He was a true intellectual of the theater. Steve was passionate about the theater and about theater people. He began his studies at Adelphi, but continued to study both abroad and at home. He was always generous with his time and advice. He was an interested and curious person. He had a dry wit and was great company.
He died on August 1, 1993 of AIDS.
Born in St. Louis, Fitterman was a graduate of Adelphi U. and a two-time Fulbright-Hays scholar, serving as intern and director of theaters in Poland and Yugoslavia. He was the founding director of the St. Louis Actors' Ensemble before becoming associate director of the National Theater Institute at the Eugene O'Neill Theater Center in Waterford, Conn.
In 1990, Fitterman joined Actors' Equity Assn. as assistant to the special projects coordinator. In 1992, he became special assistant to Equity president Ron Silver.
He is survived by his companion was Sid Pinkerton.
Caffe Cino: The Birthplace of Off-Off-Broadway (Theater in the Americas) by Wendell C. Stone
Paperback: 264 pages
Publisher: Southern Illinois University Press; 1st edition (June 8, 2005)
Amazon: Caffe Cino: The Birthplace of Off-Off-Broadway
“It’s Magic Time!” That colorful promise began each performance at the Caffe Cino, the storied Greenwich Village coffeehouse that fostered the gay and alternative theatre movements of the 1960s and launched the careers of such stage mainstays as Sam Shepard, Lanford Wilson, Robert Heide, Harry Koutoukas, Robert Patrick, Robert Dahdah, Helen Hanft, Al Pacino, and Bernadette Peters. As Off-Off-Broadway productions enjoy a deserved resurgence, theatre historian and actor Wendell C. Stone reopens the Cino’s doors in this vibrant look at the earliest days of OOB.
Rife with insider interviews and rich with evocative photographs, Caffe Cino: The Birthplace of Off-Off-Broadway provides the first detailed account of Joe Cino’s iconic café theatre and its influence on American theatre. A hub of artistic innovation and haven for bohemians, beats, hippies, and gays, the café gave a much-sought outlet to voices otherwise shunned by mainstream entertainment. The Cino’s square stage measured only eight feet, but the dynamic ideas that emerged there spawned the numerous alternative theatre spaces that owe their origins to the risky enterprise on Cornelia Street.
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