Just started reading Outrageous Fortune. Tons will be written out this. I'll have a formal response soon. My very first, entirely instinctual response, is "And...?"
There's lots to think about here, and I don't want to belittle the very important work that's been done here...but it's not like when I got into theatre I thought "Now here's a place with lots of ways to make a living!" Is anyone actually surprised that the market affects decision making, or that it's nearly impossible to make a living writing plays or that it's hard to get people to do challenging work?
Also, so far, the book is really about a world I don't live in. Off Off Broadway, for all its lack of funding and eye-rolling, is where I've spent my career. You know where to find theaters that are dedicated to certain playwrights, do oddball work, aren't slaves to corporate thinking and go pretty quickly from the page to the stage? Off-Off Broadway. Off-Loop. The problems that they have at the Guthrie and the Public are pretty much problems I don't contend with. I aspire to the problems described in Outrageous Fortune so far. Sad, maybe? Who can say?
There's a truly American prayer: "Please, Lord, grant me the problems of more successful people."
Okay, take that for what it's worth. Just getting into the book. More to come.
- 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.