{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1980\u0026page=5471\u0026view=list","prev":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1980\u0026page=5470\u0026view=list","next":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1980\u0026page=5472\u0026view=list","last":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1980\u0026page=5478\u0026view=list"},"meta":{"pages":{"current_page":5471,"next_page":5472,"prev_page":5470,"total_pages":5478,"limit_value":10,"offset_value":54700,"total_count":54774,"first_page?":false,"last_page?":false}},"data":[{"id":"vifgm_repositories_2_resources_150_c01_c01_c64","type":"File","attributes":{"title":"\"You Can't Take It with You\" Playbill, 1980","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_150_c01_c01_c64#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eHong Kong Arts Festival.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_150_c01_c01_c64#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_150_c01_c01_c64","ref_ssm":["vifgm_repositories_2_resources_150_c01_c01_c64"],"id":"vifgm_repositories_2_resources_150_c01_c01_c64","ead_ssi":"vifgm_repositories_2_resources_150","_root_":"vifgm_repositories_2_resources_150","_nest_parent_":"vifgm_repositories_2_resources_150_c01_c01","parent_ssi":"vifgm_repositories_2_resources_150_c01_c01","parent_ssim":["Robert Prosky papers","Series 1: Professional, 1954/2007","Subseries 1.1: Theater, 1954/2007"],"parent_ids_ssim":["vifgm_repositories_2_resources_150","vifgm_repositories_2_resources_150_c01","vifgm_repositories_2_resources_150_c01_c01"],"title_filing_ssi":"\"You Can't Take It with You\" Playbill","title_ssm":["\"You Can't Take It with You\" Playbill"],"title_tesim":["\"You Can't Take It with You\" Playbill"],"normalized_title_ssm":["\"You Can't Take It with You\" Playbill, 1980"],"text":["\"You Can't Take It with You\" Playbill, 1980","Robert Prosky papers","Series 1: Professional, 1954/2007","Subseries 1.1: Theater, 1954/2007","box 3","folder 19","Hong Kong Arts Festival."],"parent_unittitles_ssm":["Robert Prosky papers","Series 1: Professional, 1954/2007","Subseries 1.1: Theater, 1954/2007"],"parent_unittitles_tesim":["Robert Prosky papers","Series 1: Professional, 1954/2007","Subseries 1.1: Theater, 1954/2007"],"normalized_date_ssm":["1980"],"unitdate_other_ssim":["1980"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[3],"sort_isi":66,"repository_ssim":["George Mason University"],"collection_ssim":["Robert Prosky papers"],"containers_ssim":["box 3","folder 19"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1980],"scopecontent_html_tesm":["\u003cp\u003eHong Kong Arts Festival.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["Hong Kong Arts Festival."],"_nest_path_":"/components#0/components#0/components#63","timestamp":"2026-08-14T22:34:21.201Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_150","ead_ssi":"vifgm_repositories_2_resources_150","_root_":"vifgm_repositories_2_resources_150","_nest_parent_":"vifgm_repositories_2_resources_150","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_150.xml","title_filing_ssi":"Robert Prosky papers","title_ssm":["Robert Prosky papers"],"title_tesim":["Robert Prosky papers"],"unitdate_ssm":["1909-2007"],"unitdate_inclusive_ssm":["1909-2007"],"normalized_title_ssm":["Robert Prosky papers"],"text":["Robert Prosky papers","C0022","/repositories/2/resources/150","Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings","There are no access restrictions.","Audiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information.","Arranged into six series:","Series\n      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 the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.","Beginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.","He received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C.","Processed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025.","The Special Collections Research Center also holds the  and the papers of other Washington, D.C. theatre artists.","An oral history was performed with Robert Prosky for the  and is available for access.","Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.","The collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series.","The second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks.","The third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks.","The fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations.","The fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life.","The sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Prosky, Robert, 1930-2008","English"],"collection_title_tesim":["Robert Prosky papers"],"collection_ssim":["Robert Prosky papers"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0022","/repositories/2/resources/150"],"unitid_tesim":["C0022","/repositories/2/resources/150"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Prosky, Robert, 1930-2008"],"creator_ssim":["Prosky, Robert, 1930-2008"],"creator_persname_ssim":["Prosky, Robert, 1930-2008"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Prosky, Robert, 1930-2008","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Robert Prosky in 2007-2008."],"access_subjects_ssim":["Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings"],"access_subjects_ssm":["Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings"],"has_online_content_ssim":["false"],"extent_ssm":["9 Linear Feet 16 boxes"],"extent_tesim":["9 Linear Feet 16 boxes"],"genreform_ssim":["Photographs","Video recordings"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eAudiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Audiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information."],"arrangement_html_tesm":["\u003cp\u003eArranged into six series:\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Professional, 1954-2007 (Boxes 1-5)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Personal, 1909-2007 (Boxes 5-8)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, 1930s-2005 (Boxes 9-11)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Audiovisual, 1960-2007 (Boxes 12-13)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Oversize, 1950s-2006 (Boxes 14-15)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Realia, 1998-2004 (Box 16)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into six series:","Series\n      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 the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.\u003c/p\u003e","\u003cp\u003eBeginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.\u003c/p\u003e","\u003cp\u003eHe received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Born in Philadelphia, Robert Prosky (1930-2008) spent much of his career as an actor in more than 200 plays at the Arena Stage in Washington, D.C., on Broadway in New York City, and in regional theatre. Prosky's association with the Arena Stage included more than 130 productions over the course of 20 years. His Broadway appearances included \"Glengarry Glenross,\" \"A Walk in the Woods,\" and \"A View from the Bridge.\" Highlights from regional theater include \"Death of a Salesman,\" \"Twelfth Night,\" and \"You Can't Take It With You.\" He also performed on stage in the Moscow Art Theatre in the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.","Beginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.","He received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C."],"prefercite_html_tesm":["\u003cp\u003eRobert Prosky papers, C0022, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Robert Prosky papers, C0022, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Arena Stage records\" href=\"https://aspace.gmu.edu/resources/c0017\"\u003e\u003c/extptr\u003e and the papers of other Washington, D.C. theatre artists.\u003c/p\u003e","\u003cp\u003eAn oral history was performed with Robert Prosky for the \u003cextptr show=\"new\" title=\"George Mason University Oral History Program collection\" href=\"https://aspace.gmu.edu/resources/r0121\"\u003e\u003c/extptr\u003e and is available for access.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  and the papers of other Washington, D.C. theatre artists.","An oral history was performed with Robert Prosky for the  and is available for access."],"scopecontent_html_tesm":["\u003cp\u003eConsists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials. \u003c/p\u003e","\u003cp\u003eThe collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series. \u003c/p\u003e","\u003cp\u003eThe second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks. \u003c/p\u003e","\u003cp\u003eThe third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks. \u003c/p\u003e","\u003cp\u003eThe fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations. \u003c/p\u003e","\u003cp\u003eThe fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life. \u003c/p\u003e","\u003cp\u003eThe sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.","The collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series.","The second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks.","The third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks.","The fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations.","The fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life.","The sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_cb72825d540615d1fef3eb400e234f81\" label=\"Abstract\"\u003eConsists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.\u003c/abstract\u003e\n    "],"abstract_tesim":["Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Prosky, Robert, 1930-2008"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Prosky, Robert, 1930-2008"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:21.201Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_150_c01_c01_c64"}},{"id":"vifgm_arenastage_c01_c05_c03_c929","type":"File","attributes":{"title":"You Can't Take it With You reviews, 1979/1980","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_arenastage_c01_c05_c03_c929#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003e\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_arenastage_c01_c05_c03_c929#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_arenastage_c01_c05_c03_c929","ref_ssm":["vifgm_arenastage_c01_c05_c03_c929"],"id":"vifgm_arenastage_c01_c05_c03_c929","ead_ssi":"vifgm_arenastage","_root_":"vifgm_arenastage","_nest_parent_":"vifgm_arenastage_c01_c05_c03","parent_ssi":"vifgm_arenastage_c01_c05_c03","parent_ssim":["Arena Stage records, 1949/2010","Series 1: Administrative records, 1949/2007","Subseries 1.5: Communications and Events, 1950/2006","Sub-subseries 1.5.3: Printed material, 1950/2006"],"parent_ids_ssim":["vifgm_arenastage","vifgm_arenastage_c01","vifgm_arenastage_c01_c05","vifgm_arenastage_c01_c05_c03"],"title_filing_ssi":"You Can't Take it With You reviews,","title_ssm":["You Can't Take it With You reviews"],"title_tesim":["You Can't Take it With You reviews"],"normalized_title_ssm":["You Can't Take it With You reviews, 1979/1980"],"text":["You Can't Take it With You reviews, 1979/1980","Arena Stage records, 1949/2010","Series 1: Administrative records, 1949/2007","Subseries 1.5: Communications and Events, 1950/2006","Sub-subseries 1.5.3: Printed material, 1950/2006","Box 187","Folder 25"],"parent_unittitles_ssm":["Arena Stage records, 1949/2010","Series 1: Administrative records, 1949/2007","Subseries 1.5: Communications and Events, 1950/2006","Sub-subseries 1.5.3: Printed material, 1950/2006"],"parent_unittitles_tesim":["Arena Stage records, 1949/2010","Series 1: Administrative records, 1949/2007","Subseries 1.5: Communications and Events, 1950/2006","Sub-subseries 1.5.3: Printed material, 1950/2006"],"normalized_date_ssm":["1979/1980"],"unitdate_other_ssim":["1979-1980"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[4],"sort_isi":3552,"repository_ssim":["George Mason University"],"collection_ssim":["Arena Stage records, 1949/2010"],"containers_ssim":["Box 187","Folder 25"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["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."],"parent_access_terms_tesm":["There are no restrictions."],"date_range_isim":[1979,1980],"scopecontent_html_tesm":["\u003cp\u003e\u003c/p\u003e\n              "],"_nest_path_":"/components#0/components#4/components#2/components#928","timestamp":"2026-08-14T22:33:52.170Z","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.","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.","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    "],"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."],"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    "],"scopecontent_heading_ssm":["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."],"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":"2026-08-14T22:33:52.170Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_arenastage_c01_c05_c03_c929"}},{"id":"vifgm_repositories_2_resources_416_c01_c05_c03_c929","type":"File","attributes":{"title":"You Can't Take it With You reviews, 1979/1980","breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_416_c01_c05_c03_c929#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_416_c01_c05_c03_c929","ref_ssm":["vifgm_repositories_2_resources_416_c01_c05_c03_c929"],"id":"vifgm_repositories_2_resources_416_c01_c05_c03_c929","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416_c01_c05_c03","parent_ssi":"vifgm_repositories_2_resources_416_c01_c05_c03","parent_ssim":["Arena Stage records, 1949/2010","Series 1: Administrative records, 1949/2007","Subseries 1.5: Communications and Events, 1950/2006","Sub-subseries 1.5.3: Printed material, 1950/2006"],"parent_ids_ssim":["vifgm_repositories_2_resources_416","vifgm_repositories_2_resources_416_c01","vifgm_repositories_2_resources_416_c01_c05","vifgm_repositories_2_resources_416_c01_c05_c03"],"title_filing_ssi":"You Can't Take it With You reviews","title_ssm":["You Can't Take it With You reviews"],"title_tesim":["You Can't Take it With You reviews"],"normalized_title_ssm":["You Can't Take it With You reviews, 1979/1980"],"text":["You Can't Take it With You reviews, 1979/1980","Arena Stage records, 1949/2010","Series 1: Administrative records, 1949/2007","Subseries 1.5: Communications and Events, 1950/2006","Sub-subseries 1.5.3: Printed material, 1950/2006","box 187","folder 25"],"parent_unittitles_ssm":["Arena Stage records, 1949/2010","Series 1: Administrative records, 1949/2007","Subseries 1.5: Communications and Events, 1950/2006","Sub-subseries 1.5.3: Printed material, 1950/2006"],"parent_unittitles_tesim":["Arena Stage records, 1949/2010","Series 1: Administrative records, 1949/2007","Subseries 1.5: Communications and Events, 1950/2006","Sub-subseries 1.5.3: Printed material, 1950/2006"],"normalized_date_ssm":["1979/1980"],"unitdate_other_ssim":["1979-1980"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[4],"sort_isi":3552,"repository_ssim":["George Mason University"],"collection_ssim":["Arena Stage records, 1949/2010"],"containers_ssim":["box 187","folder 25"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1979,1980],"scopecontent_heading_ssm":["Scope and Contents note"],"_nest_path_":"/components#0/components#4/components#2/components#928","timestamp":"2026-08-14T22:34:46.877Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_416","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_416.xml","title_filing_ssi":"Arena Stage records","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","/repositories/2/resources/416","Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints","There are no access restrictions.","to this collection are expected.","The collection is arranged into five series, each of which is further divided into subseries:","Series\n      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, D.C.'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 D.C., 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 Theatre 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 U.S.S.R. 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 served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","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 Wiest, 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 film and audio reels, 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 Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.","The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.","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.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","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.","R 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016","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","/repositories/2/resources/416"],"unitid_tesim":["C0017","/repositories/2/resources/416"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage (Organization : Washington, D.C.)"],"creator_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creator_persname_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000-2024.","This collection has additional unprocessed accessions 2023.040-C and 2024.088-C, and therefore this finding aid may not be fully up to date. Please contact SCRC for more information."],"access_subjects_ssim":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"access_subjects_ssm":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"has_online_content_ssim":["false"],"extent_ssm":["369.5 Linear Feet 739 boxes"],"extent_tesim":["369.5 Linear Feet 739 boxes"],"genreform_ssim":["Video recordings","Sound recordings","Photographic prints"],"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\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"accruals_html_tesm":["\u003cp\u003eto this collection are expected.\u003c/p\u003e  "],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["to this collection are expected."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\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\n      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\u003cextptr href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\"\u003e\u003c/extptr\u003e \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 \u003cextptr href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e  "],"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, D.C.'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 D.C., 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","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's \u003citalic\u003eShe Stoops to Conquer.\u003c/italic\u003e 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","\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","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: \u003citalic\u003eThe Great White Hope.\u003c/italic\u003e \u003citalic\u003eThe Great White Hope\u003c/italic\u003e 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 \u003citalic\u003eKing Lear\u003c/italic\u003e and \u003citalic\u003eThe Threepenny Opera\u003c/italic\u003e, 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","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, \u003citalic\u003eOur Town\u003c/italic\u003e and \u003citalic\u003eInherit the Wind\u003c/italic\u003e to the U.S.S.R. 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 \u003citalic\u003eInherit the Wind\u003c/italic\u003e 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","\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 \u003citalic\u003eK2\u003c/italic\u003e, 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 \u003citalic\u003eThe Crucible\u003c/italic\u003e at the Israel Festival.\u003c/p\u003e","\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 served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.\u003c/p\u003e","\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 Wiest, 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  "],"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, D.C.'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 D.C., 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 Theatre 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 U.S.S.R. 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 served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","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 Wiest, 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 film and audio reels, 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  "],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to film and audio reels, 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 Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Arena Stage records, C0017, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records."],"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","\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","\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","\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","\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","\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  "],"scopecontent_heading_ssm":["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."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_ec96c412f915842d3012676b73803163\" 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."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_22f8958322c3fdee6366a384bb686980\"\u003e\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5\u003c/physloc\u003e\n    "],"physloc_tesim":["R 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"names_coll_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"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":"2026-08-14T22:34:46.877Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_416_c01_c05_c03_c929"}},{"id":"vifgm_repositories_2_resources_150_c01_c01_c67","type":"File","attributes":{"title":"\"You Can't Take It with You\" Reviews, 1979/1998","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_150_c01_c01_c67#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eAlso contains advertisements, rosters, and announcements.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_150_c01_c01_c67#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_150_c01_c01_c67","ref_ssm":["vifgm_repositories_2_resources_150_c01_c01_c67"],"id":"vifgm_repositories_2_resources_150_c01_c01_c67","ead_ssi":"vifgm_repositories_2_resources_150","_root_":"vifgm_repositories_2_resources_150","_nest_parent_":"vifgm_repositories_2_resources_150_c01_c01","parent_ssi":"vifgm_repositories_2_resources_150_c01_c01","parent_ssim":["Robert Prosky papers","Series 1: Professional, 1954/2007","Subseries 1.1: Theater, 1954/2007"],"parent_ids_ssim":["vifgm_repositories_2_resources_150","vifgm_repositories_2_resources_150_c01","vifgm_repositories_2_resources_150_c01_c01"],"title_filing_ssi":"\"You Can't Take It with You\" Reviews","title_ssm":["\"You Can't Take It with You\" Reviews"],"title_tesim":["\"You Can't Take It with You\" Reviews"],"normalized_title_ssm":["\"You Can't Take It with You\" Reviews, 1979/1998"],"text":["\"You Can't Take It with You\" Reviews, 1979/1998","Robert Prosky papers","Series 1: Professional, 1954/2007","Subseries 1.1: Theater, 1954/2007","box 3","folder 22","Also contains advertisements, rosters, and announcements."],"parent_unittitles_ssm":["Robert Prosky papers","Series 1: Professional, 1954/2007","Subseries 1.1: Theater, 1954/2007"],"parent_unittitles_tesim":["Robert Prosky papers","Series 1: Professional, 1954/2007","Subseries 1.1: Theater, 1954/2007"],"normalized_date_ssm":["1979/1998"],"unitdate_other_ssim":["1979-1980, 1997-1998"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[3],"sort_isi":69,"repository_ssim":["George Mason University"],"collection_ssim":["Robert Prosky papers"],"containers_ssim":["box 3","folder 22"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998],"scopecontent_html_tesm":["\u003cp\u003eAlso contains advertisements, rosters, and announcements.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["Also contains advertisements, rosters, and announcements."],"_nest_path_":"/components#0/components#0/components#66","timestamp":"2026-08-14T22:34:21.201Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_150","ead_ssi":"vifgm_repositories_2_resources_150","_root_":"vifgm_repositories_2_resources_150","_nest_parent_":"vifgm_repositories_2_resources_150","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_150.xml","title_filing_ssi":"Robert Prosky papers","title_ssm":["Robert Prosky papers"],"title_tesim":["Robert Prosky papers"],"unitdate_ssm":["1909-2007"],"unitdate_inclusive_ssm":["1909-2007"],"normalized_title_ssm":["Robert Prosky papers"],"text":["Robert Prosky papers","C0022","/repositories/2/resources/150","Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings","There are no access restrictions.","Audiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information.","Arranged into six series:","Series\n      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 the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.","Beginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.","He received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C.","Processed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025.","The Special Collections Research Center also holds the  and the papers of other Washington, D.C. theatre artists.","An oral history was performed with Robert Prosky for the  and is available for access.","Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.","The collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series.","The second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks.","The third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks.","The fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations.","The fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life.","The sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Prosky, Robert, 1930-2008","English"],"collection_title_tesim":["Robert Prosky papers"],"collection_ssim":["Robert Prosky papers"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0022","/repositories/2/resources/150"],"unitid_tesim":["C0022","/repositories/2/resources/150"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Prosky, Robert, 1930-2008"],"creator_ssim":["Prosky, Robert, 1930-2008"],"creator_persname_ssim":["Prosky, Robert, 1930-2008"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Prosky, Robert, 1930-2008","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Robert Prosky in 2007-2008."],"access_subjects_ssim":["Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings"],"access_subjects_ssm":["Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings"],"has_online_content_ssim":["false"],"extent_ssm":["9 Linear Feet 16 boxes"],"extent_tesim":["9 Linear Feet 16 boxes"],"genreform_ssim":["Photographs","Video recordings"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eAudiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Audiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information."],"arrangement_html_tesm":["\u003cp\u003eArranged into six series:\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Professional, 1954-2007 (Boxes 1-5)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Personal, 1909-2007 (Boxes 5-8)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, 1930s-2005 (Boxes 9-11)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Audiovisual, 1960-2007 (Boxes 12-13)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Oversize, 1950s-2006 (Boxes 14-15)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Realia, 1998-2004 (Box 16)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into six series:","Series\n      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 the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.\u003c/p\u003e","\u003cp\u003eBeginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.\u003c/p\u003e","\u003cp\u003eHe received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Born in Philadelphia, Robert Prosky (1930-2008) spent much of his career as an actor in more than 200 plays at the Arena Stage in Washington, D.C., on Broadway in New York City, and in regional theatre. Prosky's association with the Arena Stage included more than 130 productions over the course of 20 years. His Broadway appearances included \"Glengarry Glenross,\" \"A Walk in the Woods,\" and \"A View from the Bridge.\" Highlights from regional theater include \"Death of a Salesman,\" \"Twelfth Night,\" and \"You Can't Take It With You.\" He also performed on stage in the Moscow Art Theatre in the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.","Beginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.","He received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C."],"prefercite_html_tesm":["\u003cp\u003eRobert Prosky papers, C0022, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Robert Prosky papers, C0022, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Arena Stage records\" href=\"https://aspace.gmu.edu/resources/c0017\"\u003e\u003c/extptr\u003e and the papers of other Washington, D.C. theatre artists.\u003c/p\u003e","\u003cp\u003eAn oral history was performed with Robert Prosky for the \u003cextptr show=\"new\" title=\"George Mason University Oral History Program collection\" href=\"https://aspace.gmu.edu/resources/r0121\"\u003e\u003c/extptr\u003e and is available for access.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  and the papers of other Washington, D.C. theatre artists.","An oral history was performed with Robert Prosky for the  and is available for access."],"scopecontent_html_tesm":["\u003cp\u003eConsists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials. \u003c/p\u003e","\u003cp\u003eThe collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series. \u003c/p\u003e","\u003cp\u003eThe second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks. \u003c/p\u003e","\u003cp\u003eThe third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks. \u003c/p\u003e","\u003cp\u003eThe fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations. \u003c/p\u003e","\u003cp\u003eThe fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life. \u003c/p\u003e","\u003cp\u003eThe sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.","The collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series.","The second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks.","The third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks.","The fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations.","The fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life.","The sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_cb72825d540615d1fef3eb400e234f81\" label=\"Abstract\"\u003eConsists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.\u003c/abstract\u003e\n    "],"abstract_tesim":["Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Prosky, Robert, 1930-2008"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Prosky, Robert, 1930-2008"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:21.201Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_150_c01_c01_c67"}},{"id":"vilxv_repositories_3_resources_841_c02_c06_c148","type":"File","attributes":{"title":"\"You may be whatever you resolve to be\", 1971/1980","breadcrumbs":{"id":"https://arvasarchive.org/catalog/vilxv_repositories_3_resources_841_c02_c06_c148#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vilxv_repositories_3_resources_841_c02_c06_c148","ref_ssm":["vilxv_repositories_3_resources_841_c02_c06_c148"],"id":"vilxv_repositories_3_resources_841_c02_c06_c148","ead_ssi":"vilxv_repositories_3_resources_841","_root_":"vilxv_repositories_3_resources_841","_nest_parent_":"vilxv_repositories_3_resources_841_c02_c06","parent_ssi":"vilxv_repositories_3_resources_841_c02_c06","parent_ssim":["Office of Communications and Marketing subject files, 1950","Accession 2, transferred July 2004","VMI history"],"parent_ids_ssim":["vilxv_repositories_3_resources_841","vilxv_repositories_3_resources_841_c02","vilxv_repositories_3_resources_841_c02_c06"],"title_filing_ssi":"\"You may be whatever you resolve to be\"","title_ssm":["\"You may be whatever you resolve to be\""],"title_tesim":["\"You may be whatever you resolve to be\""],"normalized_title_ssm":["\"You may be whatever you resolve to be\", 1971/1980"],"text":["\"You may be whatever you resolve to be\", 1971/1980","Office of Communications and Marketing subject files, 1950","Accession 2, transferred July 2004","VMI history","box 29","Folder 6","Jackson, Stonewall, 1824-1863","Virginia Military Institute—History—19th century","Virginia Military Institute—Buildings, structures, etc."],"parent_unittitles_ssm":["Office of Communications and Marketing subject files, 1950","Accession 2, transferred July 2004","VMI history"],"parent_unittitles_tesim":["Office of Communications and Marketing subject files, 1950","Accession 2, transferred July 2004","VMI history"],"normalized_date_ssm":["1971/1980"],"unitdate_inclusive_ssm":["1971-1980"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[3],"sort_isi":762,"repository_ssim":["Virginia Military Institute Archives"],"collection_ssim":["Office of Communications and Marketing subject files, 1950"],"containers_ssim":["box 29","Folder 6"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"persname_ssim":["Jackson, Stonewall, 1824-1863"],"names_ssim":["Jackson, Stonewall, 1824-1863"],"access_subjects_ssim":["Virginia Military Institute—History—19th century","Virginia Military Institute—Buildings, structures, etc."],"access_subjects_ssm":["Virginia Military Institute—History—19th century","Virginia Military Institute—Buildings, structures, etc."],"date_range_isim":[1971,1972,1973,1974,1975,1976,1977,1978,1979,1980],"_nest_path_":"/components#1/components#5/components#147","timestamp":"2026-08-14T22:37:30.860Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vilxv_repositories_3_resources_841","ead_ssi":"vilxv_repositories_3_resources_841","_root_":"vilxv_repositories_3_resources_841","_nest_parent_":"vilxv_repositories_3_resources_841","ead_source_url_ssi":"data/oai/VMI/repositories_3_resources_841.xml","title_ssm":["Office of Communications and Marketing subject files"],"title_tesim":["Office of Communications and Marketing subject files"],"unitdate_ssm":["bulk 1950's - [ongoing]"],"unitdate_inclusive_ssm":["bulk 1950's - [ongoing]"],"normalized_date_ssm":["1950"],"normalized_title_ssm":["Office of Communications and Marketing subject files, 1950"],"text":["Office of Communications and Marketing subject files, 1950","RG.05.Subject Files","/repositories/3/resources/841","Virginia Military Institute Archives","VMI Foundation","Bunting, Josiah, III, 1939-","Irby, Richard L. (Richard Logan), 1918-2002","Knapp, John W. (John Williams), 1932-","Shell, George R. E., 1908-1996","Walker, Sam S., 1925-2015","Couper, Wm. (William), 1884-1964","Crozet, Claudius, 1790-1864","Davis, Alexander J. (Alexander Jackson), 1803-1892","Dillard, Herbert N., Jr. (Herbert Nash), 1913-1976","Ezekiel, Moses J. (Moses Jacob), 1844-1917","Glenn, John H., 1921-2016","Houston, Sam, 1793-1863","Hunter, David, 1802-1886","Jackson, Stonewall, 1824-1863","DiMaggio, Joe, 1914-1999","Bush, George H. W. (George Herbert Walker), 1924-2018","Ford, Gerald R. (Gerald Rudolph), 1913-2006","Milton, William H., Jr. (William Hammond), 1900-1984","Marshall, George C. (George Catlett), 1880-1959","Morrison, Tommy D. (Tommy David), 1969-2013","Powell, Colin L. (Colin Luther), 1937-2021","Shepherd, Lemuel C., Jr. (Lemuel Cornick), 1896-1990","Brooke, John M. (John Mercer), 1826-1906","Byrd, Richard E. (Richard Evelyn), 1888-1957","Clark, Francis B. (Francis Barnard), 1850-1896","Lee, Robert E. (Robert Edward), 1807-1870","Patton, George S. (George Smith), 1885-1945","Rockenbach, Samuel D. (Samuel Dickerson), 1869-1952","Saunders, James D., 1824-1851","Shipp, Scott, 1839-1917","Sigel, Franz, 1824-1902","Smith, Francis H. (Francis Henney), 1812-1890","Strange, John B. (John Bowie), 1823-1862","Watson, Edward Minor, 1851-1887","Wise, Henry A. (Henry Alexander), 1906-1982","McKenna, John, 1914-2007","Anderson, Joseph R., Jr. (Joseph Reid), 1851-1930","Kissinger, Henry A. (Henry Alfred), 1923-2023","English"],"collection_title_tesim":["Office of Communications and Marketing subject files, 1950"],"collection_ssim":["Office of Communications and Marketing subject files, 1950"],"level_ssm":["collection"],"level_ssim":["Sub-Group","Collection"],"unitid_ssm":["RG.05.Subject Files","/repositories/3/resources/841"],"unitid_tesim":["RG.05.Subject Files","/repositories/3/resources/841"],"repository_ssm":["Virginia Military Institute Archives"],"repository_ssim":["Virginia Military Institute Archives"],"creator_persname_ssim":["Bunting, Josiah, III, 1939-","Irby, Richard L. (Richard Logan), 1918-2002","Knapp, John W. (John Williams), 1932-","Shell, George R. E., 1908-1996","Walker, Sam S., 1925-2015","Couper, Wm. (William), 1884-1964","Crozet, Claudius, 1790-1864","Davis, Alexander J. (Alexander Jackson), 1803-1892","Dillard, Herbert N., Jr. (Herbert Nash), 1913-1976","Ezekiel, Moses J. (Moses Jacob), 1844-1917","Glenn, John H., 1921-2016","Houston, Sam, 1793-1863","Hunter, David, 1802-1886","Jackson, Stonewall, 1824-1863","DiMaggio, Joe, 1914-1999","Bush, George H. W. (George Herbert Walker), 1924-2018","Ford, Gerald R. (Gerald Rudolph), 1913-2006","Milton, William H., Jr. (William Hammond), 1900-1984","Marshall, George C. (George Catlett), 1880-1959","Morrison, Tommy D. (Tommy David), 1969-2013","Powell, Colin L. (Colin Luther), 1937-2021","Shepherd, Lemuel C., Jr. (Lemuel Cornick), 1896-1990","Brooke, John M. (John Mercer), 1826-1906","Byrd, Richard E. (Richard Evelyn), 1888-1957","Clark, Francis B. (Francis Barnard), 1850-1896","Lee, Robert E. (Robert Edward), 1807-1870","Patton, George S. (George Smith), 1885-1945","Rockenbach, Samuel D. (Samuel Dickerson), 1869-1952","Saunders, James D., 1824-1851","Shipp, Scott, 1839-1917","Sigel, Franz, 1824-1902","Smith, Francis H. (Francis Henney), 1812-1890","Strange, John B. (John Bowie), 1823-1862","Watson, Edward Minor, 1851-1887","Wise, Henry A. (Henry Alexander), 1906-1982","McKenna, John, 1914-2007","Anderson, Joseph R., Jr. (Joseph Reid), 1851-1930","Kissinger, Henry A. (Henry Alfred), 1923-2023"],"creator_corpname_ssim":["Virginia Military Institute Archives","VMI Foundation"],"creators_ssim":["Bunting, Josiah, III, 1939-","Irby, Richard L. (Richard Logan), 1918-2002","Knapp, John W. (John Williams), 1932-","Shell, George R. E., 1908-1996","Walker, Sam S., 1925-2015","Couper, Wm. (William), 1884-1964","Crozet, Claudius, 1790-1864","Davis, Alexander J. (Alexander Jackson), 1803-1892","Dillard, Herbert N., Jr. (Herbert Nash), 1913-1976","Ezekiel, Moses J. (Moses Jacob), 1844-1917","Glenn, John H., 1921-2016","Houston, Sam, 1793-1863","Hunter, David, 1802-1886","Jackson, Stonewall, 1824-1863","DiMaggio, Joe, 1914-1999","Bush, George H. W. (George Herbert Walker), 1924-2018","Ford, Gerald R. (Gerald Rudolph), 1913-2006","Milton, William H., Jr. (William Hammond), 1900-1984","Marshall, George C. (George Catlett), 1880-1959","Morrison, Tommy D. (Tommy David), 1969-2013","Powell, Colin L. (Colin Luther), 1937-2021","Shepherd, Lemuel C., Jr. (Lemuel Cornick), 1896-1990","Brooke, John M. (John Mercer), 1826-1906","Byrd, Richard E. (Richard Evelyn), 1888-1957","Clark, Francis B. (Francis Barnard), 1850-1896","Lee, Robert E. (Robert Edward), 1807-1870","Patton, George S. (George Smith), 1885-1945","Rockenbach, Samuel D. (Samuel Dickerson), 1869-1952","Saunders, James D., 1824-1851","Shipp, Scott, 1839-1917","Sigel, Franz, 1824-1902","Smith, Francis H. (Francis Henney), 1812-1890","Strange, John B. (John Bowie), 1823-1862","Watson, Edward Minor, 1851-1887","Wise, Henry A. (Henry Alexander), 1906-1982","McKenna, John, 1914-2007","Anderson, Joseph R., Jr. (Joseph Reid), 1851-1930","Kissinger, Henry A. (Henry Alfred), 1923-2023","Virginia Military Institute Archives","VMI Foundation"],"has_online_content_ssim":["false"],"extent_ssm":["10 cubic feet"],"extent_tesim":["10 cubic feet"],"date_range_isim":[1950],"corpname_ssim":["Virginia Military Institute Archives","VMI Foundation"],"persname_ssim":["Bunting, Josiah, III, 1939-","Irby, Richard L. (Richard Logan), 1918-2002","Knapp, John W. (John Williams), 1932-","Shell, George R. E., 1908-1996","Walker, Sam S., 1925-2015","Couper, Wm. (William), 1884-1964","Crozet, Claudius, 1790-1864","Davis, Alexander J. (Alexander Jackson), 1803-1892","Dillard, Herbert N., Jr. (Herbert Nash), 1913-1976","Ezekiel, Moses J. (Moses Jacob), 1844-1917","Glenn, John H., 1921-2016","Houston, Sam, 1793-1863","Hunter, David, 1802-1886","Jackson, Stonewall, 1824-1863","DiMaggio, Joe, 1914-1999","Bush, George H. W. (George Herbert Walker), 1924-2018","Ford, Gerald R. (Gerald Rudolph), 1913-2006","Milton, William H., Jr. (William Hammond), 1900-1984","Marshall, George C. (George Catlett), 1880-1959","Morrison, Tommy D. (Tommy David), 1969-2013","Powell, Colin L. (Colin Luther), 1937-2021","Shepherd, Lemuel C., Jr. (Lemuel Cornick), 1896-1990","Brooke, John M. (John Mercer), 1826-1906","Byrd, Richard E. (Richard Evelyn), 1888-1957","Clark, Francis B. (Francis Barnard), 1850-1896","Lee, Robert E. (Robert Edward), 1807-1870","Patton, George S. (George Smith), 1885-1945","Rockenbach, Samuel D. (Samuel Dickerson), 1869-1952","Saunders, James D., 1824-1851","Shipp, Scott, 1839-1917","Sigel, Franz, 1824-1902","Smith, Francis H. (Francis Henney), 1812-1890","Strange, John B. (John Bowie), 1823-1862","Watson, Edward Minor, 1851-1887","Wise, Henry A. (Henry Alexander), 1906-1982","McKenna, John, 1914-2007","Anderson, Joseph R., Jr. (Joseph Reid), 1851-1930","Kissinger, Henry A. (Henry Alfred), 1923-2023"],"names_ssim":["Virginia Military Institute Archives","VMI Foundation","Bunting, Josiah, III, 1939-","Irby, Richard L. (Richard Logan), 1918-2002","Knapp, John W. (John Williams), 1932-","Shell, George R. E., 1908-1996","Walker, Sam S., 1925-2015","Couper, Wm. (William), 1884-1964","Crozet, Claudius, 1790-1864","Davis, Alexander J. (Alexander Jackson), 1803-1892","Dillard, Herbert N., Jr. (Herbert Nash), 1913-1976","Ezekiel, Moses J. (Moses Jacob), 1844-1917","Glenn, John H., 1921-2016","Houston, Sam, 1793-1863","Hunter, David, 1802-1886","Jackson, Stonewall, 1824-1863","DiMaggio, Joe, 1914-1999","Bush, George H. W. (George Herbert Walker), 1924-2018","Ford, Gerald R. (Gerald Rudolph), 1913-2006","Milton, William H., Jr. (William Hammond), 1900-1984","Marshall, George C. (George Catlett), 1880-1959","Morrison, Tommy D. (Tommy David), 1969-2013","Powell, Colin L. (Colin Luther), 1937-2021","Shepherd, Lemuel C., Jr. (Lemuel Cornick), 1896-1990","Brooke, John M. (John Mercer), 1826-1906","Byrd, Richard E. (Richard Evelyn), 1888-1957","Clark, Francis B. (Francis Barnard), 1850-1896","Lee, Robert E. (Robert Edward), 1807-1870","Patton, George S. (George Smith), 1885-1945","Rockenbach, Samuel D. (Samuel Dickerson), 1869-1952","Saunders, James D., 1824-1851","Shipp, Scott, 1839-1917","Sigel, Franz, 1824-1902","Smith, Francis H. (Francis Henney), 1812-1890","Strange, John B. (John Bowie), 1823-1862","Watson, Edward Minor, 1851-1887","Wise, Henry A. (Henry Alexander), 1906-1982","McKenna, John, 1914-2007","Anderson, Joseph R., Jr. (Joseph Reid), 1851-1930","Kissinger, Henry A. (Henry Alfred), 1923-2023"],"language_ssim":["English"],"total_component_count_is":1160,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:37:30.860Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vilxv_repositories_3_resources_841_c02_c06_c148"}},{"id":"vifgm_repositories_2_resources_137_c825","type":"File","attributes":{"title":"Young Americans for freedom press release, 1980","breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_137_c825#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_137_c825","ref_ssm":["vifgm_repositories_2_resources_137_c825"],"id":"vifgm_repositories_2_resources_137_c825","ead_ssi":"vifgm_repositories_2_resources_137","_root_":"vifgm_repositories_2_resources_137","_nest_parent_":"vifgm_repositories_2_resources_137","parent_ssi":"vifgm_repositories_2_resources_137","parent_ssim":["Dorothy S. McDiarmid papers"],"parent_ids_ssim":["vifgm_repositories_2_resources_137"],"title_filing_ssi":"Young Americans for freedom press release","title_ssm":["Young Americans for freedom press release"],"title_tesim":["Young Americans for freedom press release"],"normalized_title_ssm":["Young Americans for freedom press release, 1980"],"text":["Young Americans for freedom press release, 1980","Dorothy S. McDiarmid papers","box 68","folder 7"],"parent_unittitles_ssm":["Dorothy S. McDiarmid papers"],"parent_unittitles_tesim":["Dorothy S. McDiarmid papers"],"normalized_date_ssm":["1980"],"unitdate_other_ssim":["1980"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[1],"sort_isi":825,"repository_ssim":["George Mason University"],"collection_ssim":["Dorothy S. McDiarmid papers"],"containers_ssim":["box 68","folder 7"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1980],"_nest_path_":"/components#824","timestamp":"2026-08-14T22:34:17.521Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_137","ead_ssi":"vifgm_repositories_2_resources_137","_root_":"vifgm_repositories_2_resources_137","_nest_parent_":"vifgm_repositories_2_resources_137","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_137.xml","title_ssm":["Dorothy S. McDiarmid papers"],"title_tesim":["Dorothy S. McDiarmid papers"],"unitdate_ssm":["1950s-1993"],"unitdate_inclusive_ssm":["1950s-1993"],"normalized_title_ssm":["Dorothy S. McDiarmid papers"],"text":["Dorothy S. McDiarmid papers","C0029","/repositories/2/resources/137","Virginia, Northern -- Politics and government","Virginia -- Politics and government","Fairfax County (Va.) -- Politics and government","Fairfax County (Va.)","Politics","There are no access restrictions.","Arranged by subject.","Dorothy S. McDiarmid served as a Democrat in the Virginia House of Delegates, 35th District, in 1960-1961, 1964-1969, and 1972-1989. McDiarmid studied Political Science at Swarthmore College in Pennsylvania. After graduating she became an eduator and a business partner in McDiarmid Realty and McDiarmid Associates. In addition to serving in the Virginia House of Delegates, McDiarmid served as a board member of the Fairfax County YWCA, the League of Women Voters, and the National Democratic Women's Club, and served as the president of the Fairfax County Federation of PTAs. Throughout her years of active public service, McDiarmid has won several awards, including the Virginia Congress PTA's Lifetime member achievement award, the Fairfax County Human Rights Commission's First Annual Award, and the Fairfax County Woman of Achievement Award (1971, 1972).","This collection is not fully processed. This collection has additional unprocessed accession 2012-107, and therefore this finding aid may not be fully up to date. Please contact SCRC for more information.","EAD markup completed by Eron Ackerman and Jordan Patty in August 2009.","Inventory added and finding aid updated by Amanda Menjivar in June 2024.","The Special Collections Research Center also holds many other collections on Northern Virginia politics.","This collection contains material relating to Dorothy McDiarmid's career in the Virginia House of Delegates, including correspondence, printouts, publications, notes, subject files, and newsclippings.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection contains material relating to Dorothy S. McDiarmid's career in the Virginia House of Delegates, including correspondence, printouts, publications, notes, subject files, and newsclippings.","George Mason University. Libraries. Special Collections Research Center","Democratic Party (Va.)","Virginia. General Assembly. House of Delegates","McDiarmid, Dorothy S. (Dorothy Shoemaker), 1906-1994","English\n."],"collection_title_tesim":["Dorothy S. McDiarmid papers"],"collection_ssim":["Dorothy S. McDiarmid papers"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0029","/repositories/2/resources/137"],"unitid_tesim":["C0029","/repositories/2/resources/137"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Virginia, Northern -- Politics and government","Virginia -- Politics and government","Fairfax County (Va.) -- Politics and government","Fairfax County (Va.)"],"geogname_ssim":["Virginia, Northern -- Politics and government","Virginia -- Politics and government","Fairfax County (Va.) -- Politics and government","Fairfax County (Va.)"],"places_ssim":["Virginia, Northern -- Politics and government","Virginia -- Politics and government","Fairfax County (Va.) -- Politics and government","Fairfax County (Va.)"],"creator_ssm":["McDiarmid, Dorothy S. (Dorothy Shoemaker), 1906-1994"],"creator_ssim":["McDiarmid, Dorothy S. (Dorothy Shoemaker), 1906-1994"],"creator_persname_ssim":["McDiarmid, Dorothy S. (Dorothy Shoemaker), 1906-1994"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Democratic Party (Va.)","Virginia. General Assembly. House of Delegates"],"creators_ssim":["McDiarmid, Dorothy S. (Dorothy Shoemaker), 1906-1994","George Mason University. Libraries. Special Collections Research Center","Democratic Party (Va.)","Virginia. General Assembly. House of Delegates"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Collection donated by Mary McDiarmid."],"access_subjects_ssim":["Politics"],"access_subjects_ssm":["Politics"],"has_online_content_ssim":["false"],"extent_ssm":["135 Linear Feet 121 boxes"],"extent_tesim":["135 Linear Feet 121 boxes"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eArranged by subject.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged by subject."],"bioghist_html_tesm":["\u003cp\u003eDorothy S. McDiarmid served as a Democrat in the Virginia House of Delegates, 35th District, in 1960-1961, 1964-1969, and 1972-1989. McDiarmid studied Political Science at Swarthmore College in Pennsylvania. After graduating she became an eduator and a business partner in McDiarmid Realty and McDiarmid Associates. In addition to serving in the Virginia House of Delegates, McDiarmid served as a board member of the Fairfax County YWCA, the League of Women Voters, and the National Democratic Women's Club, and served as the president of the Fairfax County Federation of PTAs. Throughout her years of active public service, McDiarmid has won several awards, including the Virginia Congress PTA's Lifetime member achievement award, the Fairfax County Human Rights Commission's First Annual Award, and the Fairfax County Woman of Achievement Award (1971, 1972).\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Dorothy S. McDiarmid served as a Democrat in the Virginia House of Delegates, 35th District, in 1960-1961, 1964-1969, and 1972-1989. McDiarmid studied Political Science at Swarthmore College in Pennsylvania. After graduating she became an eduator and a business partner in McDiarmid Realty and McDiarmid Associates. In addition to serving in the Virginia House of Delegates, McDiarmid served as a board member of the Fairfax County YWCA, the League of Women Voters, and the National Democratic Women's Club, and served as the president of the Fairfax County Federation of PTAs. Throughout her years of active public service, McDiarmid has won several awards, including the Virginia Congress PTA's Lifetime member achievement award, the Fairfax County Human Rights Commission's First Annual Award, and the Fairfax County Woman of Achievement Award (1971, 1972)."],"prefercite_html_tesm":["\u003cp\u003eDorothy McDiarmid papers, C0029, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Dorothy McDiarmid papers, C0029, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eThis collection is not fully processed. This collection has additional unprocessed accession 2012-107, and therefore this finding aid may not be fully up to date. Please contact SCRC for more information.\u003c/p\u003e","\u003cp\u003eEAD markup completed by Eron Ackerman and Jordan Patty in August 2009.\u003c/p\u003e","\u003cp\u003eInventory added and finding aid updated by Amanda Menjivar in June 2024.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection is not fully processed. This collection has additional unprocessed accession 2012-107, and therefore this finding aid may not be fully up to date. Please contact SCRC for more information.","EAD markup completed by Eron Ackerman and Jordan Patty in August 2009.","Inventory added and finding aid updated by Amanda Menjivar in June 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds many other collections on Northern Virginia politics.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds many other collections on Northern Virginia politics."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains material relating to Dorothy McDiarmid's career in the Virginia House of Delegates, including correspondence, printouts, publications, notes, subject files, and newsclippings.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains material relating to Dorothy McDiarmid's career in the Virginia House of Delegates, including correspondence, printouts, publications, notes, subject files, and newsclippings."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_11fa8ba901be6919b126ba6a82ad70ca\" label=\"Abstract\"\u003eThis collection contains material relating to Dorothy S. McDiarmid's career in the Virginia House of Delegates, including correspondence, printouts, publications, notes, subject files, and newsclippings.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains material relating to Dorothy S. McDiarmid's career in the Virginia House of Delegates, including correspondence, printouts, publications, notes, subject files, and newsclippings."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Democratic Party (Va.)","Virginia. General Assembly. House of Delegates"],"names_coll_ssim":["Democratic Party (Va.)","Virginia. General Assembly. House of Delegates"],"persname_ssim":["McDiarmid, Dorothy S. (Dorothy Shoemaker), 1906-1994"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Democratic Party (Va.)","Virginia. General Assembly. House of Delegates","McDiarmid, Dorothy S. (Dorothy Shoemaker), 1906-1994"],"language_ssim":["English\n."],"total_component_count_is":2023,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:17.521Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_137_c825"}},{"id":"vifgm_mcnamara_c02_c709","type":"File","attributes":{"title":"Young, Andrew, 1976/1981","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_mcnamara_c02_c709#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eCongressional Records, Diplomat, United Nations \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_mcnamara_c02_c709#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_mcnamara_c02_c709","ref_ssm":["vifgm_mcnamara_c02_c709"],"id":"vifgm_mcnamara_c02_c709","ead_ssi":"vifgm_mcnamara","_root_":"vifgm_mcnamara","_nest_parent_":"vifgm_mcnamara_c02","parent_ssi":"vifgm_mcnamara_c02","parent_ssim":["Francis J. McNamara papers, 1928/1997","Series 2: National Security, 1976/1997"],"parent_ids_ssim":["vifgm_mcnamara","vifgm_mcnamara_c02"],"title_filing_ssi":"Young, Andrew,","title_ssm":["Young, Andrew"],"title_tesim":["Young, Andrew"],"normalized_title_ssm":["Young, Andrew, 1976/1981"],"text":["Young, Andrew, 1976/1981","Francis J. McNamara papers, 1928/1997","Series 2: National Security, 1976/1997","Folder 7","Box 214","Congressional Records, Diplomat, United Nations"],"parent_unittitles_ssm":["Francis J. McNamara papers, 1928/1997","Series 2: National Security, 1976/1997"],"parent_unittitles_tesim":["Francis J. McNamara papers, 1928/1997","Series 2: National Security, 1976/1997"],"normalized_date_ssm":["1976/1981"],"unitdate_other_ssim":["1976-1981"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":2329,"repository_ssim":["George Mason University"],"collection_ssim":["Francis J. McNamara papers, 1928/1997"],"containers_ssim":["Folder 7","Box 214"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["There are no restrictions on personal use. Permission to publish material from the Francis J. McNamara Papers must be obtained from Special Collections Research Center, George Mason University Libraries."],"date_range_isim":[1976,1977,1978,1979,1980,1981],"scopecontent_html_tesm":["\u003cp\u003eCongressional Records, Diplomat, United Nations\n\t\u003c/p\u003e\n          "],"scopecontent_tesim":["Congressional Records, Diplomat, United Nations"],"_nest_path_":"/components#1/components#708","timestamp":"2026-08-14T22:34:06.766Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_mcnamara","ead_ssi":"vifgm_mcnamara","_root_":"vifgm_mcnamara","_nest_parent_":"vifgm_mcnamara","ead_source_url_ssi":"data/gmu/mcnamara.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/mcnamara.html","title_ssm":["Francis J. McNamara papers"],"title_tesim":["Francis J. McNamara papers"],"unitdate_ssm":["1928-1997"],"unitdate_inclusive_ssm":["1928-1997"],"normalized_date_ssm":["1928/1997"],"normalized_title_ssm":["Francis J. McNamara papers, 1928/1997"],"text":["Francis J. McNamara papers, 1928/1997","C0024","Communism--United States--History--20th century.","Cold War--Social aspects--United States.","Espionage, American--Communist countries--History--20th century.","Hollywood (Los Angeles, Calif.)--Politics and government.","Subversive activities--United States--History--20th century.","Radicalism--United States--History--20th century.","There are no access restrictions.","Organized into three series.","Series 1: Anti-Communism and Subversive Activities, 1928-1975 (Boxes 1-154)\n\n        Series 2: National Security, 1976-1997 (Boxes 155-214)\n\n        Series 3: Regalia, 1950s (Box 215)","Francis John McNamara was born in Brooklyn, New York in 1915. After earning degrees at St. John's University in 1938 and Niagara University in 1939 (both in English), he joined the U.S. Army during World War II. He served in Asia in the China-Burma theater of operations as an intelligence officer and attained the rank of Major. After the war, married his wife of fifty-five years, Katherine Foley, and joined the United Nations Relief and Rehabilitation Administration (UNRRA) assisting in the Jehol and Hupeh provinces of China.","When he returned to the United States in 1948, he went to work as a researcher for American Business Consultants, Inc., in New York City, a security firm and publisher of the anticommunist newsletter Counterattack. In January of 1950 he became editor of Counterattack where he remained until May of 1954. He then moved to Washington, D.C., to head the National Security Program of the Veterans of Foreign Wars (VFW). In 1958 he left the VFW to serve as a research analyst and consultant to the House Committee on Un-American Activities (HUAC). In 1961 he became director of research at HUAC, and in 1962, its staff director. In 1970 he went to work for the Subversive Activities Control Board (SACB), where he served as executive secretary. In 1981 he became executive director of the Nathan Hale Foundation. He served as vice-chairman of the Security and Intelligence Foundation from 1987-90 and was a senior fellow at the Center for Intelligence Studies in Arlington, Virginia. McNamara died on February 27, 2007 at the age of 91.","The Francis J. McNamara Papers were processed between 1995 and 2009 by Special Collections and Archives Staff. During this processing period, SC and A retained the donor's original filing scheme (alphabetical arrangement by subject/topic). A print finding aid (Francis J. McNamara Collection: Finding Aid and Research Guide with Index) was initially published in 1997, which described the first 52 boxes. In 2007 the remaining portion of the collection was collection was processed by Benjamin Ranta and Colva Weissenstein, and an EAD finding aid was prepared. Final processing completed by David Arditi and Kelsey Willingham in 2008-2009. EAD revisions completed by David Arditi and Kelsey Willingham in 2008-2009.","Special Collections and Archives also holds a small collection of books from McNamara's personal library (283 titles in total). These can be found in the University Libraries'  with a keyword search on \"Francis J. McNamara Collection\".","The Francis J. McNamara Papers represent his lifelong career and study in the field of anticommunism and national security. Materials which comprise this collection track both his employment and interests during the period 1947-1997, including his work at American Business Consultants (1948-1954), the VFW (1954-1958), HUAC(1958-1969), SACB (1970-1973), and later consulting and editing work.","Types of materials include magazine and news clippings regarding subjects of interest to McNamara; final versions of U.S. government reports pertaining to investigations of individuals and/or organizations suspected of subversive activity; manuscript notes; correspondence both to and from McNamara; and pamphlets, journals and newsletters from both the left and right sides of the political spectrum covering the period 1928 through 1997.","Main subject areas include but are not limited to: domestic and foreign communism; the Cold War (i.e. the Soviet Bloc, China, Korea, Vietnam, and Latin America); espionage and intelligence; political and cultural figures; entertainment and news media; the antiwar movement; assassinations; and domestic groups (i.e. the Black Panthers, KKK, SNCC, and the Weather Underground).","The first series covers the first half of Francis McNamara's career, with collected material roughly covering the years 1928-1975. This series contains material from McNamara's career with the House Un-American Activities Committee in Congress and later with the Subversive Activities Control Board. The second series covers the second half of Francis McNamara's career, corresponding roughly with the dates 1976-1997. This series contains material from McNamara's career  at the Hale Foundation and later work. The third series, consisting of one box, contains regalia and various artifacts such as stamps, notecards, and notebooks used by McNamara.","There are no restrictions on personal use. Permission to publish material from the Francis J. McNamara Papers must be obtained from Special Collections Research Center, George Mason University Libraries.","The Francis J. McNamara papers contains materials collected by Francis J. McNamara dating from 1928 to 1997 pertaining to American politics and culture during this period. The main concentration in this collection deals with national security with respect to the influence of Communism, the Civil Rights Movement, and the counterculture. It is comprised of newspaper and magazine articles, letters, memoranda and other personal documents, U.S. government documents, pamphlets, and other printed materials.","George Mason University. Special Collections and Archives.","American Civil Liberties Union.","Hale Foundation.","United States. Central Intelligence Agency.","United States. Congress. House. Committee on Internal Security.","United States. Congress. House. Committee on Un-American Activities.","United States. Federal Bureau of Investigation.","United States. Subversive Activities Control Board.","Francis J. McNamara","McCarthy, Joseph, 1908-1957.","McNamara, Francis J.","Walter, Francis E. (Francis Eugene), 1894-1963.","English"],"collection_title_tesim":["Francis J. McNamara papers, 1928/1997"],"collection_ssim":["Francis J. McNamara papers, 1928/1997"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0024"],"unitid_tesim":["C0024"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Francis J. McNamara"],"creator_ssim":["Francis J. McNamara"],"creator_persname_ssim":["Francis J. McNamara","McCarthy, Joseph, 1908-1957.","McNamara, Francis J.","Walter, Francis E. (Francis Eugene), 1894-1963."],"creator_corpname_ssim":["George Mason University. Special Collections and Archives.","American Civil Liberties Union.","Hale Foundation.","United States. Central Intelligence Agency.","United States. Congress. House. Committee on Internal Security.","United States. Congress. House. Committee on Un-American Activities.","United States. Federal Bureau of Investigation.","United States. Subversive Activities Control Board."],"creators_ssim":["Francis J. McNamara","McCarthy, Joseph, 1908-1957.","McNamara, Francis J.","Walter, Francis E. (Francis Eugene), 1894-1963.","George Mason University. Special Collections and Archives.","American Civil Liberties Union.","Hale Foundation.","United States. Central Intelligence Agency.","United States. Congress. House. Committee on Internal Security.","United States. Congress. House. Committee on Un-American Activities.","United States. Federal Bureau of Investigation.","United States. Subversive Activities Control Board."],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Francis J. McNamara Papers must be obtained from Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["This collection was donated by Francis J. McNamara in four deposits during the period 1995 to 1998."],"access_subjects_ssim":["Communism--United States--History--20th century.","Cold War--Social aspects--United States.","Espionage, American--Communist countries--History--20th century.","Hollywood (Los Angeles, Calif.)--Politics and government.","Subversive activities--United States--History--20th century.","Radicalism--United States--History--20th century."],"access_subjects_ssm":["Communism--United States--History--20th century.","Cold War--Social aspects--United States.","Espionage, American--Communist countries--History--20th century.","Hollywood (Los Angeles, Calif.)--Politics and government.","Subversive activities--United States--History--20th century.","Radicalism--United States--History--20th century."],"has_online_content_ssim":["false"],"extent_ssm":["109.5 linear feet (215 boxes)"],"extent_tesim":["109.5 linear feet (215 boxes)"],"date_range_isim":[1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997],"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 three series.\n\u003c/p\u003e\n      ","\u003clist\u003e\n        \u003citem\u003eSeries 1: Anti-Communism and Subversive Activities, 1928-1975 (Boxes 1-154)\n\u003c/item\u003e\n        \u003citem\u003eSeries 2: National Security, 1976-1997 (Boxes 155-214)\n\u003c/item\u003e\n        \u003citem\u003eSeries 3: Regalia, 1950s (Box 215)\n\u003c/item\u003e\n      \u003c/list\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized into three series.","Series 1: Anti-Communism and Subversive Activities, 1928-1975 (Boxes 1-154)\n\n        Series 2: National Security, 1976-1997 (Boxes 155-214)\n\n        Series 3: Regalia, 1950s (Box 215)"],"bioghist_html_tesm":["\u003cp\u003eFrancis John McNamara was born in Brooklyn, New York in 1915. After earning degrees at St. John's University in 1938 and Niagara University in 1939 (both in English), he joined the U.S. Army during World War II. He served in Asia in the China-Burma theater of operations as an intelligence officer and attained the rank of Major. After the war, married his wife of fifty-five years, Katherine Foley, and joined the United Nations Relief and Rehabilitation Administration (UNRRA) assisting in the Jehol and Hupeh provinces of China.\n\u003c/p\u003e\n      ","\u003cp\u003eWhen he returned to the United States in 1948, he went to work as a researcher for American Business Consultants, Inc., in New York City, a security firm and publisher of the anticommunist newsletter Counterattack. In January of 1950 he became editor of Counterattack where he remained until May of 1954. He then moved to Washington, D.C., to head the National Security Program of the Veterans of Foreign Wars (VFW). In 1958 he left the VFW to serve as a research analyst and consultant to the House Committee on Un-American Activities (HUAC). In 1961 he became director of research at HUAC, and in 1962, its staff director. In 1970 he went to work for the Subversive Activities Control Board (SACB), where he served as executive secretary. In 1981 he became executive director of the Nathan Hale Foundation. He served as vice-chairman of the Security and Intelligence Foundation from 1987-90 and was a senior fellow at the Center for Intelligence Studies in Arlington, Virginia. McNamara died on February 27, 2007 at the age of 91.\n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Francis John McNamara was born in Brooklyn, New York in 1915. After earning degrees at St. John's University in 1938 and Niagara University in 1939 (both in English), he joined the U.S. Army during World War II. He served in Asia in the China-Burma theater of operations as an intelligence officer and attained the rank of Major. After the war, married his wife of fifty-five years, Katherine Foley, and joined the United Nations Relief and Rehabilitation Administration (UNRRA) assisting in the Jehol and Hupeh provinces of China.","When he returned to the United States in 1948, he went to work as a researcher for American Business Consultants, Inc., in New York City, a security firm and publisher of the anticommunist newsletter Counterattack. In January of 1950 he became editor of Counterattack where he remained until May of 1954. He then moved to Washington, D.C., to head the National Security Program of the Veterans of Foreign Wars (VFW). In 1958 he left the VFW to serve as a research analyst and consultant to the House Committee on Un-American Activities (HUAC). In 1961 he became director of research at HUAC, and in 1962, its staff director. In 1970 he went to work for the Subversive Activities Control Board (SACB), where he served as executive secretary. In 1981 he became executive director of the Nathan Hale Foundation. He served as vice-chairman of the Security and Intelligence Foundation from 1987-90 and was a senior fellow at the Center for Intelligence Studies in Arlington, Virginia. McNamara died on February 27, 2007 at the age of 91."],"prefercite_html_tesm":["\u003cp\u003eFrancis J. McNamara Papers, C0024, Special Collections and Archives, George Mason University. George Mason University Libraries.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Francis J. McNamara Papers, C0024, Special Collections and Archives, George Mason University. George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eThe Francis J. McNamara Papers were processed between 1995 and 2009 by Special Collections and Archives Staff. During this processing period, SC and A retained the donor's original filing scheme (alphabetical arrangement by subject/topic). A print finding aid (Francis J. McNamara Collection: Finding Aid and Research Guide with Index) was initially published in 1997, which described the first 52 boxes. In 2007 the remaining portion of the collection was collection was processed by Benjamin Ranta and Colva Weissenstein, and an EAD finding aid was prepared. Final processing completed by David Arditi and Kelsey Willingham in 2008-2009. EAD revisions completed by David Arditi and Kelsey Willingham in 2008-2009. \n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The Francis J. McNamara Papers were processed between 1995 and 2009 by Special Collections and Archives Staff. During this processing period, SC and A retained the donor's original filing scheme (alphabetical arrangement by subject/topic). A print finding aid (Francis J. McNamara Collection: Finding Aid and Research Guide with Index) was initially published in 1997, which described the first 52 boxes. In 2007 the remaining portion of the collection was collection was processed by Benjamin Ranta and Colva Weissenstein, and an EAD finding aid was prepared. Final processing completed by David Arditi and Kelsey Willingham in 2008-2009. EAD revisions completed by David Arditi and Kelsey Willingham in 2008-2009."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds a small collection of books from McNamara's personal library (283 titles in total). These can be found in the University Libraries' \u003cextptr type=\"simple\" title=\"Library Catalog\" show=\"new\" href=\"http://magik.gmu.edu\"\u003e\u003c/extptr\u003e with a keyword search on \"Francis J. McNamara Collection\".\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives also holds a small collection of books from McNamara's personal library (283 titles in total). These can be found in the University Libraries'  with a keyword search on \"Francis J. McNamara Collection\"."],"scopecontent_html_tesm":["\u003cp\u003eThe Francis J. McNamara Papers represent his lifelong career and study in the field of anticommunism and national security. Materials which comprise this collection track both his employment and interests during the period 1947-1997, including his work at American Business Consultants (1948-1954), the VFW (1954-1958), HUAC(1958-1969), SACB (1970-1973), and later consulting and editing work. \n\u003c/p\u003e\n      ","\u003cp\u003eTypes of materials include magazine and news clippings regarding subjects of interest to McNamara; final versions of U.S. government reports pertaining to investigations of individuals and/or organizations suspected of subversive activity; manuscript notes; correspondence both to and from McNamara; and pamphlets, journals and newsletters from both the left and right sides of the political spectrum covering the period 1928 through 1997.\n\u003c/p\u003e\n      ","\u003cp\u003eMain subject areas include but are not limited to: domestic and foreign communism; the Cold War (i.e. the Soviet Bloc, China, Korea, Vietnam, and Latin America); espionage and intelligence; political and cultural figures; entertainment and news media; the antiwar movement; assassinations; and domestic groups (i.e. the Black Panthers, KKK, SNCC, and the Weather Underground).\n\u003c/p\u003e\n      ","\u003cp\u003eThe first series covers the first half of Francis McNamara's career, with collected material roughly covering the years 1928-1975. This series contains material from McNamara's career with the House Un-American Activities Committee in Congress and later with the Subversive Activities Control Board. The second series covers the second half of Francis McNamara's career, corresponding roughly with the dates 1976-1997. This series contains material from McNamara's career  at the Hale Foundation and later work. The third series, consisting of one box, contains regalia and various artifacts such as stamps, notecards, and notebooks used by McNamara.\n\u003c/p\u003e\n    "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Francis J. McNamara Papers represent his lifelong career and study in the field of anticommunism and national security. Materials which comprise this collection track both his employment and interests during the period 1947-1997, including his work at American Business Consultants (1948-1954), the VFW (1954-1958), HUAC(1958-1969), SACB (1970-1973), and later consulting and editing work.","Types of materials include magazine and news clippings regarding subjects of interest to McNamara; final versions of U.S. government reports pertaining to investigations of individuals and/or organizations suspected of subversive activity; manuscript notes; correspondence both to and from McNamara; and pamphlets, journals and newsletters from both the left and right sides of the political spectrum covering the period 1928 through 1997.","Main subject areas include but are not limited to: domestic and foreign communism; the Cold War (i.e. the Soviet Bloc, China, Korea, Vietnam, and Latin America); espionage and intelligence; political and cultural figures; entertainment and news media; the antiwar movement; assassinations; and domestic groups (i.e. the Black Panthers, KKK, SNCC, and the Weather Underground).","The first series covers the first half of Francis McNamara's career, with collected material roughly covering the years 1928-1975. This series contains material from McNamara's career with the House Un-American Activities Committee in Congress and later with the Subversive Activities Control Board. The second series covers the second half of Francis McNamara's career, corresponding roughly with the dates 1976-1997. This series contains material from McNamara's career  at the Hale Foundation and later work. The third series, consisting of one box, contains regalia and various artifacts such as stamps, notecards, and notebooks used by McNamara."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Francis J. McNamara Papers must be obtained from Special Collections Research Center, George Mason University Libraries.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Francis J. McNamara Papers must be obtained from Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eThe Francis J. McNamara papers contains materials collected by Francis J. McNamara dating from 1928 to 1997 pertaining to American politics and culture during this period. The main concentration in this collection deals with national security with respect to the influence of Communism, the Civil Rights Movement, and the counterculture. It is comprised of newspaper and magazine articles, letters, memoranda and other personal documents, U.S. government documents, pamphlets, and other printed materials. \n\u003c/abstract\u003e\n    "],"abstract_tesim":["The Francis J. McNamara papers contains materials collected by Francis J. McNamara dating from 1928 to 1997 pertaining to American politics and culture during this period. The main concentration in this collection deals with national security with respect to the influence of Communism, the Civil Rights Movement, and the counterculture. It is comprised of newspaper and magazine articles, letters, memoranda and other personal documents, U.S. government documents, pamphlets, and other printed materials."],"corpname_ssim":["George Mason University. Special Collections and Archives.","American Civil Liberties Union.","Hale Foundation.","United States. Central Intelligence Agency.","United States. Congress. House. Committee on Internal Security.","United States. Congress. House. Committee on Un-American Activities.","United States. Federal Bureau of Investigation.","United States. Subversive Activities Control Board."],"persname_ssim":["Francis J. McNamara","McCarthy, Joseph, 1908-1957.","McNamara, Francis J.","Walter, Francis E. (Francis Eugene), 1894-1963."],"names_ssim":["George Mason University. Special Collections and Archives.","American Civil Liberties Union.","Hale Foundation.","United States. Central Intelligence Agency.","United States. Congress. House. Committee on Internal Security.","United States. Congress. House. Committee on Un-American Activities.","United States. Federal Bureau of Investigation.","United States. Subversive Activities Control Board.","Francis J. McNamara","McCarthy, Joseph, 1908-1957.","McNamara, Francis J.","Walter, Francis E. (Francis Eugene), 1894-1963."],"language_ssim":["English"],"total_component_count_is":2341,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:06.766Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_mcnamara_c02_c709"}},{"id":"vifgm_repositories_2_resources_139_c02_c711","type":"File","attributes":{"title":"Young, Andrew, 1976/1981","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_139_c02_c711#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eCongressional Records, Diplomat, United Nations\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_139_c02_c711#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_139_c02_c711","ref_ssm":["vifgm_repositories_2_resources_139_c02_c711"],"id":"vifgm_repositories_2_resources_139_c02_c711","ead_ssi":"vifgm_repositories_2_resources_139","_root_":"vifgm_repositories_2_resources_139","_nest_parent_":"vifgm_repositories_2_resources_139_c02","parent_ssi":"vifgm_repositories_2_resources_139_c02","parent_ssim":["Francis J. McNamara papers, 1928/1997","Series 2: National Security, 1976/1997"],"parent_ids_ssim":["vifgm_repositories_2_resources_139","vifgm_repositories_2_resources_139_c02"],"title_filing_ssi":"Young, Andrew","title_ssm":["Young, Andrew"],"title_tesim":["Young, Andrew"],"normalized_title_ssm":["Young, Andrew, 1976/1981"],"text":["Young, Andrew, 1976/1981","Francis J. McNamara papers, 1928/1997","Series 2: National Security, 1976/1997","folder 7","box 214","Congressional Records, Diplomat, United Nations"],"parent_unittitles_ssm":["Francis J. McNamara papers, 1928/1997","Series 2: National Security, 1976/1997"],"parent_unittitles_tesim":["Francis J. McNamara papers, 1928/1997","Series 2: National Security, 1976/1997"],"normalized_date_ssm":["1976/1981"],"unitdate_other_ssim":["1976-1981"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":2332,"repository_ssim":["George Mason University"],"collection_ssim":["Francis J. McNamara papers, 1928/1997"],"containers_ssim":["folder 7","box 214"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1976,1977,1978,1979,1980,1981],"scopecontent_html_tesm":["\u003cp\u003eCongressional Records, Diplomat, United Nations\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["Congressional Records, Diplomat, United Nations"],"_nest_path_":"/components#1/components#710","timestamp":"2026-08-14T22:34:17.521Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_139","ead_ssi":"vifgm_repositories_2_resources_139","_root_":"vifgm_repositories_2_resources_139","_nest_parent_":"vifgm_repositories_2_resources_139","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_139.xml","title_ssm":["Francis J. McNamara papers"],"title_tesim":["Francis J. McNamara papers"],"unitdate_ssm":["1928-1997"],"unitdate_inclusive_ssm":["1928-1997"],"normalized_date_ssm":["1928/1997"],"normalized_title_ssm":["Francis J. McNamara papers, 1928/1997"],"text":["Francis J. McNamara papers, 1928/1997","C0024","/repositories/2/resources/139","Hollywood (Los Angeles, Calif.)","United States -- Politics and government","United States -- Politics and government -- 20th century","Radicalism -- United States -- History -- 20th century","Subversive activities -- United States -- History -- 20th century","Espionage, American -- History -- 20th century","Cold War -- Social aspects -- United States","Communism -- United States -- History -- 20th century","Vietnam War, 1961-1975 -- Protest movements -- United States","There are no access restrictions.","Organized into three series.","Series\n      Series 1: Anti-Communism and Subversive Activities, 1928-1975 (Boxes 1-154)\n      Series 2: National Security, 1976-1997 (Boxes 155-214)\n      Series 3: Realia, 1950s (Box 215)","Francis John McNamara was born in Brooklyn, New York in 1915. After earning degrees at St. John's University in 1938 and Niagara University in 1939 (both in English), he joined the U.S. Army during World War II. He served in Asia in the China-Burma theater of operations as an intelligence officer and attained the rank of Major. After the war, married his wife of fifty-five years, Katherine Foley, and joined the United Nations Relief and Rehabilitation Administration (UNRRA) assisting in the Jehol and Hupeh provinces of China.","When he returned to the United States in 1948, he went to work as a researcher for American Business Consultants, Inc., in New York City, a security firm and publisher of the anticommunist newsletter Counterattack. In January of 1950 he became editor of Counterattack where he remained until May of 1954. He then moved to Washington, D.C., to head the National Security Program of the Veterans of Foreign Wars (VFW). In 1958 he left the VFW to serve as a research analyst and consultant to the House Committee on Un-American Activities (HUAC). In 1961 he became director of research at HUAC, and in 1962, its staff director. In 1970 he went to work for the Subversive Activities Control Board (SACB), where he served as executive secretary. In 1981 he became executive director of the Nathan Hale Foundation. He served as vice-chairman of the Security and Intelligence Foundation from 1987-90 and was a senior fellow at the Center for Intelligence Studies in Arlington, Virginia. McNamara died on February 27, 2007 at the age of 91.","The Francis J. McNamara Papers were processed between 1995 and 2009 by Special Collections Research Center Staff. During this processing period, SCRC retained the donor's original filing scheme (alphabetical arrangement by subject/topic). A print finding aid (Francis J. McNamara collection: Finding Aid and Research Guide with Index) was initially published in 1997, which described the first 52 boxes. In 2007 the remaining portion of the collection was processed by Benjamin Ranta and Colva Weissenstein, and an EAD finding aid was prepared. Final processing was completed by David Arditi and Kelsey Willingham in 2008-2009. EAD revisions completed by David Arditi and Kelsey Willingham in 2008-2009.","Special Collections Research Center also holds a small collection of books from McNamara's personal library (283 titles in total). These can be found in the University Libraries catalog  with a keyword search on \"Francis J. McNamara collection\".","The Francis J. McNamara Papers represent his lifelong career and study in the field of anticommunism and national security. Materials which comprise this collection track both his employment and interests during the period 1947-1997, including his work at American Business Consultants (1948-1954), the VFW (1954-1958), HUAC(1958-1969), SACB (1970-1973), and later consulting and editing work.","Types of materials include magazine and news clippings regarding subjects of interest to McNamara; final versions of U.S. government reports pertaining to investigations of individuals and/or organizations suspected of subversive activity; manuscript notes; correspondence both to and from McNamara; and pamphlets, journals and newsletters from both the left and right sides of the political spectrum covering the period 1928 through 1997.","Main subject areas include but are not limited to: domestic and foreign communism; the Cold War (i.e. the Soviet Bloc, China, Korea, Vietnam, and Latin America); espionage and intelligence; political and cultural figures; entertainment and news media; the antiwar movement; assassinations; and domestic groups (i.e. the Black Panthers, KKK, SNCC, and the Weather Underground).","The first series covers the first half of Francis McNamara's career, with collected material roughly covering the years 1928-1975. This series contains material from McNamara's career with the House Un-American Activities Committee in Congress and later with the Subversive Activities Control Board. The second series covers the second half of Francis McNamara's career, corresponding roughly with the dates 1976-1997. This series contains material from McNamara's career at the Hale Foundation and later work. The third series, consisting of one box, contains regalia and various artifacts such as stamps, notecards, and notebooks used by McNamara.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Francis J. McNamara papers contains materials collected by Francis J. McNamara dating from 1928 to 1997 pertaining to American politics and culture during this period. The main concentration in this collection deals with national security with respect to the influence of Communism, the Civil Rights Movement, and the counterculture. It is comprised of newspaper and magazine articles, letters, memoranda and other personal documents, U.S. government documents, pamphlets, and other printed materials.","R11, C3, S3-S7 - C4, S2-S7\n\n\nR12, C1, S2-S7 - C4, S2-S7\n\n\nOS R7, C2, S1","George Mason University. Libraries. Special Collections Research Center","American Civil Liberties Union","Hale Foundation","United States. Central Intelligence Agency","United States. Congress. House. Committee on Internal Security","United States. Congress. House. Committee on Un-American Activities","United States. Federal Bureau of Investigation","United States. Subversive Activities Control Board","McNamara, Francis J., 1915-2007","McCarthy, Joseph, 1908-1957","Walter, Francis E. (Francis Eugene), 1894-1963","English"],"collection_title_tesim":["Francis J. McNamara papers, 1928/1997"],"collection_ssim":["Francis J. McNamara papers, 1928/1997"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0024","/repositories/2/resources/139"],"unitid_tesim":["C0024","/repositories/2/resources/139"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Hollywood (Los Angeles, Calif.)","United States -- Politics and government","United States -- Politics and government -- 20th century"],"geogname_ssim":["Hollywood (Los Angeles, Calif.)","United States -- Politics and government","United States -- Politics and government -- 20th century"],"places_ssim":["Hollywood (Los Angeles, Calif.)","United States -- Politics and government","United States -- Politics and government -- 20th century"],"creator_ssm":["McNamara, Francis J., 1915-2007"],"creator_ssim":["McNamara, Francis J., 1915-2007"],"creator_persname_ssim":["McNamara, Francis J., 1915-2007","McCarthy, Joseph, 1908-1957","Walter, Francis E. (Francis Eugene), 1894-1963"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American Civil Liberties Union","Hale Foundation","United States. Central Intelligence Agency","United States. Congress. House. Committee on Internal Security","United States. Congress. House. Committee on Un-American Activities","United States. Federal Bureau of Investigation","United States. Subversive Activities Control Board"],"creators_ssim":["McNamara, Francis J., 1915-2007","McCarthy, Joseph, 1908-1957","Walter, Francis E. (Francis Eugene), 1894-1963","George Mason University. Libraries. Special Collections Research Center","American Civil Liberties Union","Hale Foundation","United States. Central Intelligence Agency","United States. Congress. House. Committee on Internal Security","United States. Congress. House. Committee on Un-American Activities","United States. Federal Bureau of Investigation","United States. Subversive Activities Control Board"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["This collection was donated by Francis J. McNamara in four deposits during the period 1995 to 1998."],"access_subjects_ssim":["Radicalism -- United States -- History -- 20th century","Subversive activities -- United States -- History -- 20th century","Espionage, American -- History -- 20th century","Cold War -- Social aspects -- United States","Communism -- United States -- History -- 20th century","Vietnam War, 1961-1975 -- Protest movements -- United States"],"access_subjects_ssm":["Radicalism -- United States -- History -- 20th century","Subversive activities -- United States -- History -- 20th century","Espionage, American -- History -- 20th century","Cold War -- Social aspects -- United States","Communism -- United States -- History -- 20th century","Vietnam War, 1961-1975 -- Protest movements -- United States"],"has_online_content_ssim":["false"],"extent_ssm":["109.5 Linear Feet 216 boxes"],"extent_tesim":["109.5 Linear Feet 216 boxes"],"date_range_isim":[1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eOrganized into three series.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Anti-Communism and Subversive Activities, 1928-1975 (Boxes 1-154)\u003c/item\u003e\n      \u003citem\u003eSeries 2: National Security, 1976-1997 (Boxes 155-214)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Realia, 1950s (Box 215)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized into three series.","Series\n      Series 1: Anti-Communism and Subversive Activities, 1928-1975 (Boxes 1-154)\n      Series 2: National Security, 1976-1997 (Boxes 155-214)\n      Series 3: Realia, 1950s (Box 215)"],"bioghist_html_tesm":["\u003cp\u003eFrancis John McNamara was born in Brooklyn, New York in 1915. After earning degrees at St. John's University in 1938 and Niagara University in 1939 (both in English), he joined the U.S. Army during World War II. He served in Asia in the China-Burma theater of operations as an intelligence officer and attained the rank of Major. After the war, married his wife of fifty-five years, Katherine Foley, and joined the United Nations Relief and Rehabilitation Administration (UNRRA) assisting in the Jehol and Hupeh provinces of China. \u003c/p\u003e","\u003cp\u003eWhen he returned to the United States in 1948, he went to work as a researcher for American Business Consultants, Inc., in New York City, a security firm and publisher of the anticommunist newsletter Counterattack. In January of 1950 he became editor of Counterattack where he remained until May of 1954. He then moved to Washington, D.C., to head the National Security Program of the Veterans of Foreign Wars (VFW). In 1958 he left the VFW to serve as a research analyst and consultant to the House Committee on Un-American Activities (HUAC). In 1961 he became director of research at HUAC, and in 1962, its staff director. In 1970 he went to work for the Subversive Activities Control Board (SACB), where he served as executive secretary. In 1981 he became executive director of the Nathan Hale Foundation. He served as vice-chairman of the Security and Intelligence Foundation from 1987-90 and was a senior fellow at the Center for Intelligence Studies in Arlington, Virginia. McNamara died on February 27, 2007 at the age of 91. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Francis John McNamara was born in Brooklyn, New York in 1915. After earning degrees at St. John's University in 1938 and Niagara University in 1939 (both in English), he joined the U.S. Army during World War II. He served in Asia in the China-Burma theater of operations as an intelligence officer and attained the rank of Major. After the war, married his wife of fifty-five years, Katherine Foley, and joined the United Nations Relief and Rehabilitation Administration (UNRRA) assisting in the Jehol and Hupeh provinces of China.","When he returned to the United States in 1948, he went to work as a researcher for American Business Consultants, Inc., in New York City, a security firm and publisher of the anticommunist newsletter Counterattack. In January of 1950 he became editor of Counterattack where he remained until May of 1954. He then moved to Washington, D.C., to head the National Security Program of the Veterans of Foreign Wars (VFW). In 1958 he left the VFW to serve as a research analyst and consultant to the House Committee on Un-American Activities (HUAC). In 1961 he became director of research at HUAC, and in 1962, its staff director. In 1970 he went to work for the Subversive Activities Control Board (SACB), where he served as executive secretary. In 1981 he became executive director of the Nathan Hale Foundation. He served as vice-chairman of the Security and Intelligence Foundation from 1987-90 and was a senior fellow at the Center for Intelligence Studies in Arlington, Virginia. McNamara died on February 27, 2007 at the age of 91."],"prefercite_html_tesm":["\u003cp\u003eFrancis J. McNamara papers, C0024, Special Collections Research Center, George Mason University. George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Francis J. McNamara papers, C0024, Special Collections Research Center, George Mason University. George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eThe Francis J. McNamara Papers were processed between 1995 and 2009 by Special Collections Research Center Staff. During this processing period, SCRC retained the donor's original filing scheme (alphabetical arrangement by subject/topic). A print finding aid (Francis J. McNamara collection: Finding Aid and Research Guide with Index) was initially published in 1997, which described the first 52 boxes. In 2007 the remaining portion of the collection was processed by Benjamin Ranta and Colva Weissenstein, and an EAD finding aid was prepared. Final processing was completed by David Arditi and Kelsey Willingham in 2008-2009. EAD revisions completed by David Arditi and Kelsey Willingham in 2008-2009.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The Francis J. McNamara Papers were processed between 1995 and 2009 by Special Collections Research Center Staff. During this processing period, SCRC retained the donor's original filing scheme (alphabetical arrangement by subject/topic). A print finding aid (Francis J. McNamara collection: Finding Aid and Research Guide with Index) was initially published in 1997, which described the first 52 boxes. In 2007 the remaining portion of the collection was processed by Benjamin Ranta and Colva Weissenstein, and an EAD finding aid was prepared. Final processing was completed by David Arditi and Kelsey Willingham in 2008-2009. EAD revisions completed by David Arditi and Kelsey Willingham in 2008-2009."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center also holds a small collection of books from McNamara's personal library (283 titles in total). These can be found in the University Libraries catalog \u003cextptr show=\"new\" title=\"Catalog\" href=\"http://library.gmu.edu/\"\u003e\u003c/extptr\u003e with a keyword search on \"Francis J. McNamara collection\".\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center also holds a small collection of books from McNamara's personal library (283 titles in total). These can be found in the University Libraries catalog  with a keyword search on \"Francis J. McNamara collection\"."],"scopecontent_html_tesm":["\u003cp\u003eThe Francis J. McNamara Papers represent his lifelong career and study in the field of anticommunism and national security. Materials which comprise this collection track both his employment and interests during the period 1947-1997, including his work at American Business Consultants (1948-1954), the VFW (1954-1958), HUAC(1958-1969), SACB (1970-1973), and later consulting and editing work. \u003c/p\u003e","\u003cp\u003eTypes of materials include magazine and news clippings regarding subjects of interest to McNamara; final versions of U.S. government reports pertaining to investigations of individuals and/or organizations suspected of subversive activity; manuscript notes; correspondence both to and from McNamara; and pamphlets, journals and newsletters from both the left and right sides of the political spectrum covering the period 1928 through 1997. \u003c/p\u003e","\u003cp\u003eMain subject areas include but are not limited to: domestic and foreign communism; the Cold War (i.e. the Soviet Bloc, China, Korea, Vietnam, and Latin America); espionage and intelligence; political and cultural figures; entertainment and news media; the antiwar movement; assassinations; and domestic groups (i.e. the Black Panthers, KKK, SNCC, and the Weather Underground). \u003c/p\u003e","\u003cp\u003eThe first series covers the first half of Francis McNamara's career, with collected material roughly covering the years 1928-1975. This series contains material from McNamara's career with the House Un-American Activities Committee in Congress and later with the Subversive Activities Control Board. The second series covers the second half of Francis McNamara's career, corresponding roughly with the dates 1976-1997. This series contains material from McNamara's career at the Hale Foundation and later work. The third series, consisting of one box, contains regalia and various artifacts such as stamps, notecards, and notebooks used by McNamara. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Francis J. McNamara Papers represent his lifelong career and study in the field of anticommunism and national security. Materials which comprise this collection track both his employment and interests during the period 1947-1997, including his work at American Business Consultants (1948-1954), the VFW (1954-1958), HUAC(1958-1969), SACB (1970-1973), and later consulting and editing work.","Types of materials include magazine and news clippings regarding subjects of interest to McNamara; final versions of U.S. government reports pertaining to investigations of individuals and/or organizations suspected of subversive activity; manuscript notes; correspondence both to and from McNamara; and pamphlets, journals and newsletters from both the left and right sides of the political spectrum covering the period 1928 through 1997.","Main subject areas include but are not limited to: domestic and foreign communism; the Cold War (i.e. the Soviet Bloc, China, Korea, Vietnam, and Latin America); espionage and intelligence; political and cultural figures; entertainment and news media; the antiwar movement; assassinations; and domestic groups (i.e. the Black Panthers, KKK, SNCC, and the Weather Underground).","The first series covers the first half of Francis McNamara's career, with collected material roughly covering the years 1928-1975. This series contains material from McNamara's career with the House Un-American Activities Committee in Congress and later with the Subversive Activities Control Board. The second series covers the second half of Francis McNamara's career, corresponding roughly with the dates 1976-1997. This series contains material from McNamara's career at the Hale Foundation and later work. The third series, consisting of one box, contains regalia and various artifacts such as stamps, notecards, and notebooks used by McNamara."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_4be41bef83b492fd1ece72e24031bfec\" label=\"Abstract\"\u003eThe Francis J. McNamara papers contains materials collected by Francis J. McNamara dating from 1928 to 1997 pertaining to American politics and culture during this period. The main concentration in this collection deals with national security with respect to the influence of Communism, the Civil Rights Movement, and the counterculture. It is comprised of newspaper and magazine articles, letters, memoranda and other personal documents, U.S. government documents, pamphlets, and other printed materials.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Francis J. McNamara papers contains materials collected by Francis J. McNamara dating from 1928 to 1997 pertaining to American politics and culture during this period. The main concentration in this collection deals with national security with respect to the influence of Communism, the Civil Rights Movement, and the counterculture. It is comprised of newspaper and magazine articles, letters, memoranda and other personal documents, U.S. government documents, pamphlets, and other printed materials."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_1a5db7978b0180701aa58c1b36c8b2e3\"\u003e\nR11, C3, S3-S7 - C4, S2-S7\n\n\nR12, C1, S2-S7 - C4, S2-S7\n\n\nOS R7, C2, S1\n\u003c/physloc\u003e\n    "],"physloc_tesim":["R11, C3, S3-S7 - C4, S2-S7\n\n\nR12, C1, S2-S7 - C4, S2-S7\n\n\nOS R7, C2, S1"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American Civil Liberties Union","Hale Foundation","United States. Central Intelligence Agency","United States. Congress. House. Committee on Internal Security","United States. Congress. House. Committee on Un-American Activities","United States. Federal Bureau of Investigation","United States. Subversive Activities Control Board"],"names_coll_ssim":["American Civil Liberties Union","Hale Foundation","United States. Central Intelligence Agency","United States. Congress. House. Committee on Internal Security","United States. Congress. House. Committee on Un-American Activities","United States. Federal Bureau of Investigation","United States. Subversive Activities Control Board","McCarthy, Joseph, 1908-1957","Walter, Francis E. (Francis Eugene), 1894-1963"],"persname_ssim":["McNamara, Francis J., 1915-2007","McCarthy, Joseph, 1908-1957","Walter, Francis E. (Francis Eugene), 1894-1963"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","American Civil Liberties Union","Hale Foundation","United States. Central Intelligence Agency","United States. Congress. House. Committee on Internal Security","United States. Congress. House. Committee on Un-American Activities","United States. Federal Bureau of Investigation","United States. Subversive Activities Control Board","McNamara, Francis J., 1915-2007","McCarthy, Joseph, 1908-1957","Walter, Francis E. (Francis Eugene), 1894-1963"],"language_ssim":["English"],"total_component_count_is":2344,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:17.521Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_139_c02_c711"}},{"id":"wvmturhc_repositories_2_resources_1610_c02_c39","type":"File","attributes":{"title":"Young, Billie Jean, 1979/1984","breadcrumbs":{"id":"https://arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1610_c02_c39#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"wvmturhc_repositories_2_resources_1610_c02_c39","ref_ssm":["wvmturhc_repositories_2_resources_1610_c02_c39"],"id":"wvmturhc_repositories_2_resources_1610_c02_c39","ead_ssi":"wvmturhc_repositories_2_resources_1610","_root_":"wvmturhc_repositories_2_resources_1610","_nest_parent_":"wvmturhc_repositories_2_resources_1610_c02","parent_ssi":"wvmturhc_repositories_2_resources_1610_c02","parent_ssim":["Maryat Lee, Playwright, Papers, 1902/1997, bulk 1951/1989","Series 2. Subjects, 1962/1994"],"parent_ids_ssim":["wvmturhc_repositories_2_resources_1610","wvmturhc_repositories_2_resources_1610_c02"],"title_filing_ssi":"Young, Billie Jean","title_ssm":["Young, Billie Jean"],"title_tesim":["Young, Billie Jean"],"normalized_title_ssm":["Young, Billie Jean, 1979/1984"],"text":["Young, Billie Jean, 1979/1984","Maryat Lee, Playwright, Papers, 1902/1997, bulk 1951/1989","Series 2. Subjects, 1962/1994","Box 2","Folder 33"],"parent_unittitles_ssm":["Maryat Lee, Playwright, Papers, 1902/1997, bulk 1951/1989","Series 2. Subjects, 1962/1994"],"parent_unittitles_tesim":["Maryat Lee, Playwright, Papers, 1902/1997, bulk 1951/1989","Series 2. Subjects, 1962/1994"],"normalized_date_ssm":["1979/1984"],"unitdate_inclusive_ssm":["1979-1984 and undated"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":85,"repository_ssim":["West Virginia and Regional History Center"],"collection_ssim":["Maryat Lee, Playwright, Papers, 1902/1997, bulk 1951/1989"],"containers_ssim":["Box 2","Folder 33"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["No special access restriction applies.","Researchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department."],"parent_access_terms_tesm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"date_range_isim":[1979,1980,1981,1982,1983,1984],"_nest_path_":"/components#1/components#38","timestamp":"2026-08-14T23:07:49.367Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_1610","ead_ssi":"wvmturhc_repositories_2_resources_1610","_root_":"wvmturhc_repositories_2_resources_1610","_nest_parent_":"wvmturhc_repositories_2_resources_1610","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_1610.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/195886","title_ssm":["Maryat Lee, Playwright, Papers"],"title_tesim":["Maryat Lee, Playwright, Papers"],"unitdate_ssm":["1902-1997","1951-1989"],"unitdate_inclusive_ssm":["1902-1997"],"unitdate_bulk_ssim":["1951-1989"],"normalized_date_ssm":["1902/1997, bulk 1951/1989"],"normalized_title_ssm":["Maryat Lee, Playwright, Papers, 1902/1997, bulk 1951/1989"],"text":["Maryat Lee, Playwright, Papers, 1902/1997, bulk 1951/1989","A\u0026M 3300","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1610","Hinton (W. Va.)","New York (N.Y.)","West Virginia Feminist Activist and Women's History Collection","Community theater","Community arts projects","Women authors, American   -- 20th century","Women in community organization","No special access restriction applies.","Researchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department.","Maryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.","Maryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert.","She graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.","In the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.","Inspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play, DOPE! which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work.","In 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.","In 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.","She founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater.","Soon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.","In 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.","During this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including John Henry and Ole Miz Dacey. Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.","EcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with DOPE! and SALT, used non-actors in its performances.","In 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky.","Maryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook.","This collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings.","Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt.","The collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series.","Series 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts.","Series 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing.","Series 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.","Series 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date.","Series 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date.","Series 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.","Series 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29.","This collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request.","Select audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department.","Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website.","Maryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: West Virginia \u0026 Regional History Center","West Virginia and Regional History Center","West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert","English\n."],"collection_title_tesim":["Maryat Lee, Playwright, Papers, 1902/1997, bulk 1951/1989"],"collection_ssim":["Maryat Lee, Playwright, Papers, 1902/1997, bulk 1951/1989"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 3300","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1610"],"unitid_tesim":["A\u0026M 3300","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1610"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"geogname_ssm":["Hinton (W. Va.)","New York (N.Y.)"],"geogname_ssim":["Hinton (W. Va.)","New York (N.Y.)"],"places_ssim":["Hinton (W. Va.)","New York (N.Y.)"],"creator_ssm":["Lee, Maryat, 1923-1989","Lee, Robert","West Virginia University. Art Museum"],"creator_ssim":["Lee, Maryat, 1923-1989","Lee, Robert","West Virginia University. Art Museum"],"creator_persname_ssim":["Lee, Maryat, 1923-1989","Lee, Robert"],"creator_corpname_ssim":["West Virginia and Regional History Center","West Virginia University. Art Museum"],"creators_ssim":["Lee, Maryat, 1923-1989","Lee, Robert","West Virginia and Regional History Center","West Virginia University. Art Museum"],"access_terms_ssm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Gift from Lee, Robert, 1998 June 5.","Gift from Lee, Robert, 1998 July 11.","Transfer from West Virginia University Art Museum, 2022 April 29."],"access_subjects_ssim":["West Virginia Feminist Activist and Women's History Collection","Community theater","Community arts projects","Women authors, American   -- 20th century","Women in community organization"],"access_subjects_ssm":["West Virginia Feminist Activist and Women's History Collection","Community theater","Community arts projects","Women authors, American   -- 20th century","Women in community organization"],"has_online_content_ssim":["false"],"extent_ssm":["63.54 Linear Feet 63 ft. 6.5 in. (42 records cartons, 15 in. each); (9 document cases, 5 in. each); (3 document cases, 2.5 in.); (1 large flat storage box, 3.5 in.); (7 medium flat storage boxes, 3 in. each); (1 small flat storage box, 1.5 in.); (5 large item boxes, 5 in. each); (1 small item box, 3 in.); (1 large clamshell box, 5 in.); (9 paintings, 1.5 in. each); (1 framed item, 0.5 in.); (1 plaster bust, 7 in.)"],"extent_tesim":["63.54 Linear Feet 63 ft. 6.5 in. (42 records cartons, 15 in. each); (9 document cases, 5 in. each); (3 document cases, 2.5 in.); (1 large flat storage box, 3.5 in.); (7 medium flat storage boxes, 3 in. each); (1 small flat storage box, 1.5 in.); (5 large item boxes, 5 in. each); (1 small item box, 3 in.); (1 large clamshell box, 5 in.); (9 paintings, 1.5 in. each); (1 framed item, 0.5 in.); (1 plaster bust, 7 in.)"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997],"accessrestrict_html_tesm":["\u003cp\u003eNo special access restriction applies.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the \u003ca href=\"https://westvirginia.libanswers.com/wvrhc\" target=\"_blank\"\u003eWest Virginia \u0026amp; Regional History Center reference department\u003c/a\u003e. \u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["No special access restriction applies.","Researchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department."],"bioghist_html_tesm":["\u003cp\u003eMaryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.  \u003c/p\u003e","\u003cp\u003eMaryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert. \u003c/p\u003e","\u003cp\u003eShe graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.\u003c/p\u003e","\u003cp\u003eIn the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.  \u003c/p\u003e","\u003cp\u003eInspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play, \u003ctitle\u003eDOPE!\u003c/title\u003e which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work. \u003c/p\u003e","\u003cp\u003eIn 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.   \u003c/p\u003e","\u003cp\u003eIn 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.\u003c/p\u003e","\u003cp\u003eShe founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater. \u003c/p\u003e","\u003cp\u003eSoon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.  \u003c/p\u003e","\u003cp\u003eIn 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.  \u003c/p\u003e","\u003cp\u003eDuring this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including \u003ctitle\u003eJohn Henry\u003c/title\u003e and \u003ctitle\u003eOle Miz Dacey\u003c/title\u003e. Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.  \u003c/p\u003e","\u003cp\u003eEcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with \u003ctitle\u003eDOPE!\u003c/title\u003e and SALT, used non-actors in its performances.  \u003c/p\u003e","\u003cp\u003eIn 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky. \u003c/p\u003e","\u003cp\u003eMaryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook.  \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Maryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.","Maryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert.","She graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.","In the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.","Inspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play, DOPE! which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work.","In 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.","In 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.","She founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater.","Soon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.","In 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.","During this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including John Henry and Ole Miz Dacey. Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.","EcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with DOPE! and SALT, used non-actors in its performances.","In 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky.","Maryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook."],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Maryat Lee, Playwright, Papers, A\u0026amp;M 3300, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e  "],"prefercite_tesim":["[Description and date of item], [Box/folder number], Maryat Lee, Playwright, Papers, A\u0026M 3300, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings. \u003c/p\u003e","\u003cp\u003eMaterials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt. \u003c/p\u003e","\u003cp\u003eThe collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series. \u003c/p\u003e","\u003cp\u003eSeries 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts. \u003c/p\u003e","\u003cp\u003eSeries 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing. \u003c/p\u003e","\u003cp\u003eSeries 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.\u003c/p\u003e","\u003cp\u003eSeries 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. \u003c/p\u003e","\u003cp\u003eSeries 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. \u003c/p\u003e","\u003cp\u003eSeries 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.\u003c/p\u003e","\u003cp\u003eSeries 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29. \u003c/p\u003e","\u003cp\u003eThis collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request. \u003c/p\u003e","\u003cp\u003eSelect audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the \u003ca href=\"https://westvirginia.libanswers.com/wvrhc\" target=\"_blank\"\u003eWest Virginia \u0026amp; Regional History Center reference department\u003c/a\u003e.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings.","Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt.","The collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series.","Series 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts.","Series 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing.","Series 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.","Series 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date.","Series 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date.","Series 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.","Series 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29.","This collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request.","Select audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department."],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"abstract_html_tesm":["\u003cabstract id=\"aspace_41a071f25400b148208ada4216a47db7\"\u003eMaryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt.\u003c/abstract\u003e\n    "],"abstract_tesim":["Maryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_59b034a3f262570e93a472c5cb053744\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: \u003ca href=\"https://wvrhc.lib.wvu.edu/\"\u003eWest Virginia \u0026amp; Regional History Center\u003c/a\u003e\u003c/physloc\u003e\n    "],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: West Virginia \u0026 Regional History Center"],"corpname_ssim":["West Virginia and Regional History Center","West Virginia University. Art Museum"],"names_coll_ssim":["West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert"],"persname_ssim":["Lee, Maryat, 1923-1989","Lee, Robert"],"names_ssim":["West Virginia and Regional History Center","West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert"],"language_ssim":["English\n."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1537,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T23:07:49.367Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1610_c02_c39"}},{"id":"viblbv_repositories_2_resources_1798_c08_c128","type":"File","attributes":{"title":"Younger, Margaret Chase, 1902/1994","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_1798_c08_c128#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_1798_c08_c128","ref_ssm":["viblbv_repositories_2_resources_1798_c08_c128"],"id":"viblbv_repositories_2_resources_1798_c08_c128","ead_ssi":"viblbv_repositories_2_resources_1798","_root_":"viblbv_repositories_2_resources_1798","_nest_parent_":"viblbv_repositories_2_resources_1798_c08","parent_ssi":"viblbv_repositories_2_resources_1798_c08","parent_ssim":["Inge Horton Architectural Collection, 1964/1999","Files of Early Women Architects and A Few Male Architects Who Supported Them, 1890/1951"],"parent_ids_ssim":["viblbv_repositories_2_resources_1798","viblbv_repositories_2_resources_1798_c08"],"title_filing_ssi":"Younger, Margaret Chase","title_ssm":["Younger, Margaret Chase"],"title_tesim":["Younger, Margaret Chase"],"normalized_title_ssm":["Younger, Margaret Chase, 1902/1994"],"text":["Younger, Margaret Chase, 1902/1994","Inge Horton Architectural Collection, 1964/1999","Files of Early Women Architects and A Few Male Architects Who Supported Them, 1890/1951","box 5","folder 52","English."],"parent_unittitles_ssm":["Inge Horton Architectural Collection, 1964/1999","Files of Early Women Architects and A Few Male Architects Who Supported Them, 1890/1951"],"parent_unittitles_tesim":["Inge Horton Architectural Collection, 1964/1999","Files of Early Women Architects and A Few Male Architects Who Supported Them, 1890/1951"],"normalized_date_ssm":["1902/1994"],"unitdate_inclusive_ssm":["1902-1994"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":136,"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Inge Horton Architectural Collection, 1964/1999"],"containers_ssim":["box 5","folder 52"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is open for research."],"parent_access_terms_tesm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"language_ssim":["English."],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994],"_nest_path_":"/components#7/components#127","timestamp":"2026-08-14T22:30:00.355Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_1798","ead_ssi":"viblbv_repositories_2_resources_1798","_root_":"viblbv_repositories_2_resources_1798","_nest_parent_":"viblbv_repositories_2_resources_1798","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_1798.xml","title_filing_ssi":"Horton, Inge, Architectural Collection","title_ssm":["Inge Horton Architectural Collection"],"title_tesim":["Inge Horton Architectural Collection"],"unitdate_ssm":["1964-1999"],"unitdate_inclusive_ssm":["1964-1999"],"normalized_date_ssm":["1964/1999"],"normalized_title_ssm":["Inge Horton Architectural Collection, 1964/1999"],"text":["Inge Horton Architectural Collection, 1964/1999","Ms.1990.065","History of Women in Architecture","International Archive of Women in Architecture (IAWA)","Women architects -- California","Women -- History","The collection is open for research.","The collection is arranged by material type.","Born in Germany, Inge S. Horton was educated in architecture and city planning. She graduated with a Diplom-Ingenieur from the Technological University of Berlin, Germany, 1965, and with a Master of City and Regional Planning from University of California, Berkeley, 1979. She has work experience in private, institutional and municipal planning departments. She was a planner with the Planning Department of the City and County of San Francisco, California, from 1983 to 1998.","She has held leadership positions in both the Organization of Women Architects and Design Professionals (OWA) and the International Archive of Women in Architecture (IAWA).","Her publications include several articles and two books in collaboration with Monica Hennig-Schefold on \"Early Modern Architecture in Berlin\" (1967) and \"Structure and Decoration: Art Nouveau Architecture in Paris and Brussels\" (1971). Horton also published a book on \"Early Women Architects of the San Francisco Bay Area: The Lives and Work of Fifty Professionals, 1890-1951\" (2010).","The guide to the Inge Horton Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (https://creativecommons.org/share-your-work/public-domain/cc0/).","The processing, arrangement and description of the Inge Horton Architectural Collection commenced and was completed in September 2010. Additional files were processed in March 2016.","The Inge Horton Architectural Collection consists of architectural studies written by Horton while in Germany; presentations made at various women's architectural organization meetings, including the International Union of Women Architects (UIFA); a Historic Structure Report for Julia Morgan building; copies of her books; a curriculum vitae; and files on early women architects in the San Francisco Bay Area for her book \"Early Women Architects of the San Francisco Bay Area: The Lives and Work of Fifty Professionals, 1890-1951\" (2010).","The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","Inge Horton was born in Germany. She was a planner with the Planning Department of the City and County of San Francisco, California, from 1983 to 1998; member of the Board of Advisors for the International Archive of Women in Architecture. 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Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"acqinfo_ssim":["The Inge Horton Architectural Collection was donated to Special Collections in 1990."],"access_subjects_ssim":["History of Women in Architecture","International Archive of Women in Architecture (IAWA)","Women architects -- California","Women -- History"],"access_subjects_ssm":["History of Women in Architecture","International Archive of Women in Architecture (IAWA)","Women architects -- California","Women -- History"],"has_online_content_ssim":["false"],"extent_ssm":["9.3 Cubic Feet 8 boxes"],"extent_tesim":["9.3 Cubic Feet 8 boxes"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged by material type.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged by material type."],"bioghist_html_tesm":["\u003cp\u003eBorn in Germany, Inge S. Horton was educated in architecture and city planning. She graduated with a Diplom-Ingenieur from the Technological University of Berlin, Germany, 1965, and with a Master of City and Regional Planning from University of California, Berkeley, 1979. She has work experience in private, institutional and municipal planning departments. She was a planner with the Planning Department of the City and County of San Francisco, California, from 1983 to 1998.\u003c/p\u003e","\u003cp\u003eShe has held leadership positions in both the Organization of Women Architects and Design Professionals (OWA) and the International Archive of Women in Architecture (IAWA).\u003c/p\u003e","\u003cp\u003eHer publications include several articles and two books in collaboration with Monica Hennig-Schefold on \"Early Modern Architecture in Berlin\" (1967) and \"Structure and Decoration: Art Nouveau Architecture in Paris and Brussels\" (1971). Horton also published a book on \"Early Women Architects of the San Francisco Bay Area: The Lives and Work of Fifty Professionals, 1890-1951\" (2010).\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Born in Germany, Inge S. Horton was educated in architecture and city planning. She graduated with a Diplom-Ingenieur from the Technological University of Berlin, Germany, 1965, and with a Master of City and Regional Planning from University of California, Berkeley, 1979. She has work experience in private, institutional and municipal planning departments. She was a planner with the Planning Department of the City and County of San Francisco, California, from 1983 to 1998.","She has held leadership positions in both the Organization of Women Architects and Design Professionals (OWA) and the International Archive of Women in Architecture (IAWA).","Her publications include several articles and two books in collaboration with Monica Hennig-Schefold on \"Early Modern Architecture in Berlin\" (1967) and \"Structure and Decoration: Art Nouveau Architecture in Paris and Brussels\" (1971). Horton also published a book on \"Early Women Architects of the San Francisco Bay Area: The Lives and Work of Fifty Professionals, 1890-1951\" (2010)."],"odd_html_tesm":["\u003cp\u003eThe guide to the Inge Horton Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003ca href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/a\u003e).\u003c/p\u003e  "],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Inge Horton Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (https://creativecommons.org/share-your-work/public-domain/cc0/)."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Inge Horton Architectural Collection, 1964-1999, Ms1990-065, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e  "],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Inge Horton Architectural Collection, 1964-1999, Ms1990-065, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement and description of the Inge Horton Architectural Collection commenced and was completed in September 2010. Additional files were processed in March 2016.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement and description of the Inge Horton Architectural Collection commenced and was completed in September 2010. Additional files were processed in March 2016."],"scopecontent_html_tesm":["\u003cp\u003eThe Inge Horton Architectural Collection consists of architectural studies written by Horton while in Germany; presentations made at various women's architectural organization meetings, including the International Union of Women Architects (UIFA); a Historic Structure Report for Julia Morgan building; copies of her books; a curriculum vitae; and files on early women architects in the San Francisco Bay Area for her book \"Early Women Architects of the San Francisco Bay Area: The Lives and Work of Fifty Professionals, 1890-1951\" (2010).\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Inge Horton Architectural Collection consists of architectural studies written by Horton while in Germany; presentations made at various women's architectural organization meetings, including the International Union of Women Architects (UIFA); a Historic Structure Report for Julia Morgan building; copies of her books; a curriculum vitae; and files on early women architects in the San Francisco Bay Area for her book \"Early Women Architects of the San Francisco Bay Area: The Lives and Work of Fifty Professionals, 1890-1951\" (2010)."],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca href=\"http://bit.ly/scuapublication\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_efeedd0489853594ec017840c3f0497f\" label=\"Abstract\"\u003eInge Horton was born in Germany. She was a planner with the Planning Department of the City and County of San Francisco, California, from 1983 to 1998; member of the Board of Advisors for the International Archive of Women in Architecture. Her papers consist of architectural studies written while in Germany; presentations made at various women's architectural organization meetings, including the International Union of Women Architects; a curriculum vitae; and research files on early women architects in the San Francisco Bay Area.\u003c/abstract\u003e\n    "],"abstract_tesim":["Inge Horton was born in Germany. She was a planner with the Planning Department of the City and County of San Francisco, California, from 1983 to 1998; member of the Board of Advisors for the International Archive of Women in Architecture. Her papers consist of architectural studies written while in Germany; presentations made at various women's architectural organization meetings, including the International Union of Women Architects; a curriculum vitae; and research files on early women architects in the San Francisco Bay Area."],"corpname_ssim":["Special Collections and University Archives, Virginia Tech"],"persname_ssim":["Horton, Inge S."],"names_ssim":["Special Collections and University Archives, Virginia Tech","Horton, Inge S."],"language_ssim":["The materials in the collection are in English and German."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":320,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:30:00.355Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_1798_c08_c128"}}],"included":[{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"Alexandria Library","value":"Alexandria Library","hits":240},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1980\u0026f%5Brepository%5D%5B%5D=Alexandria+Library\u0026view=list"}},{"attributes":{"label":"College of William and Mary","value":"College of William and Mary","hits":8882},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1980\u0026f%5Brepository%5D%5B%5D=College+of+William+and+Mary\u0026view=list"}},{"attributes":{"label":"Edgar Cayce Foundation","value":"Edgar Cayce 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