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, November 12, 2008
We won this frickin' thing
I would like to direct your attention to this essay at the Huffington Post, written just after the Republican National Convention, by Adam McKay. Just because it makes me feel smug.
Great post over at Storefront Rebellion
Taking up Tony Adam's charge about content.
"Tonight, for the second year in a row, I took in the WTA's Actors' Scene Showcase, in which a bunch of actors, most fresh out of undergrad or grad school and new to the city, perform scenes for casting directors and theater nerds like myself in hopes of getting noticed. Because they're mostly just out of school, they perform stuff by playwrights whose work is currently getting noticed in schools, the ones who are regularly written about in American Theatre and taught in scene study classes: Neil LaBute, Sarah Ruhl, Martin McDonagh. My friend Brooke, a director and playwright herself, pointed out a double-whammy of my favorites: a LaBute scene from Autobahn ("That Neil LaBute just loves women so much") followed by Ruhl's Melancholy Play ("Okay, I get your whimsy thing now.")
Tuesday, November 11, 2008
Where you buy and what you buy
Just something I'm curious about...
Do you, dear reader, buy a lot of theater books and published editions of plays? If so, in what way?
Do you primarily buy online, through Amazon or a publisher's website, do you prefer to go to a favorite bookstore? Or some combination of the two?
Also, what prompts you to purchase a play? Have you ever bought a play you weren't very familiar with, simply out of curiosity? Or do you more than likely buy scripts you know to be exceptional and well-regarded plays, like Coast of Utopia or August: Osage County?
I ask this because I've been under the impression that most people buy well-regarded plays, but do so, in keeping with the cheerfully anachronistic lifestyle of most theater practitioners and audiences, at bookstores.
Do you, dear reader, buy a lot of theater books and published editions of plays? If so, in what way?
Do you primarily buy online, through Amazon or a publisher's website, do you prefer to go to a favorite bookstore? Or some combination of the two?
Also, what prompts you to purchase a play? Have you ever bought a play you weren't very familiar with, simply out of curiosity? Or do you more than likely buy scripts you know to be exceptional and well-regarded plays, like Coast of Utopia or August: Osage County?
I ask this because I've been under the impression that most people buy well-regarded plays, but do so, in keeping with the cheerfully anachronistic lifestyle of most theater practitioners and audiences, at bookstores.
Monday, November 10, 2008
A Letter from Martin Denton
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Friday, November 07, 2008
The Most Damaging Wound
The Most Damaging Wound opens tonight. It's a new play by Blair Singer, directed by our pal Mark Armstrong.
Definitely check it out!
Mark posted a series of videos to illuminate us about the show. Take a look.
#1
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#4
Thursday, November 06, 2008
Quote
- "I can picture in my mind a world without war, a world without hate. And I can picture us attacking that world, because they'd never expect it."
- Jack Handey, Deep Thoughts
Wednesday, November 05, 2008
The Heroic Imagination
A few months ago, I was listening to a TEDtalks podcast by Philip Zimbardo, psychologist an author of The Lucifer Effect: How Good People Turn Evil. He spoke at length about the worst parts of our human nature, but offered a caveat: the heroic imagination. He spoke of, and speaks of, the central role of the "the heroic imagination" is fostering the best in us. If we see our lives in the context of heroism, if we look for those opportunities to play the role of hero in our own lives, when those opportunities arise, however rarely they may, we seize on them.
Politics can feel decidedly cynical. It can feel systemically broken. It can even feel in the best moments, like a fool's errand. What, we ask ourselves, can we really change? We work our way down into miserable details. We ask what Democrats can do without a "filibuster proof" majority. We look at the overwhelming problems Obama faces in his first term, and raise our eyebrows. It's wonderful that he won, we say to ourselves, but what will he really do?
The truth is...what he's done is win. In doing so, he has created, and lived, the sort of narrative that can change lives. Make no mistake: we all live in a world of storytelling. We tell ourselves the story of our own lives each day; we watch fiction and we watch reality; but we process it all the same way. We see ourselves in the context of something larger, and we connect ourselves to that context.
The story of the last eight years, and even further back, has been one of deep cynicism. We have seen even our favorite politicians sign DOMA and humiliate themselves before the public. We have seen a worst case scenario in the last eight years: a perfect storm of nepotism, cronyism, fundamentalism, authoritarianism and criminality. We have seen our country torture. We have seen our country wage illegal wars. We have allowed our own civil liberties to be fundamentally altered and attacked. We have seen leadership that is beholden to no one. George Bush's only rebuke will be his legacy; he will not be prosecuted, he will not serve jail time. He will, for all he's done, receive far less punishment for his crimes than a young man might for selling pot.
It's the sort of story that makes a person dead, acquiescent.
Barack Obama offers more than policies (although we can hope, as adults, that he'll fulfill his practical promises). He offers a new American story; the sort we had always imagined to be true. He's created a new paradigm of what's possible; not just what's imaginable. And in doing so, he's offered food to the hunger in all all to be heroic. It will, it's my belief, make our children better, our workplaces better, our churches better, our citizenry more trusting of one another, our families stronger, and the world around us a little brighter. Not because in every instance human beings have changed, or because government has suddenly transformed; but because we can tell ourselves a true story and let it inspire us. On a grander scale than was available to us before.
Often, in the arts, we become so embroiled in evidences of human failing, and telling cautionary tales, that we lose the thread of the reason we do this. We don't serve the public by reminding them that they are weak; we serve them by reminding them that they can be strong. We help to define the parameters of human nature outside our immediate experience. We should remember to tell stories about blindness so that we can help people see. It's how we contribute to the public good. We know that has value. That's why the election of Obama has value: it is the sort of story that, in the telling, in the living, makes all of us a little more of who we are, and helps us see who we can be. As individuals, and as a people.
There is no use in denying that people can be bloodthirsty, prejudiced, manipulative, and cruel. There is no denying the proof in history that we can be fooled, torn apart, and made animals. There is now, also, no denying that we can take individual faiths in goodness and turn that into something real. Something that matches the worst of us; and can even suppress or destroy it. There is no denying that we can do right, be good, and change.
It's a good day to be one of the good guys.
Politics can feel decidedly cynical. It can feel systemically broken. It can even feel in the best moments, like a fool's errand. What, we ask ourselves, can we really change? We work our way down into miserable details. We ask what Democrats can do without a "filibuster proof" majority. We look at the overwhelming problems Obama faces in his first term, and raise our eyebrows. It's wonderful that he won, we say to ourselves, but what will he really do?
The truth is...what he's done is win. In doing so, he has created, and lived, the sort of narrative that can change lives. Make no mistake: we all live in a world of storytelling. We tell ourselves the story of our own lives each day; we watch fiction and we watch reality; but we process it all the same way. We see ourselves in the context of something larger, and we connect ourselves to that context.
The story of the last eight years, and even further back, has been one of deep cynicism. We have seen even our favorite politicians sign DOMA and humiliate themselves before the public. We have seen a worst case scenario in the last eight years: a perfect storm of nepotism, cronyism, fundamentalism, authoritarianism and criminality. We have seen our country torture. We have seen our country wage illegal wars. We have allowed our own civil liberties to be fundamentally altered and attacked. We have seen leadership that is beholden to no one. George Bush's only rebuke will be his legacy; he will not be prosecuted, he will not serve jail time. He will, for all he's done, receive far less punishment for his crimes than a young man might for selling pot.
It's the sort of story that makes a person dead, acquiescent.
Barack Obama offers more than policies (although we can hope, as adults, that he'll fulfill his practical promises). He offers a new American story; the sort we had always imagined to be true. He's created a new paradigm of what's possible; not just what's imaginable. And in doing so, he's offered food to the hunger in all all to be heroic. It will, it's my belief, make our children better, our workplaces better, our churches better, our citizenry more trusting of one another, our families stronger, and the world around us a little brighter. Not because in every instance human beings have changed, or because government has suddenly transformed; but because we can tell ourselves a true story and let it inspire us. On a grander scale than was available to us before.
Often, in the arts, we become so embroiled in evidences of human failing, and telling cautionary tales, that we lose the thread of the reason we do this. We don't serve the public by reminding them that they are weak; we serve them by reminding them that they can be strong. We help to define the parameters of human nature outside our immediate experience. We should remember to tell stories about blindness so that we can help people see. It's how we contribute to the public good. We know that has value. That's why the election of Obama has value: it is the sort of story that, in the telling, in the living, makes all of us a little more of who we are, and helps us see who we can be. As individuals, and as a people.
There is no use in denying that people can be bloodthirsty, prejudiced, manipulative, and cruel. There is no denying the proof in history that we can be fooled, torn apart, and made animals. There is now, also, no denying that we can take individual faiths in goodness and turn that into something real. Something that matches the worst of us; and can even suppress or destroy it. There is no denying that we can do right, be good, and change.
It's a good day to be one of the good guys.
Tuesday, November 04, 2008
Seven Strange Things
I was copied on a meme by Joshua James. Simply put: tell everyone seven strange things about yourself.
Since I'm biting my nails a bit, I'm happy for the distraction. Here goes:
1. I saw Star Wars: Episode I - The Phantom Menace in the theater 16 times.
Don't ask about Episodes II and III. Lose respect for me if you want to. It's my life, and it serves me fine.
2. I attended Wrestlemanias X, XIX and XX in person.
Two of them were at Madison Square Garden (X and XX) and XIX was in Seattle. I also attended King of the Ring 1997, for those who give a damn. That was a really terrible show.
3. I played Romeo in a hoopskirt.
Straight out of college, and about 50 lbs ago, I was cast as Romeo with the New Hampshire Shakespeare Festival (now the New England Shakespeare Festival...). This was...1998? The director decided that during the Masquerade, it would be funny if Romeo, Mercutio and Benvolio were ALL in dresses and wigs. So when Juliet and Romeo see each other for the first time...I'm in a dress and wig. During the balcony scene, I had to take my fake boobs out.
It was not the finest hour of the American theater. It was a fun summer though.
4. I went to high school with Steve from Blue's Clues.
Which has forever made children's television strange for me.
5. When I lost my virginity, her mother walked in on us, refused to leave, and made quite a scene about the whole thing.
It was not the finest hour of the American theater. I began to laugh quite a bit.
6. I once had a surprise birthday party where I walked in on all my friends pretending to be dead.
I have a running gag with a few friends about dying in public, being found comically dead, and making sure you get a picture of yourself dead in appropriate places. I have a photo of myself dead on Beckett's grave, for example.
I walked into my home and found all my friends dead in my apartment. It was...fantastic.
7. I was the State Reporter for the Technology Student Association in high school.
No idea how that happened. Just something to do. I was not good at it. Everyone around me could build a motor from a rake. I just made competitive speeches about plastics and won awards.
It's what they mean by "ringer."
Happy Election Day everyone. Chew on this.
I tag... David, Zack, RVCBard, Mike and Johnna.
Since I'm biting my nails a bit, I'm happy for the distraction. Here goes:
1. I saw Star Wars: Episode I - The Phantom Menace in the theater 16 times.
Don't ask about Episodes II and III. Lose respect for me if you want to. It's my life, and it serves me fine.
2. I attended Wrestlemanias X, XIX and XX in person.
Two of them were at Madison Square Garden (X and XX) and XIX was in Seattle. I also attended King of the Ring 1997, for those who give a damn. That was a really terrible show.
3. I played Romeo in a hoopskirt.
Straight out of college, and about 50 lbs ago, I was cast as Romeo with the New Hampshire Shakespeare Festival (now the New England Shakespeare Festival...). This was...1998? The director decided that during the Masquerade, it would be funny if Romeo, Mercutio and Benvolio were ALL in dresses and wigs. So when Juliet and Romeo see each other for the first time...I'm in a dress and wig. During the balcony scene, I had to take my fake boobs out.
It was not the finest hour of the American theater. It was a fun summer though.
4. I went to high school with Steve from Blue's Clues.
Which has forever made children's television strange for me.
5. When I lost my virginity, her mother walked in on us, refused to leave, and made quite a scene about the whole thing.
It was not the finest hour of the American theater. I began to laugh quite a bit.
6. I once had a surprise birthday party where I walked in on all my friends pretending to be dead.
I have a running gag with a few friends about dying in public, being found comically dead, and making sure you get a picture of yourself dead in appropriate places. I have a photo of myself dead on Beckett's grave, for example.
I walked into my home and found all my friends dead in my apartment. It was...fantastic.
7. I was the State Reporter for the Technology Student Association in high school.
No idea how that happened. Just something to do. I was not good at it. Everyone around me could build a motor from a rake. I just made competitive speeches about plastics and won awards.
It's what they mean by "ringer."
Happy Election Day everyone. Chew on this.
I tag... David, Zack, RVCBard, Mike and Johnna.
Monday, November 03, 2008
Attention Equity Actors - Showcase Code Reform
Reform of the NY-Showcase Code is an important issue for me, and for the health of NY's theater scene.
Actor Michael Bell is a member of the subcommittee that is reevaluating the New York Showcase Code. This is a moment for you to have your say. Leave a comment there, or e-mail him at showcase - at - michaelbell.net.
The issue of reform of the Showcase Code has been a hot topic on the blogosphere and in NYC. You should check out the League of Independent Theater Producers, and also the ART/NY White Paper on the subject.
Short version: if we want to change the restrictive Showcase Code, we need members of Actor's Equity to make a little noise. We need members of the union to speak on their own behalf to the union, and ask for changes in the code that will allow smaller theaters to grow, provide better opportunities for actors. Playwrights, producers and directors may have opinions, but only the voices of actors count to the union.
So contact Michael and give him some real fuel, real stories, and real appeals. It's an opportunity to make very real change in NYC's theater scene. Positive and exciting change for all of us.
Again...go here and leave a comment, or e-mail.
Here are some articles about the subject:
Village Voice
Backstage.
Don't know the Code? Read it here.
Actor Michael Bell is a member of the subcommittee that is reevaluating the New York Showcase Code. This is a moment for you to have your say. Leave a comment there, or e-mail him at showcase - at - michaelbell.net.
The issue of reform of the Showcase Code has been a hot topic on the blogosphere and in NYC. You should check out the League of Independent Theater Producers, and also the ART/NY White Paper on the subject.
Short version: if we want to change the restrictive Showcase Code, we need members of Actor's Equity to make a little noise. We need members of the union to speak on their own behalf to the union, and ask for changes in the code that will allow smaller theaters to grow, provide better opportunities for actors. Playwrights, producers and directors may have opinions, but only the voices of actors count to the union.
So contact Michael and give him some real fuel, real stories, and real appeals. It's an opportunity to make very real change in NYC's theater scene. Positive and exciting change for all of us.
Again...go here and leave a comment, or e-mail.
Here are some articles about the subject:
Village Voice
Backstage.
Don't know the Code? Read it here.
A little piece of comfort about polling error
Here is a little something about the margin of error that showed Kerry ahead of Bush going into the 2004 election. I'm sure you'll hear someone say "We thought Kerry was ahead too..."
Right. But the polls were incredibly close, and the largest underestimation of Bush's final tally was 55 votes.
The polls would have to be massively inaccurate in favor of McCain this time out. They would have to be around 100 electoral votes off, in favor of McCain, for him to beat current trends. And it's estimated that about a third of the votes in this election are already cast.
Right. But the polls were incredibly close, and the largest underestimation of Bush's final tally was 55 votes.
The polls would have to be massively inaccurate in favor of McCain this time out. They would have to be around 100 electoral votes off, in favor of McCain, for him to beat current trends. And it's estimated that about a third of the votes in this election are already cast.
Half Price Sale on Plays and Playwrights 2002
NYTE is celebrating 10 years of publishing the Plays and Playwrights series. The book in which I am published, the 2002 edition, is being offered half-price through November as a part of that celebration.
Plays include:
THE DEATH OF KING ARTHUR by Matthew Freeman
MATCH by Marc Chun
WOMAN KILLER by Chiori Miyagawa
THE WILD ASS'S SKIN by J. Scott Reynolds
HALO by Ken Urban
SHYNESS IS NICE by Marc Spitz
REALITY by Curtiss I' Cook
THE RESURRECTIONIST by Kate Chell
BUNNY'S LAST NIGHT IN LIMBO by Peter S. Petralia
SUMMERLAND by Brian Thorstenson
Plays include:
THE DEATH OF KING ARTHUR by Matthew Freeman
MATCH by Marc Chun
WOMAN KILLER by Chiori Miyagawa
THE WILD ASS'S SKIN by J. Scott Reynolds
HALO by Ken Urban
SHYNESS IS NICE by Marc Spitz
REALITY by Curtiss I' Cook
THE RESURRECTIONIST by Kate Chell
BUNNY'S LAST NIGHT IN LIMBO by Peter S. Petralia
SUMMERLAND by Brian Thorstenson
Tomorrow
We often say this is the biggest election in our lifetimes. That's true enough. But it could also be one of the defining moments in our history.
I'm exhausted from a very long weekend. I'm don't know if I have a ton of energy to write about politics today. But let me tell you why I'm optimistic.
1. The numbers give it to Obama. Early voting, new registrations, polling, money, air time, responses to the debates; you name it. There's not a numbers game that the Obama team isn't winning.
2. Even the Obama team is trying to scare you. Here's the logic: if we think he's got it won, we won't work for it. So every e-mail I get from MoveOn.org and Barack Obama says "Nervous? Phone bank for Obama!" At this point, Obama's people are promoting doubt in order to keep people active. McCain's people are the one's going "We've still got a chance." Obama's team is saying "Don't be so sure." It's the argument of a confident campaign.
3. The Bradley Effect is bullshit.
4. Sarah Palin is an albatross.
5. The only story the news media has left is "McCain could pull out an upset."
6. Obama has more than double the number of major newspaper endorsements.
That's just a few.
Hope you're spending today with your head on straight and feeling good. Let's hope Obama closes the deal and gets to spend the afternoon on Thursday with his kids.
I'm exhausted from a very long weekend. I'm don't know if I have a ton of energy to write about politics today. But let me tell you why I'm optimistic.
1. The numbers give it to Obama. Early voting, new registrations, polling, money, air time, responses to the debates; you name it. There's not a numbers game that the Obama team isn't winning.
2. Even the Obama team is trying to scare you. Here's the logic: if we think he's got it won, we won't work for it. So every e-mail I get from MoveOn.org and Barack Obama says "Nervous? Phone bank for Obama!" At this point, Obama's people are promoting doubt in order to keep people active. McCain's people are the one's going "We've still got a chance." Obama's team is saying "Don't be so sure." It's the argument of a confident campaign.
3. The Bradley Effect is bullshit.
4. Sarah Palin is an albatross.
5. The only story the news media has left is "McCain could pull out an upset."
6. Obama has more than double the number of major newspaper endorsements.
That's just a few.
Hope you're spending today with your head on straight and feeling good. Let's hope Obama closes the deal and gets to spend the afternoon on Thursday with his kids.
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