When the first rounds of migrant imprisonment escalation began to crop into public view, campaign requests flew across my page. Sara Farrington, playwright and activist, was committing her time round the clock to ensuring her wishlists on Amazon for migrant families got fulfilled. Her tireless efforts gave me the much-needed opportunity to enact change and reach people whose lives kept me up at night. There, awake on the other end of a mouse click, was Sara – sending out the call for help.
There is an insidious myth that theatermakers can’t/shouldn’t/don’t have the resources to have kids. I will fight this myth till I’m dead.
What does it mean to be a mother and a producer? My first question seemed to pique her interest at once. This work takes sweat and power – one would think only a mother knows the labor it entails, as she articulately shares below. Her art has long dismantled what we hold precious. After a recent success with Casablancabox where she turned a beloved film inside out, her next theatrical project raises funds for the opportunity to dismantle toxic masculinity through the experiences of two American giants, titled: BrandoCapote.
She’s inches away from successfully completing another campaign that will allow her to produce an investigation into the demons and destructive surroundings that contributed to these mens’ lives. With Mamet’s farce about sexual harassment just around the corner, one has to beg on bloody knee where we can pour our support for art that responds to these American icons by dismantling and tackling them. Once again, on the other end of the mouse click is Sara Farrington, launching another campaign to change the game through powerful storytelling.
CLICK HERE to see how you can help her win.
And check out this beautiful interview in her own words below.
What does it mean to be a mother and producing your own work?
I thank my two boys, Jack (6) and Levi (3), 100% for transforming me into the authentic theater maker, tireless self-producer, and no-bullshit playwright that I have become. Jack and Levi make me care harder, work later, value/use time smarter, pay attention only to what is worth my attention and ignore the rest. Because of those 2 boys, I have developed the agility of a jackrabbit when it comes to theater producing. Throw anything at me, literally, and watch me deal. There is an insidious myth that theatermakers can’t/shouldn’t/don’t have the resources to have kids. I will fight this myth till I’m dead. There is no argument that can support this myth, but there are endless excuses that kinda sound like arguments. But I think, if you want to be a theater maker/artist, it is good for the kids. The idea that kids stop it is born in the eye of the beholder. There is always a way to make it work.
Why the story of these two men? Why is it important that a woman tells this story?
It started with Reid (my director/husband/co-founder of Foxy Films, our theater co) having the “what American legend can we dismantle next?” convo 2 years ago. We had just closed our show CasablancaBox, which pulled that iconic film inside out and we both came to Brando almost immediately. But the more I researched him, the more I was like holy shit: This man was a complicated mess of a monster raised with death, addiction and abuse yet undeniably a genius at the same time. Capote (whose interview of Brando is our departure point) had the exact same awful life. I thought: How can I write this? Should I write this? Will everyone attack me? Do I care if they do? So THAT then, writing this portrait and bearing those questions in mind, became a very important challenge for me. BrandoCapote is an examination of the fallout of generations of toxic masculinity and patriarchal rule in the USA, so yes, a woman, specifically a life-long victim of toxic masculinity and patriarchal rule such as myself, needs to write it. Looking away from the personal lives of revered American public figures, guys who shaped our culture, only continues the great American gender role clusterf*ck. I, we all, have an obligation our sons to understand why and how boys grow into men who behave like uncontrollable monsters. I know little boys: They are pure, wild, loving and innocent creatures but easily suggestible from about the age of 3. It really is a daily fight for me fending off the toxic gender roles this country assigns to little boys still in 2019.
Looking away from the personal lives of revered American public figures, guys who shaped our culture, only continues the great American gender role clusterf*ck.
How does crowdfunding boost your hope for support and belief in the community?
Oh the fact that I’m almost at 20K is astonishing. I am truly astonished. For me, crowdsourcing runs the gamut of emotions from terrifying to hopeful to embarrassing to triumphant to disappointing to encouraging beyond belief. If I’m successful at a Kickstarter for my art, it means enough people were like “I trust you.” That trust is like a gift from the gods. Especially because I know firsthand the multitude of places where people’s money can go: There are straight up concentration camps at our US border where children are dying as I write this. But I also know that to be an evolved America, where that shit stops, to grow progressive, curious, intelligent children into fearless and independant thinking adults, we MUST have money go to the arts. So I am proud to accept this trust and I hope I can earn it.