About Me

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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.

Friday, October 14, 2005

At least Brantley waited until after Yom Kippur

...to beat the holy hell out of Rosie O'Donnell in Fiddler on the Roof. It's a thing of terrifying beauty. Thanks to Matt T., who showed me these choice lines:

Her accent trots the globe, through countries real and imagined. It is variously Irish, Yiddish, Long Island-ish and, for big dramatic moments, crisp and round in the style of introduction-to-theater students. Her relationship with the notes and keys of a song is similarly fluid.

I'm well aware that some people take exception to the cruelty of critics. I don't mind. It's not like Rosie isn't an incredibly rich woman already. And it's not like she's on Broadway because of her smashing audition, or the way she worked her way up in Regionals. She's there to sell tickets, and of course, no beating by Brantley is going to keep the blue hairs and tourists for whipping out $150 to watch Rosie sing songs they've heard a thousand times.

America is Ionesco's dream.

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