Interview: Director Brian B. Crowe and Mary Shelley’s FRANKENSTEIN at STNJ

The Shakespeare Theatre of New Jersey (STNJ) will be presenting Mary Shelley's Frankenstein, written by Davvid Catlin.  The show will run from October 22nd to November 16th at the F.M. Kirby Shakespeare Theatre on the campus of Drew University in Madison, New Jersey. STNJ's Artistic Director Brian B. Crowe steps into the role of director for the production. 

On a stormy night in 1816, Mary Shelley gave birth to one of literature's most haunting and enduring legends. In Catlin's daring, meta-gothic adaptation, Shelley herself steps into the narrative, her own passions and dreams intertwined with the fateful journey of Victor Frankenstein and the Creature.

We had the opportunity to interview Brian about his career, all that is going on at The Shakespeare Theatre of New Jersey and the upcoming show, Mary Shelley's Frankenstein.

Brian B. Crowe is the Artistic Director of The Shakespeare Theatre of New Jersey (STNJ), where he is currently in his 30th season with the company, having previously served as a Resident Director and the Director of Education. During his tenure with the company, he has directed 27 plays in Shakespeare’s canon (in over 60 productions) as well as numerous other plays, including his original works based on the writings of Edgar Allan Poe and Lewis Carroll. Over a third of his productions at STNJ have landed on critics’ end-of-year top theatre picks. The Star Ledger called Mr. Crowe “one of the state’s most ingenious directors” and has twice named him Best Director of a Drama. Though his work has primarily focused on Shakespeare, he has also worked on a variety of other classic and contemporary texts, from Moliére to Frayn.

An Ohio-transplant and a proud graduate of Wright State University, Crowe is an alumnus of STNJ’s Summer Professional Training Program, which he now oversees each year, providing intense and challenging hands-on training for early career theatre artists from across the country and beyond. Mr. Crowe holds BFAs in Directing and Acting from Wright State University and was a Fellow at the 2000 International Salzburg Shakespeare Seminar. He also served on the Executive Committee of the Shakespeare Theatre Association.

What was your very earliest interest in the theatre?

My mother would always talk about how, even before I was in elementary school, I was creating these little entertainments. I was that kid that, from a very young age, would gather all the other kids in the neighborhood to put on shows in our basement —everything from Noah's Ark to our own Pleasant View Road performance of Grease. And then, in middle school, I had a teacher that for some reason thought it was a good idea to allow me to present my own stage adaptation of the Harry Hamlin Clash of the Titans for the entire school. I can’t imagine what was running through her head, but with milk-gallon helmets, paper mâché monsters, and cardboard swords—all of which were created in our garage— we did it. Was it a good production? Who can say; I’m not even sure if any pictures still exist. Regardless, I got hooked after that crazy project, and I don’t know if I’d be doing what I’m doing now without that vote of confidence from my teacher. So, it started at a pretty early age. (Now I want to dig through the boxes in the attic to see if I can find a picture from that Clash of the Titans, though I think I’d be horrified.)

Have you had any particular mentors for your career?

Yes, I've been blessed to have quite a few supportive influences along the way. In college, it was Robert Heatherington, who was the head of the directing program at Wright State at the time and did such beautiful work on stage. I learned a lot about the technique of putting a story together, and also the importance of joy in the work.  Right after, I had the great fortune to work under Marsha Hannah at the Human Race Theater Company.  Sadly, she has passed, but she had a way of questioning and inquiring to get artists to find deeper meaning in their work. That’s a practice I still implement in the work I do. And of course, Bonnie Monte, (who is the artistic director emerita now) formerly my boss here at Jersey Shakes. Her work on stage, especially with Williams and Chekhov, is stellar. There is such specificity and a demand for excellence in everything that she does, and that has certainly had a major influence on my work. 

What have been some of the challenges of recently assuming the position of Artistic Director?

Well, any transition at this level will have its challenges. I had the great fortune, however, of having a long history with The Shakespeare Theatre. I'm currently in my 30th season (I began as an intern with the company many years ago), and I stepped into the artistic director role in my 29th season. It certainly was helpful that our audiences knew me, the board knew me, the staff knew me, the volunteers knew me, the artists as well; and I knew them.  Most incoming artistic directors do not have that advantage. Despite all that, though, being an artistic director is definitely a job that is different on the inside than it appears looking in from the outside.  No matter how prepared one may be, you just don’t know what you’re in for until you’re actually in it.  Last year was without a doubt the most exhilarating, terrifying, and rewarding year of my career. As a company, we explored lots of new strategies and tried to balance that with holding true to STNJ’s existing legacy. I learned a lot along the way. (I’m thinking about putting together a book about it; sort of a “What to Expect When You’re Expecting” but for new Theatre Leaders.)  Most notably, I faced the eternal challenges all arts leaders struggle with: how do you create challenging, rewarding, and exceptional art in the face of rising costs, limited funding, the changing interests of one’s audience? Even with these challenges, we were all thrilled to see STNJ’s audiences and ticket revenue grow by nearly 50% last season, as we reached 90% of pre-pandemic numbers. My goal in Year One was to excite new audiences while making sure our long time, loyal patrons still felt at home.  I think we achieved that.  Did I accomplish everything I had hoped? Not even close. Are there things I would have done differently?  Absolutely, but I think that’s part of any learning curve for all of us.

We are very impressed with the performances and programs that are happening at STNJ that go beyond the main stage shows. Tell us a little about them. 

Well, we do; we have a great deal of programming going on here, making sure we are providing many inroads for community members to connect with the company.  Our Short Shakespeare programs (aka Shakespeare LIVE!) offer dynamic abridged productions each spring, in addition to reaching over 13,000 students in the schools each year. We launched our Classics for Kids series in 2023, inviting kids ten and younger to experience the magic of children’s literature and live theatre with their grown-ups. We also offer audience enrichment programs with pre- and post-show discussions with our actors and artistic teams.  New this season, we have introduced special social events at the Theatre with each production, which included an Oscar Wilde Garden Party and Montague Masquerade pre-show and several “Hob Nob & Hang” social hours after the curtain falls.  We love our patrons, and these offerings provide an opportunity for them to mix and mingle with their fellow theatre fans as well as members of the company. We also have new partnerships with the local library network, host small-business nights at the Theatre, and our “Pay What You CAN” Food Drive Previews allow folks to get a $10 admission when they bring two non-perishable food items to support local food pantries.  Our doors are open to everyone, and we provide an array of ways folks can attend the theatre.

We are excited about Mary Shelly's Frankenstein and wow for it happening in the spooky season.  We'd love to know about the team bringing it to the Madison stage.

We have a great team for this production. Sarah Beth Hall and Andrew Hungerford, who've already done some beautiful work for us all this year as our resident scenic and lighting designers, have cooked up some exciting treats for this production. Yao Chen is designing costumes. She and I collaborated on Titus Andronicus and A Midwinter Night’s Dream in recent years.  I find her work striking, imaginative and she always brings something new and unexpected to the production. Ariana Cardoza is the newest member of the team on sound. And we have Julie Foe coaching the voice and dialect work, and Rocio Mendez orchestrating fights and intimacy for the show. It's been a delightful team to get to create with, including Jackie Mariani, who is our production stage manager. I think people will be surprised by what they see us creating on this project.

As for the actors, this collection of artists are all making their Shakespeare Theatre debuts, and I’m eager for our audiences to get to know them.  At the center of our story are Amber Friendly (Mary Shelley), Sean-Michael Wilkinson (Victor Frankenstein), and Jay Wade (the Creature). Rounding out the cast as the other guests at Lord Byron’s Villa are Neil Redfield (Dr. John Polidori) and Brooke Turner (Claire Clairmont). They already have a wonderful repour in the room and we’re only a week into the process.  This play takes some interesting twists and turns and we’re having a blast bringing it to life.

As a seasoned director, can you tell us a little about your approach to the show!

Well, a lot of the approach to the show has to do with the framework that David Catlin gives us through his adaptation. I've been looking to do a Frankenstein for years. This kind of eerie, gothic milieu is something I get very excited about. I hadn't found a stage adaptation I was keen on producing until I came across Catlin’s script. Of course, David Catlin has done such beautiful work through Lookingglass Theatre in Chicago; so striking and imaginative. This particular adaptation takes not only the story of Frankenstein, but also explores the origins of that story, which is what drew me the most to this piece. 

Here it is in a nutshell: During the summer of 1816, Mary Shelley (at that time, Mary Godwin, not married yet to Percy Shelley) and Percy were spending a great deal of time in a villa that was home to Lord Byron, a very controversial and popular poet at the time, and his personal physician, John Polidori. Mary’s stepsister Claire was also there; she was a lover to Lord Byron. It was an awful summer; with heavy rains and much cooler temperatures than usual. During one particularly unpleasant week in June, this gaggle of young bohemian intellectuals found distraction by reading German Ghost stories. Eventually, Lord Byron proposed a challenge to his guests: “who can write the scariest ghost story?” And from this weather-inspired competition, the seeds of two great gothic pieces were planted. One was John Polidori’s The Vampyre, the first modern vampire story, nearly a century ahead of Bram Stoker’s Dracula. And the second was, of course, Mary Shelley's Frankenstein, or the Modern Prometheus. What I find enticing about this particular script is that we get to dance between the decadent world of the villa, Mary’s complex realm of loss and loneliness, and the story of the single-minded young scientist who sought to conquer death. The lines between reality, nightmares, and fantasy blur in some very theatrical ways.

But your question was was about the approach of the show.  I’m eager to crash through the misconceptions that folks have after years and years of the Universal and Boris Karloff version of this story. Shelley’s book is so much richer; within the eerie suspense and moments of terror, it asks profound questions about identity, moral responsibility, and our universal need for connection.

What would you like potential patrons to know about the show?

If you are expecting a giant, groaning, flat-headed monster with electrodes in his neck, this is not your Frankenstein.  If, however, you are seeking a compelling evening filled with thrills, intrigue, and stunning artistry, a piece ripe with the vital passions and contradictions that fill Shelley’s masterpiece, you will not want to miss Mary Shelley’s Frankenstein at The Shakespeare Theatre of New Jersey.

At Broadwayworld, we have long admired STNJ as a leading venue for classical theater. Why do you think it been so successful?

Well, thank you so much for saying so. We are very proud of what we do here.

I believe that any success The Shakespeare Theater of New Jersey has achieved over the years can be attributed to a few important guiding principles. First and foremost, it is the plays. Certainly, the material we have the great privilege to play with – these incredible classics we have the honor to bring to life each year and share with audiences are where it all begins. You're working with solid, often centuries-old stories that are rich with humanity and in many cases, that humanity is expressed through some of the most elegant and immediate language ever written. These are stories that connect us across centuries, reminding us of our place within the amazing tapestry that is our collective human experience, from heartbreak and tragedy to exultation and triumph.

Next, make it an experience and make it welcoming! It has been a long road back for all of us from the pandemic, and it is more important than ever to remind folks of the unique communal experience that is live theatre. Over the last two years, we have added several pre- and post-show events that give our longtime patrons and first-timers a chance to be a part of this wonderful community even beyond the production. From tea-parties and masquerades to talk-backs and informative lectures, we try to provide a range of fun and insightful events.  We also have made serious strides in making the experience more affordable to all members of our community, most notably by partnering with our local library networks.

Finally, we are always striving for excellence in the work we do. In many cases, especially with the young people we serve through our tours and student matinees, we are the first experience some folks have with classics.  We take that responsibility very seriously and work to ensure that it is unforgettable for them. That is an important part of the legacy that artistic director Bonnie J. Monte established during her 33 years at the helm, and it is something that is at the heart of the work we continue to do as we expand on that legacy and welcome in new artists, communities, and partners into The Shakespeare Theatre family.

Anything else, absolutely anything you want BWW NJ readers to know!

Yes.  Get your tickets NOW! It’s important to note that this strictly limited run MUST close on November 16. This is a show you won’t want to miss.  And be sure to try our specialty drinks for this production: the Bloody-Mary Shelley and the Franken-tini.

The Shakespeare Theatre of New Jersey is located at 36 Madison Avenue, Madison, NJ  07940. For tickets to Mary Shelley's Frankenstein and the other shows in the 2025 Season, visit www.shakespearenj.org or call the Box Office at 973.408.5600.

Photo Credits:  Brian B. Crowe's Headshot-Sarah Haley; Promo Photo-Avery Brunkus