A founder of the Feminist Repertory Theatre in Cambridge, MA, Albee wrote and directed feminist retellings of the Greek classics Antigone and Medea, as well as The Yellow Wallpaper, based on the story by Charlotte Perkins Gilman.

This collection consists of programs and other ephemera from the American Repertory Theatre's 2015 production of Waitress, as well as the theater's website and oral history interviews from food industry workers.

Atwell was an actress born and educated in Boston. Her first stage appearance was with the Boston Museum, after which she was associated with many stock companies throughout the Northeast. This collection includes clippings and playbills of Atwell's career.

Barbara "Bobbi" Ausubel grew up in Brooklyn, New York. In 1955, she married Stan Edelson and in 1965 they co-founded the Caravan Theatre in Cambridge, Massachusetts. The company performed at venues including the Harvard Epworth Church in Cambridge and also toured both nationally and internationally, traveling to Poland as part of the International Polish Experimental Theatre Festival. Some of Caravan's productions were collaborative works put together by company members, while others were works by well-known playwrights, such as Jean Genet, Samuel Beckett, and Bertolt Brecht. One of the theater's most successful productions was How to Make a Woman, which was directed by Ausubel and first performed in 1967. Caravan ceased production in 1978. Ausubel subsequently directed plays for a variety of other theatrical companies, taught at the Boston Conservatory for a number of years, and was also actively involved with the organization That Takes Ovaries! This collection includes playbills; scripts; sketches of performances; interviews with members of Caravan Theatre company; board meeting minutes; photographs; and printed material about the feminist movement and feminist theater.

After serving in the Navy, Barton became a program director for the New York State Radio-Television-Motion Picture Bureau. Her papers include radio scripts and correspondence in relation to this position, as well as in relation to her work with American Women in Radio and Television.

Under the stage name Jessica Lee, Berman performed in silent movies and wrote and performed many dramatic sketches and plays. This collection includes diaries, correspondence, photographs, and radio scripts documenting Berman's careers as an actress, writer, and businesswoman.

Amy Fay Stone was an actress who went by the stage name Anne Faystone. Her diaries, correspondence, and photographs provide information on theatrical life in New York and on the road in the 1910s and 1920s.

Forrester was a writer and a member of a theatrical family. These papers contain scrapbooks, correspondence, diaries, and playbills documenting several generations of a family believed to be descendants of the infamous stage performer John Wilkes Booth. They also include Forrester’s research on Booth.

A feminist film critic and writer, Molly Haskell wrote for the Village Voice before becoming a regular contributor to New York magazine and Vogue and an adjunct professor of film at Columbia University. This collection includes research files; notes; drafts and published works; and correspondence.

Hull was a stage and screen actress (Radcliffe College, A.B., 1899). Her papers document her career and include organizational records of Stage Women's War Relief (1917-1920) and American Theatre Wing (1940).

Huntington worked as an actress both in Boston and abroad and co-founded the New England Repertory Theater, which performed in Boston in the winter and Provincetown in the summer. This collection includes correspondence and notes concerning her work in the theater and her involvement in the Sacco-Vanzetti case. There is related material in the Harvard Theatre Collection.

Polly Laurelchild-Hertig was active in a number of Boston-area women's music and theater organizations during the 1970s and 1980s. Her papers contain contracts, publicity, programs, questionnaires, and notes from theaters including Allegra Productions, Boston Women's Music Collective, and the Boston Women's Theatre Festival. Note: Closed until processed.

Encouraged by her mother to go on the stage, Maynard made her Broadway debut in 1913 and began acting in silent films the following year. She appeared in several films, including King Lear, in which she played Cordelia, and The Fall of a Nation, a response to D.W. Griffith's The Birth of a Nation.

A writer of satire, fiction, children's books, biographies, poetry, and drama, her work appeared in American and international publications and was staged off Broadway and at the White House.

After graduating from Yale School of Drama, Moore worked in theater, wrote poetry, and was active in the women’s liberation movement. In 1977 she compiled the first collection of contemporary women's plays, entitled The New Women's Theatre: Ten Plays by Contemporary American Women. Her papers include extensive correspondence from the 1970s with other feminists, poets, playwrights, and political activists.

Parker was a founding member and artistic director of Clowns Around, a touring company staging productions for children. In 1983 she and Tita Wernimont co-founded Watermelon Studio, Inc. (later Next Stage Theatre), a theatrical company providing a venue in which local women theater professionals could present original work. Watermelon Studio organized the first Boston Women’s Theatre Festival (later the Women in Theatre Festival) in 1985. In 1987, Watermelon Studio began year-round programming, holding the first annual Electra Festival in 1989.

Ann Ronnell wrote scores for many films and adapted a series of opera scores for the stage. Her papers contain clippings, bibliographies, and manuscript scores of two of her songs.

A playwright, novelist, and activist, Ana María Simo was born in Cienfuegos, Cuba, in 1943, and moved to Havana on the eve of the 1959 revolution. She began working as a journalist at age 15 and was 18 when her first book, The Fables, was published by Ediciones El Puente, a project co-directed by Simo (1961-1965) along with the poet José Mario Rodriguez. Simo moved to Paris in 1967, studying sociology and linguistics, and was active in Gouines Rouges (Red Dykes), the MLF (Mouvement de Libération des Femmes), and the FHAR (Front homosexuel d'action révolutionnaire). In the mid-1970s she settled in New York, where she began writing in English and was associated with Maria Irene Fornes' experimental theater workshop. Many of her plays (Ted and Edna, Going to New England, Exiles, and Alma) were produced in New York at the INTAR Hispanic American Arts Center and other venues. She was the co-founder of Medusa's Revenge theater, the direct action group Lesbian Avengers, the national cable program Dyke TV, and The Gully online magazine. A short feature film, How to Kill Her, was widely screened at festivals in the United States and abroad. The collection includes family and personal documents such as passports, school records, etc.; correspondence; files on her activism; writings; reviews; clippings; photographs; memorabilia; posters; and audiovisual material.

Most widely recognized as an open-mike movement, this non-profit got its start by producing a play based on stories collected from 64 women about moments of bravery in their lives. All material available via Experimental Archives Project.

This collection has been digitized. Visit the finding aid for the Dorothy West collection (Call#: MC 676) for access to the digitized content.
Best known as a prolific writer of short stories, novels, and newspaper articles, West also performed in the play Porgy on Broadway and in England. Her papers have been digitized and include correspondence and diary entries detailing West's involvement in the Harlem Renaissance in New York City.

The author of many of the plays in which she appeared, West frequently drew the attention of the police for her salacious dialogue. She was prosecuted for her plays Sex (1926) and Pleasure Man (1928) under obscenity statutes. She appeared in the films I'm No Angel (1933), Klondike Annie (1935), and My Little Chickadee (1940), among many others. West returned to the stage in the 1940s with Catherine Was Great (1946), and in the 1950s she put together a popular Las Vegas nightclub act. Her autobiography, Goodness Had Nothing to Do with It, was published in 1959, and she appeared in her last movie, Sextette, in 1978.