Brian B. Crowe has long been part of the masthead of the Shakespeare Theatre of New Jersey (STNJ), beginning with his work in the education department and gradually taking on more and more important roles. A gifted multi-hyphenate, Brian has recently succeeded long-time Artistic Director Bonnie Monte, who served for more than 25 years and is now stepping into her Emerita status but is still involved with this brilliant company. Brian has always been creative and kind and agreed to spend some time talking about what’s been, what is, and a nod to what will be.
Looking to build further on the foundation established by Ms. Monte, Crowe looks to reach new communities. “Pre-COVID there was a very loyal audience, and there are still those in STNJ’s backyard who don’t know we exist.” There are those who think Shakespeare is boring or not in step with modern times, and Brian is working to make Shakespeare very live and present and still impactful on us as humanity, community, and individuals. He wants everyone to know that even more connective works are coming.
STNJ has grown considerably since its founding in Cape May in 1963 as well as under the expert leadership of Bonnie J. Monte, now Artistic Director Emerita. You have been part of that growth for many years as well, first in the Education Department and now at the helm. What will you carry forward and how will you reach the newest generations as well as the current roster of Boomers, Gen Jones, Millennials, et al?
Brian Crowe: Carrying forward, I am very pleased and thankful to have been part of the work that Bonnie’s been doing. She had a well-oiled machine going having gotten there five years before me. She made a huge impact on my artistic sense as to what can be done, how to do things in a very different manner — very thoughtful outreach and impact to the community as a whole. I was happy to be part of the development of the education department and Bonnie leaves enormous shoes to fill.
Your first work was Gentleman’s Guide — tell us about this?
BC: “This is a Tony-Award winning musical and was first an original novel, Autobiography of a Criminal in 1907, then a 1943 film called Kind Hearts and Coronets with Sir Alec Guinness. An interesting, funny, and amusing book was made into an even better musical. Jane Austen is coming back, Christmas Carol is coming back, and there’s a new storefront to stage networking program and lots of outreach into the community.” Partnering with Morristown NJ Food Bank and other community organizations is also in their plans. Shakespeare Theatre has also recently hired someone as a new community engagement coordinator.
You have a gift for making “difficult” plays from Shakespeare’s canon more accessible to STNJ’s audiences. How do you approach one of these so-called “problem plays”? How do you select the artists, actors, designers et al, to realize your vision?
BC: What I like to do is gather a great group of people and collaborate to build something better than any one of us could do alone. It’s called a ‘play’ for a reason — let’s play for a bit. Where people go awry on the classics is that they set it up as a museum piece, but I see them all as a playground. I look forward [to] the connections at the moment and what is important in that time. I have a weird brain and to get artists to go on the ride of the imagination is fun.
Different forms of storytelling come and go, yet live theater remains as an experience that people of all levels of experience and education enjoy. How do you plan to expose new audiences, of all ages, to the riches that STNJ has to offer?
BC: One of the things we launched last year was a program called ‘Classics for Kids’. If children are exposed to theater before they are 13, they will be connected to theater. It’s harder to reach youth if they are exposed to theater later on. Most of the program prior to last year went to ages 10 and above. Now it’s kindergarten/pre-school through adults and we’re working on that next generation. Last year was three programs, this year it’s five programs. Tanglewood Marionettes are going to be returning as well. Velveteen Rabbit is coming up in June and fall and winter are holiday-specific stories including Merry Merry Mischief — things like Santa gets kidnapped. We are also making sure that community members have a knowledge of the accessibility programs from financial challenges and more.
How do you personally encourage creativity in people from the greater community?
BC: We have a few programs that really get the community going — like the Shakespeare Book Club — we read the plays out loud and let people envision and hear and think about all the possibilities. This immediately opens up the endless possibilities within the work. The reading is a work of art in itself. What’s the era where it’s set, etc. We frequently do acting classes. The biggest thing is not as direct as this, our campaign this year is to Be Bold. It is bold to be coming to the theater and we’re calling ourselves YOUR Shakespeare Theatre of New Jersey to invite people to see themselves as being with us.
Where does your creative voice originate?
BC: I’m a product of my generation so there are a host of references from 1970s and 80s pop culture that these days I sometimes need to explain. Thirty years ago, we were working on Noises Off and we were in rehearsal. The stage manager had cut out a bunch of paper sardines, they’re part of the show and they kept blowing around and it was slowing things down. I taped coins to the paper sardines to keep them together and we had to be creative. I grew up in modest circumstances and we learned that money is not the key to things, use your creativity to solve problems.
Shakespeare Theatre of New Jersey’s is always exciting. There’s still time to get your tickets, and I’ll see you there!
