In May 2004 the Great Jones Repertory presented Seven: Seven Greek Myths in Repertory which included Medea, Electra, Trjan Women, Mythos Oedipus, Seven Against Thebes, Antigone, and Dionysus Filius Dei.
More to come....
A History of La MaMa
In May 2004 the Great Jones Repertory presented Seven: Seven Greek Myths in Repertory which included Medea, Electra, Trjan Women, Mythos Oedipus, Seven Against Thebes, Antigone, and Dionysus Filius Dei.
More to come....
November 1991 Soundscape by Tan Dun was performed at La MaMa. He later went on to compose the soundtrack for Crouching Tiger, Hidden Dragon and The First Emperor at the MET Opera.
In 1992 Ellen Stewart was invited by the office of the President of Turkey to commemorate Yunus Emre because UNESCO had named that year, The Year of Yunus Emre, to celebrate the Sufi master all over the world to
In February 1993 Faust/Gastronome was performed by the East Coast Artists, directed by Richard Schechner.
In May 1995 Geranos was presented with the Great Jones Repertory Company, created by Andrea Paciotto, Sandra Tommassini and Mia Yoo and music composed by Alexandros.
November 1995 Slant premiered Big Dicks, Asian Men. Slant is now a resident company of La MaMa.
March 1999 Yara Arts Group, directed by Virlana Tkacz, presented the Buryat National Theatre in Flight.
In February 1980 Hong Sin Cha from
In February 1980 Dario D’Ambrosi from
In April 1980 Le Centre International de Creations Theatrales, directed by Peter Brook, performed in repertory the productions Ubu, The Ik, and The Conference of the Birds.
In October-November 1980 Olympia Dukakis and Nicholas Kepros performed Otan Oi Atreides.
In October 1980 La MaMa presented A Day in the Life of the Czar, or I Too Have Lived in Arcadi, written by Frank O’Hara and V.R. Lang and directed by Peter Sellars.
In November 1980 Gimpel the Fool by Isaac Bashevis Singer had its American premiere at La MaMa directed by David Schecter.
In April 1981 Samuel Beckett wrote A Piece of Monologue for David Warrilow which played at La MaMa.
In April 1981 Rockaby by Samuel Beckett, directed by Alan Schneider and in association with NYU, premiered at La MaMa. Billy Whitelaw from
In April 1981 the Open Theater became the Winter Project and premiered Tourists and Refugees.
In July 1981 Kazuo Ohno performed at La Mama in L’Argentina.
In August 1981 Wallace Shawn presented The Hotel Play with Cooper-Keaton Group at La MaMa.
In 1982 Unseen Hand by Sam Sheperd, whose plays were presented at La MaMa since 1965, went Off-Broadway from La MaMa.
In July 1982 Money: A Jazz Opera by Amiri Baraka (Leroi Jones) and George Gruntz with music by George Gruntz was presented with full orchestra at La MaMa, directed by George Ferencz.
May 1983
January/February 1984
La MaMa presented Elizabeth Swados’
In February 1986 John Jesurun’s Deep Sleep was presented which received an Obie. William Harris of the Village Voice wrote that John Jesurun was “the most original conceptual artist now working in experimental theatre.”
In February 1986 The Yellow House with the Shaliko Company played at La Mama, written and directed by Leo Shapiro and music composed by Julie Lyonn Lieberman. Later, Ellen Stewart and Leo Shapiro created the Trinity/La MaMa Program.
Mabou Mines was in residence at La MaMa from 1970-1974, directed by Lee Breuer, music composed by Phillip Glass, and company members JoAnne Akalaitis and Ruth Maleeczech.
The ETC Company was in residence at La MaMa from 1970-1974, directed by Wilford Leach and John Braswell. The company toured
La MaMa Chinatown began in the Church of the Transfiguration on
The Jarboro Troupe, which was first called the GPA Nucleus, began in October 1970 with Street Sounds directed by Hugh Gittens and written by Ed Bullins. The Troupe was named after Katarina Jarboro, an opera star in
Tokyo Kid Brothers from
La MaMa Tel Aviv was created by Ellen Stewart in 1970 in Tel Aviv. It was given first workshop space in a bomb shelter, underneath a big apartment building. It was very prestigious, because it had three different kind of toilets. The shelter was given to Ellen by the Mayor Rabinovitz. The mayor also put in heat and air conditioning, and La MaMa Tel Aviv was the first to receive a grant for its work, and the grant was given by Leah Porat. Ellen sent Martin Brenzell from La MaMa Canada and Kate Carney to train the members of the workshop, and later Rina Yerushalmi, an Israeli, became the Artistic Director. Hanoch Levin was one of its playwrights, and amongst the actors were Victor Attar and Geula Jaffet, who still represent La MaMa Tel Aviv today. It was through La MaMa Tel Aviv that Dr. Feldenchrist came to
In 1970’s The People Show, a troupe from
The Third World Theatre Institute (TWITAS) of La MaMa, directed by Cecil Guidote with Ellen Stewart, began in the
In early spring of 1972, Ellen Stewart played a key role in the founding of a contemporary theatre for American Indians. Working with Hanay Geiogamah, a member of the Kiowa Tribe of Oklahoma, Ms. Stewart participated in the formation of the Native American Theatre ensemble, a 16-member troupe of performing artists representing Indian tribes from all parts of
The Trocadero Gloxinia Ballet Company, an all-male ballet company, was a resident company of La MaMa and was created by Larry Ree. The first performance of the company was
In March 1975 Bill Duke directed Garrett Morris in the
In April 1976 Meredith Monk created Quarry for the La MaMa Annex Space.
Ping Chong and Company became a resident company of La MaMa in March 1978 with the production of Humboldt’s Current.
In May 1979 Pieter-Dirk Uys from
This was Pieter Dirk Uys’ first American appearance.
In August 1962 Michael Locascio wrote A Corner of the Morning. It was La MaMa’s first original play to be performed.
Harold Pinter allowed La MaMa to produce his work in
In December 1962 La MaMa produced its first opera, created and conducted by Anthony Keller. The production was entitled The Flood.
Other original plays in the first season were Head Hunting by Korean playwright Pagoon Kang Wouk, Lazy Baby Susan by Leonard Melfi, The Collector by Kate Hoffman, Rococco Joker written by James Eliason and directed by Carlo Grasson. In that first season La MaMa did 17 plays.
In March 1964 The Allegation Impromtu by Lawrence Ferlinggetti was performed at La MaMa at
In June 1964 La MaMa had its first Coffeehouse Theatre Festival. The plays performed were The Recluse by Paul Foster and Who’s Afraid of Edward Albee by David Starkweather.
In August 1964 the Bogota Troupe played Paul Foster’s Hurrah for the Bridge which became Que Viva El Puente in Spanish at the Sheridan Playhouse. It was the first Off Broadway performance by a Latin American Troupe in Spanish.
In August 1965 the National Educational Television filmed Three Plays from La MaMa. They were Pavanne by Jean Claude Van Italie, Fourteen Hundred Thousand by Sam Shepard, and The Recluse by Paul Foster. Tom O’Horgan directed the entire program.
Ruth York was a patron of La MaMa, and she helped in La MaMa’s first tour in 1965 to
In October 1965 John Thompson directed The Typist by Murray Schisgal which was performed by La MaMa’s Theatre of the Blind. These performances with the Blind and workshops for blind artists were stopped by the public who expressed their opinion to the Lighthouse that the work was cruel and inhumane for the Blind to walk on a stage.
In October 1965 the Open Theatre came into residence at La MaMa. Their first show was called Open Theatre Improvisations.
La MaMa Plexus began in 1966 under the direction of Stanley Rosenberg and later was directed by Joel Zwick. Joel Zwick went on to direct many different films, including My Big Fat Greek Wedding and Fat Albert, as well as various television sitcoms, including Lavene and Shirley and Happy Days.
In May 1966 Viet Rock by Megan Terry was presented at La MaMa. It was the first anti-Vietnam play.
Larry Sacharow conceived and directed Concept with the Daytop Company in November 1967; the production went on to Broadway. The revenues of the Broadway production enabled the
In 1968 La MaMa did the first International Theatre Festival at
Trust, directed by Tom O’Horgan and with the La MaMa Troupe; Max Stafford-Clark and his company from