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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, August 17, 2011


Pam and I took in Jerusalem on Saturday, which is absolutely brilliant (no news there). So many of the recommendations to see the show were based on the performance of Mark Rylance, who is of course phenomenal - brutal, precise, mythic, untrustworthy, tragic, bold.

What I was unprepared for, perhaps because the performances were so highlighted to me, is just how wonderful the play is. Jez Butterworth's play made me joyfully envious at every turn. It's positively abundant with terrific writing, rich symbols, and guts. I mean hell, the play combines Falstaff and Oberon and Lear in the form of a man who has all the cocaine in the forest. I enjoyed, also, how it's jagged, inexplicable edges become a part of what's exhilarating. It's not symmetrical, not careful, and it's built more on momentum and heartiness than being user-friendly.

In short: I loved it. Go see it while you still can. And thank an English tax payer, next time you meet one.


Seth Christenfeld said...

Yeah, the play is pretty much a masterwork.

And Rylance is...well, Rylance is so much better at acting than everyone else on the face of the earth that it's almost not fair.

joshcon80 said...

Best. Play. Ever.