Reading of REASONS FOR MOVING on Thursday, July 1st

Blue Coyote Reading Series Presents

Reasons for Moving

A reading of a play by

Matthew Freeman

In Matt Freeman's REASONS FOR MOVING, two neighbors hatch an unlikely plan to escape a seemingly menacing stranger. The play takes us beneath the surface of suburban dread. Literally. Inspired by the poem The Tunnel by Mark Strand.

With Bob Buckwalter and Gary Shrader

Thursday, July 1, 2010
8pm

ACCESS THEATER GALLERY
380 Broadway, 4th Floor
(2 blocks south of Canal, @ White Street)

Admission is free, but seating is limited. Please RSVP at bluecoyote@bluecoyote.org

James Comtois in the NY Times

Read all about it.

Soft Shoe has only two performances left

That Old Soft Shoe's final two performances are Saturday at 7pm and Sunday at 4pm. If you do not come to see it, and you read this blog, and you live in NYC, and you aren't attending a wedding or funeral, and you aren't in the hospital or something like that...then, what? Do you think I just write this blog for my health? You think I write plays because it makes me rich?

Buy a ticket already.

Don't be a jerk.

The Little One

Great review for The Little One over at nytheatre.com.

Looking forward to seeing it!

Sensitivity

The Guardian's Chris Wilkinson gathers up the bits of bloggery laying about, and puts them together into a coherent and useful piece of writing.

I'd like to say that the dust-up, such as it was, with Derek Ahonen is something I feel has been slightly overblown. It was a single response from the playwright, and I can understand why he was sensitive. We expect critics, even critics we know personally, to be entirely honest privately and publicly with their opinions of our work. That's their function. If I were to read another writer quoting a lukewarm review of mine, I'd probably be slightly unhappy as well.

It's easy to hope that all writers and members of a community will remove all social constraints and just let loose on one another. That's simply not how communities work. One of the reasons we build communities, even when it seemingly limits the discourse, is the sense of shared goals and safety. I believe that Derek misread my intentions with the post, but I don't think he was displaying a personal opinion that no one else shares or that was entirely unreasonable. Maybe we both should have thought it through a little more carefully.

What I do think is a useful question to ask, however, is how can we have a constructive public discourse and remain sensitive to the very real human beings we're discussing. For me, it's not an abstract thing. I may never have met Ahohen, but we certainly have friends in common. I personally have met most of the people I could and do blog about. So the social aspect of my work isn't imagined. I have to look everyone I write about in the eye, basically.

DelGrosso and Trumbull bring the nerd to David Pogue's most recent video

Just as a little teaser

In September, prepare yourself to discover New Naturalism.

The Octoroon kerfuffle

Okay so this post at the Village Voice and the thread below are fucking hilarious.

Isaac writes about it.

George writes about it.

Helen Shaw writes about it.

My thoughts? This sucks for the actor involved and sucks for the production. I don't know if the e-mail was actually sent to the press or to friends and acquaintances. Either way, its gossip-mongering and that's a shame. But come off it. Is this a "leak?" Is this a national security scoop worthy of getting a piece of the shrinking newshole? The question, for me, isn't whether or not the Voice has a right to publish it, or if it's ethical...but is it worth anyone's time? I mean, look at all the comments. It's insane. The Voice just published a personal grievance by an actor who copied the wrong person or some crap like that. Do we think it's news that people occasionally don't get along in New York City theater? Arguments like these happen every 30 seconds. There are plenty of burned bridges all over the city. So...what?

I'll tell you what. People love this stuff. Theater is boring to talk about. Try to get through the sentence "American theater needs to re-examine it's approach to..." without falling asleep.

People want a little blood in the water. I've had this blog for more than five years. Trust me. I could ask questions about political theater all day. I could write about the nature of theatrical marketing. I could write about decentralization or ticket prices or Peter Brook. I could post my own unfinished work online and ask for feedback.

But if I wrote a post called "[Insert fellow playwright's name] is an untalented, useless jerk and here's why..." I would have about 152 comments in a few hours.

So Karl Allen... take heart. This too shall pass. In fact, it's the day after. You're half way to this being just a funny story you tell at bars.

Speaking of political theater...

That Old Soft Shoe returns from a two week hiatus tonight at 8:45pm. Tickets can be purchased in advance here.

I declare it the best play in the Too Soon Festival. (Ahem...have I spoken too soon?)

Before our show, you should catch the final performance of Death is a Scream. A nice full evening of theater, two great plays, back to back.

Here are the details:

Death Is a Scream

What if you could choose your own "ending"? With the help of a highly skilled Death Agent, you can! And after you buy the farm, a “Corpsetologist” will make you look like your favorite celebrity, model, or head of state. These and other death-dealing characters await you in Esther Crow’s one-woman variety show, “Death Is a Scream”. The Village Voice has said “….[Crow] writes and performs with charm and compassion.” Chock full of gallows humor and “untimely” music, this show will take you by surprise. Kinda like death itself.

Written by Esther Crow
Directed by Rabeah Ghaffari
50 minutes

Watch the video promo!

Fri 6/11, 9:30pm
Fri 6/18, 7pm
Sat 6/19, 3pm
Sun 6/20, 5pm
Wed 6/23, 7pm

Political and social theater in NYC

Jason Zinoman's review of Lee Blessing's new play about Bush called "When We Go On About The Sea."

"The focus of the play is on the concierge and his simple deference toward Bush. There are even hints of a religious parable and a suggestion that we revere our leaders instead of holding them accountable. As staged by Paul Meshejian, the play, produced originally in Philadelphia by the InterAct Theater Company, offers up the ex-president as the man we saw in public: no more, no less. That may be true, and even insightful (although I doubt it), but it isn’t very interesting to watch."

Ben Brantley's review of Enron:

"Yet even with a well-drilled cast that includes bright Broadway headliners like Norbert Leo Butz and Marin Mazzie, the realization sets in early that this British-born exploration of smoke-and-mirror financial practices isn’t much more than smoke and mirrors itself. “Enron” is fast-paced, flamboyant and, despite the head-clogging intricacy of its business mathematics, lucid to the point of simple-mindedness. But as was true of the company of this play’s title, the energy generated here often feels factitious, all show (or show and tell) and little substance."

Obviously, these are two different reviews of very different writer's takes on very different productions. I am, though, acutely aware of critical responses to political theater these days. What's interesting is that American playwrights are often whipped for not producing work that is suitably politically challenging or relevant (Enron was famously imported from London); but it's rare for me to see a political play praised in the press anyhow. Even Tony Kusher's most recent work seems more focused on interpersonal relationships, the politics of the household, that on National Themes. The notices in Minneapolis were lukewarm...we'll see how it is received when it hits NYC.

So...what are the standards for what is successful political theater and why aren't we hitting those standards? Lee Blessing's play seems like a modest character study and "liberal fantasy" - but wouldn't The Crucible be accused of being "liberal?" How can a political play be dismissed for having a point of view? Isn't that the whole reason to write a political play?

On the other hand, with Enron, in an effort to turn a story about financial fraud into something theatrical, it seems that the production went all out with intriguing staging. The result? All flash, no substance was the review. Almost too easy a critique? Maybe not if it's true.

Either way... there's a long tradition of great political discourse being carried out on stage. Brecht and Ionesco and Arthur Miller and Shaw and Ibsen. Social commentary. Political diatribes. But would Ibsen's An Enemy of the People be called liberal or conservative? Clearly there's a crusading 'Michael Moore' at the center of the play, but then he sets forth a belief that a majority is always wrong. Is that Democratic?

Those plays that strike out against fascism... they resonated far more during the rise of Nazism than, say, they might now that everyone who disagrees with you is a "fascist."

So... what is the astute and successful model for political theater now? Obviously, one of the reasons it interests me is because That Old Soft Shoe is an attempt to write political theater for today. I am the worst judge of how successful it is. I hope it has been. I believe so. But, like all writers, it would be hard for me to explain exactly why.

Have you seen contemporary political theater that made an impact with you? Is there such a thing these days?

Why to see That Old Soft Shoe

That Old Soft Shoe returns on Wednesday at 8:45pm. Watch now as I deconstruct my pitch.

That Old Soft Shoe is a good play.

I don't want you to see it because you like me or personally support me.

I want you to see it because I think it's well-written and acted and directed.

If you do not think so after you see it, well then that's my mistake.

I try very hard to make things of artistic merit and to share them.

Take advantage of my efforts to entertain you and give you an intriguing experience.

Thank you for your kind attention.

Good post from Aaron Riccio

Regarding star ratings and what is "average." Read it here.

It is an odd thing, this pressure to be a social and supportive member of a theatrical community, as opposed to a critical artist.

I suppose that's what critics are for.

When Is A Clock

I still love this picture of the production (that's Tom Staggs and David DelGrosso). And, of course, the book is available for purchase. Maybe you'd like to pick one up?

Congratulations

...to Sean Williams and Jordana Williams for the birth of their new daughter Marlena! Welcome to New York City, kiddo!

Hack!

Saw Hack! last night at the Too Soon Festival. Crystal Skillman in full on geek chic. Funny stuff, lots of Star Wars references (which I, of course, appreciate), inventively staged. A crowd-pleasing affair to be sure. Really loved the fight staging, for some reason. Just worked for me. You must see it.

Only one more show, and the one I attended was SRO. So, yeah, tickets in advance or bust. Last show is on Saturday at 7pm.

Partnerships

I'm about to get married. I've lived in New York City since 1999. I've been at this Off Off or Indie Theater thing for a while now. I'm feeling...I dunno. Like looking back or something like that.

One thing I think goes unspoken for playwrights like me, or for many of us, are the uncontracted, unspoken, entirely key partnerships that we form over time. I know I've been particularly blessed in that respect. Over the past several years, I do have a sort of core group of people that I work with, and who work with me (thank God for all of them) that have facilitated my work.

One of the key people, and you probably know this if you've read my blog over these last five years, is Kyle Ancowitz and the rest of Blue Coyote Theater Group. Blue Coyote is my home, for certain. Kyle, though, has directed nine of my plays if you include short plays: The Great Escape, The Most Wonderful Love, When Is A Clock, An Interview With The Author, Glee Club, What To Do To A Girl, The White Swallow and Trayf. He's also the director of my current show That Old Soft Shoe. I like to say that no one works as hard as Kyle does at making my career possible. We work hard for one another, and we try to do our best work and inspire one another, and I'm incredibly grateful for it.

Gary Shrader, another of the four artistic Coyote core, directed both the 2004 production of The Americans (a play and production I still have a great fondness for) and originated the role of Paul in the original Glee Club production. Stephen Speights wrote the music for both The Most Wonderful Love and Glee Club, as well as playing the role of Ben in that production. Bob Buckwalter played the lead The Great Escape and did wonderful work as the divorced Mark in Glee Club.

There are countless other partnerships. Obviously, most people know that I've worked with actors David DelGrosso (who appeared in The Most Wonderful Love, When Is A Clock, An Interview With The Author, Glee Club, The White Swallow, Trayf and is currently in That Old Soft Shoe) and Matthew Trumbull (who appeared in Reasons for Moving, The Death of King Arthur, The Most Wonderful Love, 465 at the Metropolitan Playhouse, When Is A Clock, An Interview With The Author, Glee Club, What To Do To A Girl, The White Swallow and Trayf.) But there are many other people I've worked with rather often. Tom Staggs, for example, played Mordred in The Death of King Arthur, Gordon in When Is A Clock and Hank in Glee Club. Laura Desmond appeared in The Great Escape, The Most Wonderful Love, When Is A Clock, The White Swallow and now appears in That Old Soft Shoe. Sean Kenin played King Arthur, appeared in and produced Reasons for Moving and was recently in the original cast of Exposition. Plus, he's the guy that introduced me to the Coyotes in the first place.

That's just to name a few people who have been mainstays in my work, and have given my work great faith, time and energy. There are tons of actors beyond these that have appeared in multiple readings, two or more productions, or has been a part of my life in New York and my work for a very long time (Kina Bermudez appears in Exposition/Denouement but was the Page Boy in The Death of King Arthur back in 2001, for example.)

I post all these rambling citations not just to offer up a list, but to inspire you to think about who it is that has formed your own core and community. One of the facts about theater is that it is not a solitary life. Who, out there, are your teammates or is your teammate? Who makes your work happen? Whose work inspires you to keep working? When you're shuffling between work and laundry, who, besides yourself, do you run home and write for?

Matt Freeman Writer

I salute you.

The Little One opens on Thursday

The Little One has been announcing itself with incredibly great images like the one above for months. The wait is over (as they say)! The Little One opens on Thursday at the Kraine. I'm definitely psyched for it. You'd best get to the show, or you'll be torn asunder.

The Little One

A new play by James Comtois
Directed by Pete Boisvert

Featuring
Ryan Andes - Becky Byers - Rebecca Comtois
Stephanie Cox-Williams - Jeremy Goren - Stephen Heskett
Melissa Roth - Patrick Shearer - Christopher Yustin

The Kraine Theater
85 East 4th Street
(between Bowery and Second Ave.)

June 17 - July 10
(Thursdays through Saturdays)
All shows at 7:30 p.m.

Tickets $18

A week off from Too Soon

The first two performances of That Old Soft Shoe had good crowds and great appreciation.

We've gotten some great reviews so far, especially raves for the language in the piece and for Steve Burns turn as Senator Corpuscle. It's really must-see stuff. Especially for politics junkies, who will sniffle and cry.

The way our schedule works for Too Soon, we aren't back until

Wednesday June 23rd at 8:45 pm

Then, we have shows on Saturday and on the final day of the festival of Sunday.

That doesn't mean we should fall off your radar! With only three more shows, you really should get tickets now, right now, like now already.

There are also tons of great shows going on at the festival, including Hack!, Jeannie's Abortion, and The Wedding of Berit Johnson & Ian W. Hill: A Theatre Study by Ian W. Hill & Berit Johnson. Frankly, the last one strikes me as a really profoundly cool and also probably extremely touching. I mean, let's hope. It's a wedding.

Read all about it here.

The Tony Awards!

I didn't watch them. I never do. They seem like a big bucket full of despair.

But...that's just me.

If you want to read all about 'em, where better than the Playgoer?

It's written in the stars

Quick, read this review of Amerissiah from Time Out New York and imagine what the star rating is (out of five).

Off Broadway is always on the make for saviors, and troupes can earn cults before their miracles pan out. The Amoralists inhabit that tricky space, somewhere between treading and walking on water, in Amerissiah. As in previous Amoralist joints, Derek Ahonen’s play features plenty of extreme emotion, wild-eyed acting, loud screaming and theatrical shock tactics. (Poop-stained rags are thrown out the kitchen window on two separate occasions.) Yet behind all the zaniness is an ultimately serious look at belief and forgiveness, and Ahonen can’t quite keep it all in the same plane.

The troupe’s core regulars—including Matthew Pilieci as a dying man who believes he’s a god, Sarah Lemp as his materialistic sister and James Kautz as her adenoidal ex-husband—give enjoyably broad, glazed-hammy performances; other actors, such as Williams Apps as a reformed junkie and Selene Beretta as his nerve-jangled girlfriend (both excellent), give scarily realistic ones. But the actor playing Margie, Pilieci’s older hippie wife, is simply inadequate; it’s almost as though Ahonen, having written the part with startling malice, wanted to sabotage the character even further. But a play like Amerissiah lives and dies by momentum: The emotions are too high, and writing too pocked with little holes, to let you stop and think about it midway. Both Ahonen’s script and his direction of it are undeniably jagged; to believers (and I am one), that is part of its charm, but also, at times, a test of faith.

Then, go look at the actual review.

Yeah, me neither.

Ah, star ratings!

Patrick Lee passes away

I didn't personally know Patrick Lee, but he was an important member of the theatrical community, and will be missed. Good thoughts from me to his loved ones.

From Theatermania

Patrick Lee, a frequent contributor to TheaterMania, passed away earlier this month in Larchmont, New York. He was 51 years old.

Lee was the creator and writer of his own popular blog, Justshowstogoyou.com. He was co-writer and co-founder of the Show Showdown blog, and was also a regular contributor to TDF.com.

He was also a juror for the GLAAD Media Awards, Awards Director of the Independent Theater Bloggers Association, and a member of the Outer Critics Circle.

Lee's work for TheaterMania included reviewing Broadway, Off-Broadway and Off-Off-Broadway shows and writing celebrity features. His recent subjects included actors Sam Underwood, Michael Esper, and Gregory Itzin.

He is survived by his mother, sister, and other family members. Funeral arrangements are still pending.

Aaron Riccio on That Old Soft Shoe

It may be part of the Too Soon festival at the Brick, but Freeman can comfortably hang that "Mission Accomplished" banner at his next cast party: this one's just in the nick of time.

A review of That Old Soft Shoe

Kyle Ancowitz’s production of Matthew Freeman’s play That Old Soft Shoe at the Brick Theater in Williamsburg is a hilariously irreverent, frenetic, and absurd send up of 24 and its genre of fear mongering drama that will keep you laughing all the way to a highly classified black site in Jordan – or more probably, Florida.

I continue in PBS pledge drive mode

That's right. I have a show on. Tonight at 8:45pm at the Brick. That Old Soft Shoe. Oh wait...I've written no posts of substance and only plugged the show for like a month?

Deal with it! See the show and I'll shut up!

You think I do this for my health?

And there you have it

Another play! That Old Soft Shoe had a great opening, and we have one more performance this week - Tuesday at 8:45pm - before we go on a brief hiatus until the end of June.

Today

That Old Soft Shoe opens in a couple of hours: 2:30pm at the Brick Theater. It's going to be awesomesauce.

I saw, though, this really fun promotional video for another show in the Too Soon Festival: RIP JD. Thought I'd share it.



Plus, look at their adorable young cast!

Weird Media Narrative

I keep reading these articles and listening to podcasts about how the public has lost or is losing or may yet well lose confidence in Barack Obama's leadership because of the Gulf Oil Spill. Even though polling shows that 70% of the country blames BP for the oil spill.

I just don't really understand this narrative. It seems like its being pushed by journalists as opposed to actually reflecting the public attitude. I know I live in New York City (where real Americans only lived on one day in 2001), but I just am not hearing this sentiment. The spill is clearly the result of massive failings by a whole lot of people not named Barack Obama, and he seems deeply engaged with trying to solve this seemingly insurmountable problem. A failure to solve the problem so far just seems to magnify how bad the issue is: it doesn't seem to show how incompetent the players are. His approval numbers aren't taking some massive hit anywhere, not as far as I've seen.

The Half-Cocked Preview Cabaret and Awards Ceremony tonight

Tonight at the Brick, the Too Soon Festival officially launches with the Half-Cocked Preview Cabaret and Awards Ceremony. It's free, but you've got to reserve a seat. Do so here!

I will be receiving an award, of course.

Here's the description from the Brick:

In this special preview performance, several Too Soon shows will be exposed with their pants down, unready to open, scrambling to impress audiences. Intercut with the performances, awards celebrating the potential achievement of each Too Soon Festival show will be prematurely handed out by The Brick, with artists giving tearful acceptance speeches thanking everyone who contributed to each show’s presumed success. Attendees and participants alike will be confused but big-hearted about the whole affair.

Fri 6/4, 8pm

The Cabaret WILL SELL OUT!

Stagebuzz Interview

Stagebuzz interviews me (among others) about The Too Soon Festival. Read all about it.

FiveThirtyEight.com marries the New York Times

Groovy.

That Old Soft Shoe opens

Sunday afternoon at 2:30pm at the Brick Theater in Williamsburg. It's a part of the Too Soon Festival. Get tickets here.

Come see this one early and come see this one often. Having seen the first full run last night, I have to tell you: the cast is really f*cking funny. Just out of this world. I think the play is funny too, but you'll have to be the judge of that.

Come. Judge me. Confess your bubble.

Martin Denton leaves Facebook

Really interesting read. Enjoy.

Swallow by CoLab

The Subjective Theatre Company is currently running a show called Swallow by CoLab. It's at the Red Room. It's running until Sunday 6/6/10.

I recommend you check it out. Looks cool.

Plus, it's free.

Observatory in Time Out NY!

Really excited by this article in Time Out about Observatory. Pam, who is quoted, is my fiancee. I'm cooler because I hang out with her.

There are tons of upcoming lectures but I heartily recommend "The Beautiful Experience" with world-renowned stained-glass artist Judith Schaechter. It's on Saturday June 5th and Admission is only $5. Seriously. You get a lecture with this amazing artist for $5.

I'll be there helping out.

See you there!

New Superfluities URL

Update your links. Hunka is here now: http://www.superfluitiesredux.com/

Blogroll

My fitfully maintained blogroll has had a bit of a pass-through. I've added a few blogs that I'm happy to now include, and re-ordered it a bit. Take a look over there, eh? Praise me for 10 minutes of work.

Exciting News forthcoming

Denouement went swimmingly and That Old Soft Shoe opens on Sunday. Beyond that, more great news, but I'll wait to announce.

Plus, Pam and I picked out a venue in which to tie the knot. Pretty exciting!

Oscar Eustis on the Public Theater's Season for 2010-11

What say you, theatrosphere?

David DelGrosso on THAT OLD SOFT SHOE

From nytheatre.com's Companion to the Too Soon Festival. Check out all the interviews here.

DAVID DELGROSSO ON THAT OLD SOFT SHOE: Q & A

Q: David, this is the third show in 4 years that you have appeared in at the Brick summer festival that was written by Matt Freeman and directed by Kyle Ancowitz. Yet on the press release, only they are mentioned, as if none of the shows' success is attributable to you. But I know better. So the question is: why are these guys so aggressive in getting all the press attention for themselves, do you think; and why do you continue to work with them?

A: The work I do is edgy and dangerous, and I attract a pretty dangerous crowd. The Brick knows that my devoted following are passionate, unusual, and often unpredictable. They don't always know how to express their love for me in a healthy way. I can understand their reluctance to poke directly at the hornet's nest of my strange, largely Internet-driven fanbase with something as provocative as a mention in a press release. The first work that I did when I got to New York was in the old Theatre Row building on the corner of 42nd and Dyer. That is now an empty lot filled with rubble. That's all I can legally say about that.

David Valdes Greenwood's The Rhinestone Sisterhood! Out now! Read it!

The person who taught me to write plays, David Valdes Greenwood, has a new book on the market and you really have to pick it up. It's called The Rhinestone Sisterhood.

You can get a copy on Amazon.com here.

Here's the description of the book:

Ride a bull. Chat up a Senator. And get your homework in on time. It’s all in a day’s work for a festival queen.

If you assume all pageant queens are airheads who can’t handle geography, or vain girls who like to parade around in bathing suits, then welcome to the alternative universe of America’s festival queens. With titles like Catfish Queen and Swine Queen, and royal duties ranging from leading parades to kissing frogs to doing PR for local industries, these hardworking girls represent the best of what America has to offer: local cultures, unique traditions, and the kind of can-do community spirit that makes Main Street sparkle with promise.

The Rhinestone Sisterhood takes us deep into the world of small-town festival queens to capture the true story of four “sisters of the sash”—the Frog, Fur, Cotton, and Cattle Queens of Louisiana—and their quest to win the ultimate crown, Queen of Queens. Traveling across the state, David Valdes Greenwood introduces us to local queens with lives full of public speaking, pig chases, and pageant politics. We ride with the girls during their one-year reign, where families and boyfriends can be as complicated as judge’s panels, and a queen’s dreams may be at the mercy of a Category 4 hurricane.

High-spirited yet down-home, suspenseful and genuinely moving, The Rhinestone Sisterhood is, at heart, a story of female friendship and rivalry, of triumph and disappointment—not to mention a Frog Queen who just wouldn’t quit. Anyone who has ever wanted to be a princess will feel right at home.

Tennant and Stewart in Hamlet

Thanks to Stagebuzz for this link.

The David Tennant and Patrick Stewart Hamlet. In a tiny window.

Another reminder

Denouement has two more performances only, tomorrow and Friday.

Tickets here.

Here is a small bit of text from the production.

Then I went into shock. Then I was in shock. Then I was shocked. Then I conjugated the verb “to shock.” Then I realized that not all of the blood was mine. There was someone in the car with me. Oh. No. That’s the person from the other car. I spun out. I must have spun out.

Zack interviews Jimmy

As it should be. Read this.

On theatre and politics

The title of this blog, On Theatre and Politics, is occasionally hilarious to me. When I named it, I intended to write quite a bit about politics (I'm a bit of a news junkie and it was Bush administration era) and also about theatre. What the blog has become is more like notes on a life in New York City, working to be a successful playwright, and some other stuff. I write about politics considerably less than I did. I think that's because I'm over saturated with political babble, and I enjoy it, and I find it interesting, and I think its important to be up on current events...but I just can't stomach writing about it constantly in my personal space. It just gets exhausting.

That's why my new play, That Old Soft Shoe, has been such a release for me. It is overtly political theater. It certainly isn't, either, a progressive diatribe about the Tea Party movement or Fox News or Glenn Beck or Rand Paul. More than anything, it's my response to what feels like alphabet soup in the political arena. It's also, maybe, a reminder that even in the midst of what feels like real progress, we can't ever pat ourselves on the back and go about our business. We are still a country that does immoral and unethical things with impunity. We abuse language the same way we seem to abuse our bodies: we'll pay for it someday, but for now, junk food just is too tempting.

I'm curious how you'll all respond to the piece. I hope you'll come to see it. It opens June 6th.

Denouement opens

We had a great first performance of Denouement this past Saturday. Thursday and Friday's shows (the only two of this piece there will be) will be slightly altered, for those who are curious enough to see it twice.

Great work by the cast and, as always, director Michael Gardner. There is a new speech in this show called "An Actor's Actor" that I think readers of this blog will get a kick out of, especially.

Definitely grab tickets in advance for those performances.

Lost Finale

For those that are interested to know this sort of thing...

I am a huge Lost fan.

I watched the finale, of course.

I thought it was great.

That is all.

Congratulations

...to Isaac and Anne. Married! Hoorah!

That Old Soft Shoe

Pictured is Joe Yeargain as "The Patient."

Opens June 6th. Get tickets early and often.

This Onion article

Particularly pleases me.

Come to a resolution on Saturday Night

Tomorrow night, May 22nd, is the first of three public performances of Denouement. I'm really proud of the piece and the work. Include us in your weekend plans!

The website for the performance is here.

RSVP on Facebook here.

Get a ticket here.

It's at the Brick Theater, which is 575 Metropolitan Avenue, Williamsburg, Brooklyn. One block from the Lorimer stop of the L train / Metropolitan stop of the G train.

Ben Nelson is a total asshole

Part 11.

This man makes decisions that affect the rights of the American people. He is a Senator.

Star Wars Prequel Appreciation Day

11 years since the release of Episode I and the 5 year anniversary of the release of Episode III.

Today, I celebrate.

OffOffOnline vs the Obies

Reprinted from OffOffOnline.

Not Cool Enough for the Obies

Sunday, May 16th 2010

Article by Valerie Work

After having covered the Obie Awards for the past three years, offoffonline has been denied a press pass to the 2010 event, to be held this Monday, May 17, at Webster Hall.

“The management of the Voice has chosen to deemphasize online coverage of this year’s awards,” explains press representative Gail Parenteau, “due to the large number of blogs that are currently discussing New York theater. If you really want to cover the event, you can buy a $25 ticket.”

This intriguing change of position raises a number of questions.

Is it possible that Village Voice Media, having already antagonized numerous members of its own news staff upon assuming management of the paper in January 2006, is now seeking to alienate journalists affiliated with other alternative publications?

An alternate explanation is that the Voice truly does feel threatened by the expansion of online arts coverage, and, rather than fortifying its own contributions, is seeking to weaken perceived competition.

It is no secret that the print media has been hard hit by the recession. On one hand, it’s hard to blame the Voice for attempting to raise obviously needed funds by selling the privilege of writing about its flagship annual event. On the other, it’s still incredibly tacky.

----

Update: Additional thoughts from CultureBot.

So you're SO impressed by the wonders of the Internet, huh?

Not so fast!



You're welcome.

Only three performances of Denouement

Pictured above are cast members, from left to right, Maggie Cino, Alexis Soittle, Fred Backus (kneeling), Kina Bermudez, Moira Stone, Ivanna Culliman, and Steve Burns.

There are only three public performances of Denouement, my collaboration with director Michael Gardner and our brilliant cast (and the cast of the previous incarnation of this process Exposition). One of those performances is this Saturday night, May 21st.

As there are few performances and a cast of seven, I expect houses will be rather full. I'd suggest you purchase tickets in advance here.

Laughable

Read this and weep.

The Metropolitan Transit Authority has threatened to evict the experimental media and theater group 3-Legged Dog from its Lower Manhattan building. The authority notified the group on Friday that it would begin eviction proceedings on Monday if 3-Legged Dog did not pay the more than $306,000 it owes the authority in back rent and interest. The group signed a 20-year lease in 2002 for space at 80 Greenwich Street, now known as 3LD Art & Technology Center, agreeing to pay $21,666.67 per month there after its former location at 30 West Broadway was destroyed in the attacks of Sept. 11, 2001, The Wall Street Journal reported. Kevin Cunningham, 3-Legged Dog’s executive artistic director, confirmed that the company had fallen behind in payments when foundations withdrew financial support because of the recession. He also said the theater had been forced to spend its own money on building maintenance, including asbestos abatement, without reimbursement from the authority. Though he said he had offered to negotiate a payment plan, the two companies have been unable to reach an agreement. The authority’s spokesman, Jeremy Soffin, told The Journal, “I don’t know how anyone can justify letting this tenant rack up hundreds of thousands of dollars in back rent at a time when state cuts and deteriorating tax revenues have forced the M.T.A. to lay off station agents and cut service.”

Right. The MTA, that bastion of efficiency, is being decimated by state cuts and the arts are...what? Swimming in dough? What hypocritical bullshit.

3LD is one of the best theater spaces in New York City. It's a treasure with a ton of potential, and it's gotten financially beaten up. Do we need another terrific theater space closed to make way for a Foot Locker?

How can we protect 3LD?

If Law & Order gets cancelled...

...it will cut off a supply line of SAG cards and insurance weeks to tons to New York City actors. True?

For all you OG comic book collectors

A fun website.

Playwrights In Conversation Links

I've updated my blogroll to include direct links to the five "Playwrights in Conversation" podcasts that I've hosted. If you haven't heard them, definitely give them a listen.

Nytheatrecast MP3: Playwrights In Conversation with Adam Szymkowicz
Nytheatrecast MP3: Playwrights In Conversation with James Comtois
Nytheatrecast MP3: Playwrights In Conversation with Mac Rogers
Nytheatrecast MP3: Playwrights In Conversation with J. Scott Reynolds
Nytheatrecast MP3: Playwrights In Conversation with August Schulenberg

Song For A Future Generation

Josh Conkel and the Management (which should be the name of his band) are presenting SONG FOR A FUTURE GENERATION right now at Under St. Marks. Four performances left, including tonight. You really must see it.

Read the description. Then go see it tonight. Or I stab and stab and stab until I have no idea why.

Clones, robots and teenage time travelers search for connection at a dance party aboard a satellite. So what if its purpose is to celebrate an exploding star? For the kids in this "sci-fi dance party spectacle" this is going to be the BEST NIGHT EVER.

Written by Joe Tracz, Directed by Meg Sturiano

Performed by Alex Teicheira*, Cal Shook, Jenny Gomez, Jennifer Harder, Joleen Wilkinson*, Joe Varca, Joshua Conkel, Matt Barbot, Nick Lewis, Ronica Reddick*, Tara Giordano*, Yesenia Tromp & Zoey Martinson*.

April 29th- May 15th
Thursdays & Fridays @ 8pm and Saturdays @ 3pm & 8pm.

Location: UNDER St. Marks
94 St. Marks, btwn 1st Ave & Ave A

Tickets: $18 - www.smarttix.com or call 212-868-4444

*Appearing courtesy of Actors’ Equity - Equity approved showcase

Passion Play

My review of Sarah Ruhl's Passion Play is up at nytheatre.com

That Old Soft Shoe tickets are now available

Tickets are now on sale for THAT OLD SOFT SHOE at the Too Soon Festival. Here's the list of shows, and here's where to purchase tickets.

If you purchase your tickets before May 15th, 2010, you can receive the discounted ticket price of $15 (normally $18).

There are only five performances, spread out throughout June. Read the schedule carefully, and definitely get your tickets in advance. Note, also, that our first performance is on Sunday June 6th.

That Old Soft Shoe

Playwright Matthew Freeman, director Kyle Ancowitz, and Blue Coyote Theater Group return to the Brick with That Old Soft Shoe, a redacted comedy. Their previous appearances include the much ballyhooed productions of Glee Club and An Interview with the Author. In That Old Soft Shoe, a Senator from the Pacific Northwest arrives to inspect the goings-on in an undisclosed location, throwing the staff into turmoil. Will they all wind up working at a phone bank in Dallas? After all, it’s a new administration.

Blue Coyote Theatre Group
Written by Matt Freeman
Directed by Kyle Ancowitz
90 minutes

Sun 6/6, 2:30pm
Tue 6/8, 8:45pm
Wed 6/23, 8:45pm
Sat 6/26, 7pm
Sun 6/27, 4pm

Polls say

...that Americans, when asked, come up with an opinion about something based on no information.

Theater Talk

I DVR Theater Talk. I watch it because I like that feeling I get when my heart-light goes out.

Is it just me

...or does the summer movie season this year appear to be rather barren for nerds like me?

A little bit of the Denouement script

First, I swear I thought you’d lost it with this constructed bullshit about how everything needs to be simplified. How Gwen’s files would unlock some key to a better workflow and bleeding edge processes. But now I see what you were really after all along. To upend our whole system entirely with this nonsense about city-states. Does this look like goddamn Athens to you? In such and such B.C.? Or would you say BCE you liberal new historicist? You’ll have us all in the clink you will. You’ll have us worshipping lesser Gods and bartering for our stock options like a common Afrikaner. It’s shameless. And you should be ashamed.

Good News

This weekend...my lovely girlfriend Pam lost her senses and became engaged to me.

Hooray!

Too Soon Festival Logo!

I think it's fancy! Prepare to see this image for a full month.

Brick Theater + Matt Freeman = 2

Two shows that is. Coming up in mere moments.

First is Denouement. Only three performances to this production: Saturday May 22nd, Thursday May 27th, and Friday May 28th. Tickets are on sale here. As there are only three performances, I suggest you quickly get yours. As they will disappear.

If you saw Exposition last year, you will find much of that existing material enrobed in a new sticky sweet substance. If you didn't see Exposition, I certainly hope you'll check this out. It's a true collaboration between myself, the cast, and director Michael Gardner. I'm proud of the text, and I think it's a unique piece. Again, tickets are here, only three shows. Don't miss it.

Opening just the next weekend will be That Old Soft Shoe as a part of the Too Soon Festival. Tickets are not yet on sale, but we have five performances throughout June. Here is the show's description:

Playwright Matthew Freeman, director Kyle Ancowitz, and Blue Coyote Theater Group return to the Brick with That Old Soft Shoe, a redacted comedy. Their previous appearances include the much ballyhooed productions of Glee Club and An Interview with the Author. In That Old Soft Shoe, a Senator from the Pacific Northwest arrives to inspect the goings-on in an undisclosed location, throwing the staff into turmoil. Will their dancing lessons prove sufficient? Or will they all wind up working at a phone bank in Dallas? After all, it’s a new administration.

So... come to these shows and bask in their splendor.

nytheatrecast conversation with Gus Schulenberg

Gus and I talk about JACOB'S HOUSE. Give it a listen here.

Actors! Great Part Needs Casting! Read!

Hey everyone,

Some good friends of mine are putting up their annual production of a Midsummer Night's Dream in Prospect Park in Brooklyn. This is a children's production, and it's incredibly fun and well-attended. Everyone involved is extremely experienced with outdoor work and Shakespeare. It'll be fun, you'll meet lots of great people. One thing that's great about it is that even though it's child friendly, the production is one that adults enjoy as well. I know Pam and I have watched and enjoyed it each year!

Contact rohanakenin @ gmail.com with your headshot and resume.

Seeking experienced actor to play Oberon and Puck (Puck as hand and rod puppet) in a showcase. $200 stipend. Ideal skill set = experience with Shakespeare, outdoor performance, and either puppetry or good at picking up new physical skills.

Rehearsal May 10 - June 3 weekday evenings and weekend daytimes. Dress rehearsal Friday June 4 in the morning. Rehearsals will probably be quite light the first week.

Outdoor performances all weekends in June. Saturdays at 11:00 a.m. and Sundays at 3:00 p.m. (means actors can be rehearsing for, or even begin performing in other shows while we run)

There is also the possibility of one or two additional Friday performances June 11 and or 18.

Get on it! They're getting started soon, so don't wait!

The Desk Set

Did you know that Matthew Trumbull can soon be seen in a production of The Desk Set, directed by Tim Errickson?

It's true. Tickets are here.

Did you know

That Theatermania just launched an iPhone app?

Issac and J. Holtham get married

Read this and this.

So, two of the best and most prolific theater bloggers decide to join forces and also write about...other stuff. Very cool. Have fun with that, and I hope you keep giving theater some love.

Blogging is odd. There's no one to say "Hey, you're done with that part of the job." People quit or change or just get quiet. That's how it goes.

As for me, this blog has retained it totally inaccurate name and will retain its tone and content. I've never viewed this blog as a product in and of itself...I view it as a place where I can speak, be heard, and hear other people too. Sometimes I get my gander up and write at length on a subject, sometimes I make jokes, and sometimes I link to YouTube. It is sufficient, I hope.

Occasionally I get busy. Right now is one of those times. I hope those of you in New York who follow this blog will allow their interest in my daily thoughts or whatever to migrate into the real world and check out what my actual work looks like. Those of you who live farther away, I've got publications I invite and encourage you to read and send me thoughts about. I'd love to be in a conversation about my actual work, not just about what I think about Treme (which I like, for the record) or the new Dr. Who (who I also like) or Collateralized Debt Obligations (which I listen to too many podcasts about).

I've never really believed that my voice should become a cultural authority on any given subject. I'm just a guy. Thanks for reading. Keep reading. And much luck to Isaac and 99seats, as their readership and subjects expand.

Denouement

Excellent Denouement rehearsal this past weekend.

Great meeting with Kyle about That Old Soft Shoe.

And, finally, I certainly did NOT buy Avatar on Blu-Ray. What a waste of time and money that would have been! (Cough!) I mean, seriously. What are you accusing me of?

It's official

Annie Baker will shortly be writing for HBO!

That's what that means right?

How to solve problems

Swoon!

Spare me the hysterics about this video.

There are people that waited longer lines to see The Phantom Menace, and at the end, they just saw a movie.

Hope springs eternal. There are lots of people that want to be on stage. Lots of nice kids who have stars in their eyes that make big sacrifices in order to be seen by casting directors. I think there are some movies about that from the mid-70s. It does not make me faint. If it makes you faint, I dunno. Take a pill.

It's a long line. They're young kids, having fun, trying their luck, learning life lessons, flirting. Whatever. May their spirit infect us all. May their unabashed belief in a lucky break defeat anyone's concern for their well-being.

Have you noticed

That Isaac's made some changes over at Parabasis? Kudos.

I, though, will remain affixed in this blogger template until someone reminds me it's not 2005. I'm not someone who loves change. I'm a little more in tune with stasis. Maybe.

Some fun things are going on over in Freeman Country.

A solo version of In the great expanse of space there is nothing to see but More, More, More will be seen at a showcase of work by recent graduates of RADA on May 14th. Directed by Georgina Guy and performed by Valerie Gogan. Ms. Guy has been workshopping When Is A Clock with Greylight Productions at the Newbury Corn Exchange across the pond.

That Old Soft Shoe, my latest play, will be see at the Too Soon Festival at the Brick in Williamsburg. Dates are yet to be announced, but I've got the impression we'll be early in the festival, which runs June 4th to July 3rd. Directed by Kyle Ancowtiz, as is customary and proper. We have yet to cast the production. Actors? Interested? We'll be announcing auditions soon. Very soon.

Denouement, a sort of sequel to Exposition, will have a limited run at the Brick May 21-May 28th. Created by me, director Michael Gardner, and the cast: Fred Backus, Kina Bermudez, Steve Burns, Maggie Cino, Ivanna Culliman, Alexis Soittle and Moira Stone.

I've recently received an offer from Playscripts.com to publish Glee Club. When that's finalized, I'll have more details, but that's certainly exciting. You can read about my other Playscripts offerings here. I certainly hope you'll pick up a copy or two of The Death of King Arthur. Why not? Gonna kill you?

Plus, I'm working on a script for the animated promotional/educational video for this upcoming book.

And last night, I recorded a new nytheatrecast with August Schulenberg, to discuss his upcoming play Jacob's House. Great conversation, and when it's live, I'll share.

Next stop

Off to record an nytheatrecast interview with August Schulenburg. Fun, fun.

Tone Deaf

This section of today's New York Times article about the Wall Street Reform debate is a sort of window into the oddball thinking that must take place internally in DC. It's DC-only thinking.

"The bellicose stance by Democrats, even as Republicans insist they are hopeful of a bipartisan deal, carries some political risk. Voters, often frustrated by the acrimony in Washington, could decide that Democrats, who control Congress and the White House, are being arrogant by refusing to make concessions. "

Does anyone think this is a politically astute assessment? Democrats have never been accused of arrogance by any serious voter or comedian or thinking human that I've noticed. They are accused of being wimps. It's Republicans whose boisterous posturing seems to be treated by the press as a win-win. The Republicans are admired by the press for making lies stick in the minds of the American public, despite how corrupt the behavior is. Democrats who try to be "bi-partisan" with this deposed minority party are accused of cowardice. If they attack, they risk being considered the reason for acrimony.

Most people don't think this way. The DC press, who use the horse-race, and not the substance, to fuel articles, love this type of Catch-22. Even if they contradict their own assessments of the politics a scant few months ago.

How a bill becomes a law...

...in Georgia.

Vote for GLEE CLUB

Let's face it: if you don't vote for us, you're a tool.




Vote for GLEE CLUB at the NYIT Awards.

That Old Soft Shoe

Finally finished the new draft. It now includes the line "I make the trains run on time" in Italian.

A question of family

About a week and a half ago, George Hunka welcomed the new daughter of Reverend Billy into the world and then said, probably not all that seriously:

"Perhaps the blogosphere can now take up the burning question of day-care centers for the children of playwrights, musicians and performance artists. But we're changing the world, one child at a time ..."

Frankly, having children in the world of the performing arts is a real challenge, especially for those of us with prospects for income that are close to doodley-squat, as Kurt Vonnegut might say.

I'm 34 and while in the middle of Indiana I'd probably be a father of three already, most of my friends are bravely moving into this phase of life now. My actor/director/all-around performer friends Sean and Rohana are married with two children. Qui Nguyen and Abby Marcus have a son. Joshua James has a son. My friend David DelGrosso and his wife Erica have a little girl on the way. George Hunka is a father, of course. To name a few.

In the world of two income households, it's harder and harder to imagine large families. But in the arts, especially the transitory world of theater, having a family is a decision that comes with almost dire risks. As a community, we reward each other for flexibility, the ability to move around quickly and easily, the ability to take projects that offer little to no financial reward besides cab money. Being a parent comes with it an inherent cost-benefit analysis of all our activity. How much time can we have for artistic expression that doesn't pay, when our decisions affect the comfort and health of someone helpless?

Have you wrestled with this decision? If so, what made you decide to begin a family? Or what made you decide not to? Or are you still thinking about it as a hypothetical?

If you have, or are starting, a family... how has it affected your approach to your work in theater, if at all?

Update: A thoughtful and personal response from George.

Ontological-Hysteric Theater to leave St. Marks Church

Incubator series will remain.

The Ontological-Hysteric Theater announced April 16, 2010 that it will cease operations at the theater space at St. Mark’s Church in the Bowery at the end of the 2009-2010 season (June 30, 2010). The Incubator presenting programs will take over the theater July 1, 2010. Since taking up a permanent home at St. Mark’s Theater in 1992, the Ontological has presented annual theater works by Richard Foreman, whose trademark “total theater” unites elements of the performing arts, visual art, philosophy, psychoanalysis, literature and, in recent years, film. “My aesthetic remains the same, but after many years of making theater there’s been a thematic deepening of everything I’ve been working towards that can now only be made possible through film,” said the playwright and director.

Mr. Foreman’s Ontological-Hysteric Theater will continue to function. While not eliminating the possibility of occasional theatrical production, it will focus on film/video work under the sub-set of the International Bridge Project. Under the co-leadership of Foreman and previous Ontological administrator Sophie Haviland, the Bridge Project was established in 2004 to promote international art exchange between countries around the world through workshops, symposiums, theater productions, visual art, performance and multimedia events. Foreman and Haviland have already filmed material in nine countries around the world (including the U.S.).

Read on.

Can this be true?

Oskar Eustis, artistic director of the Public, said in an interview on Wednesday that $600,000 was a fairly typical price tag for a full production there, a cost that was shared by the two companies. He said that he was disappointed by LAByrinth’s departure, but that the Public planned to continue collaborating with the company on some shows in the future.

“The only real way for us to lower costs is to pay artists less, but paying artists is part of the point of the Public,” he said.

Is this really the only cost cutting measure available to the Public? I ask not out of incredulity, but sheer ignorance. I fully admit that.

What I learned in the NY Times today

Today in the New York Times, I learned that they didn't teach the meaning of socialism in those fancy 'colleges' back in the day. Also, there are lot of white guys over 45 that don't like helping the poor.

Denouement: Where It All Began

What's up

Light posting lately, which I assume you aren't a bit stickler about. Glee Club was a big success and I'm very proud of the work that was done. I'd like to write a post-mortem about the production when I get the opportunity. I have, though, lept immediately into two new projects and they're taking up my brainspace.

First is Denouement. This is a sort of follow up to Exposition. Our first rehearsal is this evening. Michael Gardner will direct. A short run of public performances will follow our workshop of the piece, at the end of May.

Also, I'll be presenting That Old Soft Shoe at The Too Soon Festival in June. Kyle Ancowtiz directing. I'm currently doing rewrites on the play. All I can say for now is that it takes place in "An undisclosed location. Probably Florida," that its subject is the political ping-pong that our treatment of detainees has become, and that there will be dancing.

Next To Normal wins Pulitzer Prize for Drama

In the spirit of being a good theater blogger, I acknowledge this, and refer you to Playgoer for the all the scoops.

I would say that, despite the politics of all of this, and not having seen Next To Normal, I know plenty of people who believe that the show itself is a really terrific one.

Thank You!

I've been having a bit of a crappy day. But this lightened my mood. It looks like an Onion Video, but it's oh so very real. Thank you, Fox, for being you.

h/t TPM

Internships/Apprenceships/etc

There's a little fun discussion brewing around internships and apprenticeships.

Scott Walters notes the class issues.

Parabasis and 99seats discuss the legal framework and the merits of such an internship.

Even though I understand that theaters also have no money to pay people, and even though I realize that there is a great value in apprenticeships and internships (you can't start at the top after all) I do think that it's a system that rewards - not exclusively, but inherently - individuals who are less concerned about income.

I don't want to overly generalize - there are plenty of people out there that make sacrifices in order to get these opportunities. It just seems to me that if the question is access (and it is) , then the ability to work for free during regular working hours, even to work for very little, makes access far easier.

Life ain't fair, get a helmet, one might say. That's easy to say if you can afford a helmet.

You really should go and see this

...because everyone is raving about it.

Samuel and Alasdair:
A Personal History of the Robot War

Tickets herein.

Love is my Sin

I was invited to a preview of Love Is My Sin, the new production from Peter Brook and Theater for a New Audience, currently at the Duke on 42nd Street. It is a series of interconnected sonnets, performed by Michael Pennington and Natasha Parry.

At just under one hour, with little in the way of embellishment, Brook offers us something that feels at the same time quaint and rebellious. A rug, four chairs, two tables, two books, a piano and a leaflet: that's it. Franck Krawczyk performs the music onstage, less an active participant than a part of the production's trappings. I couldn't help but feel unsettled by it. Criticized? Questioned? Why do I stuff my own plays with so much jabber?

Love is my Sin isn't a monumental experience, a piece of theater intended to shatter or shake up. It's, instead, a meditation in the purest sense of that word. Think about this, it says. Enjoy this. I did and I did.

It also made me realize that when seeing new works, I have gotten so used to the strain to impress, to make an impression, that I don't notice it anymore. Young writers, myself included, reach for the audience with every word. There's a muscularity to it. A competitiveness. A sense of urgency and ambition. Even at its most hidden, it's there.

Here, that strain is missing and it just made me breathe a little more deeply in the room. Not only because Shakespeare has nothing to prove (and neither, for that matter, does Peter Brook) but because there's not a moment in the piece that is more than it needs to be, or is even wantonly underplayed for its own sake. The moments are as they should be, the performances light but not weightless, the proceedings comfortable without ever feeling unimportant.

I don't feel the need to expound on the virtues of Shakespeare's sonnets. All I can say is that I was moved by the experience, and I heartily recommend seeing this. Even if only to contrast it with the hurlyburly of the average theater-going experience.

Love Is My Sin runs until April 17.

Final Performance of GLEE CLUB! Audience Response!

Tonight is our final performance. Thanks to everyone who has come to GLEE CLUB and enjoyed it.

As a special treat, I interviewed some of our audience members about their responses to the show. Take a look!

Outrageous Fortune finally sinks in

UPDATE!

Hey everyone -

I'd like to announce, with great sadness, that I am effectively ending my dream of being a playwright. I've done my best to live in denial, but after reading Outrageous Fortune, the facts are overwhelming. We're irrelevant, poor, and the institutions that were built in order to give the American Theater vibrancy and life have failed. Really, what is it about plays that is so necessary? No one gives a shit anymore. I quit, and you should quit, too.

What? We need more plays about politics? We need another play by a writer about what it means to write? We need more plays about how to have a love life? Someone else needs to reinterpret the Greeks?

Come on, people. There's nothing left. Why try? Why even goddamn try? All I know is that whatever impulse that once pushed me into writing plays was destroyed by the idea that it is very hard to make money at it.

After this one more play, I'm done.
Plays are useless in the age of film and television.
Right or wrong, it's my life and my choice.
I really do thank everyone who supported me and believed in me.
Love to all of you.

Forget what you wanted to be.
Only focus on what is possible.
Only see the world as it is.
Live free of expectation and ambition.
Sorry if that disappoints you all. But it really is the only choice.

Teaser

Looks like we'll be bringing my new play "That Old Soft Shoe" to the Too Soon Festival. More news as it appears.

Dear My Matthew Freeman

Hey Matt Freeman!

My favorite movie is also Star Wars.

And I love your comments section.