Sara Farrington is an NYC & NJ based playwright and co-founder of Foxy Films theater company with Reid Farrington. MFA from Brooklyn College w/ Mac Wellman, HARP Artist at HERE Arts Center for her play CasablancaBox, which was nominated for two 2017 Drama Desk Awards: Unique Theatrical Experience & Outstanding Projection Design. Sara's plays have been critically acclaimed by The New York Times, The New Yorker, The Wall Street Journal, The Village Voice, American Theater Magazine, NY1, El Diario and more. Recent plays include BrandoCapote, CasablancaBox, Mendacity, Great Hunger, Leisure Labor Lust, Honduras, Cosmicomics, The Return, Near Vicksburg, Mickey & Sage, The Rise & Fall of Miles & Milo. Her work has received support from The New Jersey State Council on the Arts, The New York State Council on the Arts, The Venturous Fund, MediaTHE, Axe-Houghton Foundation, Arch & Bruce Brown Foundation. Sara was an AFO Artist-in-Residence, Phoenix Theater Ensemble collaborating artist, MacDowell fellow, Connecticut College & NTI @ Eugene O'Neill Center grad, Wooster Group intern & actor for 3 seasons at the great Jean Cocteau Rep. Plays published by Broadway Play Publishing and her book, The Lost Conversation: Interviews With An Enduring Avant-Garde is published by 53rd State Press. She is one of the original founders of the non-profit Immigrant Families Together & a champion of the #MeToo movement, resistor of fascist American regimes, hypocrites and Karens, mom to Jack & Levi.
WEBSITE AND SOCIAL MEDIA
MORE ABOUT ME
What was your most gratifying moment in the theater? One comes to mind: I remember a sold out performance at Incubator Arts Project of a play of mine where the audience could not stop laughing. Just waves and waves of laughter at every moment. I was sitting in the last row of the theater thinking, this is bliss, this is like surfing.
What play or production changed your life? The Wooster Group's The Emperor Jones. Seeing it changed the course of my life artistically, personally, professionally, emotionally. I feel most like myself when I …. am writing an epic 2-hander.
How do you overcome disappointment? I'll indulge myself in a good 24 hours of spite, bitterness & self-pity, then quickly forget about it & keep writing. If you could bring one change to theater, what would it be? That we stop overvaluing young playwrights. Very few writers wrote anything good in their 20s. It's way more interesting to read a play written by a committed 40, 50, 60, 70 + year old playwright who's been rejected 500 times, who's experienced real life, grief, pain, love, childbirth, loss, failure, success, etc... We've fetishized young writers, it's embarrassing. I don't know any playwrights who are proud of the plays they wrote in their 20s. Most consider them training wheel plays, or as Robert Wilson says, "passports to the next one."
What do you want artistic directors to know? If a play reads well on the page, it's probably boring on the stage.
What’s the one thing nobody knows about you that you’d like them to know? I know all the words to every single Simpsons episode between 1989-1999.
Why do you keep doing theater? It is the most flexible art form there is & something I do for myself to survive.
WHAT I'M WORKING ON
"Mendacity" a darkly comic 'pataphysical play/film about Lindsey Graham trapped in a Tennessee Williams universe. "Great Hunger" a 2-hander about the Great Hunger in Ireland. "They Had Faces Then," a piece I'm building with/for Zoe Van Tieghem about actresses in Hollywood in the 1930s. Also finishing my book with 53rd State Press, "The Lost Conversation: Interviews With An Enduring Avant-Garde" out Dec 2021.
Comedy, Drama, New Media, Avant-Garde, Historical, Political, Young Audiences, New York, Period, Adaptations, Queer, Psychodrama, Two-Hander, Large Cast, Old Hollywood