Well, I've posted a lot of generic thoughts about politics and a few tidbits about movies lately. So what gives, Freeman? Where are the theatre-related posts?
I've had my head down most of the summer. When is a Clock closed in May, and I proceeded to mail the script all over the place and work on my new play. My day job got busier due to a rate change (very uninteresting) and then there were a few jaunts out of town. I reviewed a show at the Fringe (which is the moral obligation of all of us it seems) and this weekend I'm off to Minnesota to see family and also catch up with the newly exported Adam and Kristen.
But, as with all cycles, I'm feeling rested and getting my groove back. Next month In the Great Expanse of Space there is nothing to see but More, More, More will have a public reading, and we'll see how it is received. It might be one of the least burdened moments of my writing career: I don't feel the weight of expectations or the desire for this play to accomplish anything. I just want it to exist and it does.
I'm wondering if that means I've wandered into a complicated trap, or if I've figured something out. Maybe there's a fine line between those two things.
Maybe I'm driving the car, maybe I'm tied up in the trunk.
Either way, more to come. And soon.
- 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.