216:, 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
187:, 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
289:, 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
243:, 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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690:. 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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369:(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.
120:. Among the artists who have presented at the space are
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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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2296:9th Precinct
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2125:6th Street (
2116:Third Avenue
2106:First Avenue
2075:Third Avenue
2065:First Avenue
2027:Village View
1967:First Houses
1927:770 Broadway
1922:640 Broadway
1840:Paresis Hall
1646:
1563:
1476:Webster Hall
1431:Pyramid Club
1366:Club Cumming
1337:Restaurants/
1239:Grace Church
1154:Cooper Union
1069:Green spaces
1040:East Village
978:
966:. Retrieved
956:
945:. Retrieved
941:
932:
910:(2): 58–67.
907:
903:
865:
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855:
844:. Retrieved
840:
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820:. Retrieved
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781:(2): 43–52.
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492:
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419:
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397:. Retrieved
391:
381:
367:Little Women
366:
353:Brave Smiles
352:
338:
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303:Holly Hughes
301:(written by
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185:sweat equity
182:
174:
162:Seren Divine
154:Eileen Myles
142:Deb Margolin
138:Holly Hughes
112:theatre and
105:
104:
42:New York, NY
2173:Bond Street
2143:Astor Place
2138:14th Street
2080:Astor Place
1992:Riis Houses
1835:Other Music
1825:Now Gallery
1725:Dos Blockos
1356:Burp Castle
609:: 151–168.
317:Lois Weaver
214:Hot Peaches
202:Lois Weaver
126:Lois Weaver
110:avant garde
75: /
50:Coordinates
2309:Categories
2121:4th Street
1795:Lit Lounge
1760:Jewel Bako
1750:Heartbreak
1549:Theatre 80
1517:Nublu Club
1436:Somtum Der
1411:McSorley's
1376:Foul Witch
968:19 January
947:2017-11-07
846:2017-11-07
822:2020-10-07
668:2016-03-05
374:References
313:Peggy Shaw
206:Peggy Shaw
146:Dancenoise
122:Peggy Shaw
63:73°59′30″W
60:40°43′32″N
2285:See also:
2127:Curry Row
1850:The Saint
1542:Joe's Pub
1466:Veniero's
1391:Joe's Pub
1339:nightlife
1144:Education
1053:Manhattan
924:0740-770X
803:193998274
714:cite book
706:933515943
534:550553840
361:Lisa Kron
347:Lisa Kron
134:Lisa Kron
2245:Book Row
2183:Broadway
2163:Avenue D
2158:Avenue C
2153:Avenue B
2148:Avenue A
2058:stations
1845:The Ritz
1564:WOW Café
1446:The Cock
1396:Kanoyama
1351:Bungalow
1209:Religion
1097:(former)
1091:(former)
28:WOW Café
18:WOW Cafe
2230:Regions
2099:Streets
1785:Lanza's
1740:Gem Spa
1720:Club 57
1654:C-Squat
1485:Theater
1471:Veselka
1327:Culture
986:. 1994.
882:1145607
795:3245613
760:3207686
588:1145606
455:14 June
427:14 June
399:14 June
323:(1981))
305:(1985))
254:Funding
191:History
95:wowcafe
88:Website
37:Address
2178:Bowery
2056:Subway
1800:Lucy's
1780:Kyo Ya
1683:Former
1573:Stores
1456:Torien
1406:Lucien
964:. 1992
922:
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704:
694:
641:
586:
532:
522:
319:, and
168:, and
1875:Ukiyo
1860:Sin-é
1790:Limbo
1710:Cagen
1648:Alamo
1635:Other
1461:Tuome
1361:CheLi
878:JSTOR
799:S2CID
791:JSTOR
756:JSTOR
584:JSTOR
499:7 May
280:2000s
196:1980s
1386:HAGS
1044:NoHo
1042:and
970:2018
920:ISSN
720:link
702:OCLC
692:ISBN
639:ISBN
530:OCLC
520:ISBN
501:2019
457:2015
429:2015
401:2015
239:and
235:and
212:and
204:and
97:.org
1730:Fez
1690:8BC
1401:KGB
912:doi
870:doi
783:doi
748:doi
611:doi
576:doi
287:FAB
2311::
2294:,
2290:,
1695:A7
1055:,
940:.
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785::
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750::
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708:.
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647:.
617:.
613::
607:6
590:.
578::
536:.
503:.
473:.
459:.
431:.
403:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.