Do you feel that the science of "hard-wired" human behavior and genetic pre-determination makes it challenging to write drama? If your worldview is not Freudian, and you don't believe a person is the sum of their experiences and choices, but is more an external mirror of evolutionary and genetic forces... how does that affect how you write them?
This isn't an endorsement of either view. It's just a question I've been considering. To write drama, there is some part of it that seems to blame choices. If one character would only choose differently, or act with free will, they would be free or happy or safe. Plays have a belief in free will built into their DNA it seems. Even in the Greeks, where the Gods are acting upon human beings, human beings do seem free to act as they choose, and are punished for it or not by other free thinking entities.
If you view human nature as a product of environment, genetics, chemistry; where does that take psychological drama?
About Me
- Freeman
- 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, September 30, 2009
Joshua Conkel
Has a nifty blog. Enjoy it. Now. NOW! He's not going to be young and up-and-coming forever.
Tuesday, September 29, 2009
Recommendations from Flux
Blue Beard, by Matthew Freeman: This haunting and spare look at the classic myth of the Red Door has that rare gift some plays have of making an entirely new world seem real; it is a beautiful and brutal nightmare of a play that the right company could knock out of the park.
Gus at Flux writes this and other dandy recommendations. Check them out. Thanks Gus!
Some fun stuff on the horizon
Three new short plays written over the past week (That Old Soft Shoe, Snake Charming and The Dress You Should Wear) all of which I'm pretty excited about. Had a great meeting about a possible collaboration in October/November. If/when that becomes official, I'll let you know.
Monday, September 28, 2009
Plus
A new little ten minute to go along with the new one act, completed this weekend.
It's called Snake Charming for now. Probably will change the title.
Here's a bit of it:
It's called Snake Charming for now. Probably will change the title.
Here's a bit of it:
GUS
Amazing isn’t it? How we make it possible for them to have a communist system by feeding their economy from our capitalist trough? The Chinese are a great pig, their nose down in the dirt and pine cones and corn that we call the invisible hand of self-interest. We have reached the end of all possible questions about which economic system functions: there is one answer. We have reached the end of all debate about what sort of political system is uncorrupt and proper: there is one answer. For any elected official or American citizen to acknowledge their legitimacy is to be treasonous against all that was once good and holy and pure about the
Friday, September 25, 2009
Glenn Beck is humiliated by Twitter question
Katie Couric is (dare I say it) becoming my best friend.
To quote BECK: "Really? It’s amazing to me that, for the first time, I think in history somebody can ask a question and say, 'Don’t you think that maybe we have several pieces here?' We have several pieces; George Bush says my grandmother was a typical African-American that had, that had her views bred into her. You don’t think maybe we would ask questions about that comment? How is it that the first time I think in history, you should check on it, somebody says, 'Hey. There’s some red flags here maybe we should look at?' … How am I? How am I the target for asking questions?"
Thanks Leonard for the link.
Essays by Wallace Shawn
Pam picked up a copy of Essays by Wallace Shawn for me last week, and I've been reading it with interest. I certainly suggest that if you haven't picked up a copy, you do so.
There's lots of wonderful writing in it about class and the war in Iraq and theater. Reading this book causes the now obligatory pangs of class confusion in me, much like when I read Paul Auster's Hand to Mouth. They're almost opposing approaches to class (Auster seems almost unaware of his own privilege as he chooses to struggle; Wallace Shawn confronts his privilege head on) but both come from a place of relative wealth and ease.
Is it also a privilege to be cavalier about class and art? Wallace Shawn seems to view his privilege the way a neuroscientist must view his own emotions - he is fascinated, aware of all the little intricacies, but is still entirely a slave to it. His view of art is almost too amused - he enjoys it, he finds it pleasurable, he accepts entirely that it's got a small audience, and that he needs to make his living elsewhere. Auster, on the other hand, viewed making a living this way as a badge of honor. They're both kicking or embracing their own upper class...jealousy? Of those that can legitimately claim to have fought or are still fighting just for minor comforts?
Am I wrong in assuming that someone who is actually middle class, or from the working class, would never shrug so loudly at making a living or the legitimacy of his or her own output? I don't believe that people in the working class are immune to Auster's invention of his own struggles. We all want to live a very good story of personal triumph. We don't want it to be too easy. I've known plenty of people who view working as a sort of admission of defeat. Even people who really do need the money.
Worth some consideration. And, you're welcome, Wallace Shawn, for the free advertisement. Here is a carving from his essay "Myself And How I Got Into The Theatre". I'm interested to hear how you respond to it.
There's lots of wonderful writing in it about class and the war in Iraq and theater. Reading this book causes the now obligatory pangs of class confusion in me, much like when I read Paul Auster's Hand to Mouth. They're almost opposing approaches to class (Auster seems almost unaware of his own privilege as he chooses to struggle; Wallace Shawn confronts his privilege head on) but both come from a place of relative wealth and ease.
Is it also a privilege to be cavalier about class and art? Wallace Shawn seems to view his privilege the way a neuroscientist must view his own emotions - he is fascinated, aware of all the little intricacies, but is still entirely a slave to it. His view of art is almost too amused - he enjoys it, he finds it pleasurable, he accepts entirely that it's got a small audience, and that he needs to make his living elsewhere. Auster, on the other hand, viewed making a living this way as a badge of honor. They're both kicking or embracing their own upper class...jealousy? Of those that can legitimately claim to have fought or are still fighting just for minor comforts?
Am I wrong in assuming that someone who is actually middle class, or from the working class, would never shrug so loudly at making a living or the legitimacy of his or her own output? I don't believe that people in the working class are immune to Auster's invention of his own struggles. We all want to live a very good story of personal triumph. We don't want it to be too easy. I've known plenty of people who view working as a sort of admission of defeat. Even people who really do need the money.
Worth some consideration. And, you're welcome, Wallace Shawn, for the free advertisement. Here is a carving from his essay "Myself And How I Got Into The Theatre". I'm interested to hear how you respond to it.
"Is theatre an 'art form?' Is drama an 'art?' Poetry is an art. Painting is an art. But can a play seriously be compared to a poem or a painting? Can you seriously claim that a play can be compared to a string quartet? [...] doesn't the essence of theatre really lie not in it aesthetic possibilities but instead its special ability to reflect the real world, its special ability to serve as a mirror?"
Thursday, September 24, 2009
You know what's really great?
Writing plays. I really enjoy it.
Just thought I'd mention that. I don't think I do enough.
Just thought I'd mention that. I don't think I do enough.
Wednesday, September 23, 2009
Thanks and Congratulations
Thanks to the staff of the New York Innovative Theater Awards for inviting me to write the presenter's text this year. Definitely an experience that's hard to replicate: some presenters just sort of wrote their own (all very good); some treated the text like kryptonite ("they gave me something to read...") and others read it with aplomb and grace. All in all, I feel like it went well. All of that was just a bit of background noise compared to the incredibly impressive production that Nick, Shay and Jason were able to put together. 5 years old, huh? Wow.
Of course, congratulations to all the winners and nominees.
Here's the list:
OUTSTANDING ENSEMBLE
RECIPIENT: Christopher Borg, Jeffrey Cranor, Kevin R. Free, Eevin Hartsough,
(Not) Just A Day Like Any Other, New York Neo-Futurists
Kether Donohue, Phyllis Johnson, Jenny Maguire, Chris McKinney, Flaco Navaja, Jennifer Dorr White,
Blue Before Morning, terraNOVA Collective
Bard Goodrich, Ken Matthews, Megan McQuillan, Michael Solomon, Michael Szeles, Chris Thorn,
Most Damaging Wound, The Production Company
Laura Butler, Drae Campbell, Dawn Eshelman, Connie Hall, Ikuko Ikari, Hana Kalinski, Eunjee Lee, Mark Lindberg, Alanna Medlock, Jy Murphy, Jorge Alberto Rubio, Magin Schantz, Maureen Sebastian,
Oph3lia, knife, inc. and HERE Arts Center
Geraldine Bartlett, Brian D. Coats, Katrina Foy, William Jackson Harper, Khris Lewin, Carolyn McCandlish, Joe Mullen, Frank Rodriguez, Christopher Rubin, Jeremy Schwartz, Joe Sullivan, Andrew Zimmerman,
Stomp and Shout (an' Work it All Out), Babel Theatre Project
Joe Basile, Jill Beckman, Christopher Borg, Jeffrey Cranor, Cara Francis, Kevin R. Free, Ryan Good, Alicia Harding, Eevin Hartsough, Jacquelyn Landgraf, Sarah Levy, Erica Livingston, Rob Neill, Lauren Parrish, Joey Rizzolo, Justin Tolley, Too Much Light Makes the Baby Go Blind, New York Neo-Futurists
Esther Barlow, Jennifer Gordon Thomas, Jason Howard, David Lamberton, David Ian Lee, Michelle O'Connor, Ridley Parson, Nancy Sirianni, Tarantino Smith, Ben Sulzbach,
Universal Robots, Manhattan Theatre Source in association with Gideon Productions
OUTSTANDING SOLO PERFORMANCE
RECIPIENT: Jeff Grow,
Creating Illusion, soloNOVA Arts Festival
Martin Dockery,
The Surprise, soloNOVA Arts Festival
Leigh Evans,
Traces, soloNOVA Arts Festival
Abena Koomson,
Cozi Sa Wala: Magic Words, soloNOVA Arts Festival
Micia Mosely,
Where My Girls At?, Nursha in association with soloNOVA Arts Festival
Una Aya Osato,
Recess, FRIGID Festival
OUTSTANDING ACTOR IN A FEATURED ROLE
RECIPIENT: William Apps IV,
Amerissiah, The Amoralists Theatre Company
Nicoye Banks,
The High Priestess of Dark Alley, Billie Holiday Theatre
Roy Clary,
McReele, Conflict of Interest Theater Company
Clint Morris,
Like You Like It, The Gallery Players
Jeffrey Plunkett,
All the Rage, Manhattan Theatre Source/Dark Brew Productions
Chris Thorn,
Most Damaging Wound, The Production Company
OUTSTANDING ACTRESS IN A FEATURED ROLE
RECIPIENT: Constance Parng,
Lee/gendary, HERE Arts Center
Ivanna Cullinan,
The Granduncle Quadrilogy: Tales from the Land of Ice, Piper McKenzie
Brynn Curry,
Like You Like It, The Gallery Players
Phyllis Johnson,
Blue Before Morning, terraNOVA Collective
Maura McNamara,
The Real Thing, T. Schreiber Studio
Aura Vence,
The High Priestess of Dark Alley, Billie Holiday Theatre
OUTSTANDING ACTOR IN A LEAD ROLE
RECIPIENT: Julian Elfer,
Twelfth Night, or What You Will,
T. Schreiber Studio
Jaron Farnham,
Still the River Runs, Zootopia Theatre Company
Steve French,
Still the River Runs, Zootopia Theatre Company
Jason Howard,
Universal Robots, Manhattan Theatre Source in association with Gideon Productions
David Ian Lee,
The Reckoning of Kit & Little Boots, The Gallery Players in association with Engine37
August Schulenburg,
8 Little Antichrists, Flux Theatre Ensemble
OUTSTANDING ACTRESS IN A LEAD ROLE
RECIPIENT: Elyse Mirto,
Any Day Now, Writer's Forum at Manhattan Theatre Source
Katrina Foy,
Stomp and Shout (an' Work it All Out), Babel Theatre Project
Soomi Kim,
Lee/gendary, HERE Arts Center
Jan Maxwell,
Scenes from an Execution, Potomac Theatre Project
Nedra McClyde,
Miss Evers' Boys, Red Fern Theatre Company
Kate Middleton,
Avow, The Cardinal Group
OUTSTANDING CHOREOGRAPHY/MOVEMENT
RECIPIENT: Austin McCormick,
The Judgment of Paris, Company XIV
Keith Andrews,
Like You Like It, The Gallery Players
Airon Armstrong & Soomi Kim, Lee/gendary, HERE Arts Center
Edward Elefterion,
Shadow of Himself, Rabbit Hole Ensemble
Leigh Evans,
Traces, soloNOVA Arts Festival
Stefanie Smith,
The Selfish Giant, Literally Alive Children's Theatre
OUTSTANDING DIRECTOR
RECIPIENT: Suzi Takahashi,
Lee/gendary, HERE Arts Center
Geordie Broadwater,
Stomp and Shout (an' Work it All Out), Babel Theatre Project
Nat Cassidy,
Any Day Now, Writer's Forum at Manhattan Theatre Source
Gia Forakis,
Blue Before Morning, terraNOVA Collective
Vit Horejs,
The Very Sad Story of Ethel & Julius, Lovers and Spyes and about Their Untymelie End while Sitting in a Small Room at the Correctional Facility in Ossining, N.Y., GOH Productions
Matthew J. Nichols,
Still the River Runs, Zootopia Theatre Company
OUTSTANDING LIGHTING DESIGN
RECIPIENT: Bruce Steinberg,
Blue Before Morning, terraNOVA Collective
Lucrecia Briceno,
Lee/gendary, HERE Arts Center
Ian W. Hill,
The Granduncle Quadrilogy: Tales from the Land of Ice, Piper McKenzie
Andrew Lu,
Still the River Runs, Zootopia Theatre Company
Jennifer Rathbone,
Angel Eaters, Flux Theatre Ensemble
Federico Restrepo,
The Very Sad Story of Ethel & Julius, Lovers and Spyes and about Their Untymelie End while Sitting in a Small Room at the Correctional Facility in Ossining, N.Y., GOH Productions
OUTSTANDING COSTUME DESIGN
RECIPIENT: Michelle Beshaw,
The Very Sad Story of Ethel & Julius, Lovers and Spyes and about Their Untymelie End while Sitting in a Small Room at the Correctional Facility in Ossining, N.Y., GOH Productions
Emily Morgan DeAngelis,
Angel Eaters, Flux Theatre Ensemble
Olivera Gajic,
The Judgment of Paris, Company XIV
Hunter Kaczorowski,
Like You Like It, The Gallery Players
Becky Lasky,
Stomp and Shout (an' Work it All Out), Babel Theatre Project
Karen Ann Ledger,
Twelfth Night, or What You Will, T. Schreiber Studio
OUTSTANDING SET DESIGN
RECIPIENT: Michael P. Kramer,
Ragtime, Astoria Performing Arts Center
George Allison,
Twelfth Night, or What You Will, T. Schreiber Studio
Jim Boutin,
Coming, Aphrodite!, LaMaMa ETC in association with Watson Arts
Tristan Jeffers,
Stomp and Shout (an' Work it All Out), Babel Theatre Project
Caleb Levengood,
Angel Eaters, Flux Theatre Ensemble
Blair Mielnik,
To Barcelona!, Ignited States Production Company
OUTSTANDING SOUND DESIGN
RECIPIENT: Asa Wember,
Angel Eaters, Flux Theatre Ensemble
Dan Bianchi,
Dracula, Radiotheatre
Katie Down,
Blue Before Morning, terraNOVA Collective
Austin McCormick,
The Judgment of Paris, Company XIV
Nick Moore,
23 Knives, Resonance Ensemble
Chris Rummel,
Twelfth Night, or What You Will, T. Schreiber Studio
OUTSTANDING ORIGINAL MUSIC
RECIPIENT: Kimmy Gatewood, Andy Hertz, Rebekka Johnson, Sarah Lowe, Jeff Solomon,
The Apple Sisters, The Apple Sisters
Drew Cutler,
Still the River Runs, Zootopia Theatre Company
Mark Ettinger & Paul Foglino,
Coming, Aphrodite!, LaMaMa ETC in association with Watson Arts
Gerard Keenan,
Angel Eaters, Flux Theatre Ensemble
Dave Malloy,
Beowulf - A Thousand Years Of Baggage, Shotgun Players in association with Banana Bag & Bodice
Nick Moore,
23 Knives, Resonance Ensemble
OUTSTANDING FULL-LENGTH SCRIPT
RECIPIENT: Nat Cassidy,
The Reckoning of Kit & Little Boots, The Gallery Players in association with Engine37
Johnna Adams,
Angel Eaters, Flux Theatre Ensemble
Derek Ahonen,
Amerissiah, The Amoralists Theatre Company
James Carmichael,
Stomp and Shout (an' Work it All Out), Babel Theatre Project
Kate McGovern,
Blue Before Morning, terraNOVA Collective
Mac Rogers,
Universal Robots, Manhattan Theatre Source in association with Gideon Productions
OUTSTANDING SHORT SCRIPT
RECIPIENT: Nico Vreeland,
Elephants on Parade 2009, EBE Ensemble
Martin Dockery,
The Surprise, soloNOVA Arts Festival
Ira Gamerman,
Elephants on Parade 2009, EBE Ensemble
Jeff Grow,
Creating Illusion, soloNOVA Arts Festival
Kristen Kosmas,
The Scandal!, The Management
Kitt Lavoie,
Perceptions, An Evening of One Acts, The Rising Sun Performance Company
OUTSTANDING PERFORMANCE ART PRODUCTION
RECIPIENT: Creating Illusion,
soloNOVA Arts Festival
Cirque du Quoi?!?,
Human Flight Productions, Lady Circus & Gramily Entertainment
Dracula,
Radiotheatre
Miss America,
LaMaMa ETC in association with Split Britches
Too Much Light Makes the Baby Go Blind, New York Neo-Futurists
Traces,
soloNOVA Arts Festival
OUTSTANDING PRODUCTION OF A MUSICAL
RECIPIENT: Like You Like It,
The Gallery Players
The 103rd Annual Performance of Ruddigore, or The Witch's Curse, Presented by Murgatroyd's Hospital for Mental Rehabilitation,
Ruddy Gore Maine,
Theater 1010
The Apple Sisters,
The Apple Sisters
Coming, Aphrodite!,
LaMaMa ETC in association with Watson Arts
Ragtime,
Astoria Performing Arts Center
The Who's Tommy,
The Gallery Players
OUTSTANDING PRODUCTION OF A PLAY
RECIPIENT: Lee/gendary,
HERE Arts Center
Blue Before Morning,
terraNOVA Collective
The Reckoning of Kit & Little Boots,
The Gallery Players in association with Engine37
Still the River Runs,
Zootopia Theatre Company
Stomp and Shout (an' Work it All Out),
Babel Theatre Project
Suspicious Package: an interactive noir,
The Fifth Wall
Universal Robots,
Manhattan Theatre Source in association with Gideon Productions
ARTISTIC ACHIEVEMENT AWARD
RECIPIENT: Maria Irene Fornes
STEWARDSHIP AWARD
RECIPIENT: Material For The Arts
OUTSTANDING STAGE MANAGER
RECIPIENT: Jillian Zeman
CAFFE CINO FELLOWSHIP AWARD
RECIPIENT: The Brick Theater, Inc.
Of course, congratulations to all the winners and nominees.
Here's the list:
OUTSTANDING ENSEMBLE
RECIPIENT: Christopher Borg, Jeffrey Cranor, Kevin R. Free, Eevin Hartsough,
(Not) Just A Day Like Any Other, New York Neo-Futurists
Kether Donohue, Phyllis Johnson, Jenny Maguire, Chris McKinney, Flaco Navaja, Jennifer Dorr White,
Blue Before Morning, terraNOVA Collective
Bard Goodrich, Ken Matthews, Megan McQuillan, Michael Solomon, Michael Szeles, Chris Thorn,
Most Damaging Wound, The Production Company
Laura Butler, Drae Campbell, Dawn Eshelman, Connie Hall, Ikuko Ikari, Hana Kalinski, Eunjee Lee, Mark Lindberg, Alanna Medlock, Jy Murphy, Jorge Alberto Rubio, Magin Schantz, Maureen Sebastian,
Oph3lia, knife, inc. and HERE Arts Center
Geraldine Bartlett, Brian D. Coats, Katrina Foy, William Jackson Harper, Khris Lewin, Carolyn McCandlish, Joe Mullen, Frank Rodriguez, Christopher Rubin, Jeremy Schwartz, Joe Sullivan, Andrew Zimmerman,
Stomp and Shout (an' Work it All Out), Babel Theatre Project
Joe Basile, Jill Beckman, Christopher Borg, Jeffrey Cranor, Cara Francis, Kevin R. Free, Ryan Good, Alicia Harding, Eevin Hartsough, Jacquelyn Landgraf, Sarah Levy, Erica Livingston, Rob Neill, Lauren Parrish, Joey Rizzolo, Justin Tolley, Too Much Light Makes the Baby Go Blind, New York Neo-Futurists
Esther Barlow, Jennifer Gordon Thomas, Jason Howard, David Lamberton, David Ian Lee, Michelle O'Connor, Ridley Parson, Nancy Sirianni, Tarantino Smith, Ben Sulzbach,
Universal Robots, Manhattan Theatre Source in association with Gideon Productions
OUTSTANDING SOLO PERFORMANCE
RECIPIENT: Jeff Grow,
Creating Illusion, soloNOVA Arts Festival
Martin Dockery,
The Surprise, soloNOVA Arts Festival
Leigh Evans,
Traces, soloNOVA Arts Festival
Abena Koomson,
Cozi Sa Wala: Magic Words, soloNOVA Arts Festival
Micia Mosely,
Where My Girls At?, Nursha in association with soloNOVA Arts Festival
Una Aya Osato,
Recess, FRIGID Festival
OUTSTANDING ACTOR IN A FEATURED ROLE
RECIPIENT: William Apps IV,
Amerissiah, The Amoralists Theatre Company
Nicoye Banks,
The High Priestess of Dark Alley, Billie Holiday Theatre
Roy Clary,
McReele, Conflict of Interest Theater Company
Clint Morris,
Like You Like It, The Gallery Players
Jeffrey Plunkett,
All the Rage, Manhattan Theatre Source/Dark Brew Productions
Chris Thorn,
Most Damaging Wound, The Production Company
OUTSTANDING ACTRESS IN A FEATURED ROLE
RECIPIENT: Constance Parng,
Lee/gendary, HERE Arts Center
Ivanna Cullinan,
The Granduncle Quadrilogy: Tales from the Land of Ice, Piper McKenzie
Brynn Curry,
Like You Like It, The Gallery Players
Phyllis Johnson,
Blue Before Morning, terraNOVA Collective
Maura McNamara,
The Real Thing, T. Schreiber Studio
Aura Vence,
The High Priestess of Dark Alley, Billie Holiday Theatre
OUTSTANDING ACTOR IN A LEAD ROLE
RECIPIENT: Julian Elfer,
Twelfth Night, or What You Will,
T. Schreiber Studio
Jaron Farnham,
Still the River Runs, Zootopia Theatre Company
Steve French,
Still the River Runs, Zootopia Theatre Company
Jason Howard,
Universal Robots, Manhattan Theatre Source in association with Gideon Productions
David Ian Lee,
The Reckoning of Kit & Little Boots, The Gallery Players in association with Engine37
August Schulenburg,
8 Little Antichrists, Flux Theatre Ensemble
OUTSTANDING ACTRESS IN A LEAD ROLE
RECIPIENT: Elyse Mirto,
Any Day Now, Writer's Forum at Manhattan Theatre Source
Katrina Foy,
Stomp and Shout (an' Work it All Out), Babel Theatre Project
Soomi Kim,
Lee/gendary, HERE Arts Center
Jan Maxwell,
Scenes from an Execution, Potomac Theatre Project
Nedra McClyde,
Miss Evers' Boys, Red Fern Theatre Company
Kate Middleton,
Avow, The Cardinal Group
OUTSTANDING CHOREOGRAPHY/MOVEMENT
RECIPIENT: Austin McCormick,
The Judgment of Paris, Company XIV
Keith Andrews,
Like You Like It, The Gallery Players
Airon Armstrong & Soomi Kim, Lee/gendary, HERE Arts Center
Edward Elefterion,
Shadow of Himself, Rabbit Hole Ensemble
Leigh Evans,
Traces, soloNOVA Arts Festival
Stefanie Smith,
The Selfish Giant, Literally Alive Children's Theatre
OUTSTANDING DIRECTOR
RECIPIENT: Suzi Takahashi,
Lee/gendary, HERE Arts Center
Geordie Broadwater,
Stomp and Shout (an' Work it All Out), Babel Theatre Project
Nat Cassidy,
Any Day Now, Writer's Forum at Manhattan Theatre Source
Gia Forakis,
Blue Before Morning, terraNOVA Collective
Vit Horejs,
The Very Sad Story of Ethel & Julius, Lovers and Spyes and about Their Untymelie End while Sitting in a Small Room at the Correctional Facility in Ossining, N.Y., GOH Productions
Matthew J. Nichols,
Still the River Runs, Zootopia Theatre Company
OUTSTANDING LIGHTING DESIGN
RECIPIENT: Bruce Steinberg,
Blue Before Morning, terraNOVA Collective
Lucrecia Briceno,
Lee/gendary, HERE Arts Center
Ian W. Hill,
The Granduncle Quadrilogy: Tales from the Land of Ice, Piper McKenzie
Andrew Lu,
Still the River Runs, Zootopia Theatre Company
Jennifer Rathbone,
Angel Eaters, Flux Theatre Ensemble
Federico Restrepo,
The Very Sad Story of Ethel & Julius, Lovers and Spyes and about Their Untymelie End while Sitting in a Small Room at the Correctional Facility in Ossining, N.Y., GOH Productions
OUTSTANDING COSTUME DESIGN
RECIPIENT: Michelle Beshaw,
The Very Sad Story of Ethel & Julius, Lovers and Spyes and about Their Untymelie End while Sitting in a Small Room at the Correctional Facility in Ossining, N.Y., GOH Productions
Emily Morgan DeAngelis,
Angel Eaters, Flux Theatre Ensemble
Olivera Gajic,
The Judgment of Paris, Company XIV
Hunter Kaczorowski,
Like You Like It, The Gallery Players
Becky Lasky,
Stomp and Shout (an' Work it All Out), Babel Theatre Project
Karen Ann Ledger,
Twelfth Night, or What You Will, T. Schreiber Studio
OUTSTANDING SET DESIGN
RECIPIENT: Michael P. Kramer,
Ragtime, Astoria Performing Arts Center
George Allison,
Twelfth Night, or What You Will, T. Schreiber Studio
Jim Boutin,
Coming, Aphrodite!, LaMaMa ETC in association with Watson Arts
Tristan Jeffers,
Stomp and Shout (an' Work it All Out), Babel Theatre Project
Caleb Levengood,
Angel Eaters, Flux Theatre Ensemble
Blair Mielnik,
To Barcelona!, Ignited States Production Company
OUTSTANDING SOUND DESIGN
RECIPIENT: Asa Wember,
Angel Eaters, Flux Theatre Ensemble
Dan Bianchi,
Dracula, Radiotheatre
Katie Down,
Blue Before Morning, terraNOVA Collective
Austin McCormick,
The Judgment of Paris, Company XIV
Nick Moore,
23 Knives, Resonance Ensemble
Chris Rummel,
Twelfth Night, or What You Will, T. Schreiber Studio
OUTSTANDING ORIGINAL MUSIC
RECIPIENT: Kimmy Gatewood, Andy Hertz, Rebekka Johnson, Sarah Lowe, Jeff Solomon,
The Apple Sisters, The Apple Sisters
Drew Cutler,
Still the River Runs, Zootopia Theatre Company
Mark Ettinger & Paul Foglino,
Coming, Aphrodite!, LaMaMa ETC in association with Watson Arts
Gerard Keenan,
Angel Eaters, Flux Theatre Ensemble
Dave Malloy,
Beowulf - A Thousand Years Of Baggage, Shotgun Players in association with Banana Bag & Bodice
Nick Moore,
23 Knives, Resonance Ensemble
OUTSTANDING FULL-LENGTH SCRIPT
RECIPIENT: Nat Cassidy,
The Reckoning of Kit & Little Boots, The Gallery Players in association with Engine37
Johnna Adams,
Angel Eaters, Flux Theatre Ensemble
Derek Ahonen,
Amerissiah, The Amoralists Theatre Company
James Carmichael,
Stomp and Shout (an' Work it All Out), Babel Theatre Project
Kate McGovern,
Blue Before Morning, terraNOVA Collective
Mac Rogers,
Universal Robots, Manhattan Theatre Source in association with Gideon Productions
OUTSTANDING SHORT SCRIPT
RECIPIENT: Nico Vreeland,
Elephants on Parade 2009, EBE Ensemble
Martin Dockery,
The Surprise, soloNOVA Arts Festival
Ira Gamerman,
Elephants on Parade 2009, EBE Ensemble
Jeff Grow,
Creating Illusion, soloNOVA Arts Festival
Kristen Kosmas,
The Scandal!, The Management
Kitt Lavoie,
Perceptions, An Evening of One Acts, The Rising Sun Performance Company
OUTSTANDING PERFORMANCE ART PRODUCTION
RECIPIENT: Creating Illusion,
soloNOVA Arts Festival
Cirque du Quoi?!?,
Human Flight Productions, Lady Circus & Gramily Entertainment
Dracula,
Radiotheatre
Miss America,
LaMaMa ETC in association with Split Britches
Too Much Light Makes the Baby Go Blind, New York Neo-Futurists
Traces,
soloNOVA Arts Festival
OUTSTANDING PRODUCTION OF A MUSICAL
RECIPIENT: Like You Like It,
The Gallery Players
The 103rd Annual Performance of Ruddigore, or The Witch's Curse, Presented by Murgatroyd's Hospital for Mental Rehabilitation,
Ruddy Gore Maine,
Theater 1010
The Apple Sisters,
The Apple Sisters
Coming, Aphrodite!,
LaMaMa ETC in association with Watson Arts
Ragtime,
Astoria Performing Arts Center
The Who's Tommy,
The Gallery Players
OUTSTANDING PRODUCTION OF A PLAY
RECIPIENT: Lee/gendary,
HERE Arts Center
Blue Before Morning,
terraNOVA Collective
The Reckoning of Kit & Little Boots,
The Gallery Players in association with Engine37
Still the River Runs,
Zootopia Theatre Company
Stomp and Shout (an' Work it All Out),
Babel Theatre Project
Suspicious Package: an interactive noir,
The Fifth Wall
Universal Robots,
Manhattan Theatre Source in association with Gideon Productions
ARTISTIC ACHIEVEMENT AWARD
RECIPIENT: Maria Irene Fornes
STEWARDSHIP AWARD
RECIPIENT: Material For The Arts
OUTSTANDING STAGE MANAGER
RECIPIENT: Jillian Zeman
CAFFE CINO FELLOWSHIP AWARD
RECIPIENT: The Brick Theater, Inc.
Monday, September 21, 2009
Sunday, September 20, 2009
NYIT Awards Tonight
Sorry I have been remiss is blogging the last week or so. Life catches up with a person.
Tonight is the 5th Annual New York Innovative Theater Awards show. The presenter's text was written by yours truly. Never written anything quite like it before, so...I hope it goes well. But I'm just background music to the awards, including a special citation for the Brick Theater.
The event is sold out, but you can enjoy live coverage of the event here. The live blogger will be Aaron Riccio, of ThatSoundsCool.
Best wishes to all the nominees and to the production team as well. See you there!
Wednesday, September 16, 2009
Tuesday, September 15, 2009
After a brief foray into Cat Blogging
I would like to remind anyone reading this that MilkMilkLemonade is running, written by Joshua Conkel and directed by Isaac Butler. You should see it.
I would assume if you read theater blogs, you want to see us all put our money where our mouths are. Go, judge Isaac Butler. Judge him! Pay $18 for the right!
How's that for a plug?
I would assume if you read theater blogs, you want to see us all put our money where our mouths are. Go, judge Isaac Butler. Judge him! Pay $18 for the right!
How's that for a plug?
Sunday, September 13, 2009
Friday, September 11, 2009
9/11 today
I've got nothing to say that hasn't been said. I hope everyone is feeling okay - especially here in NYC.
Thursday, September 10, 2009
writing The Bull Crime
I'm in the midst of writing a new play called The Bull Crime. It's a fun piece of trickery, full of hogwash and weirdness and scenes about the removal of body hair. I hope to see it born shortly.
For all you structure-happy process fetishists, it's a two act play that's set almost entirely in a single conference room. I've been futzing with my plan of attack. When certain pieces of information appear, how to slowly ratchet up the dilemmas of the characters, who tells the truth, who lies. It's probably closest in spirit to The Most Wonderful Love or The Great Escape. Certainly more outlandish than Glee Club, but less moody or novelistic than When is a Clock.
I shared a bit of it on the blog not long ago here.
I find it sort of fun to share things in process with you guys. Hopefully, this stuff is fun for you to read as well.
Here's another little tidbit.
For all you structure-happy process fetishists, it's a two act play that's set almost entirely in a single conference room. I've been futzing with my plan of attack. When certain pieces of information appear, how to slowly ratchet up the dilemmas of the characters, who tells the truth, who lies. It's probably closest in spirit to The Most Wonderful Love or The Great Escape. Certainly more outlandish than Glee Club, but less moody or novelistic than When is a Clock.
I shared a bit of it on the blog not long ago here.
I find it sort of fun to share things in process with you guys. Hopefully, this stuff is fun for you to read as well.
Here's another little tidbit.
MAGNUS
Profit margin zed nine alpha oversight committee fifty three means the equation of selflessness and altruism is as good as makes no odds. Graph 32, here shown as exhibit B, ruins all hope for a mortal life. Vampirism and overhead compartments are mandatory under the rules of Section 3(d) of the California Department of Regulated Insurance properties. As such, we maintain reserve requirements in excess of the amount of blood it would take to replace the
3rd Annual One-Minute Play Festival
This year, the 3rd, there are two must-see evening, Saturday and Sunday, at HERE.
Read all about it on Broadway World, find it on the HERE calendar, or find details on Facebook.
Saturday is Program A with plays by Program A (Sat Sept 12th): plays by: Ashlin Halfnight, Emily Conbere, Bixby Elliot, John Devore, Michael John Garces, Jakob Holder, Jessica Litwak, Matt Olmos, Saviana Stanescu, Kyle Jarrow, Ken Urban, David Zellnik, Lanna Joffrey, Megan Mostyn-Brown, Liz Meriwether, Mat Smart, Mac Rogers, Andrea Thome, Matt Freeman, James Comtois, anton dudley, Christine Evans, Robert Kerr, Callie Kimball, Sam Forman, Rajiv Joseph, Padraic Lillis, Trav SD & more!
Sunday is Program B with plays by Callie Kimball, Clay Mcleod Chapman, Dave Anzuelo, Bixby Elliot, Kris Diaz, Christine Evans, Jeff Lewonczyk, J Julian Christopher, Courtney Brook Lauria, Adam Szymkowicz, Migdalia Cruz, Chiori Miyagawa, Ian Cohen, anton dudley, Michael John Garces, Matt Olmos, Saviana Stanescu, Crystal Skillman, Liz Meriwether, Matt Freeman, Matt Schatz, Caridad Svich, August Schulenburg, Chris Harcum, Daniel Talbott, Trav SD & more!
I have plays in both evening: Saturday is Carbon Footprint, from last year's festival, back by popular demand. Sunday is the new one: Good Advice.
This. Will. Sell. Out. It has a billion writers. Not buying a ticket now is basically not getting in.
See you there!
Read all about it on Broadway World, find it on the HERE calendar, or find details on Facebook.
Saturday is Program A with plays by Program A (Sat Sept 12th): plays by: Ashlin Halfnight, Emily Conbere, Bixby Elliot, John Devore, Michael John Garces, Jakob Holder, Jessica Litwak, Matt Olmos, Saviana Stanescu, Kyle Jarrow, Ken Urban, David Zellnik, Lanna Joffrey, Megan Mostyn-Brown, Liz Meriwether, Mat Smart, Mac Rogers, Andrea Thome, Matt Freeman, James Comtois, anton dudley, Christine Evans, Robert Kerr, Callie Kimball, Sam Forman, Rajiv Joseph, Padraic Lillis, Trav SD & more!
Sunday is Program B with plays by Callie Kimball, Clay Mcleod Chapman, Dave Anzuelo, Bixby Elliot, Kris Diaz, Christine Evans, Jeff Lewonczyk, J Julian Christopher, Courtney Brook Lauria, Adam Szymkowicz, Migdalia Cruz, Chiori Miyagawa, Ian Cohen, anton dudley, Michael John Garces, Matt Olmos, Saviana Stanescu, Crystal Skillman, Liz Meriwether, Matt Freeman, Matt Schatz, Caridad Svich, August Schulenburg, Chris Harcum, Daniel Talbott, Trav SD & more!
I have plays in both evening: Saturday is Carbon Footprint, from last year's festival, back by popular demand. Sunday is the new one: Good Advice.
This. Will. Sell. Out. It has a billion writers. Not buying a ticket now is basically not getting in.
See you there!
"You lie!"
I get the impression that this is the GOPs version of the Howard Dean scream moment. Wilson will be hung around the Republican's neck as an example of what they've become.
Something biblical applies here, no? Reaping and sowing?
Something biblical applies here, no? Reaping and sowing?
Tuesday, September 08, 2009
Effie Jean in Tahiti
I went to see the new family-friendly musical Effie Jean in Tahiti this past week. It's written by David Johnston and Stephen Speights, and features a fantastic cast.
If you have children, you really have to see it. My friend's six year old has already seen it twice. It's got fun performances, hilarious dances, colorful costumes, and a plucky leading lady (played with aplomb my Laura Desmond) and her awesome brother (played by Matt Trumbull.)
But as an adult, childless and, in fact, without even so much as my own womb, I sat there laughing my butt off, delighted by the whole thing. David Johnston is easily one of the best writers working in New York today, and in a way that is entirely satisfying. He's clever without grandstanding, heartwarming without a hint of sucrose, is a master of the turn of phrase and, yes, an expert joker. He's definitely stretching by writing family friendly work (most of his work will make you cry laughing) but it feels as if he's been doing it for years.
It runs until September 20th. So get your tickets. Bring the kids.
If you have children, you really have to see it. My friend's six year old has already seen it twice. It's got fun performances, hilarious dances, colorful costumes, and a plucky leading lady (played with aplomb my Laura Desmond) and her awesome brother (played by Matt Trumbull.)
But as an adult, childless and, in fact, without even so much as my own womb, I sat there laughing my butt off, delighted by the whole thing. David Johnston is easily one of the best writers working in New York today, and in a way that is entirely satisfying. He's clever without grandstanding, heartwarming without a hint of sucrose, is a master of the turn of phrase and, yes, an expert joker. He's definitely stretching by writing family friendly work (most of his work will make you cry laughing) but it feels as if he's been doing it for years.
It runs until September 20th. So get your tickets. Bring the kids.
Tuesday, September 01, 2009
September 1st
How the hell did that happen?
It's clear that, as the summer ends, I'm doing this and that and not blogging very hard and fast. I'm sure that will change at some point. In the meantime, prepare to be linked to stuff more often than not.
I'm excited to be writing the presenters' text for the 5th Annual NYIT Awards, by the way. It's certainly a challenge.
It's clear that, as the summer ends, I'm doing this and that and not blogging very hard and fast. I'm sure that will change at some point. In the meantime, prepare to be linked to stuff more often than not.
I'm excited to be writing the presenters' text for the 5th Annual NYIT Awards, by the way. It's certainly a challenge.
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