About Me

My photo
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, April 07, 2010


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.

No comments: