First read-through with the full cast last night. Everyone did a wonderful job. This is a cliche, but it was far funnier than I was expecting. I'm glad we've got actors who can find those moments of humor in what is an otherwise rather dark play.
Kyle swore, before the cast, that he wouldn't speak to me because I would blog what he says. I am, in this moment, proving him right.
Still a few odd lines inconsistencies: legacy issues from old drafts. Got to hammer that stuff out.
The question becomes how much do I manage the writing at this point? The play, as originally written, is not told in a linear fashion. With each succeeding draft, the play has become more and more linear (although I'm sure it's only more linear to me) and I've been trying to maintain the original tone of the thing while attending to the realities of presenting something that has reveals, builds, and information that needs to be doled out in a careful way. I'm definitely noticing what flows and what is held back far more: the narrative of a journey or mystery story.
But it's not about mystery. Mystery is a tone, a genre. It's not content. It's form.
Of course, sometimes you just need to set the play and leave it in peace. One can fiddle until the fiddling becomes mistaken for work.
At this point, I'm sure I'll get a call when I'm needed.
- 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.