Caffe Cino


Book Description

“It’s Magic Time!” That colorful promise began each performance at the Caffe Cino, the storied Greenwich Village coffeehouse that fostered the gay and alternative theatre movements of the 1960s and launched the careers of such stage mainstays as Sam Shepard, Lanford Wilson, Robert Heide, Harry Koutoukas, Robert Patrick, Robert Dahdah, Helen Hanft, Al Pacino, and Bernadette Peters. As Off-Off-Broadway productions enjoy a deserved resurgence, theatre historian and actor Wendell C. Stone reopens the Cino’s doors in this vibrant look at the earliest days of OOB. Rife with insider interviews and rich with evocative photographs, Caffe Cino: The Birthplace of Off-Off-Broadway provides the first detailed account of Joe Cino’s iconic café theatre and its influence on American theatre. A hub of artistic innovation and haven for bohemians, beats, hippies, and gays, the café gave a much-sought outlet to voices otherwise shunned by mainstream entertainment. The Cino’s square stage measured only eight feet, but the dynamic ideas that emerged there spawned the numerous alternative theatre spaces that owe their origins to the risky enterprise on Cornelia Street.




Caffe Cino


Book Description

“It’s Magic Time!” That colorful promise began each performance at the Caffe Cino, the storied Greenwich Village coffeehouse that fostered the gay and alternative theatre movements of the 1960s and launched the careers of such stage mainstays as Sam Shepard, Lanford Wilson, Robert Heide, Harry Koutoukas, Robert Patrick, Robert Dahdah, Helen Hanft, Al Pacino, and Bernadette Peters. As Off-Off-Broadway productions enjoy a deserved resurgence, theatre historian and actor Wendell C. Stone reopens the Cino’s doors in this vibrant look at the earliest days of OOB. Rife with insider interviews and rich with evocative photographs, Caffe Cino: The Birthplace of Off-Off-Broadway provides the first detailed account of Joe Cino’s iconic café theatre and its influence on American theatre. A hub of artistic innovation and haven for bohemians, beats, hippies, and gays, the café gave a much-sought outlet to voices otherwise shunned by mainstream entertainment. The Cino’s square stage measured only eight feet, but the dynamic ideas that emerged there spawned the numerous alternative theatre spaces that owe their origins to the risky enterprise on Cornelia Street.




Return to the Caffe Cino


Book Description

RETURN TO THE CAFFE CINO gives a fresh, exciting portrait of the non-commercial NY theater scene in the 1960's. The scene is painted here by dozens of short essays by the artists that were a part of the creative fission that flared so brightly there and that still influences so much of today's theatre. The eyewitness stories are usually hysterically funny, filled with that sense of freedom that ignited a movement that continues today in small independent theaters. And the editors of the anthology have filled the pages with vintage pictures, including one of a fifteen-year-old Bernadette Peters getting her start at the Caffe Cino!




Dames at Sea


Book Description

A spoof of 1930s movie musicals.




Greenwich Village 1963


Book Description

This book does not aim to document comprehensively the extraordinarily rich activity in New York City in the early 1960's. Instead, the author focuses on one year, 1963. This was the most productive year of the period 1958-64, the transition between the Fifties and Sixties. The author also focuses on one other place---Greenwich Village in lower Manhattan. For it was primarily here, in a place already historically and culturally mythologized as avant-garde terrain, that the emerging generation of vanguard artists lived, worked, socialized, and remade the history of the avant-garde. - from the Introduction.




The Gay & Lesbian Theatrical Legacy


Book Description

Recovers the hidden history of theater professionals who transgressed the gendered expectations of their time




Glitter and Concrete


Book Description

*NATIONAL BESTSELLER* *A STONEWALL AWARD HONOR BOOK* *The Millions Most Anticipated List of 2023* *A Vogue Best LGBTQ+ Book of 2023* From journalist and drag historian Elyssa Maxx Goodman, an intimate, evocative history of drag in New York City exploring its dynamic role, from the Jazz Age to Drag Race, in queer liberation and urban life From the lush feather boas that adorned early female impersonators to the sequined lip syncs of barroom queens to the drag kings that have us laughing in stitches, drag has played a vital role in the creative life of New York City. But the evolution of drag in the city—as an art form, a community and a mode of liberation—has never before been fully chronicled. Now, for the first time, Elyssa Goodman unearths the dramatic, provocative untold story of drag in New York City in all its glistening glory. Glitter and Concrete ducks beneath the velvet ropes of Harlem Renaissance balls, examines drag’s crucial role in the Stonewall Uprising, traces drag's influence on disco and punk rock as well as its unifying power during the AIDS crisis and 9/11, and culminates with the modern-day drag queen in the era of RuPaul’s Drag Race. Including original interviews with high-profile performers, as well as glamorous color photos from exclusive sources and the author herself, Glitter and Concrete is a significant contribution to queer history and an essential read for anyone curious about the story that echoes beneath the heels. "Deeply researched and featuring a cast of characters who can truly be described as fabulous, Glitter and Concrete is urban history on fire." —Thomas Dyja, author of New York, New York, New York




Feminist Theatres in the USA


Book Description

Feminist Theaters in the USA is a fresh, informative portrait of a key era in feminist and theater history It is vital reading for feminist students, theater historians and theater practitioners. Their continued movement forward will be challenged and enriched by this timely look back at the trials and accomplishments of their predecessors. Canning interviews over thirty women who took part in the dynamic feminist theater of the 1970s and 1980s. They provide first-hand accounts of the excitement, struggles and innovations which formed their experience. From this foundation Cannning constructs a compelling combination of historical survey, critique and celebration which explores: * The history of the groups and their formation * The politics which shaped their work * Their methods and creative processes * The productions they brought to the stage * The reception from critics and audiences




La MaMa Experimental Theatre – A Lasting Bridge Between Cultures


Book Description

This book focuses on the role of La MaMa Experimental Theatre within Avant-garde theater during the 1960s and 1970s. This study investigates the involvement of the Off-Off Broadway circuit in the Avant-garde experimentations both in the United States (New York specifically) and in Europe. This exploration shows the two-way influence – between Europe and the United States – testified by documents gathered in years of archival research. In this relevant artistic exchange, La MaMa (and Ellen Stewart as its founder and artistic director) emerges as a key element. La MaMa’s companies brought to Europe the American culture and the New York underground culture, while their members learnt European training techniques by attending workshops or taking part in the research of Eugenio Barba, Jerzy Grotowski, and Peter Brook, and brought their principles back to the United States. This book goes through a chronological path that presents some key cases of collaboration between the above-mentioned European masters and some La MaMa’s artists and companies: Tom O ’Horgan and La MaMa Repertory Troupe, the Open Theatre, Andrei Serban and The Great Jones Repertory Company, La MaMa Plexus. This book will be of great interest to students and scholars in theater and performance studies.




Gutter Auteur


Book Description

Grindhouse filmmaker Andy Milligan has been the subject of a revealing biography, and boasts a grassroots fan base, but his remarkable work has thus far received no serious critical overview. Working virtually alone, on infinitesimal budgets, often using a used 16mm newsreel camera, Milligan crafted some of the most unique melodramas of the 1960s and 1970s. Often mounted as period pieces, using costumes sewn by the filmmaker, Milligan's gritty, bizarre films come across as inimitable meldings of the avant-garde theater of Jean Genet, the experimental films of Jack Smith, and the random cinema verite of a lunatic with a home movie camera. Yet Milligan's films are anything but random, ruminating at length on profound sociocultural themes of the day, including the emptiness of the sexual revolution. Evident throughout all the films are two pet themes: a rabid deconstruction of the heterosexual paradigm, and a grotesque illumination of the family as breeder of dysfunction.