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362:, 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.
752:' 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.
442:, 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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389:. 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.
316:, 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.
295:. 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
610:, 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.
393:"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
483:, 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.
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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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206:, the theater began in the basement boutique where Stewart sold her fashion designs. Stewart turned the space into a theater at night, focusing on the work of young playwrights.
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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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269:. 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
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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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801:. Howard declared that the La MaMa actors were too inexperienced, which led Stewart and O'Horgan to start the actor-training workshop.
458:. 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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In June 1971, La MaMa acquired 236 East 3rd and other abandoned buildings on the
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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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1814:"Into A Blue Haze: Lester Bowie Sho 'Nuff Orchestra - Live in New York 1979"
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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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586:
In November 2009, the Annex was renamed the Ellen Stewart Theatre.
400:
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3598:
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La MaMa had two traveling companies. The first company, headed by
3478:
3392:
3209:
2415:
2139:"National Historical Publications and Records Commission (NHPRC)"
2138:
702:
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In comparison to the psychological acting style and emphasis on
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1788:"Before the Puerto Rican Poets, There Was the Polish Violinist"
431:
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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
2271:
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2202:"Exclusive Interview: Harry Reems for "Inside Deep Throat""
773:
was a television program of three La MaMa theatre pieces:
3428:
2242:
963:, that will result in expanded access to a collection of
833:
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."
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721:
162:
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589:
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coffee and began charging an admission of fifty cents.
1662:
The Off Off Broadway Book: The Plays, People, Theatres
826:
s Broadway opening: "O'Horgan has blown up Broadway."
242:. La MaMa also became an international ambassador for
2958:
Church of the Immaculate Conception and Clergy Houses
2920:
High School for Health Professions and Human Services
2260:
Chronological list of La MaMa productions (1962-2010)
1867:"Ellen Stewart, Off Off Broadway Pioneer, Dies at 91"
1627:
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a La MaMa show that transferred to Broadway in 1968.
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In a 1997 interview, Stewart echoed this sentiment:
2036:"Ellen Stewart, 91, Off-Off-Broadway Pioneer, Dies"
1855:, Evanston, IL: Northwestern University Press, 2016
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3701:Firehouse, Engine Company 33 and Ladder Company 9
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190:theatre director, producer, and fashion designer
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2016:"City Groups Get Bloomberg Gift of $ 20 Million"
1853:Drop Dead: Performance in Crisis, 1970s New York
1703:
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1660:Poland, Albert, & Mailman, Bruce (editors).
1645:
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1581:. Ann Arbor: University of Michigan Press, 2004.
1536:
570:. In 1978, Stewart utilized CETA funds to mount
401:82 2nd Avenue: La MaMa Experimental Theatre Club
4282:New York City Designated Landmarks in Manhattan
307:
3994:East Village/Lower East Side Historic District
2973:German Evangelical Lutheran Church of St. Mark
2255:Photos of Caffe Cino people working at La Mama
2250:Ellen Stewart receiving her first Obie in 1965
1865:Gussow, Mel; Weber, Bruce (January 13, 2011).
1774:. Westport, Connecticut: Greenwood Press, 1993
961:Wisconsin Center for Film and Theatre Research
712:
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1772:Ellen Stewart and La MaMa: A Bio-Bibliography
1664:. New York: Bobbs-Merrill Company Inc., 1972.
2193:
2118:Council on Library and Information Resources
1628:"La MaMa | Theatre in the East Village, NYC"
952:Council on Library and Information Resources
1864:
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3761:Van Tassell and Kearney Horse Auction Mart
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323:remembers his first meeting with Stewart:
277:Beginnings: Ellen Stewart and the pushcart
3824:BroadwayâLafayette Street/Bleecker Street
3365:Swiss Institute Contemporary Art New York
2998:Slovenian Church of St. Cyril in New York
2777:
2114:"2013 Hidden Collections Funded Projects"
809:exercises, which are best represented by
744:, bringing his interest and knowledge of
568:Comprehensive Employment and Training Act
566:Of great help during this period was the
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929:, made possible by a donation from then-
287:Stewart worked as a fashion designer at
3043:St. Stanislaus Bishop and Martyr Church
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898:Trinity/La MaMa Performing Arts Program
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376:neighborhood. Barbara Lee Horn writes:
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4272:Arts organizations established in 1961
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3494:Harry & Ida's Meat and Supply Co.
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3003:St. Ann's Armenian Catholic Cathedral
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888:Collaborations with host institutions
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722:Tom O'Horgan: first artistic director
577:
4267:1961 establishments in New York City
2930:Third Street Music School Settlement
2183:"Ellen Stewart The Mama of Them All"
2057:"A Downtown Icon's Nurturing Spirit"
1617:. New York: Back Stage Books, 2003.
884:the downtown performing arts scene.
845:Actors' Equity and the showcase code
590:International presence and influence
3640:
3271:Playwrights Horizons Theater School
2200:Fischer, Paul (February 11, 2005).
2161:Cataloging La MaMa's Pushcart Years
2055:Zinoman, Jason (October 12, 2011).
1715:
944:
921:In 2005, the theatre was among 406
540:, were some of the most ambitious.
24:
4297:Theatre companies in New York City
3989:East 10th Street Historic District
3783:
3726:Metropolitan Savings Bank Building
2840:La Plaza Cultural de Armando Perez
1828:"About the Human Arts Association"
667:in 1969 and the Romanian director
438:It was the closing performance of
25:
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4189:La MaMa Experimental Theatre Club
3829:Eighth StreetâNew York University
3246:La MaMa Experimental Theatre Club
2272:La MaMa Archives' digital catalog
2222:
2034:Gussow, Mel, & Weber, Bruce.
449:
176:La MaMa Experimental Theatre Club
33:La MaMa Experimental Theatre Club
18:La Mama Experimental Theatre Club
4292:Performance art in New York City
4105:Cincinnati Playhouse in the Park
3619:Upright Citizens Brigade Theatre
3013:St. Brigid Roman Catholic Church
2963:Church of the Most Holy Redeemer
2823:Carmen PabĂłn del Amanecer JardĂn
2807:
2307:New York City performance spaces
2227:
1923:Davidson, Martha (Winter 1988).
365:
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3872:8th Street and St. Mark's Place
3736:Robbins & Appleton Building
3028:St. Mark's Church in-the-Bowery
2905:East Side Community High School
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767:National Educational Television
371:321 E. 9th Street: Café La MaMa
3756:Stuyvesant Polyclinic Hospital
1925:"Trinity/La MaMa: The Program"
1806:
1780:
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822:critic Michael Smith wrote on
430:, which would have made her a
303:As an Off-Off-Broadway theatre
29:Theater in Manhattan, New York
13:
1:
4195:TheatreWorks (Silicon Valley)
4141:Eugene O'Neill Theater Center
4093:Williamstown Theatre Festival
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2855:New York City Marble Cemetery
1530:
548:purchased the building 1985.
209:
4147:Lookingglass Theatre Company
4004:St. Mark's Historic District
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1434:Theater of All Possibilities
878:
641:from Caffe Cino, as well as
308:A theatre for the playwright
141:The Community Arts Space: 74
7:
4153:Shakespeare Theatre Company
4129:Chicago Shakespeare Theater
4075:Regional Theatre Tony Award
4031:Manhattan Community Board 3
4027:Manhattan Community Board 2
3968:
3569:Old Reliable Theatre Tavern
3408:Russian & Turkish Baths
3065:
3038:St. Nicholas of Myra Church
2548:Clark Monroe's Uptown House
2466:Playhouse Creatures Theatre
1329:Pan Asian Repertory Theatre
713:From playwright to director
186:theater founded in 1961 by
10:
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4159:Huntington Theatre Company
4099:Children's Theatre Company
3413:The Standard, East Village
3266:Performance Space New York
2588:Orchard (artist-run space)
1349:Rolando PĂ©rez (Cuban poet)
965:half-inch open reel videos
851:Actors' Equity Association
634:The Madness of Lady Bright
178:(sometimes abbreviated as
137:Ellen Stewart Theatre: 299
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4165:Signature Theatre Company
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3048:Tabernacle Baptist Church
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2828:Chico Mendez Mural Garden
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2727:Music venues in Manhattan
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2265:February 1, 2017, at the
1439:Theatre of the Ridiculous
783:Fourteen Hundred Thousand
160:
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4111:Theatre de la Jeune Lune
4009:Yiddish Theatre District
3403:Museum of Broken Windows
3298:Village East by Angelika
3293:Theater for the New City
2983:Middle Collegiate Church
2850:New York Marble Cemetery
957:Bay Area Video Coalition
688:. In 2004, she directed
126:Off-Off-Broadway theatre
4277:East Village, Manhattan
4087:Victory Gardens Theater
3696:De Vinne Press Building
3676:BayardâCondict Building
3398:The Houston Bowery Wall
3360:Merchant's House Museum
3350:Anthology Film Archives
2915:Harvey Milk High School
2732:Performing arts centers
2553:The Cooler (night club)
1454:Jean-Claude van Itallie
779:Jean-Claude van Itallie
426:order to avoid a third
321:Jean-Claude van Itallie
220:Jean-Claude van Itallie
96:40.726613°N 73.990105°W
3947:Taras Shevchenko Place
3514:King Tut's Wah Wah Hut
3251:Metropolitan Playhouse
2968:Church of the Nativity
2651:Jean Cocteau Repertory
2629:Soho Repertory Theatre
2001:June 13, 2007, at the
931:mayor of New York City
902:Sarah Lawrence College
485:nonprofit organization
444:
383:
354:La MaMa and Caffe Cino
339:
330:
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116:New York City Landmark
4302:Theatres in Manhattan
4287:Off-Broadway theaters
4183:Dallas Theater Center
3741:Schermerhorn Building
3721:Isaac T. Hopper House
3544:Lynn Redgrave Theater
3509:Kim's Video and Music
3381:4th Street Food Co-op
3343:Museums and galleries
3236:Classic Stage Company
2340:Radio City Music Hall
2335:Madison Square Garden
2236:at Wikimedia Commons
2189:on November 20, 2008.
1900:"University Programs"
1698:TDR: The Drama Review
1369:Michael Warren Powell
436:
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334:
325:
280:
101:40.726613; -73.990105
4177:Paper Mill Playhouse
4171:Cleveland Play House
3716:Hamilton-Holly House
3656:339 Lafayette Street
3609:St. Mark's Playhouse
3334:Trash and Vaudeville
3155:Nuyorican Poets Café
2865:Tompkins Square Park
2619:Mint Theater Company
2558:Cornelia Street Cafe
2421:Nuyorican Poets Café
1935:: 10â17 â via ISSUU.
1929:The Trinity Reporter
1116:Geraldine Fitzgerald
971:Notable contributors
927:Carnegie Corporation
617:JuneâNovember 1967.
598:Early European tours
546:Nuyorican Poets Cafe
499:The second floor at
263:Judson Poets Theatre
3711:Hamilton Fish House
3604:St. Mark's Bookshop
3554:New Theatre Comique
3549:New St. Marks Baths
3484:Ground Zero Gallery
3231:Astor Place Theatre
3033:St. Nicholas Kirche
3023:St. George's Church
2925:Ottendorfer Library
2910:Grace Church School
2712:List of jazz venues
2506:Rockwood Music Hall
2491:Blue Note Jazz Club
2163:. September 7, 2017
1816:. November 6, 2012.
1794:. December 28, 2016
1770:Horn, Barbara Lee.
1577:Bottoms, Steven J.
1206:David Patrick Kelly
738:Chicago Civic Opera
701:La MaMa Umbria, in
696:Gardzienice, Poland
682:Leopoldskran Castle
655:MaMa Tel Aviv, and
621:Cultural ambassador
561:Great Day in Harlem
538:Charles âBoboâ Shaw
523:236 East 3rd Street
495:74A East 4th Street
265:, and Ralph Cook's
139:The Downstairs: 150
92: /
34:
4307:Postmodern theatre
4210:Pasadena Playhouse
4200:No Award (2020/21)
3932:Great Jones Street
3276:The Public Theater
3180:Superiority Burger
2845:Liz Christy Garden
2661:Velvet Underground
2624:New York Live Arts
2471:The Public Theater
2426:Pete's Candy Store
2145:. August 11, 2016.
2100:catalog.lamama.org
2061:The New York Times
1871:The New York Times
1469:Christopher Walken
1166:William M. Hoffman
799:Three from La MaMa
771:Three from La MaMa
763:Three from La MaMa
756:The La MaMa Troupe
680:on the grounds of
578:66 East 4th Street
32:
4254:
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4135:Signature Theatre
4117:Intiman Playhouse
4041:
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3686:Christodora House
3671:Astor Place Tower
3631:
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3627:
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3444:Astor Opera House
3324:Ray's Candy Store
3160:Please Don't Tell
3056:
3055:
3018:St. Emeric Church
2938:
2937:
2873:
2872:
2818:Abe Lebewohl Park
2745:
2744:
2737:Theatre companies
2639:The Wooster Group
2568:Gerde's Folk City
2563:The Gaslight Cafe
2461:Performing Garage
2232:Media related to
2143:National Archives
2045:January 13, 2011.
1950:sarahlawrence.edu
1613:Crespy, David A.
1464:Herve Villechaize
1261:Manuel MartĂn Jr.
1256:Marshall W. Mason
1171:Anthony Ingrassia
1136:Michael James Fry
935:Michael Bloomberg
686:Salzburg, Austria
657:La MaMa Melbourne
456:The Wedding Panda
289:Saks Fifth Avenue
194:. Located in the
173:
172:
16:(Redirected from
4314:
4123:Alliance Theatre
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3942:Lafayette Street
3791:
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3355:Brant Foundation
3329:Strand Bookstore
3241:Connelly Theater
3190:The Talking Band
3073:
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2898:41 Cooper Square
2879:
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2834:Esperanza Garden
2804:
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2772:
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2758:
2749:
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2682:Off-off-Broadway
2516:Village Vanguard
2511:Smalls Jazz Club
2456:New World Stages
2451:HERE Arts Center
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2243:Official website
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2185:. Archived from
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1424:Elizabeth Swados
1384:Tadeusz Rozewicz
1359:Lisa Jane Persky
1334:Marilyn Pasekoff
1211:Adrienne Kennedy
1121:Frederic Flamand
1111:Harvey Fierstein
1076:Andre De Shields
1031:Giannina Braschi
1011:Black-Eyed Susan
945:La MaMa Archives
694:at the ruins in
677:Romeo and Juliet
572:Goetheâs Faust I
534:avant-garde jazz
501:St. Mark's Place
460:seating capacity
244:Off-Off-Broadway
236:Harvey Fierstein
232:Adrienne Kennedy
198:neighborhood of
188:African-American
184:Off-Off-Broadway
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3907:Bleecker Street
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3641:Other buildings
3623:
3504:Kiev Restaurant
3454:Charas/El Bohio
3417:
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3261:Orpheum Theatre
3219:
3120:Foxface Natural
3110:Death & Co.
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2697:Folk music club
2687:Performance art
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2267:Wayback Machine
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2003:Wayback Machine
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1519:Rina Yerushalmi
1379:Andrew Robinson
1196:Geraldine Keams
1146:Whoopi Goldberg
1141:Hanay Geiogamah
1006:George Birimisa
1001:Kenneth Bernard
973:
947:
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894:Trinity College
890:
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758:
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707:MacArthur Grant
665:Jerzy Grotowski
623:
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529:Lower East Side
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293:Lower East Side
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3784:Transportation
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3681:Bracetti Plaza
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3651:51 Astor Place
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3474:Five Spot Café
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3025:
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3015:
3010:
3008:St. Ann Church
3005:
3000:
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2985:
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2860:Open Road Park
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2658:
2653:
2648:
2642:
2641:
2636:
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2611:
2609:Blue Man Group
2605:
2603:
2599:
2598:
2596:
2595:
2590:
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2580:
2575:
2570:
2565:
2560:
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2540:
2535:
2530:
2525:
2519:
2518:
2513:
2508:
2503:
2498:
2493:
2488:
2486:The Bitter End
2483:
2478:
2476:Soho Playhouse
2473:
2468:
2463:
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2453:
2448:
2443:
2438:
2433:
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2388:
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2376:
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2372:
2367:
2362:
2357:
2352:
2350:Apollo Theater
2347:
2342:
2337:
2332:
2327:
2325:Lincoln Center
2322:
2316:
2314:
2310:
2309:
2304:
2303:
2296:
2289:
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2269:
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2224:
2223:External links
2221:
2219:
2218:
2192:
2174:
2148:
2130:
2105:
2087:
2073:
2047:
2041:New York Times
2027:
2021:New York Times
2014:Roberts, Sam.
2007:
1987:
1971:"La MaMa Kids"
1962:
1937:
1916:
1891:
1857:
1844:
1819:
1805:
1779:
1714:
1702:
1666:
1644:
1619:
1583:
1534:
1532:
1529:
1527:
1526:
1521:
1516:
1511:
1506:
1504:Holly Woodlawn
1501:
1496:
1494:Lanford Wilson
1491:
1486:
1484:Richard Wesley
1481:
1476:
1471:
1466:
1461:
1459:Stephen Varble
1456:
1451:
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1426:
1421:
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1411:
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1396:
1391:
1386:
1381:
1376:
1371:
1366:
1361:
1356:
1351:
1346:
1341:
1339:Robert Patrick
1336:
1331:
1326:
1323:
1318:
1316:Rochelle Owens
1313:
1311:Antonio OrfanĂČ
1308:
1303:
1298:
1293:
1288:
1283:
1278:
1273:
1268:
1263:
1258:
1253:
1248:
1243:
1241:Charles Ludlam
1238:
1233:
1228:
1223:
1218:
1216:H.M. Koutoukas
1213:
1208:
1203:
1198:
1193:
1188:
1186:Tadeusz Kantor
1183:
1178:
1173:
1168:
1163:
1158:
1153:
1148:
1143:
1138:
1133:
1131:Morgan Freeman
1128:
1123:
1118:
1113:
1108:
1103:
1101:Lisa Edelstein
1098:
1093:
1088:
1083:
1081:Loretta Devine
1078:
1073:
1071:Robert De Niro
1068:
1063:
1058:
1056:Enrico Curreri
1053:
1048:
1043:
1038:
1033:
1028:
1023:
1018:
1016:Blue Man Group
1013:
1008:
1003:
998:
996:Barbara Benary
993:
988:
983:
977:
972:
969:
946:
943:
918:
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909:
906:
889:
886:
880:
877:
863:New York Times
846:
843:
757:
754:
723:
720:
714:
711:
703:Spoleto, Italy
639:Miss. Victoria
622:
619:
613:America Hurrah
599:
596:
591:
588:
579:
576:
563:â photoshoot.
524:
521:
496:
493:
470:Balm in Gilead
465:Lanford Wilson
451:
450:122 2nd Avenue
448:
416:Lanford Wilson
410:performances.
402:
399:
372:
369:
367:
364:
355:
352:
312:As opposed to
309:
306:
304:
301:
278:
275:
240:Rochelle Owens
224:Lanford Wilson
211:
208:
180:La MaMa E.T.C.
171:
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158:
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4245:
4241:
4238:
4234:
4232:
4231:Complete list
4229:
4228:
4224:
4217:
4216:Wilma Theater
4214:
4211:
4208:
4205:
4204:Court Theatre
4202:
4199:
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3979:Alphabet City
3977:
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3966:
3962:
3948:
3945:
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3938:
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3933:
3930:
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3927:Cooper Square
3925:
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3851:
3850:Second Avenue
3848:
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3840:
3836:
3830:
3827:
3825:
3822:
3820:
3817:
3815:
3812:
3810:
3809:Second Avenue
3807:
3805:
3802:
3801:
3799:
3796:
3792:
3788:
3781:
3777:
3767:
3764:
3762:
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3757:
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3752:
3749:
3747:
3746:Silk Building
3744:
3742:
3739:
3737:
3734:
3732:
3729:
3727:
3724:
3722:
3719:
3717:
3714:
3712:
3709:
3707:
3704:
3702:
3699:
3697:
3694:
3692:
3691:Colonnade Row
3689:
3687:
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3679:
3677:
3674:
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3669:
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3620:
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3605:
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3600:
3597:
3595:
3594:SideWalk Cafe
3592:
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3465:
3462:
3460:
3457:
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3450:
3447:
3445:
3442:
3440:
3439:Angel's Share
3437:
3435:
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3427:
3426:
3424:
3420:
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3411:
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3406:
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3166:
3165:Pommes Frites
3163:
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3148:
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3143:
3141:
3138:
3136:
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3085:B&H Dairy
3083:
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2805:
2801:
2797:
2796:New York City
2793:
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2768:
2766:
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2759:
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2656:Noo Yawk Tawk
2654:
2652:
2649:
2647:
2644:
2643:
2640:
2637:
2635:
2634:The Civilians
2632:
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2538:Cafe Au Go Go
2536:
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2441:Bluestockings
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2370:Castle Garden
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2330:Carnegie Hall
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2251:
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2239:
2238:
2237:
2235:
2230:
2211:September 20,
2207:
2206:Dark Horizons
2203:
2196:
2188:
2184:
2178:
2162:
2158:
2152:
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2140:
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2115:
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2097:
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2077:
2062:
2058:
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2044:
2042:
2037:
2031:
2025:July 6, 2005.
2024:
2022:
2017:
2011:
2004:
2000:
1996:
1991:
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1972:
1966:
1951:
1947:
1941:
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1832:humanarts.org
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1514:Ahmed Yacoubi
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1492:
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1489:James Wigfall
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1474:Basil Wallace
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1404:Andrei Èerban
1402:
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1399:David Sedaris
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1271:Leonard Melfi
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1266:Nancy Meckler
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1201:Harvey Keitel
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4035:9th Precinct
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3864:6th Street (
3855:Third Avenue
3845:First Avenue
3814:Third Avenue
3804:First Avenue
3766:Village View
3706:First Houses
3666:770 Broadway
3661:640 Broadway
3579:Paresis Hall
3385:
3245:
3215:Webster Hall
3170:Pyramid Club
3105:Club Cumming
3076:Restaurants/
2978:Grace Church
2893:Cooper Union
2808:Green spaces
2779:East Village
2716:
2706:
2646:Past groups:
2645:
2593:Village Gate
2523:Past spaces:
2522:
2496:Café Bohemia
2481:Music clubs:
2480:
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2435:
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2365:Past spaces:
2364:
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2313:Major venues
2226:
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1631:
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1578:
1509:Mary Woronov
1449:John Vaccaro
1444:Winston Tong
1419:Julia Stiles
1354:Meme Perlini
1325:Antone PagĂĄn
1306:Tom O'Horgan
1281:Bette Midler
1251:Tommy Mandel
1151:Ellen Greene
1086:Danny DeVito
974:
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917:In the 2000s
911:
908:La MaMa Kids
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858:Off-Broadway
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26:
4077:(2001â2025)
3912:Bond Street
3882:Astor Place
3877:14th Street
3819:Astor Place
3731:Riis Houses
3574:Other Music
3564:Now Gallery
3464:Dos Blockos
3095:Burp Castle
2717:Categories:
2614:Mabou Mines
2573:The Factory
2533:Bottom Line
2446:Playhouses:
2411:The Kitchen
2396:Dixon Place
2360:City Center
1429:Megan Terry
1414:Patti Smith
1409:Sam Shepard
1394:Amy Sedaris
1389:Kikuo Saito
1374:Harry Reems
1344:People Show
1276:Jan Mickens
1246:Mabou Mines
1236:Craig Lucas
1181:Bernie Kahn
1161:Henry Hewes
1156:Helen Hanft
1126:Paul Foster
1096:Johnny Dodd
1091:Ed Di Lello
1021:John Braden
795:Paul Foster
791:The Recluse
787:Sam Shepard
742:Second City
509:Rockefeller
420:Sam Shepard
297:Paul Foster
259:Al Carmines
228:Sam Shepard
216:Paul Foster
112:Designation
99: /
74:Coordinates
4261:Categories
3860:4th Street
3534:Lit Lounge
3499:Jewel Bako
3489:Heartbreak
3288:Theatre 80
3256:Nublu Club
3175:Somtum Der
3150:McSorley's
3115:Foul Witch
2722:Jazz clubs
2702:Music club
2528:Back Fence
2386:ABC No Rio
2082:"Archives"
1531:References
1524:Joel Zwick
1479:Jeff Weiss
1301:Nick Nolte
1296:Tom Murrin
1291:John Moran
1231:Diane Lane
1226:Leslie Lee
1176:Ron Jeremy
1046:Ping Chong
1041:Tisa Chang
1036:Ed Bullins
991:Aaron Bell
986:Mary Alice
750:Paul Sills
728:Jean Genet
628:Home Free!
513:Doris Duke
428:conviction
314:Caffe Cino
255:Caffe Cino
210:Background
87:73°59âČ24âłW
84:40°43âČ36âłN
4244:2001â2025
4237:1976â2000
4024:See also:
3866:Curry Row
3589:The Saint
3281:Joe's Pub
3205:Veniero's
3130:Joe's Pub
3078:nightlife
2883:Education
2792:Manhattan
2692:Jazz club
2677:Infoshops
2578:Palladium
2167:March 19,
2123:March 19,
2066:March 19,
1946:"Theatre"
1879:0362-4331
1637:March 19,
1499:Andy Wolk
1364:Joe Pesci
1321:Al Pacino
1191:Leon Katz
879:Education
733:The Maids
671:in 1970.
553:Loft Jazz
487:in 1967.
200:Manhattan
3984:Book Row
3922:Broadway
3902:Avenue D
3897:Avenue C
3892:Avenue B
3887:Avenue A
3797:stations
3584:The Ritz
3303:WOW Café
3185:The Cock
3135:Kanoyama
3090:Bungalow
2948:Religion
2836:(former)
2830:(former)
2583:285 KENT
2501:Cafe Wha
2431:WOW Café
2391:Ars Nova
2320:Centers:
2263:Archived
2096:"LaMama"
1999:Archived
1884:June 14,
1837:June 19,
1798:June 19,
1106:Tom Eyen
959:and the
869:Broadway
644:Birdbath
536:drummer
337:careers.
283:Stewart.
251:Joe Cino
182:) is an
133:Capacity
57:74 East
3969:Regions
3838:Streets
3524:Lanza's
3479:Gem Spa
3459:Club 57
3393:C-Squat
3224:Theater
3210:Veselka
3066:Culture
2670:Related
2436:Poetry:
2416:KGB bar
2406:La Mama
2345:Venues:
2234:La MaMa
1980:July 1,
1975:La MaMa
1955:July 1,
1909:July 1,
1904:La MaMa
1632:La MaMa
649:Chicago
360:One Arm
165:.lamama
156:Website
54:Address
4218:(2024)
4212:(2023)
4206:(2022)
4197:(2019)
4191:(2018)
4185:(2017)
4179:(2016)
4173:(2015)
4167:(2014)
4161:(2013)
4155:(2012)
4149:(2011)
4143:(2010)
4137:(2009)
4131:(2008)
4125:(2007)
4119:(2006)
4113:(2005)
4107:(2004)
4101:(2003)
4095:(2002)
4089:(2001)
3917:Bowery
3795:Subway
3539:Lucy's
3519:Kyo Ya
3422:Former
3312:Stores
3195:Torien
3145:Lucien
2707:Lists:
2602:Groups
2401:PS 122
2379:Spaces
2355:Beacon
1877:
789:; and
775:Pavane
637:, and
511:, and
238:, and
148:Opened
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3614:Ukiyo
3599:Sin-Ă©
3529:Limbo
3449:Cagen
3387:Alamo
3374:Other
3200:Tuome
3100:CheLi
824:Hair'
765:with
440:Balls
432:felon
3125:HAGS
2783:NoHo
2781:and
2543:CBGB
2213:2015
2169:2018
2125:2018
2068:2018
1982:2019
1957:2019
1911:2019
1886:2023
1875:ISSN
1839:2019
1800:2019
1639:2018
839:Hair
835:Hair
828:Hair
812:Hair
748:and
647:and
505:Ford
418:and
167:.org
151:1961
122:Type
3469:Fez
3429:8BC
3140:KGB
793:by
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