It takes audacity to recreate the circumstances behind a movie whose stature is sacred. “CasablancaBox” — a production at Here, a downtown locus of experimental theater — is a brave, almost foolhardy undertaking, presenting the backstage drama during the making of “Casablanca,” and daring its audience to compare its cast members to the actors in what many believe to be the finest Hollywood movie of all time.
- THE NEW YORK TIMES (CasablancaBox)
Embodies its subject through design and theme, cramming together as much energy and detail as its running time permits, in the end mirroring Casablanca as an overfull steamer trunk forced shut under protest, ever on the point of bursting apart..."CasablancaBox" is a brisk ninety minutes of entertainment first and foremost, a breakneck-paced behind-the-scenes comedy in the style of Truffaut’s Day for Night, catnip even for the most casual cinephile.
--THE VILLAGE VOICE (CasablancaBox)
Written by Sara Farrington and directed by Reid Farrington, this jittery dance-theatre piece, performed by five actors in kimonos, begins in 1957, in Kyoto, where Marlon Brando was acting in the film “Sayonara” and Truman Capote interviewed him for a Profile in this magazine. (Jennifer McClinton stands out as a slinky Capote, as does Lynn R. Guerra as Brando’s mother.) It then imagines that interview extending to the end of Brando’s life, conflates his movie dialogue with his actual biography, tosses in bits of Capote’s “In Cold Blood,” and loops them, in a manner suggestive of Noh theatre. Why? It’s anyone’s guess, but it looks great, with sound (by Marcelo Añez), lights (by Laura Mroczkowski), choreography (by Laura K. Nicoll), movie clips, and props working together in sometimes dazzling concert.
THE NEW YORKER (BrandoCapote)
BrandoCapote is ambitious, non-linear, memorable and wholly original.
A fascinating gem that takes a difficult subject and quietly revels in it.
Farrington realizes her vision with superior artistry. On a small stage with spare furnishings that evoke the period, she has the cast of four positioned precisely yet fluidly throughout as they deliver majestic performances. Combined with the accomplished technical elements this all results in a visually and emotionally arresting experience.
THEATRESCENE (Leisure, Labor, Lust)
Honduras is a brief, yet brutal, immersion in the chaotic and pitiless treatment of immigrants coming illegally to the US from the country of the title. Sara Farrington's script, based on real events, focuses on several characters traveling a road on which all the exit ramps lead to tragedy....Farrington is, arguably, plunging us, forcibly, into the characters' disorienting journeys -- both their unexpected moments of grace and bitter twists of fate. The playwright's method is to grab the audience and never let go. Honduras means to shake you up and it does just that.
LIGHTING & SOUND IN AMERICA (Honduras)
The play is a potent examination of how societal constraints and personal weaknesses lead to dishonesty, both with oneself and the people who are closest, and the ripple effect that can have.
NEW YORK THEATRE REVIEW (Leisure, Labor, Lust)
To tell you more would spoil the twists and turns of this little gem of a play, but Farrington's script is a funny and searching discussion of the intersection of art and commerce. What does it mean for art when huge decisions about what gets financed are made by corporate bureaucracies that have very different interests from artists?
NYTHEATRE.COM (The Rise & Fall of Miles & Milo)