The Legacy of Edith O’Hara & 13th Street Repertory Company

 




In trendy Greenwich Village, a battle is unfolding over the future of a modest three-story Greek Revival rowhouse at 50 West 13th Street. With its intricate cast-iron portico, this unassuming structure has been more than just a building; it's been a beacon for the avant-garde, a sanctuary for the aspiring, and a home for groundbreaking theater. Yet, in January 2021, when Village Preservation approached the city's Landmarks Preservation Commission, they were met with a disheartening response: the building, they were told, did not possess the architectural grandeur to merit landmark status. The Commission did, however, leave a window open, suggesting that the building's "cultural significance," particularly with the Off-Off Broadway theater movement, required further exploration.


The 13th Street Repertory Theatre, housed within this very building, has been a cradle for theatrical innovation for decades. This was the stage where Richard Dreyfuss and Chazz Palminteri, among others, honed their crafts in their nascent stages. It's where "Line," a one-act play by Israel Horovitz — whose son would go on to fame with the Beastie Boys — broke Off-Off Broadway records with a run spanning over 40 years. This venue also saw the debut of "The Indian Wants the Bronx" and "Boy Meets Boy," the latter being New York’s first hit gay musical, conceptualized by Englishman Bill Solly who lived just upstairs from the theater.


Behind all this creative ferment was Ms. Edith O'Hara, the matriarch and artistic soul of the 13th Street Repertory Company. Until her passing in the fall of 2020 at the remarkable age of 103, Ms. O'Hara was a towering figure in the theater community, nurturing talent and offering a platform for plays that mainstream venues often overlooked. Her legacy is intertwined with that of the building she cherished and fought for. Today, the future of this historic site hangs in the balance. As the Preservation Commission hesitates, the specter of the wrecking ball looms large, threatening to erase a vital piece of New York’s Broadway theater. 







The struggle to save the historic rowhouse has taken a dramatic turn, unveiling layers of history that extend far beyond its storied days as the cradle of avant-garde theatre. Village Preservation, a staunch advocate for the building's landmark status, has unearthed compelling evidence linking the property to Jacob Day, an influential African-American businessman and a key figure in the city’s Underground Railroad network.


Jacob Day's tenure at the house spanned from 1858 to 1884, a period when he emerged as one of New York City's wealthiest African-American residents. By 1871, he boasted a net worth exceeding $75,000 — approximately $1.6 million in today's currency. His prominence extended into the spiritual realm as the longtime treasurer of the Abyssinian Baptist Church, then located a stone's throw away at 166 Waverly Place. This church is recognized as the city’s second oldest Black church, marking the neighborhood as a significant center for African-American heritage.


These revelations have added a rich layer to the narrative of 13th Street Theater, transforming it from a mere theatrical landmark to a beacon of African-American history and the fight for freedom. This discovery comes at a time when the building's future is under threat by modern development pressures. Currently owned by Atiti Jariwala, CEO of Bridgeton Capital, the rowhouse's unique architectural elements, including its intricate cast-iron portico and window fire escapes, have been removed — a move that has alarmed preservationists and historians alike.


The building's past ownership reflects a microcosm of New York's complex real estate dynamics. In 2021, ownership transitioned from White Knight Ltd., partly owned by the children of Edith O'Hara and partly by Stephan Loewentheil and his ex-wife, Beth Farber. The O'Haras and Mr. Loewentheil endured a protracted legal battle over the property, culminating in an agreement that allowed Ms. O'Hara and her theater to remain until her death in 2020. This marked a somber close to the vibrant life of the 13th Street Repertory Theatre.


With no hearing date set by the Landmarks Commission as of June 2024, the urgency for action grows. The case for landmarking the building is now twofold: it stands as both a testament to New York’s theatrical innovation and a crucial piece of the city's African-American heritage, particularly its role in the Underground Railroad.


Village Preservation is rallying support, urging those who value history and culture to join the fight to preserve this irreplaceable site. Their campaign is not just about saving a building; it's about preserving a narrative that embodies the struggles and triumphs of diverse communities that have shaped New York City’s unique cultural fabric.


For those moved by this cause, Village Preservation offers comprehensive information on how to get involved on their website. This is more than a preservation effort; it's a call to honor and protect our shared history, ensuring that stories like those of Jacob Day and the pioneering artists of the 13th Street Repertory Theatre continue to inspire future generations. 



The question now is whether the city recognizes the full measure of this building's worth, not just for its past contributions, but for the potential stories yet to be told within its walls. As this drama plays out, the hope is that wisdom and a respect for history will prevail, allowing this cornerstone of New York’s theatrical world to continue inspiring and influencing for years to come.








Sources:



1. Gill, J. (2021, March 12). Rescuing an Off-Off Broadway Theater With a Storied Past. NYTimes.

2. Barron, J. (2024, June 20). The Fight to Save a Rowhouse With Ties to Theatrical History. NYTimes.

3. The Playwright's Companion. (1995). United States: Feedback Theatrebooks. p.184

4. The Best American Short Plays 2009-2010. (2011). United States: Applause Theatre & Cinema Books. p.xxii

5. Why the Theatre: In Personal Essays, College Teachers, Actors, Directors, and Playwrights Tell Why the Theatre Is So Vital to Them. (2020). United Kingdom: Taylor & Francis. p.146

6. The Best American Short Plays 2007-2008. (2009). United States: Applause Theatre & Cinema Books.

7. Demastes, W. (2017). Understanding John Guare. United States: University of South Carolina Press.

8. DeVore, J. (2024). Theatre Kids: A True Tale of Off-Off Broadway. United States: Rowman & Littlefield Publishers.

9. Laermer, R. (2002). Native's Guide to New York: Advice with Attitude for People who Live Here-- and Visitors We Like. United Kingdom: W.W. Norton. p.249

10. Belovitch, B. (2018). Trans Figured: My Journey from Boy to Girl to Woman to Man. United States: Skyhorse Publishing.


Location: 50 W 13th St, New York, NY 10011, USA

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