[1] Farag took part in the establishment of the public management for Althaqafa al-Gamahyria “ culture for the masses” project and in the foundation of artistic groups in Egypt.
The project enabled Farag to play an important role in the introduction of theatre in Egypt's provinces especially in remote countryside areas.
He, with many great writers like Noaman Ashour, Saad Eddin Wahba, Michael Roman, Rashad Roushdy and Yousef Edrees, contributed in the “nothing like” renaissance of theatre in the sixties.
[2] Having suffered in the hands of the authoritarian regime of Colonel Gamal Abdel Nasser when the latter rounded up Marxist groups and intellectuals in 1950s and 1960s (and some stayed in jail until late 1960s which explains a gap of four years of publishing works by Farag between 1957 and 1963), Farag used stories from Egyptian folklore or from early Abbasid empire period (750-1258 AD), to avoid displeasing the regime, while trying to convey a subtle message.
“There was an unwritten understanding, or call it a conspiracy, between playwrights, producers, actors and theatre goers to bypass the censor,” Farag told Journalist Adel Darwish in 1978.
But with the personae and references the production dropped strong hints that social injustice in Egypt increased under the republican regime despite the, largely untrue, claims that the 1952 coup by the army officers was to end the alleged class privileges and create a more egalitarian society.
The Trap was performed as part of a two bill show with another Egyptian one act play by Mahmoud Diab ( 1932–1983) called “ Strangers Don’t Drink Coffee “ ( Alghorba’a la yashrboon al-Qahwa ) in 1977- The Trap was translated by Whittingham and Diab's play was translated by Darwish and Whittingham.
He joined the left wing and marxists groups' opposition to the late President Anwar Sadat's policy especially his liberalisation of the economy and moving to make peace with Israel.