Matthew Freeman is a playwright, director and freelance writer. In New York City, he has been produced at the Access Theater; 4th Street Theater; The Brick Theater; HERE Arts Center; The Metropolitan Playhouse, Manhattan Theatre Source, The New Ohio, 80WSE Gallery, and at the Incubator Arts Project at St. Mark’s Church. His audio work has been a part of the HearNow Festival and Atlanta Fringe Radio.
His plays include The Language, Bluebeard, When is a Clock, Traveling to Montpelier, The Listeners (Nominee: Best Production – Performance Art: New York Innovative Theatre Awards 2015), Why We Left Brooklyn (Semi-Finalist O’Neill National Playwrights Conference 2013), That Which Isn’t, The Starving Dress (Semi-Finalist O’Neill National Playwrights Conference 2015), The Most Wonderful Love, Glee Club, The Death of King Arthur, Confess Your Bubble, and Brandywine Distillery Fire. His plays and monologues have been published by Samuel French, Applause, Smith & Kraus, NYTE, IndieTheaterNow and Playscripts.
As a freelance writer, he has been published by Maxim, Complex, Premiere and Samuel French’s Breaking Character. He has also served as the Assistant Producer/Senior Writer for the official webcast for New Year’s Eve live from Times Square from 2009-2011. He was the script writer for the New York Innovative Theatre Awards in 2009 and 2010. Additionally, he has hosted the “New Books in Theater” podcast, and has hosted various “Playwrights in Conversation” nytheatrecasts on nytheatre.com.
Freeman is a graduate of Emerson College. He is a member of the Dramatists Guild, a MacDowell Colony Fellow and a proud resident playwright at New Dramatists. He lives with Brooklyn, NY with his wife, Pam. Along with Kyle Ancowitz, Freeman is a part of Theater Accident.
A surreal drama based on the classic folk tale.
Margaret is married off to the wealthy and mysterious Bluebeard. Bluebeard explains the rules of his house to his new wife and then abruptly leaves on business. Upon his exit, Bluebeard declares that Margaret shall have access to every room in the house except the room behind the red door. He places the the key to this door in her hand, with the single instruction: “Never use it.” Margaret has only herself to talk to, as she combats the oppressive silence. Her suspicion and isolation inevitably lead her to transgress. She discovers the victims of her husband’s secret past. She is confronted by a symphony of stories, some beautiful, some brutal, all portending a grim fate. Bluebeard explores issues such as privacy and surveillance and the emotional violence embedded in modern relationships. Does Margaret’s knowledge free her from the past, or condemn her to repeat it?
TRAVELING TO MONTPELIER
Traveling to Montpelier is a murder mystery and a fiction about fiction.
Daniel Wallers travels to Montpelier, Vermont, to discover the truth behind the impossible circumstances of a friend’s death. Wallers’s amateur detective skills come up against a dangerous mixture of alchemy and secrecy; forcing him to admit his own motives are not quite what they seem.
This is the second play of the interlocking Cornersville Cycle. The Cornersville Cycle begins with When is a Clock (2008).