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. 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.

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.

Bernstein is a professor of History, African American Studies, and Studies of Women, Gender, and Sexuality at Harvard University. Her research focuses include childhood, theater and performance, and race in the United States. Her collection includes documents and programs from lesbian organizations and queer theater productions, as well as audiotapes and phonograph records featuring lesbian comedians.

Du Bois was a political activist, writer, playwright, and composer. She entered Oberlin College in 1931 to study music, and the following year, her musical drama Tom-Tom was performed in Chicago. It was described by a critic as "the first all-black opera to be produced on a large scale." She was later appointed director of the "Negro Unit" of the Chicago Federal Theatre, where she staged several successful productions. She was also a prolific writer and activist, and married W.E.B. Du Bois in 1951. They worked together to improve the lot of underrepresented groups in the united states. In 1961, they emigrated to Ghana, and Shirley Graham Du Bois helped to develope a national telecommunications infrastructure at Ghana Television. The collection includes personal and professional correspondence, scripts, writings, and manuscripts, among other materials.

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.

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, including Allegra Productions, Boston Women's Music Collective, and the Boston Women's Theatre Festival. The collection includes contracts, publicity, programs, questionnaires, and notes from meetings.

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. See also the Additional Papers of Eve Merriam (1930-1992), and the Additional Papers of Eve Merriam (1960-1984).

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.

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.

Most widely recognized as an open-mic 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.

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 Papers of Dorothy West have been digitized and made available through the finding aid for the Papers of Dorothy West . Additional information about West can be found in the Interviews of the Black Women Oral History Project. Digitized materials including transcripts, audio recordings, and biographies can be accessed through the Black Women Oral History Project research Guide.

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. The collection includes contracts, scripts, correspondence, and clippings, among other materials.

At the Foot of the Mountain Theatre: Minneapolis, MN.

This is the monthly news bulletin issued for all workers on Federal Theatre Projects throughout America by the Bureau of Research and Publication. There is related material in the Semi-monthly Letter of the Federal Theatre Project.

Monthly theater and employment magazine: Chicago, IL.

This women's magazine was intended "to improve the minds and amuse the leisure hours of women"; it offered serialized tales and romances, articles on fashion, and much humorous material in the form of jokes, anecdotes, poetry, and satire. In addition, it provided reviews of local theater performances, biography, extracts from European publications, and brief news items.

The guide to the arts at Harvard and Radcliffe.

Sistren was published by the Sistren Theatre Collective, a Jamaican community theater group. The Schlesinger holds issues ranging from 1986 to 1996 in a bound issue.

A publication of the Department of Performance Studies at New York University's Tisch School of the Arts. The Schlesinger holds issues ranging from 1984 to 2009.