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.

Friday, November 04, 2011


I'm having a fine time writing my newest play, but it's come with a fun problem I'm not quite used to. It has extended scenes where there are many characters on stage, at basically a Brooklyn dinner party. I'm not a big fan, in instances like these, of the "everyone is just talking at once" thing. I feel like I'm trying to write a very traditional play in a lot of ways. Still, though, that requires a little sleight of hand in places, and a lot of juggling. I'll be trucking along with a little scene or progression of beats, when I realize someone hasn't spoken for quite a while. Then, of course, I have to go figure out where the heck Dawn went while Jason and Michelle were going on about moving to Columbus.

When I write a play, one of the biggest challenges for me is keeping in balance the desire to speak with instinct and spontaneity; and organizing the entrances, exits, order of speakers, fitting the pieces together. It's sort of like trying to finish a jigsaw puzzle with all the force you can muster.

1 comment:

joshcon80 said...

Just make it a super awkward diner party with long pauses and lots of silverware against plates.

You're welcome!