- 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.
Wednesday, March 31, 2010
Friday, March 26, 2010
My Dad and Stepmother are doing a book signing in Wazata, near Minneapolis. They collectively have 30 meditations in this book. Leonard and Lindsey Freeman. Lovely people. Say hi for me.
Thursday, March 25, 2010
Wednesday, March 24, 2010
Certainly an improvement. Still, I'd love to know how much actual money is generated for institutions like the Roundabout by subsequent productions? Especially considering how little playwrights make generally as it is. If the Roundabout, or any other company like it, took exactly zero dollars from playwrights, would that significantly reduce their bottom line?
I'm curious, that's all. I acknowledge that large theatrical institutions help establish plays and therefore often create the subsequent productions by the very act of producing them. Still, playwrights do not, as a rule, earn a living from their work as a rule at this point. Is there some better way for companies to generate operating budget? Or are subsidiary rights a larger piece of the pie than I realize?
Anyone out there have numbers on this?
"How lucky we are to have frankly immoral plays about morbidly unhappy people...witty, consistently well-paced, superbly acted and directed and sardonically amusing."
- EDGE NEW YORK
outside the big city, flannel shirts and all."
"It's a black-hearted laugh riot, full of surprise and the curdled milk of human kindness."
- 99 SEATS
"Date Night" Thursday Discounts!
No matter how loathsome you are, our GLEE CLUB will make you look like a gentleman by comparison. Buy two tickets for the price of one at the door on Thursday nights!
RSVP at email@example.com!
The New York City World Theatre Day Coalition will be producing a series of FLASH MOBS to celebrate World Theatre Day on Saturday, March 27th. A flash mob (or flashmob) is defined as a large group of people who assemble suddenly in a public place, perform an unusual act for a brief time, and then quickly disperse.
There will be seven separate flash mobs from . We've designed the event like a "pub crawl" so performers can go from one mob scene to another. Performers are welcome to participate in all of them or only one or two.
Email us at firstname.lastname@example.org to get involved. Upon receipt of ones email, we will send out SECRET INSTRUCTIONS on when and where to report for each spectacle. We are trying to gather hundreds of people so forward this invitation to your theatre companies, your friends, and families, you do not need to be a theater artist to participate.
The descriptions of the flash mobs are as follows:
* The Message
directed by Amanda Feldman
A poetic reading of the International Theatre Messages.
* Join Us In Song
directed by Kyle Ancowitz
Performed by the cast of Glee Club a
* All the World's a Stage
directed by Alex Mallory
A play on Shakespeare's famous phrase the mob will split up and encourage everyone to take part in a simple call and response.
* Zip Zap Zop
directed by Tom Wojtunik
We will storm a NYC park to play everyone's favorite theatre game, with a crowd this big; it should be quite a sight.
directed by Amanda Joshi
It's so awesome; we can't even describe it.
* Cheers to You
directed by Morgan Gould
Just what it sounds like, a thunderous round of applauds.
* The Kiss
directed by Isaac Byrne
We will recreate the famous photo of a nurse kissing a sailor times one hundred.
After the Flash Mobs there will be a Celebration and Networking Event from at The Houndstooth Pub, located at SE corner of
For more information about World Theatre Day and the NYC World Theatre Day Coalition visit the website www.nycwtd.com.
Tuesday, March 23, 2010
Monday, March 22, 2010
GLEE CLUB has been getting full houses and extremely happy audiences. Saturday's performance was SRO. Definitely get your tickets in advance.
I'd also like to remind those of you that have seen the show to vote for us at the NYIT Awards. I'd urge you to consider the exceptional performances of Stephen Speights (who plays Ben the choir director) and Tom Staggs (who plays the soloist, Hank.) They richly deserve the few minutes of your time it will take to log onto the site and vote.
You can also vote for "The World Will Make You Smile" - that cruelly catchy song.
If you've already seen the play: Thank you for coming!
Sunday, March 21, 2010
What I find interesting in the coverage is the amount of credence the press is giving to the Tea Party protesters, who seem to be maybe 300 people.
I remember when we protested the invasion of Iraq in 2003. Millions of people all over the world, protested. The media treated it as a bit of curiosity. George Bush referred to the protest as a "focus group" and went unchallenged.
300 people yelling racial slurs? The country is angry. There's a growing movement against the Progressive Agenda. Millions protest against illegal war? Fringe.
A lot of folks have said good things about Glee Club and all of them are more than deserved. It's a black-hearted laugh riot, full of surprise and the curdled milk of human kindness. There were two specific things I liked about it. One, "downtown" indie theatre is generally thought to be avant-garde, formally experimenting, non-linear or twee and full of whimsy. Glee Club is very, very much not. It's practically Aristotelian: one place, one course of action, it all happens in real time. It's a recognizable place, in the "real" world and presented without frippery or embellishment. The other thing I like about it is its point of view on art. Or Art. Often plays about art focus on the uplifting, soul-stirring aspects, even if they dig into the glorious monsters artists can be sometimes. But it's rare to see a show that says "Being an artist practically requires that you destroy yourself and quite possibly others." It was a thrill to be there.
Friday, March 19, 2010
That's not a phrase I hear very often, in the collaboration heavy/development happy world of theater. A playscript can often feel, unless it is published, in a constant state of flux. During any production of a play of mine (I don't mean workshop, I mean production) I will receive unsolicited advice quite often on what the next draft of the play should look like, what could or should be changed. The assumption is, I believe, that a play is a moving target, and is never truly finished. I think playwrights have, more often than not, accepted that view of their work.
I'd love to see the term "finished" used more by writers and by those who work in development. There is no piece of work that can satisfy all eyes, all audiences, all metrics. But a writer, and those that he or she trusts, can find a point where they say...not "this is good" but "this is finished."
I also think it's healthy for playwrights to say "this is a finished work." Then, the discussion can evolve. The lectures and lessons from laypersons and professionals alike can end, and a discussion of each play as a fully formed piece of art can emerge.
Do you think this is feasible? To move towards this sort of language? Or do you believe that because of the collaborative nature of theatre, there is no such thing as a "finished" play.
Furthermore, as a playwright, when do you look a script and say "I am not changing this any more. It is finished." Or have you never said that?
Thursday, March 18, 2010
by Billy Collins
You are the bread and the knife,
The crystal goblet and the wine...
You are the bread and the knife,
the crystal goblet and the wine.
You are the dew on the morning grass
and the burning wheel of the sun.
You are the white apron of the baker,
and the marsh birds suddenly in flight.
However, you are not the wind in the orchard,
the plums on the counter,
or the house of cards.
And you are certainly not the pine-scented air.
There is just no way that you are the pine-scented air.
It is possible that you are the fish under the bridge,
maybe even the pigeon on the general's head,
but you are not even close
to being the field of cornflowers at dusk.
And a quick look in the mirror will show
that you are neither the boots in the corner
nor the boat asleep in its boathouse.
It might interest you to know,
speaking of the plentiful imagery of the world,
that I am the sound of rain on the roof.
I also happen to be the shooting star,
the evening paper blowing down an alley
and the basket of chestnuts on the kitchen table.
I am also the moon in the trees
and the blind woman's tea cup.
But don't worry, I'm not the bread and the knife.
You are still the bread and the knife.
You will always be the bread and the knife,
not to mention the crystal goblet and--somehow--the wine.
Wednesday, March 17, 2010
Playwrights Horizons has kindly offered theatrosphere followers like you a discount code to use for tickets to A Cool Dip in the Barren Saharan Crick. Awfully generous of them! I'm happy to pass the code along.
By Kia Corthron
Directed by Chay Yew
Blog reader DISCOUNT! Use code “CDGR”
Limit 4 tickets per order. Subject to availability.
Order by March 28 with code CDGR and tickets are only
· $30 (reg. $50) for all performances through March 21st
· $40 (reg. $50) for all performances March 23 – April 11
HOW TO ORDER: Order online at www.playwrightshorizons.org Use code CDGR.
Call Ticket Central at (212) 279-4200 (Noon-8pm daily)
This is also a funny title. I insist that it is.
Tuesday, March 16, 2010
One of the things that drives me most crazy in the world of political punditry, is the idea that Republicans - who have not argued in good faith, who have spread lies about reform in order to kill it, and whose arguments amount to "ways not to reform the healthcare system and kill the Obama Presidency" - share equal blame with Democrats for a lack of bi-partisanship.
For example, this idiotic Op-Ed.
"Republican cries for fiscal responsibility also ring hollow when you consider the party’s record of establishing higher-cost private Medicare plans and enacting a drug benefit that wasn’t paid for. The fact is that under the Republicans’ watch, critical problems of escalating health costs and access to affordable coverage were largely ignored.
Yet Democratic leadership worsened the erosion of bipartisanship. With dissonant voices excluded, too many Democrats failed to recognize that most Americans, who already have health insurance, wanted the assurance of continued, affordable coverage. Health security, especially in a severe recession, should have been the central concern."
This is a central message the Democrats have addressed. Quite officially.
The fact is, Obama has done more than pay lip service to the idea of bipartisanship. The Democrats included Republican ideas publicly and purposefully. But when you reach across the aisle only to get your hand bitten over and over, eventually you are forced to stop. Otherwise, shame on you.
While I understand we have this guy in the play, and while I did see those teen aged girls laugh quite a bit at all the awful pain they were witnessing, and while I do not want to dissuade any person who would like to pick up tickets to see our "deeply offensive" play, I believe it is a very bad idea to bring anyone under 17 to see it.
Thank you for your time and attention.
Monday, March 15, 2010
Great Moments in Freeman History: How to Write a Manifesto about the State of the American Theatre on your own Blog!
Sunday, March 14, 2010
Saturday, March 13, 2010
Friday, March 12, 2010
This is not a point of view. This is a fact. We went into Iraq under false pretenses and were directly lied to by people in power. That's not leftist. That's history.
Thursday, March 11, 2010
That is DISNEY, folks.
Now look at this.
That ad isn't even like...all that great. It's just a car commercial.
Why are we so very, very bad at this? I mean, I don't even mean we need to spend millions and hire David Fincher to direct our commercials.
Anyone have an example of theater or arts companies that are using viral video or other types of commercials that seem to actually work? And can someone explain to me why we are, by and large, so incredibly awful at using technology (video!) that's not even, ya know, new?
Who won the Stanley Cup last year?
Wednesday, March 10, 2010
Here's David Rooney talking to Time Out NY.
- On media and the arts: “As you said in your blog, we all have reason to be concerned about this ongoing erosion of arts coverage. In every way the critical voice is being undervalued. And if people feel they can take away editorial supervision and replace it with random freelancers filing to a copy desk where whoever happens to be there is editing that copy with no expertise and no experience in that field—you know, you start to wonder, Where is the authority in this coverage? What is there to set any paper apart as the paper of record? How is it different from people just filing random articles on blogs?”
Tuesday, March 09, 2010
Thursday, March 04, 2010
After you see GLEE CLUB, make sure you log in to the New York Innovative Theatre Awards and vote for our show!
It will ask you to go through a simple sign-up process.
Then you choose our show from a drop down menu, and rate our production from 1-10 in various categories.
There is a sizable audience component to receiving these awards, so please take the time to do this. It would help a great deal.
Wednesday, March 03, 2010
Get a ticket!
Check out the rehearsal video!
Have a dead loved one turned into a stone!
If you are in NYC and able to come to the show tonight, I would be deeply appreciative. Tickets for tonight, tomorrow and Friday's performances are all $15 ($10 off!)
It would be wonderful if the press would cover the GOP arguments as what they are - stalling tactics with no factual merit. Then we could discuss what's happening (the Democrats are trying to get enough votes to overcome the abuse of the filibuster in order to enact necessary reforms of a broken system, and the GOP is attempting to protect the status quo and win a cynical political fight); as opposed to discussing the relative merits of the theatrics.
Tuesday, March 02, 2010
The Ensemble Studio Theatre presents
As a part of Memberfest
a reading of
a comedy by J. Holtham
Directed by Kareem Fahmy
Tuesday, March 16th at 7:30 p.m.
The Ensemble Studio Theatre
549 West 52nd St.
For more information, call (212) 247-4982
Heck, maybe go read an older one. I don't know why anyone needs to write some new version of Death of a Salesman, for example. That play is already written. It reminds me of an interview I saw once with Bob Dylan. The interviewer asked him if he felt like he could write songs these days that were as important and defining as Blowin' In The Wind or The Times They Are A-Changin'. His answer?
"No. But I did it once."
If you don't see something to enjoy in the plays being written today, that doesn't mean you are excluded. It just means that today's playwrights don't speak to you. There are lots and lots of plays that will, or have, I'm sure. Be patient, read the things you love, and stop prescribing your taste to other people.
Plays aren't written to order. I read the frustration in posts like these, and I understand it. But there's only really one solution if you feel that a certain play that should exist that does not already. Write it.
Monday, March 01, 2010
The first performance of GLEE CLUB in Wednesday. If you'd like to use our special discount code for tickets, you have only today and tomorrow left to do it. The code expires on Wednesday.
Also, our first three preview performances are being sold at a special discount as well. I certainly want to fill the houses those nights, so if you're able to come then, please do! I'll be very happy to see you, and you'll get inexpensive tickets to boot.