205:, and after seeing women's theater festivals during their tour were inspired to establish one in America. Shaw and Weaver, also founding members of the Split Britches theater troupe, described their style, making lesbianism and feminism not issues, but givens: "We didn't make it that clear-- switching roles. We didn't even basically mention it," Shaw said of their time teaching at Hampshire. Together with Jordi Mark and Pamela Camhe, veterans of feminist- and street-theater performing, they established the Women's One World Festival in 1980, setting up in the Allcraft Center in the East Village and using what they had seen at the women's theater festivals in Europe for structural inspiration. The organizing women wanted the festival to have what Weaver described as a "multimedia environment," and so in addition to performances, the WOW Festival incorporated things like the social cafe atmosphere, film showings, and dancing. Many of the performers came in troupes from Europe, and, because the WOW festival was self-funded and on a very tight budget, they covered their own costs of living and arranged their own housing, often being taken in by festival supporters; the opportunity to perform in a festival in New York and the chance for exposure was motivation enough to participate in the festival. The success of the festival prompted management from the Allcraft Center to allow the women to stay in the performance space and continue to produce women's performance art, after which the women began hosting performance nights on a weekly basis.
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Allcraft Center. It was important for the WOW Cafe to maintain its integrity as an uncensored, collective space since the space itself, the performers, performances, and even audience members were all very geared towards lesbian lives and narratives. Because of this emphasis on the life experiences of lesbians, a lot of the subject matter of the performances had to do with gender roles and norms, often recreating them to highlight and challenge them as social constructs. Some of the criticism that the WOW Cafe received actually targeted their usage of the butch/femme binary in their performances, considering it to be problematic and regressive, but the Cafe maintained its stance that the portrayal and incorporation of these stereotypes served as social commentary. Very often, the performers used comedy to facilitate the realization of these stereotypes and caricatures, exaggerating the gendered aspects of the characters they portrayed to highlight them.
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the founding members contributed their outside salaries to the project. The founders of WOW refused to apply for large grants, preferring grassroots fundraising, donating their own money, and getting small grants here and there. They rejected the notion of changing their work to receive or maintain grants, insisting WOW was a place for complete freedom of expression for the outsiders of society. WOW collective members were aware of the money and publicity received by gay men's theaters, noting that
176:, in order to get produce a show, they are expected to help with others' shows as well. Despite the historical focus of WOW productions on lesbian experiences and subcultures, WOW remains an open space for all women and/or trans people, particularly women of color and queer women. Most decisions are made at the collective meetings held every Tuesday at 6:30 pm in WOW space on East 4th Street. In March 2020, during COVID-19 pandemic the meetings have moved online.
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Ukrainian
National Home and adapting a ballroom to their uses. After hosting a second festival at the Ukrainian National Home and not wanting to dissolve their creative collective, the members of the WOW Festival began plans to establish a permanent performance space/café for the group. Using money they raised through parties, special performances, and other benefits, WOW settled on a space at 330 E 11th Street.
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During the early 2000s as a result of an increased gentrification and commercialization of East
Village many spaces were being threatened. In 2005 WOW Cafe Theater changed its mission to explicitly include all women and/or trans people. In early 2000s through series of meetings with NY City officials
278:, an organization created in 2001 by a coalition of cultural and community nonprofits on East 4th Street to save their homes. Since 2005, WOW has made it a priority to explicitly welcome people of intersecting identities of all ages, races, religions, ethnicities, sexualities, and gender identities.
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Finding funding for the WOW Cafe was always difficult. While most bills could be covered by the box office sales, at times the rent and utilities were paid via benefits, parties, paid dances, or begging passersby. The collective's philosophy was "It's easier to get a job than a grant," and many of
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In 1983 Susan Young became the booking manager for the WOW Cafe and it became more organized as a performance space instead of being managed entirely as a collective. Young's influence transformed the Cafe into a more formal space as well, allowing outside groups to organize and manage some of the
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At first, WOW primarily used the venue as an actual cafe rather than a performance space, selling sandwiches and coffee and serving more of a social purpose than an artistic one while they were getting settled. Before long, however, the WOW women built a small stage in the cafe and began to once
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To maintain the feeling of collective effort and openness, the WOW organizers declined to hold auditions for their performers, believing that requiring an audition to qualify for their performance space would lead to censorship, which they felt they had experienced after being locked out of the
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Eventually, the women of WOW had to leave the
Allcraft Center due to pressure from the board that funded the center, believed to be at least partially motivated by homophobic sentiments towards the group's largely lesbian makeup, and had to find a new space in which to perform, ending up at the
232:, a show depicting the women of Tennessee Williams plays, devised by early collaborators in WOW. In addition to theatre, the space was home to brunches, art shows, Variety Night, Cabaret BOW WOW, and Talking Slide Shows (where artists would present slides of their work and discuss it).
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WOW has been the space it is in. Currently WOW is a member of ARC which comprises several organizations in 59-61 East 4th building. WOW is a founding member of
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WOW Cafe
Theater is run on anarchical principles of consensus building. Currently WOW does not charge membership fees and members participate in
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is a feminist theater space and collective in East
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events that took place there, rather than leaving all production responsibilities up to the Café for every performance.
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Patraka, Vivian M. (1989-01-01). "Split britches in split britches: Performing history, vaudeville, and the everyday".
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Davy, Kate (1986). "Constructing the
Spectator: Reception, Context, and Address in Lesbian Performance".
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Dolan, Jill (May 1987). "The
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Isidoro y San Leandro Western Orthodox Catholic Church of the Hispanic Mozarabic Rite
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Lady dicks and lesbian brothers : staging the unimaginable at the WOW Café Theatre
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Merrill, Lisa (1993). "The
Alcestis Project: Split Britches at Hampshire College".
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679:. Dolan, Jill, 1957-, Tropicana, Carmelita,, Hughes, Holly, 1955 March 10-. 2015.
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rarely ever came, while both regularly reviewed and praised gay men's theaters.
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358:(written and directed by Peggy Shaw, Lois Weaver, and Deborah Margolin (1988))
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Memories of the revolution : the first ten years of the WOW Cafe
Theater
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The WOW Cafe is still running today, and meets almost every Tuesday.
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Mission of Our Lady of Loreto (Sheen Center, Barat Settlement House)
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The WOW Cafe Theater began when two of the founding members,
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Tompkins Square Lodging House for Boys and Industrial School
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Hughes, Holly (1985). ""The Well of Horniness" (Part One)".
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Hughes, Holly; Tropicana, Carmelita; Dolan, Jill (2015).
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In 1984, WOW moved to its current location on E. 4th St.
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Church of the Immaculate Conception and Clergy Houses
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High School for Health Professions and Human Services
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Women & Performance: A Journal of Feminist Theory
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Women & Performance: A Journal of Feminist Theory
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2285:9th Precinct
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2114:6th Street (
2105:Third Avenue
2095:First Avenue
2064:Third Avenue
2054:First Avenue
2016:Village View
1956:First Houses
1916:770 Broadway
1911:640 Broadway
1829:Paresis Hall
1635:
1552:
1465:Webster Hall
1420:Pyramid Club
1355:Club Cumming
1326:Restaurants/
1228:Grace Church
1143:Cooper Union
1058:Green spaces
1029:East Village
967:
955:. Retrieved
945:
934:. Retrieved
930:
921:
899:(2): 58–67.
896:
892:
854:
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844:
833:. Retrieved
829:
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809:. Retrieved
800:
770:(2): 43–52.
767:
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481:
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408:
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386:. Retrieved
380:
370:
356:Little Women
355:
342:Brave Smiles
341:
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292:Holly Hughes
290:(written by
287:
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174:sweat equity
171:
163:
151:Seren Divine
143:Eileen Myles
131:Deb Margolin
127:Holly Hughes
101:theatre and
94:
93:
31:New York, NY
2162:Bond Street
2132:Astor Place
2127:14th Street
2069:Astor Place
1981:Riis Houses
1824:Other Music
1814:Now Gallery
1714:Dos Blockos
1345:Burp Castle
598:: 151–168.
306:Lois Weaver
203:Hot Peaches
191:Lois Weaver
115:Lois Weaver
99:avant garde
64: /
39:Coordinates
2298:Categories
2110:4th Street
1784:Lit Lounge
1749:Jewel Bako
1739:Heartbreak
1538:Theatre 80
1506:Nublu Club
1425:Somtum Der
1400:McSorley's
1365:Foul Witch
957:19 January
936:2017-11-07
835:2017-11-07
811:2020-10-07
657:2016-03-05
363:References
302:Peggy Shaw
195:Peggy Shaw
135:Dancenoise
111:Peggy Shaw
52:73°59′30″W
49:40°43′32″N
2274:See also:
2116:Curry Row
1839:The Saint
1531:Joe's Pub
1455:Veniero's
1380:Joe's Pub
1328:nightlife
1133:Education
1042:Manhattan
913:0740-770X
792:193998274
703:cite book
695:933515943
523:550553840
350:Lisa Kron
336:Lisa Kron
123:Lisa Kron
2234:Book Row
2172:Broadway
2152:Avenue D
2147:Avenue C
2142:Avenue B
2137:Avenue A
2047:stations
1834:The Ritz
1553:WOW Café
1435:The Cock
1385:Kanoyama
1340:Bungalow
1198:Religion
1086:(former)
1080:(former)
17:WOW Café
2219:Regions
2088:Streets
1774:Lanza's
1729:Gem Spa
1709:Club 57
1643:C-Squat
1474:Theater
1460:Veselka
1316:Culture
975:. 1994.
871:1145607
784:3245613
749:3207686
577:1145606
444:14 June
416:14 June
388:14 June
312:(1981))
294:(1985))
243:Funding
180:History
84:wowcafe
77:Website
26:Address
2167:Bowery
2045:Subway
1789:Lucy's
1769:Kyo Ya
1672:Former
1562:Stores
1445:Torien
1395:Lucien
953:. 1992
911:
869:
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747:
693:
683:
630:
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521:
511:
308:, and
157:, and
1864:Ukiyo
1849:Sin-é
1779:Limbo
1699:Cagen
1637:Alamo
1624:Other
1450:Tuome
1350:CheLi
867:JSTOR
788:S2CID
780:JSTOR
745:JSTOR
573:JSTOR
488:7 May
269:2000s
185:1980s
1375:HAGS
1033:NoHo
1031:and
959:2018
909:ISSN
709:link
691:OCLC
681:ISBN
628:ISBN
519:OCLC
509:ISBN
490:2019
446:2015
418:2015
390:2015
228:and
224:and
201:and
193:and
86:.org
1719:Fez
1679:8BC
1390:KGB
901:doi
859:doi
772:doi
737:doi
600:doi
565:doi
276:FAB
2300::
2283:,
2279:,
1684:A7
1044:,
929:.
907:.
895:.
879:^
865:.
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861::
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774::
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711:)
697:.
660:.
636:.
606:.
602::
596:6
579:.
567::
525:.
492:.
462:.
448:.
420:.
392:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.