- 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.
Monday, November 30, 2009
Then, as George points out, there's this. Which I sort of wanted to hug.
So what is there to say? It's not news that Albee personally feels this way, and as, is stated all over the place, there's a sort of personal preference at play here that simply can't be argued with or about.
Still, I think it's noteworthy to point out that plays are more and more often written with the assumption of a director. The director as a second, independent, creative force is now a part of DNA of many new plays. Playwrights should understand why we're making certain choices as we write, or we'll find that we're unconsciously styling plays to fit the needs of others. Instead of writing down a fully formed vision, we'll reduce our impact on our own productions by leaving room for our collaborators before they've even shown up.
I wonder if I'll compile a list like that.
I wonder if you'll help me.
I wonder what it should ... be?
Monday, November 23, 2009
Throughout the fun little scene, the actor playing the journalist keeps clicking her pen. It's looks like a nervous gesture at first, but the longer you watch, the more you realize it seems almost like a...signal? Or even something deeper. The actor is making a point of the pen's importance in the scene perhaps. You notice, with the clicks, what is written down and what, pointedly, is not.
What you don't know is why this is actually happening. Is it because the director believes that the pen of a journalist is symbolic of something or other? Or, did the director just say... "You know what would look cool? Click the pen. I dunno. Click it after each third word that you say."
Is it possible that an arbitrary decision by the creative team and a decision with some complex thought behind it...can look exactly the same? And does it make a difference, really, to the audience member? Does how a decision is arrived at inform what we see?
Can we sense the arbitrary? Or do we just assume that everything we see onstage was put there with a rigorous sense of purpose?
Thanks to all who attended and to the Brick. More to come.
Help me define this.
Would it be cite facts that have been long discredited to defend one's position?
Or to stand next to a friend, and then do everything in your power to cause your friend to fail?
Friday, November 20, 2009
Women’s Project is pleased to announce the call for applications to our 2010-2012 Lab for Producers, Directors and Playwrights. The Lab is New York City based and begins in September 2010. The application deadline is January 18, 2010.
Thursday, November 19, 2009
Exposition begins its brief appearance at the Brick (only three nights) this evening at 9pm. Be there or b squared.
"Here is where you should head this fall to warm your soul amid the diversions of that ever-great and ever-endangered American art form, musical comedy."
- New York Times, Charles Isherwood, about a different play.
Tuesday, November 17, 2009
Which reminds me...buy tickets today for Exposition. Only three nights!
Thursday, November 12, 2009
I woke up and it occurred to me immediately that I was covered in blood. My blood. I thought “Did I lose my dick?” Then I thought if I was going to become a hermaphrodite like one of those frogs. Then I realized “No, no. That’s not what a hermaphrodite is.” Then I thought I must be in shock. Then I went into shock.
Wednesday, November 11, 2009
Friday, November 06, 2009
If you're interested in seeing this, make sure you get tickets in advance. Three performances and a cast of seven means seats will go fast.
Thursday, November 05, 2009
Wednesday, November 04, 2009
Monday, November 02, 2009
Let's assume that whatever you did would have a full house. The audience is not guaranteed to enjoy or understand the production, but they're guaranteed to attend.
Would your choice of production be different? Would your choices as a writer or director be different? As an actor, would you have a different relationship with the audience?