Wednesday was our first rehearsal and read-through of MWL, and it went swimmingly. Of course, I still feel like certain things aren't clear enough, even in this shorter draft. So it's back to the desk to work on it. Can't be handing them a rewritten script any later than this... after the beginning of a four week rehearsal schedule.
Right now the rewrites are focused on Mother's arc throughout the play. What's odd about her is that her motivation is ambiguous. As the center of the play, that makes the rest of the action hard to nail down. Ambiguity is a good thing, of course, but right now it's just making the other characters much more vividly "of their mind." So the next draft should hopefully remedy that.
On my comments section someone asked why white playwrights rarely write about black characters. I'm not sure. Anyone have a thought about this, I'd love to hear it. Maybe there's a big obvious exception. And don't include Genet's "The Blacks." I think that's not really what Kyle was talking about.
- 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.