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This series comprises sketches, notes, fabric samples, and other artistic renderings of Heeley's production designs. It includes designs for props, costumes, accessories, set pieces, stage layouts, backdrops, and posters for a large range of productions in opera, theater, and ballet - with his Shakespearean designs particularly well represented. Many of these designs were loosely stacked together, with no apparent chronological, alphabetical, or thematic ordering. However, some were arranged according to production - organized into folders and scrapbooks, or contained in sketch-pads and "production bibles" (books of sketches, notes, and design materials relating to a single production). These production bibles often contain other documents relating to the production, such as fabric order forms, personnel lists, and schedules. This series contains several fabric samples, used by Heeley in the planning of his designs and often pinned to the designs which they relate to (although some were kept loose). Many of the sketches contained in this series are originals, produced in ink, pencil, paint (watercolor or oil), or crayon on onion-skin paper, printer paper, or cardstock. However, this series also contains many photocopies (generally high-quality xeroxes), seemingly produced by Heeley, which may still provide value to the researcher. Generally, photocopies and originals were mixed in together, although photocopies were only infrequently stored alongside the originals which they correspond to. Many sketches are unlabeled and/or undated, and, in lieu of any obvious thematic ordering, it is difficult to know which production they correspond to. Most sketches are annotated by Heeley, with labels relating to color, materials, construction, dimensions, or design ethic. The designs appear to span a range of theaters across a number of decades, including the Guthrie Theater, the Stratford Festival, Houston Ballet, New York City Opera, Australian Ballet, Glyndebourne, the Royal Opera House, Broadway, and Dorothy Hamill's Ice Capades. Heeley also produced designs for several children's picture books, for production posters or programs, and for a wall calendar; materials (sketches, photocopies, notes, etc.) relating to these design activities can be found in this series. It is often difficult to distinguish between these designs and his production designs, especially when these designs were mixed in with set and costume designs. Furthermore, Heeley's picture books were often related to his theatrical work: many were published to coincide with certain stage productions (for example, Heeley's Hansel, Gretel, the Witch, and the Cat seems to have been sold as merchandise at the Ice Capades show of the same name) and many relate to the plots of stage works or to life in the theater (for example, Mouse Goes to the Ballet). Finally, this series contains visual ephemera (scrapbooks, magazine cuttings, postcards, art calendars, photocopied book pages, etc.) which appear to have been used by Heeley as inspiration or research for his designs (or at least seem to have formed some part of Heeley's aesthetic world). As these visual materials were often stored alongside Heeley's own designs, they have been organized into the same series.

This series includes paintings, sketches, prints, and paintings done by LaVigne, as well as artwork created by his friends. This series includes some of LaVigne's artwork, but also some of his design work including book cover designs and four costume designs for a performance of Picasso's Desire Caught by the Tail.

Programs, fliers, posters, scripts, receipts and other documents chronicling the performance activities of the Freemans make up the bulk of this series. Highlights include 12 exquisite watercolor costume designs by Amos Dickenson for The Martyr, circa 1920, and rare programs from such historic African-American theatres as the Pekin, the New Lincoln, the Anita Bush Stock Company, and others. The folder of receipts from 1920-1924 was removed from an accordion file found in the collection. The original order of the receipts has been preserved, although it is not always chronological. Many expenses relate to the formation of the Negro Grand Opera Company, which occurred during this period. Programs kept by the Freemans for events in which they did not perform, but probably attended, are also included.