Watched some scene work last night. Good work being done. I haven't given everyone the easiest time with some of the monologues and scenes, but it's wonderful to see good, smart actors and a smart director getting into it and figuring it all out.
How I personally tell the difference between good scene work and counter-productive scene work: one looks like a conversation, the other looks like a game of questions.
Lots of good conversation last night.
Blurted out, by accident, a glowing personal review of someone's performance when they asked their director: "What do you think?"
I must learn to keep my mouth...shut. At least, more often. No one asked me.
Also last night I spent a fair amount of time pushing Shadowfax (Kyle's car) with his girlfriend Lindsey, so the thing would start.
Shadowfax is the Lord of All Horses.
- 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.