"my dick is david duke"
or The Sad Fat Negress Can't Get a Date

STREAMING ON-DEMAND 
Watch with an Ars Nova Supra Subscription

 

 

 

Writer AMARA JANAE BRADY
Director CAITLYN JOHNSON
Director of Photography CHRISTIAN DEL RIO SOLORZANO
Karen et al MARISA JONES
Host et al AMARA JANAE BRADY

Male Voice Overs RONALD PEET
Associate Producer
MOLLY CHIFFER
Animator CHRISTIAN ALVARADO
Editor JAZZ WILLIAMS
Captions by AMY SHEELER, TRANSCRIPTION STAR 

Originally Premiered: June 21, 2021
RUN TIME: 60 MINUTES

Photo by Amara Janae Brady

Content Advisory:
“my dick is david duke” or The Sad Fat Negress Can’t Get A Date contains nudity.

The Artist would like to share the following
Mutual Aid Funds & Non-Profits centering Black & Indigenous people:

  1. Black Trans Rent Relief

  2. Blackwomen Exhale

  3. Defend Our Community

  4. For the Gworls

  5. Indigenous Action

  6. Indigenous Kinship Collective

  7. Indigenous Mutual Aid

  8. The Okra Project

  9. Title Track- Support for Native Elders

Special Thanks to the anonymous donors who made this project possible, Ars Nova, Gotham Rentals, and all of my brilliant friends who take the time to listen to my ideas and read my scripts no matter how weird they sound. Thanks to Shutter stock for background images and all the various free Youtube Sound effects!

Accessibility Information

This show includes live captioning. 

 

AMARA JANAE BRADY (She/Her/Hers) is a generative artist and cultural dramaturg from Chicago. At the crux of her artistry is uplifting Black women and connecting underserved communities to theatrical experiences. Acting: Abduction (Atlantic Theater Co.), This Is Where We Go (MCC), Bernarda’s Daughters (The Lark), Annie Golden: Broadway Bounty Hunter (Barrington Stage Co.), NYTW, 54 Below, Joe’s Pub and others. She’s a member of Iconis and Family. Playwriting: This is Where We Go (MCC), Last Ones First (Crux VR in association with Blair Russell Productions), When We Were gods (Blackboard collective), Manic Pixie Dream Girls Aren’t Black (The Parsnip Ship), The Wickedness of Men or Love Songs for the End of the World (MTF). Producing: Theatre Communications Groups National Conference (2019); NYT’s Critic Pick, Jillian Walker’s SKiNFoLK (Assistant Producer); YouTube series, ‘Skinny & White’ Aren’t Character Traits. In This Paper I’ll Explain. Resist, check your privilege, & then give some space to Women of Color & Trans Folx. Ashé to the ancestors. All Power to all people. amarajanaebrady.com | IG: @bradynotthebunch | Twitter: @AmaraJanae | Facebook: /amara.j.brady

MARISA JONES is a Jewish performer, writer, dancer, song-writer and creative “yes, and” humanoid from Mississippi who is deeply excited to be a part of this piece! With a passion for new works, she most recently, pre-pandemic, starred in From A to Double D (Devon) at IRT with Moxie Arts and was the co-writer of BROOKLYN NO-NAMES, Best Script winner of the 2018 SheNYC Summer Theater Festival Off-Broadway. During quarantine, she received her E-STEM certificate from Cornell, co-taught the Bushwick Starr’s “playwriting for climate change” program and became a certified 305 fitness instructor. BFA: Texas State. Find out more and join me in movement. marisajones.net | IG: @marjogogo | TikTok: @marjogogo

CAITLYN JOHNSON (CJ)is an award-winning director-producer and is currently an MFA candidate at NYU’s Kanbar Film Institute. CJ’s work is rooted in providing outlets for marginalized and underserved communities to produce their own stories through independent filmmaking. Her background includes cinematography, editing, development, documentary and film festival programming concentrated in interdisciplinary and radical storytelling. In 2018, CJ co-created and directed the highly acclaimed web series Seeds (OTV), which follows four Black young women while navigating relationships, politics and sex through their friendship and conversation. CJ also directed OTV’s THOTless pilot that further interrogates those same themes as they pertain to queer and marginalized identities. As her first year at NYU concludes, CJ has continued this tradition of radical storytelling as it pertains to the varying Black experiences in the US.