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. \n\u003c/p\u003e\n        ","\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.\n\t\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eRESTRICTED\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eAlso includes correspondence about Prosky's Tony Award nomination.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\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.\n\t\u003c/p\u003e\n          ","\u003cp\u003ePost Eagle newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eColumbia Flier newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eAmerica 275 Illustrated Story no. 11-79.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eProsky nominated for \"Glengarry Glenross\".\"\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eProsky nominated for \"A Walk in the Woods\".\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eProsky won best actor in a short film for \"Grandfather's Birthday\".\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eFolder 1.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eFolder 2.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eCynthia Snyder Public Relations.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eArticle by Zelda Fichandler.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003ePresented to both Prosky and his wife Ida.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003ePhiladelphia magazine.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eProsky served as the master of ceremonies.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eProsky nominated for his role in \"Our Town\".\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eProsky honored with the American Express Tribute.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eWashington Post newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eRoxborough Times newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eHome News newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eNew York Times Newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eEquity News newsletter.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eNew York Times newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eArena Stage.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eFolder 1.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eFolder 2.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003ePresented to Prosky for his role as Mr. Buchanan in \"Jabberwocky\".\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eSun Weekly newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003ePeople Weekly magazine.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eRelax magazine. In Polish.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eNew Jersey Lifestyle magazine.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003ePen World magazine.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eWashington Post Magazine.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eDaily News newspaper.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eDossier magazine.\n\t\t\u003c/p\u003e\n            ","\u003cp\u003eWashington Times newspaper. Article mentions Prosky's Hayes award for \"The Price\".\n\t\t\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003e\u003c/p\u003e\n            ","\u003cp\u003eAlso includes correspondence.\n\t\t\u003c/p\u003e\n            ","\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.\n\u003c/p\u003e\n        ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\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.  \n\u003c/p\u003e\n        ","\u003cp\u003eVHS, 18 minutes, color\n\t\u003c/p\u003e\n          ","\u003cp\u003eAudio reel.\n\t\u003c/p\u003e\n            ","\u003cp\u003eAvailable on digital format.\n\t\u003c/p\u003e\n          ","\u003cp\u003eReel, 60 seconds, color.\n\t\u003c/p\u003e\n            ","\u003cp\u003eAvailable on digital format.\n\t\u003c/p\u003e\n          ","\u003cp\u003eReel, 60 seconds, color, U.S. Dept. of Agriculture Food Safety and Quality Service.\n\t\u003c/p\u003e\n            ","\u003cp\u003eAvailable on digital format.\n\t\u003c/p\u003e\n          ","\u003cp\u003eAudio reel\n\t\u003c/p\u003e\n            ","\u003cp\u003eAvailable on digital format.\n\t\u003c/p\u003e\n          ","\u003cp\u003eVHS, #466216, Final Viewing Cassette\n\t\u003c/p\u003e\n          ","\u003cp\u003eVHS, #466217, Final Viewing Cassette\n\t\u003c/p\u003e\n          ","\u003cp\u003eVHS, #466218, Final Viewing Cassette\n\t\u003c/p\u003e\n          ","\u003cp\u003eVHS, #466219, Final Viewing Cassette\n\t\u003c/p\u003e\n          ","\u003cp\u003eVHS, #466220, Final Viewing Cassette\n\t\u003c/p\u003e\n          ","\u003cp\u003eVHS, #466221, Final Viewing Cassette\n\t\u003c/p\u003e\n          ","\u003cp\u003eAudio, 6 Demo spots, 7.5 IPS\n\t\u003c/p\u003e\n            ","\u003cp\u003eAvailable on digital format.\n\t\u003c/p\u003e\n          ","\u003cp\u003eVHS, 30 minutes\n\t\u003c/p\u003e\n          ","\u003cp\u003e CD, Arena Stage press photos\n\t\u003c/p\u003e\n          ","\u003cp\u003e DVD, DEMO\n\t\u003c/p\u003e\n          ","\u003cp\u003e DVD, Tape 1, Harris Theatre GMU\n\t\u003c/p\u003e\n          ","\u003cp\u003e DVD, Tape 2, Harris Theatre GMU\n\t\u003c/p\u003e\n          ","\u003cp\u003e DVD, Clips for Lecture\n\t\u003c/p\u003e\n          ","\u003cp\u003e Audio cassette tape, WABC Talk Radio 77am\n\t\u003c/p\u003e\n          ","\u003cp\u003e DVD\n\t\u003c/p\u003e\n          ","\u003cp\u003e Video reel, 60 seconds.\n\t\u003c/p\u003e\n            ","\u003cp\u003eAvailable on digital format.\n\t\u003c/p\u003e\n          ","\u003cp\u003e Audio cassette tape, Tape 1\n\t\u003c/p\u003e\n          ","\u003cp\u003e Audio cassette tape, Tape 2\n\t\u003c/p\u003e\n          ","\u003cp\u003e Audio Cassette Tape, WTOP Radio\n\t\u003c/p\u003e\n          ","\u003cp\u003e DVD\n\t\u003c/p\u003e\n          ","\u003cp\u003e Audio reel.\n\t\u003c/p\u003e\n            ","\u003cp\u003eAvailable on digital format.\n\t\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. \n\u003c/p\u003e\n        ","\u003cp\u003e Black binder with \"Thief\" label\n\t\u003c/p\u003e\n          ","\u003cp\u003e Black binder with Robert Prosky\n\t\u003c/p\u003e\n          ","\u003cp\u003e Photograph\n\t\u003c/p\u003e\n          ","\u003cp\u003e Photograph - Appearances\n\t\u003c/p\u003e\n          ","\u003cp\u003e Photograph - Theatre\n\t\u003c/p\u003e\n          ","\u003cp\u003e Nomination for Best Supporting Actor in a Television Movie \"Into Thin Air\"\n\t\u003c/p\u003e\n          ","\u003cp\u003e Six different shots\n\t\u003c/p\u003e\n          ","\u003cp\u003e Interview page 37\n\t\u003c/p\u003e\n          ","\u003cp\u003e Three matted portraits\n\t\u003c/p\u003e\n          ","\u003cp\u003e Autographed film poster\n\t\u003c/p\u003e\n          ","\u003cp\u003e Production poster\n\t\u003c/p\u003e\n          ","\u003cp\u003e\u003c/p\u003e\n          ","\u003cp\u003e Photographs, newspaper clippings, playbills\n\t\u003c/p\u003e\n          ","\u003cp\u003e Blue album with flowers on cover, photographs, newspaper clippings, playbills\n\t\u003c/p\u003e\n          ","\u003cp\u003e Autographed copy by Kathryn Crosby\n\t\u003c/p\u003e\n          ","\u003cp\u003eConsists of objects from Prosky's professional career and personal life.\n\u003c/p\u003e\n        ","\u003cp\u003ePaperweight \n\t\u003c/p\u003e\n          ","\u003cp\u003e Miniature briefcase\n\t\u003c/p\u003e\n          ","\u003cp\u003eRobert Prosky's name monogrammed on one side. \n\t\u003c/p\u003e\n          ","\u003cp\u003e Ford's Theatre, Dog tags\n\t\u003c/p\u003e\n          ","\u003cp\u003e Plaque\n\t\u003c/p\u003e\n          ","\u003cp\u003e Souvenir bag\n\t\u003c/p\u003e\n          "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Consists of documents spanning Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual.","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.","Available on digital format.","Reel, 60 seconds, color.","Available on digital format.","Reel, 60 seconds, color, U.S. Dept. of Agriculture Food Safety and Quality Service.","Available on digital format.","Audio reel","Available 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","Available 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.","Available on digital format.","Audio cassette tape, Tape 1","Audio cassette tape, Tape 2","Audio Cassette Tape, WTOP Radio","DVD","Audio reel.","Available 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\u003eThere may be duplication restrictions because of copyright.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There may be duplication restrictions because of copyright."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eConsists of documents spanning Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual. \n\u003c/abstract\u003e\n      "],"abstract_tesim":["Consists of documents spanning Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual."],"corpname_ssim":["George Mason University. Special Collections and Archives","Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Robert Prosky, 1930-2008","Prosky, Robert, 1930-"],"names_ssim":["George Mason University. Special Collections and Archives","Arena Stage (Organization : Washington, D.C.)","Robert Prosky, 1930-2008","Prosky, Robert, 1930-"],"language_ssim":["English"],"total_component_count_is":331,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:52:39.323Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_prosky"}}],"included":[{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"George Mason University","value":"George Mason University","hits":13},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater--Washington+%28D.C.%29\u0026f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026view=list"}}]},"links":{"self":"https://arvasarchive.org/catalog/facet/repository_ssim.json?f%5Baccess_subjects%5D%5B%5D=Theater--Washington+%28D.C.%29\u0026f%5Blevel%5D%5B%5D=Collection\u0026view=list"}},{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Arena Stage records, 1949/2010","value":"Arena Stage records, 1949/2010","hits":1},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater--Washington+%28D.C.%29\u0026f%5Bcollection%5D%5B%5D=Arena+Stage+records%2C+1949%2F2010\u0026f%5Blevel%5D%5B%5D=Collection\u0026view=list"}},{"attributes":{"label":"Claire Kincannon theatre collection, 1955/2011","value":"Claire Kincannon theatre collection, 1955/2011","hits":1},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater--Washington+%28D.C.%29\u0026f%5Bcollection%5D%5B%5D=Claire+Kincannon+theatre+collection%2C+1955%2F2011\u0026f%5Blevel%5D%5B%5D=Collection\u0026view=list"}},{"attributes":{"label":"Frank Mack papers","value":"Frank Mack papers","hits":1},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater--Washington+%28D.C.%29\u0026f%5Bcollection%5D%5B%5D=Frank+Mack+papers\u0026f%5Blevel%5D%5B%5D=Collection\u0026view=list"}},{"attributes":{"label":"Garrick Players photograph collection, 1965/1968","value":"Garrick Players photograph collection, 1965/1968","hits":1},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater--Washington+%28D.C.%29\u0026f%5Bcollection%5D%5B%5D=Garrick+Players+photograph+collection%2C+1965%2F1968\u0026f%5Blevel%5D%5B%5D=Collection\u0026view=list"}},{"attributes":{"label":"George Mason University Jean M. Lander collection, 1837/1896","value":"George Mason University Jean M. Lander collection, 1837/1896","hits":1},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater--Washington+%28D.C.%29\u0026f%5Bcollection%5D%5B%5D=George+Mason+University+Jean+M.+Lander+collection%2C+1837%2F1896\u0026f%5Blevel%5D%5B%5D=Collection\u0026view=list"}},{"attributes":{"label":"J. Burke Knapp papers","value":"J. 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