Sara Farrington explores crafting A Trojan Woman amid the digital age
Playwright Sara Farrington Talks About “A Trojan Woman”
Actress‑turned‑writer Sara Farrington shares the inspiration behind her reimagined take on Euripides’ The Trojan Women, which will play at Vassar College’s Powerhouse Theatre from July 25‑27.
What Sparked the Adaptation?
Farrington admits she didn’t prefer the original text; rather the mystery of it drew her in. “I read, I saw, I once performed Cassandra,” she says. The Trojan Women begins with gods debating human suffering, yet the action remains sparse. She felt she was missing something essential.
Her method?
- Reviewed every translation she could find during a whole year.
- Removed archaic references that modern audiences couldn’t connect with.
- Re‑imagined the tone— “de‑museum‑ified” it, wrapped it in everyday grit, and modernised the language.
- Converted it into a voice that feels like a contemporary powerless mother witnessing violence unimaginable to the mind.
Having reached a new understanding, she kept the core message: a lament to uncaring deities and a reflection on humanity’s tendency toward violence.
Insights Gained from Writing the Play
The finale, titled “No Speech,” proves the most revealing. Inspired by choreographer Yvonne Rainer’s No Manifesto, Farrington crafted a long, lean monologue that lists everything lost in war:
- No birthday parties, school plays, or homework.
- No ripped jeans, new shoes, or trampolines.
- No breezes of flirting, breaks of romance, or even simple leisure.
- No dances, late‑night laughter, phones, bikes, or cars.
She intended the delivery to be painstakingly slow, almost lifting each robbed moment toward the gods as a bitter offering. The speech embodies the play’s personal significance, challenging men who rob mothers and children of simple joys.
Playing in the Digital Era
Farrington balances two distinct theatrical identities. With her partner Reid Farrington’s Foxy Films, she creates bold, contemporary works that incorporate new media—such as “CasablancaBox,” where live actors and projected light dance in continuous motion.
Conversely, she reveres “poor theater,” a practice rooted in the minimalist traditions of Grotowski, Meyerhold, and Artaud. For her, the digital stage can be peeled away, but the emotional core remains boundless.
Upcoming Projects
She is currently working on a musical adaptation of the documentary Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau. The show, titled Dr. Uncanny Presents: Moreau ‘96, features:
- Farrington as the book writer and lyricist.
- Reid Farrington directing.
- Music by celebrated NYC composer David Van Tieghem.
- A cast that includes Abe Goldfarb, Kevin R. Free, Alissa Finn, Zoe Van Tieghem, and David Van Tieghem himself.
They will debut a staged reading in Nyack, NY on October 16 at Rose Hall as part of the Nyack Live Arts Phoenix Festival.
Advice for Emerging Playwrights
Farrington encourages excitement for the creative process and emphasizes:
- Don’t let the “self” dominate; let the play serve.
- Hold onto early collaborators—true networking is built on honest relationships.
- Embrace the fear; “do it scared” has become her mantra.
- Self‑produce. Invest your own resources; otherwise, others won’t either.
- Trust your instincts; avoid self‑gaslighting.
She highlights the importance of hard daily work, noting that success is ongoing effort rather than a trophy or headline.
Final Thoughts on “A Trojan Woman”
Farrington urges audiences to feel the impact of her play by bringing the script to anyone who might benefit—for instance, a family member on January 6 or a passionate supporter of a particular political group. The piece, she says, is meant to spark dialogue and insight.
