So I haven't gotten all that much accomplished on "Divorce in Love," what with Labor Day weekend and the news being what it is. Our worst and least effective President in the History of the entire country will be graced with two Supreme Court appointees. To put it another way: we just gave him a big gun with two big bullets.
As the play is going, I'm wondering now how I'll be able to keep myself from mentioning at least some sort of disaster, Hurriance or otherwise. Right now the play has a sort of rambling, sort of light language, into which I drop in references to the current conservative discourse. So it might wind up in there.
I was speaking to Kyle about a week ago regarding the sort of "side" characters and how they needed something more specific to "do." I'm still working that out. But I did, I feel, fold in an effective moment for Grace, Mother's nearly deformed, stuttering sister. She now tells the story of being bumped into at the grocery store, and upon being bumped she thinks: "Finally a husband!"
It made me laugh. She's so utterly depressing.
I'm thinking of lifting the entire Gentlemen Caller scene from The Glass Menagerie and just screwing it all up and putting it into the second act, with Grace playing Laura. I just want to tear her little heart out.
That's one thing (at least one) that seperates my cruelty from Neil LaBute...I'm not trying to chastize anyone. I just think it's funny when things get awful.
Does anyone know what I mean?
- Matthew Freeman is a Brooklyn based playwright with a BFA from Emerson College. His plays include THE DEATH OF KING ARTHUR, REASONS FOR MOVING, THE GREAT ESCAPE, THE AMERICANS, THE WHITE SWALLOW, AN INTERVIEW WITH THE AUTHOR, THE MOST WONDERFUL LOVE, WHEN IS A CLOCK, GLEE CLUB, THAT OLD SOFT SHOE and BRANDYWINE DISTILLERY FIRE. He served as Assistant Producer and Senior Writer for the live webcast from Times Square on New Year's Eve 2010-2012. As a freelance writer, he has contributed to Gamespy, Premiere, Complex Magazine, Maxim Online, and MTV Magazine. His plays have been published by Playscripts, Inc., New York Theatre Experience, and Samuel French.