What if you had the ability to remember everything that had ever happened to you. Everything you observed, heard, read — everything — would it be a good thing or a bad thing?
“Memoirs of a Forgotten Man,” an intriguing new play at the New Jersey Repertory Theater on Broadway in Long Branch through Sept. 15, explores what happens to a family with a son who has this skill at the wrong time in the wrong place.
Written by D.W. Gregory, her best known play is “Radium Girls” about factory workers exposed to radiation poisoning from painting watch dials in an Orange, N.J., factory.
In the New Jersey Repertory Company’s excellent, nicely staged, absorbing world premiere “The Source,” a newspaper mogul calls a late-night meeting with two of his top executives to plan a strategy to deal with a serious and potentially illegal issue.
Allegations soon will be leveled that his company hacked into the cell phone of a murdered 14-year-old girl to obtain her voice mail messages.
Illegal or not says Roland (Conan McCarty), the mogul, the company isnot going to look good to the public whose sympathies will be with the dead girl’s family.
An amazing display of top notch acting by six very talented theater pros is on display in the world premiere of “Fern Hill” at the New Jersey Repertory Theater in Long Branch, N.J., through Sept. 9.
These are the kind of actors we see on TV (“Law and Order,” “Elementary,” “The Sinner,” “Veep”), in movies (“The Birdcage,” “Annie Hall,” “Manhattan,” “Flags of our Fathers”), perhaps in a featured or recurring role, who take these gigs so they can support their theater habit.
Before Lois Lane was a ground-breaking female reporter at the Daily Planet, Edna Ferber worked at the Appleton Daily Crescent and the Milwaukee Journal, had published her first novel, and covered both the 1920 Republican and Democratic National Conventions for the United Press Association.
Before ballet choreographer Agnes de Mille created dances that advanced plot and developed character in “Oklahoma!” (1943)
and before Betty Comden, with writing partner Adolph Green, provided lyrics, libretti, and screenplays to some of the most beloved Broadway shows (such as “On the Town, 1944), Edna Ferber’s novel “Show Boat” was made into a ground-breaking Broadway musical (1926).
It’s recognized as the first “modern” American musical.
Alli Angelou was at work at the New Jersey Repertory Theater in Long Branch recently when her boss, artistic director SuzAnne Barabas, walked in and said she was going to be in their next play.
OK. Sure. No problem.
Angelou, who graduated from Middletown High School South in 2012,has been Barabas’ assistant at the professional, non-profit theater specializing in new American plays for about seven months. But that’s not why she got the job.
The Women with no name walks into a karaoke bar (a former Tastee-Freeze) in Anywhere, U.S.A. in 1996 packed with people who’ve been there for awhile.
She orders a drink, listens to the singers while observing the crowd, and as it slowly thins out sits at a table and starts talking about the summer of 1972 when “A Horse with No Name” was rockin’ the charts and a local radio station was running a contest to name it.
Two men. One, an aging priest whose belief that God is merciful and Jesus is his savior, has never wavered. The other, a middle-aged lapsed Catholic who’s an ICU nurse ministering to very sick people, who agonizes over what kind of God let’s good souls suffer.
Both men are passionate about helping people. Both are deeply concerned about human life and death. Both come to drastically different conclusions about God’s purpose in all of this. And both believe he is right.
American millionaires in the 21st century have changed.
No longer are they a monolithic group of white Anglo-Saxon Protestants who disproportionately control social and financial power and trace their ancestry back to the Revolution.
They are post Woodstock grand-babies of baby boomers who got a good education (or dropped out to create a start-up) and found success in jobs such as finance, the media, entertainment, and more recently the tech industry, and represent diverse ethnicities.
But they feel a bit guilty about it. They reject being a conspicuous consumer. That, they rationalize, is for the one percenters.
The New Jersey Repertory Company is throwing a coming out party for its new West End Arts Center during the first week of October with a Theater Brut arts festival featuring 28 new short plays, plus music, poetry, art and photography events.
This is the fifth Theatre Brut (pronounced brew) for the professional, non-profit theater founded in 1997 and the most ambitious since it acquired the 28,000 square-foot former grammar school in the West End section of Long Branch as a second space.
Theater Brut’s stated goal is to foster the “creative impulse unfettered by social and artistic convention.” That objective also could be applied to the founders, artistic director SuzAnne Barabas and executive producer Gabor Barabas.
Instead of going the traditional route of first raising money to fund a complete renovation before opening the doors to the public — which could take years, not counting building a cinema arts theater and apartments for visiting artists as well — the decision was made to create programming and invite the public in as soon as possible.