New Jersey

Rachael Carnes discusses organizing Playwrights Say Never Again to School Shootings, a new anthology of work on gun violence by nineteen playwrights with readings all over the United States.

Rachel Spencer Hewitt, PAAL founder, kicks off the parent advocacy in the arts series with an overview of the history of PAAL and a rationale for family-friendly practices in the theatre.

Ruth Zamoyta reports on the Association for Performing Arts Service Organization's annual meeting, May 19, 2017, Asbury Park, NJ.

Rachel E. Diken on Aglio e Olio, a “kitchen theatre” piece written and performed by Meg Persichetti and produced and directed by Laura Gilkey in Maplewood, New Jersey.

Matt Błażejewski discusses the Me Too Monologues and its impact as a community-based theatre project that spreads awareness of mental health issues to college students.

In this #IdentityWeek blog, Erica Nagel of the McCarter Theatre discusses how, and why, they’ve made Relaxed Performances part of their equity, diversity, and inclusion work. 

Ricky Young-Howze writes about Neil Simon’s influence on pop culture comedic tropes.

John Dias, Artistic Director of Two River Theater in Red Bank, New Jersey and playwright-in-residence Madeleine George discuss their participation in the Andrew W. Mellon Foundation’s National Playwright Residency Program.

Playwright Matt Bardot responds to Michael Sommers’ Ropes review, while reflecting on his experience with race and identity in both the classroom and professional realm.

Ruth Zamoyta of New Jersey Theatre Alliance describes obstacles to theatre attendance faced by patrons with disabilities, and some programs in New Jersey that are working to overcome them. 

Liane Tomasetti explores what timing can mean for site-specific theatre, and how helpful a pilot performance was for her team to tackle some big issues.

I spoke with several individuals who possess a broader view of the arts in New Jersey to get a better perspective for myself and for the New Jersey City Series. Here are some thoughts from leaders of New Jersey theater that should illuminate some further context for theater-making here.

As a New Jersey actor, artistic identity cannot be completely detached from New York. This does not dismiss that there is a pride and ownership in being a New Jersey actor.

Dan Swern gives a historical overview of New Jersey's cultural identity and arts access.