The presenter information page is for presenters, producers, festivals, universities, and cultural organizations interested in Calling Marlene by Mickey Farrow.

Marlene was Mickey’s Trinidadian nanny and the woman who raised him. She always answers his calls. But on her seventieth birthday, she doesn’t. What begins as concern becomes a funny, intimate, and increasingly urgent three-day search to reach her, and to understand the relationship he has spent his life trying to put into words.

Yes. The site specifically highlights professional interest from presenters, producers, festivals, universities, and cultural organizations.

Calling Marlene is a theatrical solo show performed by Mickey Farrow. His comic voice is central to the work, but the piece follows a sustained narrative and dramatic arc rather than the structure of a conventional stand-up hour.

The unanswered call puts Mickey and Marlene’s relationship under pressure. Marlene was paid to care for Mickey; she also raised him, protected him, and made him feel seen. As the search widens through memory, the show considers caregiving, family, gratitude, repayment, migration, race, class, and domestic labor while remaining anchored in two specific people. It asks what we owe the people who raised us, whether love or care can ever be repaid, and what changes when we fear time may run out.

Calling Marlene may fit theaters, solo-performance programs, festivals, universities, arts and cultural institutions, Trinidadian and Caribbean organizations, caregiving and family organizations, and programs engaging storytelling, migration, domestic labor, memory, race, or class. The work is first a story about Mickey and Marlene—not an issue lecture—and the strongest programming frame keeps their relationship at the center.

Marlene’s Trinidadian identity is part of the story’s cultural specificity. Depending on the partner and context, the work may open conversations about Trinidad, migration, diaspora, cross-border family networks, caregiving, memory, and a relationship extending between New York and Trinidad. It should not be framed as if Marlene represents all Caribbean women or caregivers.

The show offers an accessible story through which audiences can consider paid care, family language, reciprocity, protection, gratitude, domestic labor, migration, race, and class. Those dimensions arise through Mickey and Marlene’s particular relationship; the work is not an academic case study and does not claim to represent every caregiving or nontraditional family experience.

Post-show conversations, creator discussions, or contextual programming may be possible depending on the event and partner. Potential areas include the making of the show, solo storytelling, caregiving and family, migration, memory, domestic labor, representation, gratitude and reciprocity, and turning lived experience into theatrical work. Any format would be shaped for the specific opportunity rather than presented as a fixed educational package.

Mickey and his team are currently open to conversations with theaters, festivals, universities, cultural organizations, producers, and other partners interested in presenting or further developing Calling Marlene. Opportunities can be considered individually based on the organization, audience, location, and proposed context.

Appropriate materials can be provided depending on the conversation, potentially including a show one-sheet, script, professional synopsis, creator information, available performance or development materials, and, when necessary, a private spoiler-inclusive synopsis. Availability and access will be confirmed for each conversation; this does not imply that every asset is publicly downloadable or that a finished production video exists.

Use the presenter inquiry path on this website or email management@mickeyfarrow.com with information about your organization, location, audience, proposed context, and timing.