The Theatrical Legacy of the 13th Street Repertory Theatre
The 13th Street Repertory Theatre at 50 West 13th Street once stood as a monument to New York City’s rich theatrical history and a testament to the enduring power of grassroots theater. For decades, this unassuming venue was a cradle of creativity, fostering countless artists and showcasing countless productions that have left an indelible mark on American stages. Village Preservation has proposed and fought for landmark designation of the historic house since the death of longtime co-owner Edith O’Hara in 2020, which left the fate of the iconic structure in doubt. But recently, after a hard-fought 4-year campaign led by Village Preservation, 50 West 13th Street received a unanimous calendaring vote from the Landmarks Preservation Commission and is now officially on its way to obtaining landmark status. The enduring legacy of Edith O’Hara and the 13th Street Repertory Theatre is an integral and vital component of the building’s history which we have fought to recognize and preserve.
The remarkable Edith O’Hara founded the 13th Street Repertory Theatre in 1972 with the vision to create a space where emerging playwrights, actors, and directors could hone their craft. An intrepid and passionate advocate for the arts, O’Hara sought to establish a theater that was both inclusive and experimental. Under her guidance, the space became a haven for avant-garde performances and a breeding ground for innovation.
Edith O’Hara, born in 1917 in Idaho, had a vision for a theater that was more than just a venue — it was to be a haven for creativity — a place where emerging talent could find their voice and where innovative, boundary-pushing works could flourish. Her journey to New York City and subsequent founding of the 13th Street Repertory Theatre in 1972 was the culmination of her lifelong dedication to the arts.
O’Hara’s background was as diverse as it was rich. Before establishing the 13th Street Repertory Theatre, she had been an actress, director, and producer. Her experience in these various roles equipped her with a deep understanding of the challenges and triumphs of life in the theater. This empathy and insight were pivotal in creating a supportive environment at the 13th Street Rep.
When Edith O’Hara took over the space at 50 West 13th Street in 1972, it was far from the thriving artistic enclave it would become. From the early 1960s, the building’s basement level served as a performance space called The 13th Street Theatre, one of many small Off-Off Broadway venues springing up in the early years of the Off-Off Broadway Movement. “The Drunkard,” the first musical by then 19-year-old composer Barry Manilow, performed at the space on weekends from 1964 to 1970, promising its audiences “free beer or root beer” during its two shows a night.
Under the stewardship of O’Hara, the 13th Street Rep quickly became known for its eclectic programming. From avant-garde plays to children’s theater, the diversity of productions mirrored O’Hara’s belief that theater should reflect the broad spectrum of human experience. This inclusive approach drew diverse audiences and encouraged a wide range of artists to present their work on its stage.
The 1970s were a transformative era for the 13th Street Rep. It quickly gained a reputation for its daring and original productions. Among its early triumphs was the long-running play “Line” by Israel Horovitz (a long-time resident of our neighborhoods), which premiered in 1974 and became the longest-running play in Off-Off-Broadway history. This achievement not only solidified the theater’s place in the annals of New York City theater, but also showcased its commitment to producing work that was both provocative and enduring. She also championed one of the first productions on the subject of same-sex marriage, Bill Solly and Donald Ward’s “Boy Meets Boy,” which afterward became a hit and moved on to a commercial run.
Beyond its role as a performance venue, the 13th Street Repertory Theatre was a community hub. It once hosted workshops, readings, and classes, offering a space where artists could collaborate and learn from one another. In its heyday, this sense of community was instrumental in fostering a supportive environment where creativity could flourish.
One of the most significant contributions of the 13th Street Rep under O’Hara’s leadership was its role as a launching pad for new talent. Countless actors, directors, and playwrights got their start at the theater, benefiting from the opportunity to develop and showcase their work in a supportive environment. O’Hara’s commitment to nurturing young talent was unwavering, and many who began their careers at the 13th Street Rep went on to achieve great success in the broader theater world. Among the long list of artists who got their start at the 13th Street Rep were Bette Middler, Chazz Palminteri, John Cazal, Charles Ludlam, Austin Pendleton, Bernard Hughes, and Richard Dreyfus, among many others. Tennessee Williams, while giving a talkback after a revival performance of his play “Outcry” at 13th Street Rep, sat on the edge of its platform and proclaimed that the future of New York Theater is to be found on the small stage.
Edith O’Hara’s influence on the 13th Street Repertory Theater and the wider New York theater scene cannot be overstated. Her dedication to fostering creativity, commitment to inclusivity, and unwavering support for new talent created a legacy that continues to inspire. For Edith O’Hara’s leadership and artistic contribution, she received citations from President Barack Obama, Governor Andrew Cuomo, and Mayor Michael Bloomberg.
Edith O’Hara’s passing in 2020 marked the end of an era, but her legacy continues to inspire. Her vision and determination transformed the 13th Street Repertory Theatre into a beloved institution. Edith O’Hara’s dream was to create a space where the magic of theater could thrive. As we celebrate her legacy, we are reminded of the profound impact one individual’s passion and vision can have on the world.
To read more about the incomparably rich history of 50 West 13th Street, click here.
50 West 13th Street and the 13th Street Theatre
1960-1972
by Julie Herrod
July 2024
Working from personal memory, I’d like to add a few notes to Village Preservation’s coverage of 50 West 13th Street and its theatrical history that concern the years before Edith O’Hara founded the 13th Street Repertory Theatre.
I was raised at 50 West 13th Street from 1960-1972 (ages 5-17) when my father, Bro Herrod, was the Owner/Producer/Artistic Director of the 13th Street Theatre. Our basement theatre space was the same space that Edith took over in 1972.
The 13th Street Theatre has a rich history that precedes The Drunkard (the only 13th Street Theatre production noted in some of the coverage)—which I will describe—but first I’d like to expand on the mention of that musical.
My father adapted the script of The Drunkard from the W.H.S. Smith 1890s melodrama classic. He met Barry Manilow in the control room at CBS where they both worked, and invited the young and talented but as-yet-unknown musician to compose the blues-rock score and lyrics for the spoof musical. Also directed by my father and initially a showcase production, The Drunkard offered performance opportunities to up-and-coming actors such as John Savage. I was one of those young actors as well, before taking over the light booth in my teenage years and moving on to television, Broadway, and film roles. Barry served as Musical Director of The Drunkard and played the piano for performances in the early years of the show’s six-year run, moving on to accompany Bette Midler at the famed Continental Baths and producing her first album as he shot to stardom.
But when my family moved into the theatre in 1960 from our 10th Street apartment, our first production was a children’s puppet show, The African Queen. As a family, we (my father, mother, brother, and I) worked the colorful African animal puppets to a pre-recorded soundtrack every weekend. My father also produced and directed a children’s musical adaptation of Annie Get Your Gun, titled Away Out West, in which both my brother and I performed.
Highlights and productions throughout our years at the 13th Street Theatre also include:
• Reflecting on the building’s significance in Black history, I must note that one of our stagehands was 1960s social activist Andrew Goodman. Andy was one of the three CORE workers (along with James Chaney and Michael Schwermer) who were killed by the KKK in Mississippi in 1964. They were part of the Freedom Summer Campaign to register Blacks to vote and to set up Freedom Schools for Black southerners. Andy was a hard worker, a dear friend, and a member of our theatre family. He was 20 years old when he was murdered.
• Playwrights Opportunity Theatre (POT). My father established this 1960s program to welcome new scripts for development and to offer mounted productions a performance space.
• My father welcomed the celebrated Afro-American Folklore Troupe to perform many engaging tales and compelling poems by such writers as Gwendolyn Brooks, Leroi Jones, and Langston Hughes during their residency at the 13th Street Theatre in 1968.
• My father produced and/or directed innovative originals and adaptations, including the 1910 German farce The Underpants (Die Hosen) written by German Expressionist Carl Sternheim. The production starred my mother, Off- and Off-Off-Broadway actress Marion Herrod.
The studio space on the first floor (just above the theatre’s living room-style lobby, complete with beer barrel bar made by my father) was the home of acting and dance classes, rehearsals, and workshops.
My family’s living quarters were on the second and third floors. My brother and I had bedrooms on the third floor, where additional small rooms were rented out or loaned to actors and students. Actors, playwrights, singers, musicians, dancers, and others were always coming and going, both upstairs and throughout the theatre, creating a tangible artistic energy and profound sense of family.
I am so thankful for my childhood and teenage years at 50 West 13th Street and the 13th Street Theatre. And I am fascinated and delighted by the building’s vital Black history—but I must say I am not surprised. We always suspected that the dark, dank room with the hand-over-fist ladder beneath the trap door in the dressing room (in the “back house,“ where I lived as a teenager) was involved in the Underground Railroad.
But we didn’t know for sure, so now I am thrilled to know more, and I’m so grateful for the hard work of Village Preservation that has brought all this exciting Black history forward. They have my full support in seeking landmark status for this unique and important historical building.
Hey, what is the status on the 13th Street Rep being made an historical landmark? I just happened to see it on Google Maps (image from 2024) and it looks rundown and sooooo sad!
I haven’t seen any comments about another memorable monologist/comedian who performed there, namely, “Brother” Theodore Gottlieb. I had seen him perform at St. Louis’ Crystal Palace in Gaslight Square in the 60s. He had recently gained some fame for appearing on Letterman’s show, and I made a point of seeing his unique and entertaining show twice on 13th street.