Madison Fargo is a New Jersey-bred, Chicago-based playwright and director. In Chicago, her plays have been seen at the Fringe Festival and Victory Gardens Theatre. Nationally, her plays have been produced at Thespis Theatre Festival in New York City, Westmont College in California, and Hightstown Theatre in New Jersey. She attended The Theatre School at DePaul University, where she was the recipient of the 2018 Zach Helm Playwriting Scholarship. Her play Jeff and the Dead Girl will be fully produced as a part of the Theatre School’s 2018-2019 season, directed by Shade Murray. She is also a director, and has helmed a full length production of Hunter Gatherers by Peter Sinn Nachtrieb, as well as Flightless by Connor Bradshaw at Victory Gardens Theatre.
My theatre feels like tying a loose tooth to a string and slamming the door.
I write dirty. I write messy. I write sexual-but-not-sexy. My theatre feels like being force fed a three course meal with no water and crossing your fingers that you don’t choke. My work relies on the intrinsically co-dependent relationship between Comedy and Tragedy; the so-sad-it’s-funny, coupled with the so-funny-it’s-sad. I write about the things I try not to think about, the car accidents you can’t help but look at, the family secrets you have to wait until you’re grown up to hear. That sensation on the back of your neck when you feel as though you’re watching something you shouldn’t be. My plays are about the cripplingly human and the cripplingly inhuman.
I am a product of small-town-suburbia, a place I am thankful to have grown up in, and even more thankful to have left. My New Jersey hometown, in equal parts completely mundane and totally absurd, serves as a rich setting for the majority of my work. The church moms, incels, edge lords, and masochists that I was surrounded by in my youth are translated into the tragicomic anti-heroes who dominate my stories. I like to look at my protagonists as rejected supporting characters from other plays, all coming to a place where they are allowed to be their most authentic, disruptive, and chaotic selves.
I write for people who are looking for an offbeat, in-yer-face theatrical experience. I don’t write for the faint of heart, or someone looking for a passive, comfortable viewing. I write for morbid curiosities. I write the taboo, the off-the-wall, the brutal and the visceral. I write stories about the people you would cross the street to get away from, and then I make you see yourself in them.
I write about people who would give each other anything, except for what they need.