How the Cino Looked 1
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(If large first photos are blank, there are smaller thumbnails at the bottom of the page.)
- (Photo: JAMES D. GOSSAGE)
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BOB LAWLOR, MAGIE DOMINIC, CHARLES STANLEY, H.M. KOUTOUKAS, DEBORAH LAWLOR, 1967.
Click picture to enlarge.
- 1965 – Reopening day after the fire, walls not yet redecorated. Joe Davies, Joe Cino, and Judy Eckhardt. (Photo: JAMES D. GOSSAGE)
- Looking west, 1965, reopening night after the fire, walls not yet redecorated. (Photo: JAMES D. GOSSAGE)
- Looking East…1961. Notice over doors the long curtained loft where scenery and sometimes homeless Cinoites were stored.
- Looking west, 1961.
- Michael Warren Powell and Joanna Miles, Lanford Wilson’s Home Free. Stage wall-to-wall across the center of the Caffe. Waiters hated it.
- 1964. YVONNE RAINER moves the tables and chairs from side to side during her and LARRY LOONIN’s Incidents.
- Koutoukas’ All Day for a Dollar. L. to R.: Bob Dahdah, Ron Link, Charles Stanley, Elizabeth Shanklin. (Photo: JAMES D. GOSSAGE)
- Playing close to the audience: Claris Nelson, Marshall W. Mason, and John Herbert McDowell in Lanford Wilson’s skit, ‘Wandering,’ in The Spring Horror Show. (Do click and enlarge this photo by JAMES D. GOSSAGE)
- Above it all: The cast of Dames at Sea on the only elevated seating, a table on a platform in the northwest corner across from the light booth.
- Joe, Eddie Barton, and Harry Koutoukas at the counter after the fire and before redecoration. (Photo: JAMES D. GOSSAGE)
- Joe at the redecorated counter. (Photo: GLOAGUEN)
- Photographer NIKOS and H.M. KOUTOUKAS in front of the counter.
- Lucy Silvay, Tom Bigornia, and Neil Flanagan posed for a publicity photo for Lanford Wilson’s The Madness of Lady Bright in front of Joe’s counter. (Photo: CONRAD WARD)
- WALLY ANDROCHUK, possibly me, and JOHN TORREY constructing or demolishing a set.
- JOSEF BUSH’s eye-popping setting for TOM EYEN’s “Why Hanna’s Skirt Won’t Stay Down.”
- Window with KENNY BURGESS’ poster for DAVID STARKWEATHER’S “So Who’s Afraid of Edward Albee,” September, 1966.
- RE-CREATIONS OF THE CINO (1) 1969 – DONALD L. BROOKS’ set for his contoversial “Superfreak.”
- (2) 1980 – director MARSHALL W. MASON’s dreamlike Cino in a TV version of my “Kennedy’s Children.”
- (3) 1985 – Cino Exhibit at Lincoln Center. (Photo: JAMES D. GOSSAGE)
- (4) 2009-Yale’s Cino for a production of Bob Heide’s “The Bed.”
- (5) 2009 – MICHAEL SMITH’s set for his play “Summer Lightning,” Portland.
- The Cino as a campfire on a desert island where the twelve astrological signs are stranded after falling from heaven. My “The Golden Circle,” written in 1970, seen here in a 1979 production brilliantly directed by Nadine L. Charlsen at Campus High in Hayesville, Kansas.
- The Cino as Renaissance Bohemia in my “Michelangelo’s Models,” directed by Frederick Combs, The Fifth Estate, L.A., 1981, photo Paul Hondara. IMPORTANT NOTE: H.M. KOUTOUKAS’ nightmare vision of the Cino as the temple of an amphetamin-taking “Cobra Cult” HERE.
- 1961 New Yorker cartoon from DONALD L. BROOKS’ site.
- SAM SHEPARD shot across the street from the Caffe Cino, 1965.
- Section shows Sir Thomas Lawrence’s painting Pinky on the door. So far no one remembers why.
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