The Workshop of the Players' Art, better known as WPA Theatre, was formed in a small New York City cafe in 1967. The founders originally intended to form a professional repertory theater company to present experimental and traditional works; to train and employ young actors, directors, and playwrights; and eventually to move into the mainstream of New York theater. For two years, the company performed in a storefront on 4th Street near the Bowery; in 197O it moved to an old movie house at 333 Bowery. A rehearsal hall at 269 Bowery also was the site for classes and workshops as the company grew to include over 20O actors, directors, dancers, choreographers, playwrights, designers, and technicians. Before its demise in 1976, WPA Theatre won an Obie Award (1973) and achieved critical acclaim and popular success as one of New York's larger and better known Off-Off Broadway theaters.
During its October through June season, WPA Theatre presented three or four classics and revivals, several new full-length works, and numerous one-act plays. In June, the Theatre began its summer series of new plays, which included 12-2O plays written by such new playwrights and playwrights in residence as Jeannine O'Reilly, Joseph Renard, and William Van Gieson. The theater also performed for local colleges, and taught and acted with New York City school students. WPA Theatre differed from most other Off-Off Broadway theaters by having its own resident company of writers, directors, and actors. Harry Orzello, Virginia Aquino, and Daniel P. Dietrich were the Theatre's Artistic Directors and Producers.
As an Off-Off Broadway theater, WPA Theatre was governed by the terms of the Showcase Code, which restricted admission prices, number of performances, and seating capacities to protect unpaid actors from unscrupulous producers. Despite its critical and commercial successes, these restrictions prevented WPA Theatre from establishing a firm and stable financial base. The Theatre was supported by series subscriptions, box office revenues, audience donations, private contributions, foundation grants, and the New York State Council on the Arts, but had no large-scale endowment fund. By 1976 the Theatre was faced with increased expectations and needs, but its managers were no longer willing to continue business as usual. Instead, the WPA Theatre closed its doors in 1976.
