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351:, July 27, 1962, an adaptation of a Tennessee Williams story, transferred from Caffe Cino. Perhaps the best way to understand Cino and Stewart's relationship is to consider their different models of producing plays. Cino rarely extended a run, as he didn't want to affect the next play's opening. If playwrights wanted longer runs and more exposure for a popular play, they went to La MaMa. There was an unspoken agreement between Cino and Stewart that the plays produced at either theatre could continue to a second run at the other. When Caffe Cino burned down in 1966, La MaMa hosted benefit shows to aid in the theatre's reopening. Joe Cino's family offered Stewart the theatre after his death in 1967, but she declined.
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Stewart's primary interest from the playwright to the director. In the 1970s, Stewart was interested in pairing playwrights and directors as a kind of theatrical matchmaker. She also had an interest in playwrights who directed and/or were solo performers. Stewart's 1970s shift in focus aligned with the concurrent historical "end" of the original Off-Off-Broadway movement. While La MaMa is the only Off-Off-Broadway theatre of the core four Off-Off-Broadway theatres that continues to function, La MaMa has evolved and adapted beyond
Stewart's original focus on the playwright.
741:' role-playing theories of human behavior and games adapted for theatre. This background gave O'Horgan an interest in the totality of theatre, which aligned perfectly with Stewart's interest in a theatrical language that transcended text. This interest of Stewart's developed primarily from La MaMa's international touring. O'Horgan's direction included musically driven vocal and movement techniques, which contributed to the distinctive La MaMa genre of theatre.
431:, Paul Foster's play. There must have been 35 people who came to see the play. Many of them had never been there before, I told them just to strike the cafĂ©. Many didn't know what I meant, but they all saw the others picking up chairs and tables. Everybody picked something up and followed me down the street. We took everything, paintings, tables, chairs, coffeepotsâeverything. Well, they moved me in one hour.
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also found it difficult to determine the "dedicated devotion to novelty" of La MaMa productions. Upon hearing that Danish and other
European countries would review most productions seen in their cities, Stewart decided to establish a reputation in Europe so that the United States would take more notice. In the fall of 1965, with twenty-two plays and sixteen young actors, La MaMa had its first European tour.
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378:. He advised Stewart that getting a license to open a coffeehouse was much easier than getting a license to open a theatre. Following this advice, La MaMa became Café La MaMa. Coffee and cake were served, admission was free, and any compensation that the actors received came from "passing the hat". Stewart's fashion designs and seamstress jobs subsidized the theatre during its first decade of operation.
305:, which was focused on creating a specific atmosphere or clientele, La MaMa's primary focus was on the playwright. Stewart was interested in the people behind the work, and often didn't even read the plays. She relied on what she called "beeps", or "clicks", a hunch or feeling she got when meeting people and deciding whether or not to produce work with them.
284:. Diamonds told Stewart that everyone needs both a "pushcart to serve others" and their own personal pushcart. Stewart had a revelation about this advice during a trip she took to Morocco and decided to open a boutique for her fashion designs that would also serve as a theatre for her foster brother, playwright Fred Lights, and his fellow playwright
599:, went to Copenhagen for six weeks and was well-received. The Danish audience was interested in the company's passion and energy, and La MaMa was invited back the following year. The other company, led by Ross Alexander, went to Paris for six weeks. Unfortunately, the French audience found Jean-Claude van Itallie's
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Café La MaMa moved into its second home, a loft above a florist shop at 82 Second Avenue, on June 28, 1963. One month after opening, Stewart was informed by the
Buildings Department that she had to vacate this new space because she was making a profit from serving coffee. Stewart stopped serving
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Education within the La MaMa community has been present since its inception. Through workshops, talk backs, meet-ups, collaborations with colleges, and artist's retreats, the organization has provided opportunities for the younger generation of artists to observe, grow, and network within and beyond
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La MaMa has extended past these
European tours, with satellite La MaMa theatres opening over the years in Boston, Amsterdam, BogotĂĄ, Israel, London, Melbourne, Morocco, Munich, Paris, Tokyo, Toronto, and Vienna. As of 2006, only a few continued to carry the La MaMa name, including La MaMa BogotĂĄ, La
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Even operating as a "café," Café La MaMa was forced to close and reopen ten times during its first year. Although the neighbors' fears concerning
Stewart's supposed brothel had been quelled, fire inspectors often found violations at the theatre, which created serious legal problems. Stewart herself
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La MaMa's first home, the basement at 321 East Ninth Street, was renovated over a period of nine months. During this time, the neighbors became concerned about the different men visiting at various times to work on the space. Moreover, as an
African-American woman, Stewart was not welcomed into the
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To the present, La MaMa's mission is dedicated to "the people who make art, and it is to them that we give our support with free theatre and rehearsal space, lights, sound, props, platforms, and whatever else we have that they can use to create their work. We want them to feel free to explore their
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Because of building code violations, La MaMa was forced to relocate again in
November 1964. All of these relocations were initiated by the Buildings Department inspector, who would contact the Fire Department, who would then contact the Police Department to issue a summons for Stewart's arrest. In
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This second space was approximately five times larger than the first space and sat up to seventy-four people. The ceilings were twenty by fifty feet high and there was a one-step stage that was twenty by eight feet. 82 Second Avenue is where La MaMa E.T.C. truly became a theater. During this time,
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The
European tours influenced Stewart's own aesthetic: "I learned in 1965, that English is not the beginning and end of anything. Generally, it's the ending, it messes you up." She also said that, "I found the plays that were the most visual were the ones people liked." These realizations shifted
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While frequently moving locations in
Manhattan, La MaMa was also traveling internationally. Stewart wanted broad publicity for her playwrights but she wasn't finding this in the United States, due partially to La MaMa's "hit or miss quality" and partially to the short runs of productions. Critics
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The first space was twenty by thirty feet with earthy red walls. The café sat twenty-five people and the dirt floor was planked with orange crates. There was one set piece: a bed. Stewart's initial intention of using the space as a boutique during the daytime quickly disappeared. As
Stewart said,
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Not only did Stewart create a nurturing environment for the playwright, but La MaMa's space itself was an appealing blank canvas in its early years. van Itallie said of the space, "it imposed no aesthetic, made no artistic suggestions." For this among other reasons, La MaMa was considered by many
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Workshops for children and families occur monthly and are coordinated and taught by La MaMa resident artists. The basics of storytelling, dance, mask and puppet-making are common themes at the workshops. In addition, performances specifically geared to children are present in the La MaMa season.
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I never could have expected the warmth of Ellen's milk. She basically said to me, "Honey, you're home. This space is for you to put on plays." The combination of her kindness and her smile and the beauty of the space were overwhelming ... Ellen broadcast to the world that we were doing something
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Today, over one hundred productions with over four hundred performances are staged at La MaMa each season. Stewart continued to be artistic director and "mother" at La MaMa until her death on January 13, 2011. The choice of who would follow Stewart was significant, as "Ellen is La MaMa" to many
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that was popular at the time, the La MaMa workshop focused on the other side of acting: externalized, kinetic techniques. The fifteen members of the La MaMa Troupe had workshops in movement, voice, and acting for five hours a day, five days a week. These workshops included hundreds of different
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Stewart believed that young playwrights needed the ability to explore without the fear of professional criticism too early in their career, and that new playwrights shouldn't be critiqued in the same way as more experienced playwrights. Stewart said that playwrights who didn't feel they had the
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These tours and satellite theatres not only created international connections and established La MaMa as a cultural ambassador for Off-Off-Broadway theatre, but also introduced experimental playwriting and O'Horgan's style of directing to international audiences. The La MaMa tours also allowed
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additional funding, the third floor became a rehearsal space and workshop. Finally, the top floor was turned into an apartment for Stewart. In 1970, a decaying seven-story loft building at 47 Great Jones Street was purchased for additional rehearsal space, using money from the Ford Foundation.
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obscene and the reviews were negative. Still, this first tour achieved its goal; La MaMa returned to New York with several positive Danish reviews. La MaMa had its second European tour from SeptemberâDecember 1966, again with O'Horgan and with ten actors. A third European tour took place from
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The ground floor of 74A E. 4th is a theatre which seats one hundred people. Originally called the La Mama Repertory Theatre, the theatre is now called the First Floor Theatre. The second-floor space is a cabaret called the La MaMa Experimental Club with the capacity to seat seventy-five. With
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In 1974, La MaMa purchased 66 E. 4th Street, which is two doors down from 74A E. 4th. Initially referred to as the Annex, 66 E. 4th includes a flexible theatre space with a seating capacity of 299 as well as an upper floor dormitory for visiting artists. This space had previously served as a
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On March 12, 1964, Café La MaMa was officially renamed La MaMa Experimental Theatre Club (La MaMa E.T.C). The "passing of the hat" ended with this transition from café to a members-only club. Even operating as a club, this space was often visited by civic authorities, frequently interrupting
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In 1963, Stewart created a policy of exclusively presenting new plays, producing a new play each week. She also began ringing a bell before each production, welcoming the audience with, "Welcome to La MaMa dedicated to the playwright and all aspects of the theatre. Tonight we present ..."
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The La MaMa Archives is a collection chronicling the theatre's history and documenting the development of Off-Off-Broadway theatre. The collection includes approximately 70,000 items in a range of formats, including posters, programs, scripts, costumes, puppets, masks, musical instruments,
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I call them my kids. I'm very fortunate. They know they can come to see me whenever they want. They don't need to have appointments. And they call me on the phone from all over the world. I'd be a zero without my kids. They stay with me, and many have been very fortunate in their later
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Partially due to previous legal struggles, the performances at 122 Second Avenue were primarily publicized by word of mouth. The theatre had no sign; the street-level door was labeled "122 Delivery Entrance". There were weekly listings of the productions in the
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was arrested twice, and several other times under another alias. Issues with fire-code violations at Café La MaMa's first basement location led Stewart to search for a new space. In 1963, the Café was closed by the Buildings Department due to a zoning violation.
382:"Once our theatre got started, I didn't have the discipline to sew. I was too busy doing other things – not writing or directing – but just doing theatre." The plays ran for one week, from Wednesday-Saturday, and major theatre critics did not come.
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O'Horgan and Stewart decided to create a workshop to develop the particular type of actors needed for La MaMa's productions. O'Horgan went on to direct the La MaMa Troupe from 1965 to 1969. This decision was initiated by the experience of working on
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After a hearing with Stewart, the union resolved the conflict by creating a new showcase code. As long as La MaMa remained a private club, Equity actors could perform without contracts. This code still applies to Off-Off-Broadway productions today.
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Now, number 321 had been an all white building, and the tenants liked it that way. Further provoked by the comings and goings, they accused Stewart of running a bordelloâfifteen men in one hourâand asked the health department to issue a summons for
472:, but an address or a phone number was never listed. Only members could attend, and one had to visit 122 2nd Avenue in person to become a member. By 1967, La MaMa E.T.C. had an estimated three thousand members. La MaMa E.T.C. officially became a
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to turn them into art spaces. No. 236 was used primarily for community workshops, in an effort to engage and produce art that was reflective and representative of the surrounding neighborhood. The children's workshops spearheaded by
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disputing Equity's reasoning. He wrote that La MaMa "did provide a stimulating environment for actors to work" and that working at La MaMa often led to paying jobs for actors when productions got transferred to Off-Broadway or
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was technically seventy-four, but the theatre would often fit 115 people at a time. This new, larger space attracted artists who had previously worked at other tiny Off-Off-Broadway venues but were ready for a larger space.
563:, directed by Fritz Bennewitz. CETA enabled the hiring of 22 actors, an 8-person chorus, 6 musicians, dancers and an 18-member crew. CETA also funded a series of Chamber Concerts, as well as the La MaMa-Ceta Jazz Cabaret.
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A letter to Ellen Stewart in 1973 indicates that the end goal of the space and programming was to establish a Hispanic theater center. Obviously, a goal that was spirited by the future occupants of this location. The
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La MaMa remained at this third location until 1967. This period was crucial to La MaMa's establishment and audience development. La MaMa moved for a final time when the lease on 122 2nd Avenue expired in April 1968.
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Ellen Stewart is the spirit of La MaMa; she is its guardian, janitor, fundraiser, press agent, tour manager, conceptual leaderâshe is the guts of the place. To understand this theatre one must first know Ellen
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to create a searchable digital catalog of its collection. In 2016, the Archives received a grant from the National Historic Records and Publications Commission to support a collaborative project, with the
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La MaMa is the only theatre of the 1960s Off-Off-Broadway movement's four core theatres that continues to thrive today. The other three Off-Off-Broadway theatres that composed this core included
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experience to make work at Caffe Cino would come to La MaMa instead. By producing their work, Stewart was creating a space for new playwrights to learn from practical, collaborative experiences.
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in partnership with La MaMa. When approached with the idea of collaboration, Ellen Stewart responded enthusiastically, offering space for students to take classes at 47 Great Jones St. In 1986,
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began producing plays at La MaMa. This was also where Stewart started her tradition of sitting outside on La MaMa's steps during performances to ensure that civic authorities didn't interrupt.
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important. We were her baby playwrights and she sat on us like eggs that would hatch. She told us that what we were doing mattered, and we wouldn't get confirmation on that anywhere else.
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Anderson, George W. "Visiting La MaMa's Founder: An Interview with Ellen Stewart." Online. February 1997: 28-32. Retrieved from ProQuest. Columbia University Library, November 2, 2010.
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correspondence, photographs, and audiovisual materials. The Archives has developed a chronological list of productions staged at La MaMa, and in 2014 received a grant from the
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served as a transitional space for La MaMa from January through March 1969. On April 2, 1969, Stewart purchased the building at 74A East 4th Street using grant money from the
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formed, initiating La MaMa's first of many collaborative ventures with educational institutions. Examples of additional institutions that have worked with La MaMa include
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In the early 1980s, La MaMa resident director Leonardo Shapiro and Trinity College professor and performer Judy Dworin sought to create a performing arts program under
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258:. More than any other Off-Off-Broadway producer, Stewart reached out beyond the East Village, impelling rather than following new trends in theatre and performance.
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The La MaMa companies did not only bring La MaMa plays to Europe but also brought plays that were first presented at other Off-Off-Broadway venues. These included
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Stewart did not believe that her theater was an imitation of Cino's. Cino and Stewart had a close relationship, and the first documented production at La MaMa, (
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movement with dozens of renowned and budding musicians traversing this space to gather and rehearse. The hallmark of this period was when, in 1979, trumpeter
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Many well-known actors, directors, playwrights, and companies, as well as lighting, costume, and set designers, have performed at La MaMa, including:
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rehearsed his Sho'Nuff Orchestra in preparing for a onetime performance of a 59-member contemporary jazz collective, a gathering reflective of the â
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Stewart to create cross-cultural exchanges. She brought many notable international artists to La MaMa in Manhattan, including the Polish director
288:. On October 18, 1961, Stewart paid the fifty-five dollar rent on a tenement basement at 321 East Ninth Street to start her boutique and theater.
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from Theatre Genesis. Thus, La MaMa acted as "international ambassadors, not just for La MaMa, but for new Village playwriting generally."
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affected La MaMa's identity, as did O'Horgan's frequent lack of availability to direct later productions. O'Horgan left La MaMa in 1969.
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790:. Howard declared that the La MaMa actors were too inexperienced, which led Stewart and O'Horgan to start the actor-training workshop.
447:. This space was twenty-three by seventy-five feet with a twelve-foot ceiling; the stage at the back was twenty-three by ten feet. The
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before starting the theatre. Stewart was inspired by her mentor, "Papa Abraham Diamonds", who owned a fabric shop on the
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Stewart started La MaMa as a theatre dedicated to the playwright and primarily producing new plays, including works by
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ideas, and translate them into a theatrical language that can communicate to any person in any part of the world."
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people. Before her death, Stewart chose to be succeeded by Mia Yoo, who continues to serve as artistic director.
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in his youth and had professional training as a harpist, and was also trained in ballet. He came to La MaMa from
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money. Since 2000, La MaMa has held a three-week international symposium for directors at the Umbria location.
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In the early years, Stewart housed and fed playwrights and directors whenever possible. She acted as a mother;
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was a "betrayal" and a "crass commercialization of lovingly developed ensemble techniques." The success of
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More experienced actors began to work at La MaMa as its reputation grew, creating problems with the
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In 1964, Tom O'Horgan joined La MaMa. Directing over sixty plays, including his all-male version of
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Off-Off-Broadway Explosion: How Provocative Playwrights of the 1960s Ignited a New American Theater
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and would have to shut down. Peter Feldman, an Off-Off-Broadway director, wrote into the
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Equity believed that since La MaMa did not pay its actors the theatre was competing with
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On November 11, 1964, La MaMa E.T.C. opened at 122 Second Avenue with David Novak's
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The health department was contacted, but the inspector who arrived happened to be an old
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To date, La MaMa has presented and produced work by artists from over seventy nations.
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forty-eight by one hundred feet television soundstage with thirty-footy high ceilings.
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arts and social service institutions to receive part of a $ 20 million grant from the
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Stewart also created site-specific productions internationally. In 1981, she directed
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Throughout the 1970s, La MaMa's 236 E. 3rd location became a centerpiece of the
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Playing Underground: A Critical History of the 1960s Off-Off-Broadway Movement
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brought international acclaim to O'Horgan and the La MaMa performance style.
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playwrights to be the most inviting of the Off-Off-Broadway theatres.
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that document theatrical work performed at La MaMa during the 1970s.
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Mission of Our Lady of Loreto (Sheen Center, Barat Settlement House)
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575:
In November 2009, the Annex was renamed the Ellen Stewart Theatre.
389:
239:
3587:
595:
La MaMa had two traveling companies. The first company, headed by
3467:
3381:
3198:
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2128:"National Historical Publications and Records Commission (NHPRC)"
2127:
691:
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In comparison to the psychological acting style and emphasis on
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3507:
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1777:"Before the Puerto Rican Poets, There Was the Polish Violinist"
420:
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theatre by touring downtown theatre abroad during the 1960s.
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Tompkins Square Lodging House for Boys and Industrial School
2260:
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2531:
2191:"Exclusive Interview: Harry Reems for "Inside Deep Throat""
762:
was a television program of three La MaMa theatre pieces:
3417:
2231:
952:, that will result in expanded access to a collection of
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For some of the actors in the La MaMa troupe, O'Horgan's
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Rosenthal, Cindy. "Ellen Stewart: La MaMa of Us All."
876:
710:
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833:
578:
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coffee and began charging an admission of fifty cents.
1651:
The Off Off Broadway Book: The Plays, People, Theatres
815:
s Broadway opening: "O'Horgan has blown up Broadway."
231:. La MaMa also became an international ambassador for
2947:
Church of the Immaculate Conception and Clergy Houses
2909:
High School for Health Professions and Human Services
2249:
Chronological list of La MaMa productions (1962-2010)
1856:"Ellen Stewart, Off Off Broadway Pioneer, Dies at 91"
1616:
805:
a La MaMa show that transferred to Broadway in 1968.
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In a 1997 interview, Stewart echoed this sentiment:
2025:"Ellen Stewart, 91, Off-Off-Broadway Pioneer, Dies"
1844:, Evanston, IL: Northwestern University Press, 2016
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3690:Firehouse, Engine Company 33 and Ladder Company 9
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179:theatre director, producer, and fashion designer
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2005:"City Groups Get Bloomberg Gift of $ 20 Million"
1842:Drop Dead: Performance in Crisis, 1970s New York
1692:
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1649:Poland, Albert, & Mailman, Bruce (editors).
1634:
1573:
1570:. Ann Arbor: University of Michigan Press, 2004.
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559:. In 1978, Stewart utilized CETA funds to mount
390:82 2nd Avenue: La MaMa Experimental Theatre Club
4271:New York City Designated Landmarks in Manhattan
296:
3983:East Village/Lower East Side Historic District
2962:German Evangelical Lutheran Church of St. Mark
2244:Photos of Caffe Cino people working at La Mama
2239:Ellen Stewart receiving her first Obie in 1965
1854:Gussow, Mel; Weber, Bruce (January 13, 2011).
1763:. Westport, Connecticut: Greenwood Press, 1993
950:Wisconsin Center for Film and Theatre Research
701:
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1761:Ellen Stewart and La MaMa: A Bio-Bibliography
1653:. New York: Bobbs-Merrill Company Inc., 1972.
2182:
2107:Council on Library and Information Resources
1617:"La MaMa | Theatre in the East Village, NYC"
941:Council on Library and Information Resources
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4055:
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3750:Van Tassell and Kearney Horse Auction Mart
2759:
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312:remembers his first meeting with Stewart:
266:Beginnings: Ellen Stewart and the pushcart
3813:BroadwayâLafayette Street/Bleecker Street
3354:Swiss Institute Contemporary Art New York
2987:Slovenian Church of St. Cyril in New York
2766:
2103:"2013 Hidden Collections Funded Projects"
798:exercises, which are best represented by
733:, bringing his interest and knowledge of
557:Comprehensive Employment and Training Act
555:Of great help during this period was the
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918:, made possible by a donation from then-
276:Stewart worked as a fashion designer at
3032:St. Stanislaus Bishop and Martyr Church
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887:Trinity/La MaMa Performing Arts Program
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365:neighborhood. Barbara Lee Horn writes:
4261:Arts organizations established in 1961
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3483:Harry & Ida's Meat and Supply Co.
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2992:St. Ann's Armenian Catholic Cathedral
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877:Collaborations with host institutions
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711:Tom O'Horgan: first artistic director
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4256:1961 establishments in New York City
2919:Third Street Music School Settlement
2172:"Ellen Stewart The Mama of Them All"
2046:"A Downtown Icon's Nurturing Spirit"
1606:. New York: Back Stage Books, 2003.
873:the downtown performing arts scene.
834:Actors' Equity and the showcase code
579:International presence and influence
3629:
3260:Playwrights Horizons Theater School
2189:Fischer, Paul (February 11, 2005).
2150:Cataloging La MaMa's Pushcart Years
2044:Zinoman, Jason (October 12, 2011).
1704:
933:
910:In 2005, the theatre was among 406
529:, were some of the most ambitious.
13:
4286:Theatre companies in New York City
3978:East 10th Street Historic District
3772:
3715:Metropolitan Savings Bank Building
2829:La Plaza Cultural de Armando Perez
1817:"About the Human Arts Association"
656:in 1969 and the Romanian director
427:It was the closing performance of
14:
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4178:La MaMa Experimental Theatre Club
3818:Eighth StreetâNew York University
3235:La MaMa Experimental Theatre Club
2261:La MaMa Archives' digital catalog
2211:
2023:Gussow, Mel, & Weber, Bruce.
438:
165:La MaMa Experimental Theatre Club
22:La MaMa Experimental Theatre Club
4281:Performance art in New York City
4094:Cincinnati Playhouse in the Park
3608:Upright Citizens Brigade Theatre
3002:St. Brigid Roman Catholic Church
2952:Church of the Most Holy Redeemer
2812:Carmen PabĂłn del Amanecer JardĂn
2796:
2296:New York City performance spaces
2216:
1912:Davidson, Martha (Winter 1988).
354:
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3861:8th Street and St. Mark's Place
3725:Robbins & Appleton Building
3017:St. Mark's Church in-the-Bowery
2894:East Side Community High School
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756:National Educational Television
360:321 E. 9th Street: Café La MaMa
3745:Stuyvesant Polyclinic Hospital
1914:"Trinity/La MaMa: The Program"
1795:
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811:critic Michael Smith wrote on
419:, which would have made her a
292:As an Off-Off-Broadway theatre
18:Theater in Manhattan, New York
1:
4184:TheatreWorks (Silicon Valley)
4130:Eugene O'Neill Theater Center
4082:Williamstown Theatre Festival
2871:
2844:New York City Marble Cemetery
1519:
537:purchased the building 1985.
198:
4136:Lookingglass Theatre Company
3993:St. Mark's Historic District
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1423:Theater of All Possibilities
867:
630:from Caffe Cino, as well as
297:A theatre for the playwright
130:The Community Arts Space: 74
7:
4142:Shakespeare Theatre Company
4118:Chicago Shakespeare Theater
4064:Regional Theatre Tony Award
4020:Manhattan Community Board 3
4016:Manhattan Community Board 2
3957:
3558:Old Reliable Theatre Tavern
3397:Russian & Turkish Baths
3054:
3027:St. Nicholas of Myra Church
2537:Clark Monroe's Uptown House
2455:Playhouse Creatures Theatre
1318:Pan Asian Repertory Theatre
702:From playwright to director
175:theater founded in 1961 by
10:
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4148:Huntington Theatre Company
4088:Children's Theatre Company
3402:The Standard, East Village
3255:Performance Space New York
2577:Orchard (artist-run space)
1338:Rolando PĂ©rez (Cuban poet)
954:half-inch open reel videos
840:Actors' Equity Association
623:The Madness of Lady Bright
167:(sometimes abbreviated as
126:Ellen Stewart Theatre: 299
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4154:Signature Theatre Company
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2817:Chico Mendez Mural Garden
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2716:Music venues in Manhattan
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2254:February 1, 2017, at the
1428:Theatre of the Ridiculous
772:Fourteen Hundred Thousand
149:
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4100:Theatre de la Jeune Lune
3998:Yiddish Theatre District
3392:Museum of Broken Windows
3287:Village East by Angelika
3282:Theater for the New City
2972:Middle Collegiate Church
2839:New York Marble Cemetery
946:Bay Area Video Coalition
677:. In 2004, she directed
115:Off-Off-Broadway theatre
4266:East Village, Manhattan
4076:Victory Gardens Theater
3685:De Vinne Press Building
3665:BayardâCondict Building
3387:The Houston Bowery Wall
3349:Merchant's House Museum
3339:Anthology Film Archives
2904:Harvey Milk High School
2721:Performing arts centers
2542:The Cooler (night club)
1443:Jean-Claude van Itallie
768:Jean-Claude van Itallie
415:order to avoid a third
310:Jean-Claude van Itallie
209:Jean-Claude van Itallie
85:40.726613°N 73.990105°W
3936:Taras Shevchenko Place
3503:King Tut's Wah Wah Hut
3240:Metropolitan Playhouse
2957:Church of the Nativity
2640:Jean Cocteau Repertory
2618:Soho Repertory Theatre
1990:June 13, 2007, at the
920:mayor of New York City
891:Sarah Lawrence College
474:nonprofit organization
433:
372:
343:La MaMa and Caffe Cino
328:
319:
274:
105:New York City Landmark
4291:Theatres in Manhattan
4276:Off-Broadway theaters
4172:Dallas Theater Center
3730:Schermerhorn Building
3710:Isaac T. Hopper House
3533:Lynn Redgrave Theater
3498:Kim's Video and Music
3370:4th Street Food Co-op
3332:Museums and galleries
3225:Classic Stage Company
2329:Radio City Music Hall
2324:Madison Square Garden
2225:at Wikimedia Commons
2178:on November 20, 2008.
1889:"University Programs"
1687:TDR: The Drama Review
1358:Michael Warren Powell
425:
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323:
314:
269:
90:40.726613; -73.990105
4166:Paper Mill Playhouse
4160:Cleveland Play House
3705:Hamilton-Holly House
3645:339 Lafayette Street
3598:St. Mark's Playhouse
3323:Trash and Vaudeville
3144:Nuyorican Poets Café
2854:Tompkins Square Park
2608:Mint Theater Company
2547:Cornelia Street Cafe
2410:Nuyorican Poets Café
1924:: 10â17 â via ISSUU.
1918:The Trinity Reporter
1105:Geraldine Fitzgerald
960:Notable contributors
916:Carnegie Corporation
606:JuneâNovember 1967.
587:Early European tours
535:Nuyorican Poets Cafe
488:The second floor at
252:Judson Poets Theatre
3700:Hamilton Fish House
3593:St. Mark's Bookshop
3543:New Theatre Comique
3538:New St. Marks Baths
3473:Ground Zero Gallery
3220:Astor Place Theatre
3022:St. Nicholas Kirche
3012:St. George's Church
2914:Ottendorfer Library
2899:Grace Church School
2701:List of jazz venues
2495:Rockwood Music Hall
2480:Blue Note Jazz Club
2152:. September 7, 2017
1805:. November 6, 2012.
1783:. December 28, 2016
1759:Horn, Barbara Lee.
1566:Bottoms, Steven J.
1195:David Patrick Kelly
727:Chicago Civic Opera
690:La MaMa Umbria, in
685:Gardzienice, Poland
671:Leopoldskran Castle
644:MaMa Tel Aviv, and
610:Cultural ambassador
550:Great Day in Harlem
527:Charles âBoboâ Shaw
512:236 East 3rd Street
484:74A East 4th Street
254:, and Ralph Cook's
128:The Downstairs: 150
81: /
23:
4296:Postmodern theatre
4199:Pasadena Playhouse
4189:No Award (2020/21)
3921:Great Jones Street
3265:The Public Theater
3169:Superiority Burger
2834:Liz Christy Garden
2650:Velvet Underground
2613:New York Live Arts
2460:The Public Theater
2415:Pete's Candy Store
2134:. August 11, 2016.
2089:catalog.lamama.org
2050:The New York Times
1860:The New York Times
1458:Christopher Walken
1155:William M. Hoffman
788:Three from La MaMa
760:Three from La MaMa
752:Three from La MaMa
745:The La MaMa Troupe
669:on the grounds of
567:66 East 4th Street
21:
4243:
4242:
4124:Signature Theatre
4106:Intiman Playhouse
4030:
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3763:
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3675:Christodora House
3660:Astor Place Tower
3620:
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3616:
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3433:Astor Opera House
3313:Ray's Candy Store
3149:Please Don't Tell
3045:
3044:
3007:St. Emeric Church
2927:
2926:
2862:
2861:
2807:Abe Lebewohl Park
2734:
2733:
2726:Theatre companies
2628:The Wooster Group
2557:Gerde's Folk City
2552:The Gaslight Cafe
2450:Performing Garage
2221:Media related to
2132:National Archives
2034:January 13, 2011.
1939:sarahlawrence.edu
1602:Crespy, David A.
1453:Herve Villechaize
1250:Manuel MartĂn Jr.
1245:Marshall W. Mason
1160:Anthony Ingrassia
1125:Michael James Fry
924:Michael Bloomberg
675:Salzburg, Austria
646:La MaMa Melbourne
445:The Wedding Panda
278:Saks Fifth Avenue
183:. Located in the
162:
161:
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4112:Alliance Theatre
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3931:Lafayette Street
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3344:Brant Foundation
3318:Strand Bookstore
3230:Connelly Theater
3179:The Talking Band
3062:
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2887:41 Cooper Square
2868:
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2823:Esperanza Garden
2793:
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2747:
2738:
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2671:Off-off-Broadway
2505:Village Vanguard
2500:Smalls Jazz Club
2445:New World Stages
2440:HERE Arts Center
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2232:Official website
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2174:. Archived from
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1413:Elizabeth Swados
1373:Tadeusz Rozewicz
1348:Lisa Jane Persky
1323:Marilyn Pasekoff
1200:Adrienne Kennedy
1110:Frederic Flamand
1100:Harvey Fierstein
1065:Andre De Shields
1020:Giannina Braschi
1000:Black-Eyed Susan
934:La MaMa Archives
683:at the ruins in
666:Romeo and Juliet
561:Goetheâs Faust I
523:avant-garde jazz
490:St. Mark's Place
449:seating capacity
233:Off-Off-Broadway
225:Harvey Fierstein
221:Adrienne Kennedy
187:neighborhood of
177:African-American
173:Off-Off-Broadway
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3896:Bleecker Street
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3630:Other buildings
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3493:Kiev Restaurant
3443:Charas/El Bohio
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3250:Orpheum Theatre
3208:
3109:Foxface Natural
3099:Death & Co.
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2798:
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2686:Folk music club
2676:Performance art
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2256:Wayback Machine
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1508:Rina Yerushalmi
1368:Andrew Robinson
1185:Geraldine Keams
1135:Whoopi Goldberg
1130:Hanay Geiogamah
995:George Birimisa
990:Kenneth Bernard
962:
936:
908:
899:
883:Trinity College
879:
870:
836:
747:
713:
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696:MacArthur Grant
654:Jerzy Grotowski
612:
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581:
569:
518:Lower East Side
514:
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282:Lower East Side
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256:Theatre Genesis
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3773:Transportation
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3670:Bracetti Plaza
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3640:51 Astor Place
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3463:Five Spot Café
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2997:St. Ann Church
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2849:Open Road Park
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2598:Blue Man Group
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2508:
2507:
2502:
2497:
2492:
2487:
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2477:
2475:The Bitter End
2472:
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2465:Soho Playhouse
2462:
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2339:Apollo Theater
2336:
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2314:Lincoln Center
2311:
2305:
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2299:
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2212:External links
2210:
2208:
2207:
2181:
2163:
2137:
2119:
2094:
2076:
2062:
2036:
2030:New York Times
2016:
2010:New York Times
2003:Roberts, Sam.
1996:
1976:
1960:"La MaMa Kids"
1951:
1926:
1905:
1880:
1846:
1833:
1808:
1794:
1768:
1703:
1691:
1655:
1633:
1608:
1572:
1523:
1521:
1518:
1516:
1515:
1510:
1505:
1500:
1495:
1493:Holly Woodlawn
1490:
1485:
1483:Lanford Wilson
1480:
1475:
1473:Richard Wesley
1470:
1465:
1460:
1455:
1450:
1448:Stephen Varble
1445:
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1380:
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1355:
1350:
1345:
1340:
1335:
1330:
1328:Robert Patrick
1325:
1320:
1315:
1312:
1307:
1305:Rochelle Owens
1302:
1300:Antonio OrfanĂČ
1297:
1292:
1287:
1282:
1277:
1272:
1267:
1262:
1257:
1252:
1247:
1242:
1237:
1232:
1230:Charles Ludlam
1227:
1222:
1217:
1212:
1207:
1205:H.M. Koutoukas
1202:
1197:
1192:
1187:
1182:
1177:
1175:Tadeusz Kantor
1172:
1167:
1162:
1157:
1152:
1147:
1142:
1137:
1132:
1127:
1122:
1120:Morgan Freeman
1117:
1112:
1107:
1102:
1097:
1092:
1090:Lisa Edelstein
1087:
1082:
1077:
1072:
1070:Loretta Devine
1067:
1062:
1060:Robert De Niro
1057:
1052:
1047:
1045:Enrico Curreri
1042:
1037:
1032:
1027:
1022:
1017:
1012:
1007:
1005:Blue Man Group
1002:
997:
992:
987:
985:Barbara Benary
982:
977:
972:
966:
961:
958:
935:
932:
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869:
866:
852:New York Times
835:
832:
746:
743:
712:
709:
703:
700:
692:Spoleto, Italy
628:Miss. Victoria
611:
608:
602:America Hurrah
588:
585:
580:
577:
568:
565:
552:â photoshoot.
513:
510:
485:
482:
459:Balm in Gilead
454:Lanford Wilson
440:
439:122 2nd Avenue
437:
405:Lanford Wilson
399:performances.
391:
388:
361:
358:
356:
353:
344:
341:
301:As opposed to
298:
295:
293:
290:
267:
264:
229:Rochelle Owens
213:Lanford Wilson
200:
197:
169:La MaMa E.T.C.
160:
159:
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4220:Complete list
4218:
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4206:
4205:Wilma Theater
4203:
4200:
4197:
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4193:Court Theatre
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3968:Alphabet City
3966:
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3916:Cooper Square
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3839:Second Avenue
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3825:
3819:
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3809:
3806:
3804:
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3799:
3798:Second Avenue
3796:
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3770:
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3735:Silk Building
3733:
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3718:
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3706:
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3698:
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3686:
3683:
3681:
3680:Colonnade Row
3678:
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3583:SideWalk Cafe
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3428:Angel's Share
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3154:Pommes Frites
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3074:B&H Dairy
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2785:New York City
2782:
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2645:Noo Yawk Tawk
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2626:
2624:
2623:The Civilians
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2527:Cafe Au Go Go
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2250:
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2200:September 20,
2196:
2195:Dark Horizons
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2020:
2014:July 6, 2005.
2013:
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1503:Ahmed Yacoubi
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1478:James Wigfall
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3853:6th Street (
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3834:First Avenue
3803:Third Avenue
3793:First Avenue
3755:Village View
3695:First Houses
3655:770 Broadway
3650:640 Broadway
3568:Paresis Hall
3374:
3234:
3204:Webster Hall
3159:Pyramid Club
3094:Club Cumming
3065:Restaurants/
2967:Grace Church
2882:Cooper Union
2797:Green spaces
2768:East Village
2705:
2695:
2635:Past groups:
2634:
2582:Village Gate
2512:Past spaces:
2511:
2485:Café Bohemia
2470:Music clubs:
2469:
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2353:
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2302:Major venues
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1620:
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1567:
1498:Mary Woronov
1438:John Vaccaro
1433:Winston Tong
1408:Julia Stiles
1343:Meme Perlini
1314:Antone PagĂĄn
1295:Tom O'Horgan
1270:Bette Midler
1240:Tommy Mandel
1140:Ellen Greene
1075:Danny DeVito
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4066:(2001â2025)
3901:Bond Street
3871:Astor Place
3866:14th Street
3808:Astor Place
3720:Riis Houses
3563:Other Music
3553:Now Gallery
3453:Dos Blockos
3084:Burp Castle
2706:Categories:
2603:Mabou Mines
2562:The Factory
2522:Bottom Line
2435:Playhouses:
2400:The Kitchen
2385:Dixon Place
2349:City Center
1418:Megan Terry
1403:Patti Smith
1398:Sam Shepard
1383:Amy Sedaris
1378:Kikuo Saito
1363:Harry Reems
1333:People Show
1265:Jan Mickens
1235:Mabou Mines
1225:Craig Lucas
1170:Bernie Kahn
1150:Henry Hewes
1145:Helen Hanft
1115:Paul Foster
1085:Johnny Dodd
1080:Ed Di Lello
1010:John Braden
784:Paul Foster
780:The Recluse
776:Sam Shepard
731:Second City
498:Rockefeller
409:Sam Shepard
286:Paul Foster
248:Al Carmines
217:Sam Shepard
205:Paul Foster
101:Designation
88: /
63:Coordinates
4250:Categories
3849:4th Street
3523:Lit Lounge
3488:Jewel Bako
3478:Heartbreak
3277:Theatre 80
3245:Nublu Club
3164:Somtum Der
3139:McSorley's
3104:Foul Witch
2711:Jazz clubs
2691:Music club
2517:Back Fence
2375:ABC No Rio
2071:"Archives"
1520:References
1513:Joel Zwick
1468:Jeff Weiss
1290:Nick Nolte
1285:Tom Murrin
1280:John Moran
1220:Diane Lane
1215:Leslie Lee
1165:Ron Jeremy
1035:Ping Chong
1030:Tisa Chang
1025:Ed Bullins
980:Aaron Bell
975:Mary Alice
739:Paul Sills
717:Jean Genet
617:Home Free!
502:Doris Duke
417:conviction
303:Caffe Cino
244:Caffe Cino
199:Background
76:73°59âČ24âłW
73:40°43âČ36âłN
4233:2001â2025
4226:1976â2000
4013:See also:
3855:Curry Row
3578:The Saint
3270:Joe's Pub
3194:Veniero's
3119:Joe's Pub
3067:nightlife
2872:Education
2781:Manhattan
2681:Jazz club
2666:Infoshops
2567:Palladium
2156:March 19,
2112:March 19,
2055:March 19,
1935:"Theatre"
1868:0362-4331
1626:March 19,
1488:Andy Wolk
1353:Joe Pesci
1310:Al Pacino
1180:Leon Katz
868:Education
722:The Maids
660:in 1970.
542:Loft Jazz
476:in 1967.
189:Manhattan
3973:Book Row
3911:Broadway
3891:Avenue D
3886:Avenue C
3881:Avenue B
3876:Avenue A
3786:stations
3573:The Ritz
3292:WOW Café
3174:The Cock
3124:Kanoyama
3079:Bungalow
2937:Religion
2825:(former)
2819:(former)
2572:285 KENT
2490:Cafe Wha
2420:WOW Café
2380:Ars Nova
2309:Centers:
2252:Archived
2085:"LaMama"
1988:Archived
1873:June 14,
1826:June 19,
1787:June 19,
1095:Tom Eyen
948:and the
858:Broadway
633:Birdbath
525:drummer
326:careers.
272:Stewart.
240:Joe Cino
171:) is an
122:Capacity
46:74 East
3958:Regions
3827:Streets
3513:Lanza's
3468:Gem Spa
3448:Club 57
3382:C-Squat
3213:Theater
3199:Veselka
3055:Culture
2659:Related
2425:Poetry:
2405:KGB bar
2395:La Mama
2334:Venues:
2223:La MaMa
1969:July 1,
1964:La MaMa
1944:July 1,
1898:July 1,
1893:La MaMa
1621:La MaMa
638:Chicago
349:One Arm
154:.lamama
145:Website
43:Address
4207:(2024)
4201:(2023)
4195:(2022)
4186:(2019)
4180:(2018)
4174:(2017)
4168:(2016)
4162:(2015)
4156:(2014)
4150:(2013)
4144:(2012)
4138:(2011)
4132:(2010)
4126:(2009)
4120:(2008)
4114:(2007)
4108:(2006)
4102:(2005)
4096:(2004)
4090:(2003)
4084:(2002)
4078:(2001)
3906:Bowery
3784:Subway
3528:Lucy's
3508:Kyo Ya
3411:Former
3301:Stores
3184:Torien
3134:Lucien
2696:Lists:
2591:Groups
2390:PS 122
2368:Spaces
2344:Beacon
1866:
778:; and
764:Pavane
626:, and
500:, and
227:, and
137:Opened
33:(2021)
3603:Ukiyo
3588:Sin-Ă©
3518:Limbo
3438:Cagen
3376:Alamo
3363:Other
3189:Tuome
3089:CheLi
813:Hair'
754:with
429:Balls
421:felon
3114:HAGS
2772:NoHo
2770:and
2532:CBGB
2202:2015
2158:2018
2114:2018
2057:2018
1971:2019
1946:2019
1900:2019
1875:2023
1864:ISSN
1828:2019
1789:2019
1628:2018
828:Hair
824:Hair
817:Hair
801:Hair
737:and
636:and
494:Ford
407:and
156:.org
140:1961
111:Type
3458:Fez
3418:8BC
3129:KGB
782:by
774:by
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