64-658: The Canal Café Theatre is a 60-seat fringe theatre venue in Little Venice , London , England, specialising in comedy performances. The theatre is above the Bridge House pub on the corner of Westbourne Terrace Road and Delamere Terrace, at the meeting point of the Grand Union and Regent's Canals. It is accessible from the Warwick Avenue , Royal Oak , and Paddington rail stations. The theatre
128-461: A nonprofit organization in 1967. 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. The second floor at St. Mark's Place served as a transitional space for La MaMa from January through March 1969. On April 2, 1969, Stewart purchased
192-574: A theatre building in the United Kingdom is a stub . You can help Misplaced Pages by expanding it . Fringe theatre Fringe theatre is theatre that is produced outside of the main theatre institutions, and that is often small-scale and non-traditional in style or subject matter. The term comes from the Edinburgh Festival Fringe . In London , the fringe are small-scale theatres, many of them located above pubs, and
256-469: A fringe theatre show permit audiences to attend multiple shows in a single evening. Performers sometimes billet in the homes of local residents, further reducing their costs. La MaMa Experimental Theatre Club La MaMa Experimental Theatre Club (sometimes abbreviated as La MaMa E.T.C. ) is an Off-Off-Broadway theater founded in 1961 by African-American theatre director, producer, and fashion designer Ellen Stewart . Located in
320-539: A gathering reflective of the “ Great Day in Harlem ” photoshoot. Of great help during this period was the Comprehensive Employment and Training Act . In 1978, Stewart utilized CETA funds to mount Goethe’s Faust I , directed by Fritz Bennewitz. CETA enabled the hiring of 22 actors, an 8-person chorus, 6 musicians, dancers and an 18-member crew. CETA also funded a series of Chamber Concerts, as well as
384-576: A harpist, and was also trained in ballet. He came to La MaMa from Second City , bringing his interest and knowledge of Viola Spolin and Paul Sills ' 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
448-519: A multipurpose space on the third floor and more bathrooms." Dressing rooms are also expanded, bringing the building "up to the current ADA accessibility requirements while preserving its original facades and historic essence." In June 1971, La MaMa acquired 236 East 3rd and other abandoned buildings on the Lower East Side to turn them into art spaces. No. 236 was used primarily for community workshops, in an effort to engage and produce art that
512-451: A program including all performers). Each production pays a set fee to this group, which usually includes their stage time as well as the organizational elements. The organising group and/or the venues often rely on a large pool of volunteers. Ticket pricing varies between festivals. At UK fringe festivals, groups can decide their own ticket prices, and some sell tickets at fixed rates in one or two tiers, or in groups of 5 or 10. Although it
576-461: A three-week international symposium for directors at the Umbria location. 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 Stewart's primary interest from
640-520: 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. Lanford Wilson 's Balm in Gilead , which needed a stage that could accommodate twenty-five people, and was also the first full-length play written for off-off Broadway, opened at 122 Second Avenue in January 1965. Partially due to previous legal struggles,
704-487: A zoning violation. 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 coffee and began charging an admission of fifty cents. On March 12, 1964, Café La MaMa
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#1732776741552768-437: Is unusual for the organising group to choose any winners of the festival, other organisations often make their own judgements of festival entries . Productions can be reviewed by newspapers or publications specific to the festival, and awards may be given by certain organisations. Awards or favourable reviews can increase the tickets sales of productions or lead to extra dates being added . The limitations and opportunities that
832-469: The 1973–74 stock market crash , many fringe companies were forced to close. New playwrights were established at the Bush Theatre and King's Head Theatre , both of whom survived the crash. 7:84 and Red Ladder Theatre Company were some of the surviving touring fringe groups. Fringe theatres were attractive to people in the 1960s due to their adventurousness but became less wild in the 1970s while
896-743: The East Village neighborhood of Manhattan in New York City , 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. Stewart started La MaMa as a theatre dedicated to the playwright and primarily producing new plays, including works by Paul Foster , Jean-Claude van Itallie , Lanford Wilson , Sam Shepard , Adrienne Kennedy , Harvey Fierstein , and Rochelle Owens . La MaMa also became an international ambassador for Off-Off-Broadway theatre by touring downtown theatre abroad during
960-487: The Edinburgh Festival Fringe , Edmonton Fringe Festival , Adelaide Fringe , and Fringe World ) permit artists to perform a wide variety of works. In 1947, eight theatre companies showed up at the Edinburgh International Festival , hoping to gain recognition from the mass gathering at the festival. In 1948, Robert Kemp , a Scottish journalist and playwright, described the situation, "Round
1024-422: The Lower East Side . 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 Paul Foster . On October 18, 1961, Stewart paid
1088-660: The May 1968 events in France , wrote agitprop plays, including David Hare , Howard Brenton , David Edgar . Meanwhile, in the United States, experimental theatre was growing due to the political protest of the Vietnam War . The Living Theatre , founded by Julian Beck , is considered the leader of the " flower power " and "hippie" movement. By the early 1970s, many fringe theatres began to receive small subsidies. After
1152-543: The 1960s. 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 Joe Cino 's Caffe Cino , Al Carmines ' Judson Poets Theatre , and Ralph Cook's Theatre Genesis . 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. To
1216-581: The Annex was renamed the Ellen Stewart Theatre. To date, La MaMa has presented and produced work by artists from over seventy nations. 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
1280-537: The La MaMa actors were too inexperienced, which led Stewart and O'Horgan to start the actor-training workshop. In comparison to the psychological acting style and emphasis on method acting 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
1344-513: The La MaMa-Ceta Jazz Cabaret. 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 forty-eight by one hundred feet television soundstage with thirty-footy high ceilings. In November 2009,
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#17327767415521408-798: The Polish director Jerzy Grotowski in 1969 and the Romanian director Andrei Șerban in 1970. Stewart also created site-specific productions internationally. In 1981, she directed Romeo and Juliet on the grounds of Leopoldskran Castle in Salzburg, Austria . In 2004, she directed Trojan Women at the ruins in Gardzienice, Poland . La MaMa Umbria, in Spoleto, Italy , is an artist's retreat and cultural center founded in 1990 by Stewart with her MacArthur Grant money. Since 2000, La MaMa has held
1472-465: The United States is Orlando , FL, founded in 1992. There are more fringe festivals in North America than any other continent. One distinction between fringe festivals and conventional arts festivals is the method used to choose participants. Typically, conventional festivals use a jury selection process, whereas many fringe festivals do not use a jury process in their selection criteria, hence
1536-488: 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 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. Stewart did not believe that her theater
1600-421: 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 neighborhood. Barbara Lee Horn writes: Now, number 321 had been an all white building, and the tenants liked it that way. Further provoked by
1664-460: The building 1985. Throughout the 1970s, La MaMa's 236 E. 3rd location became a centerpiece of the Loft Jazz 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 Lester Bowie rehearsed his Sho'Nuff Orchestra in preparing for a onetime performance of a 59-member contemporary jazz collective,
1728-712: The building at 74A East 4th Street using grant money from the Ford , Rockefeller , and Doris Duke Foundations. 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 additional funding,
1792-479: The comings and goings, they accused Stewart of running a bordello—fifteen men in one hour—and asked the health department to issue a summons for prostitution. The health department was contacted, but the inspector who arrived happened to be an old vaudevillian . 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
1856-481: The descriptor unjuried or open-access. There are exceptions to this; some fringe festivals (e.g., New York International Fringe Festival ) do employ a jury-based selection process. All performers are welcome to apply, regardless of their professional or amateur status. No restrictions are made as to the nature, style or theme of the performance, though some festivals have children's areas with appropriate content limitations. Festivals may have too many applicants for
1920-774: The distinctive La MaMa genre of theatre. 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 Three from La MaMa with National Educational Television . Three from La MaMa was a television program of three La MaMa theatre pieces: Pavane by Jean-Claude van Itallie ; Fourteen Hundred Thousand by Sam Shepard ; and The Recluse by Paul Foster . The executive director of National Educational Television, Brice Howard, would not allow any La MaMa actors to perform in Three from La MaMa . Howard declared that
1984-436: The early years, Stewart housed and fed playwrights and directors whenever possible. She acted as a mother; Jean-Claude van Itallie remembers his first meeting with Stewart: 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
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2048-406: The equivalent to New York's Off-Off-Broadway theatres and Europe's "free theatre" groups. In unjuried theatre festivals, also known as fringe festivals or open-access festivals , all submissions are accepted, and sometimes the participating acts may be chosen by lottery, in contrast to juried festivals in which acts are selected based on their artistic qualities. Unjuried festivals (such as
2112-503: The fifty-five dollar rent on a tenement basement at 321 East Ninth Street to start her boutique and theater. As opposed to Caffe Cino , 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. In
2176-529: The fringe festival format presents lead to some common features. Shows are not judged or juried. Depending on the popularity, some fringe festivals may use a lottery system to determine which shows are selected. Shows are typically technically sparse. They are commonly presented in shared venues, often with shared technicians and limited technical time, so sets and other technical theatre elements are kept simple. Venues may be adapted from other uses. Casts tend to be smaller than mainstream theatre; since many of
2240-503: The fringe of official Festival drama, there seems to be more private enterprise than before ... I am afraid some of us are not going to be at home during the evenings!". Edinburgh Festival Fringe was founded under the name "Festival Adjuncts", in 1947 . The fringe movement in Britain has been said to start in the 1960s, similar to the United States' Off-Off-Broadway theatres and Europe's "free theatre" groups. The term came into use in
2304-971: The late 1950s, and the show Beyond the Fringe premiered in Edinburgh in 1960, before transferring to Broadway and is the West End . One of the early innovators in fringe theatre was an American bookseller, James Haynes , who in 1963 created the Traverse Theatre in Edinburgh. Also noted in this period is the La MaMa Experimental Theatre Club , Jerzy Grotowski 's Theatre of 13 Rows, and Józef Szajna 's Studio Theatre in Warsaw. The Adelaide Fringe in Adelaide , South Australia, now second-largest annual arts festival in
2368-478: 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 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
2432-477: 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. La MaMa's first home,
2496-461: The number of available spaces; in this case, applicants are chosen based on an unrelated criterion, such as order of application or a random draw. The number of performances varies among different fringe festivals. Larger festivals may have thousands of performances (e.g., Edinburgh's 2013 festival had 45,464 performances). Fringe festivals typically have a common organising group that handles ticketing, scheduling, and some overall promotion (such as
2560-547: 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 Village Voice , 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
2624-646: The performing groups are traveling, and venues (and thus potential income) tend to be fairly small, expenses must usually be kept to a minimum. One-person shows are therefore quite common at fringe festivals. Fringe festival productions often showcase new scripts, especially ones on more obscure, edgy, or unusual material. The lack of artistic vetting combined with relatively easy entry make risk-taking more feasible. While most mainstream theatre shows are two or three acts long, taking two to three hours with intermissions, fringe shows tend to be closer to one-hour, single-act productions. The typically lowered ticket prices of
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2688-420: 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 careers. 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
2752-532: 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
2816-477: The playwright. In 1964, Tom O'Horgan joined La MaMa. Directing over sixty plays, including his all-male version of Jean Genet 's The Maids , O'Horgan was crucial to La MaMa's development. He was the theatre's first Artistic Director and was also integral to La MaMa's international tours. As a musician, O'Horgan performed with the Chicago Civic Opera in his youth and had professional training as
2880-399: 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 ideas, and translate them into a theatrical language that can communicate to any person in any part of
2944-406: The second floor of 122 Second Avenue, La MaMa's third home. On November 11, 1964, La MaMa E.T.C. opened at 122 Second Avenue with David Novak's The Wedding Panda . 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 seating capacity was technically seventy-four, but the theatre would often fit 115 people at
3008-626: The short runs of productions. Critics 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. La MaMa had two traveling companies. The first company, headed by Tom O'Horgan , went to Copenhagen for six weeks and
3072-459: The space as a boutique during the daytime quickly disappeared. As Stewart said, "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. Even operating as a "café," Café La MaMa was forced to close and reopen ten times during its first year. Although
3136-615: The standards of production rose. In 1982, the first fringe festival in North America was started in Edmonton , Alberta. It was then a theatre component of the larger Summerfest but evolved to become a stand-alone event, the Edmonton International Fringe Festival , one of the largest annual arts events in Canada and still the largest fringe in North America by attendance. The oldest fringe festival in
3200-467: 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. Between 2018 and 2023, the 74A E 4th Street location underwent a renovation that "expanded the lobby and public spaces, adding
3264-821: The world (after Edinburgh Fringe), started in 1960 as an adjunct to the main Adelaide Festival of Arts . Haynes, while at the helm of the Traverse, was receiving state support and even got a new theatre in 1969. In 1969, Haynes created the Arts Lab in London , but it only lasted for two years. Peter Brook along with another American Charles Marowitz opened the Open Space Theatre on Tottenham Court Road in London in 1968. Young British writers, after
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#17327767415523328-435: The world that we were doing something 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. In a 1997 interview, Stewart echoed this sentiment: 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
3392-412: The world." Ellen Stewart is the spirit of La MaMa; she is its guardian, janitor, fundraiser, press agent, tour manager, conceptual leader—she is the guts of the place. To understand this theatre one must first know Ellen Stewart. Stewart worked as a fashion designer at Saks Fifth Avenue before starting the theatre. Stewart was inspired by her mentor, "Papa Abraham Diamonds", who owned a fabric shop on
3456-724: The years in Boston, Amsterdam, Bogotá, 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 Bogotá, La MaMa Tel Aviv, and La MaMa Melbourne . 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 Stewart to create cross-cultural exchanges. She brought many notable international artists to La MaMa in Manhattan, including
3520-424: 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, playwrights Lanford Wilson and Sam Shepard 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. Because of building code violations, La MaMa
3584-402: Was an imitation of Cino's. Cino and Stewart had a close relationship, and the first documented production at La MaMa, ( One Arm , 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
3648-502: Was considered by many playwrights to be the most inviting of the Off-Off-Broadway theatres. 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 ..." Stewart believed that young playwrights needed
3712-603: 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 order to avoid a third conviction , which would have made her a felon , Stewart moved La MaMa to a new space with the audience's help. Stewart recalled: It
3776-601: Was founded in 1985 as the residence for the NewsRevue satirical sketch show and remains its home. The show annually transfers to the Edinburgh Festival Fringe . Other notable performances have been given by The Mighty Boosh , The League of Gentlemen , Waen Shepherd , The Consultants , Rhod Gilbert , Paul Chowdhry , Shappi Khorsandi , Pippa Evans , Sarah Lark , and Frisky and Mannish . 51°31′15.5″N 0°11′3.5″W / 51.520972°N 0.184306°W / 51.520972; -0.184306 This article about
3840-415: 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. 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
3904-441: 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 performances. 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
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#17327767415523968-442: Was reflective and representative of the surrounding neighborhood. The children's workshops spearheaded by avant-garde jazz drummer Charles “Bobo” Shaw , were some of the most ambitious. 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 Nuyorican Poets Cafe purchased
4032-485: Was the closing performance of Balls , 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 café. 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, coffeepots—everything. Well, they moved me in one hour. The audience followed Stewart to
4096-1188: 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 America Hurrah 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 September–December 1966, again with O'Horgan and with ten actors. A third European tour took place from June–November 1967. 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 Home Free! , The Madness of Lady Bright , and Miss. Victoria from Caffe Cino, as well as Birdbath and Chicago from Theatre Genesis. Thus, La MaMa acted as "international ambassadors, not just for La MaMa, but for new Village playwriting generally." La MaMa has extended past these European tours, with satellite La MaMa theatres opening over
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