How the Cino Looked 1

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<<<Back to Michael Smith’s 1963 Cino play, “I Like It” On to How the Cino Looked 2 – Incidents 1964>>>

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(If large first photos are blank, there are smaller thumbnails at the bottom of the page.)

 

 

31 Cornelia Street

 

 

 

(Photo: JAMES D. GOSSAGE)

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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