Bob Amussen, editor in chief of Bobbs-Merrill, was on the vestry of St. Mark’s Church in-the-Bouwerie, a beautiful historic church at 10th Street and Second Avenue in New York, and he served as the president of the board of Theatre Genesis, which operated in a fairly large room upstairs from the parish hall in back of the church. It was this connection that led to his publishing the first off-off-Broadway anthology, “Eight Plays from Off-Off-Broadway,” which I co-edited with Nick Orzel (see Books). Bob subsequently commissioned two more books from me, “Theatre Trip” and another anthology, “More Plays from Off-Off-Broadway.” In 1971, when he decided to drop out and move to Oregon, he asked me to take his place on the Theatre Genesis board.
I had admired Theatre Genesis ever since I saw Sam Shepard’s first plays there in 1964. Ralph Cook, who founded it and ran it for years, was a fine director, devoted to serving and nurturing the playwrights he introduced and believed in. But Ralph was gone by this time, and the theatre was being run by two playwrights, Murray Mednick and Walter Hadler. (Sam was also on the board, but he was no longer in New York.) Murray and Walter welcomed me warmly as a fellow playwight and director. Murray said, “Now you have a theatre.”
It was wonderful to have an artistic home in New York. I wrote two plays for Theatre Genesis, “Country Music” and “Prussian Suite,” and directed them both. Without thinking about it particularly, I opened Theatre Genesis to gay artists—it had been notably straight and masculine till I came along (at the end of my own gay years, as it turned out). I directed Ronald Tavel’s extraordinary play “Bigfoot” and co-directed Irene Fornes’s “Tango Palace.” I more or less produced Charles Stanley’s striking solo, “Le Roi Soleil: A Personal Landscape” and Ron Tavel’s “Queen of Greece,” as well as hosting “Light Cell Death,” a play by Charles Kespert, a student of mine at Hunter College.
But by this time I was staying out of the city as much as I could. When I moved away for good in 1974, and Murray moved to Los Angeles, Walter was the only one left. I am still ashamed of how irresponsible I was in letting Theatre Genesis fall apart. It would not have lasted as long as it did without Steve Facey, the administrator, who worked for the church; Steve, it seems to me, took the theatre’s mission more seriously than any of the rest of us, who were largely concerned with our own survival in those desperate years. When the church and theatre were severely damaged by fire in 1974 and needed help in the worst way, I was no longer there.