Kirsten Greenidge at Company One Theatre
Kirsten Greenidge’s plays are best described as works that place hyper realism on stage as they examine the nexus of race, class, gender, and the black experience. Recently recognized as playwright laureate of Boston by Roxbury Community College, she is the author of Feeding Beatrice (The Repertory Theatre of St. Louis), Our Daughters, Like Pillars (The Huntington) Greater Good ( co-produced by Company One Theatre and The American Repertory Theatre), Baltimore, a commission from the Big Ten Consortium at the University of Iowa, Bud Not Buddy, an adaptation of the children’s novel by Christopher Paul Curtis, with music by Terence Blanchard, The Luck of the Irish and Milk Like Sugar, which was nominated for a Lucille Lortel Award and received an Independent Reviewers of New England Award, a San Diego Critics Award, and a Village Voice Obie Award, among others. Other plays include Little Row Boat: Or, Conjecture, Bossa Nova (Yale Rep) and Sansculottes in the Promised Land (Human Festival/Actor’s Theatre of Louisville). She’s enjoyed development experiences at the Family Residency at the Space at Ryder Farm, the Huntington’s Summer Play Festival, Cleveland Playhouse as the 2016 Roe Green New Play Award recipient, The Goodman, Denver Center, Sundance, Bay Area Playwright’s Festival, Sundance at Ucross, and the O’Neill. Kirsten is currently working on commissions from the Huntington (Common Ground with Melia Bensussen), La Jolla Playhouse (To the Quick), and Oregon Shakespeare American Revolutions Project (Roll, Belinda, Roll). A recent PEN/Laura Pels Playwrighting Award recipient and current Andrew W. Mellon/Howlround Fellow, she is an alum of New Dramatists, and has proudly graced the Kilroys list of New Plays by women and women identified playwrights several years running. She attended the Playwright’s Workshop at the University of Iowa and Wesleyan University and oversees the BFA playwrighting track at Boston University’s School of Theatre.
The mission of Company One Theatre is to change the face of Boston theatre by uniting the city’s diverse communities through innovative, socially provocative performance and developing civically engaged artists.
In my first three years as the Mellon Foundation Playwright in Residence, I have worked on staff at Company One as resident playwright, writing and developing Greater Good, which has been a departure and a challenge in terms of structure. In addition to that, each year during my residency, I have worked with new and emerging playwrights as part of Company One’s Playlab, and this has included regular masterclass style meetings, workshops, as well as community Open-Writes, where writers who are not enrolled in Playlab are welcome to come write with me, and dramaturgy staff while they enjoy snacks and coffee. We’ve had the ability to partner with the Boston Public Library, and several Boston area eating establishments, and we hope to continue with these events in the future on a scale that is sustainable for staff (and for me, too).
I have also worked on C1’s programming committee, and worked to curate and launch Bootcamp, a series of seminars and masterclasses designed primary for playwrights and dramaturgs but open to all via Company One in the early fall. Additionally, I attend weekly department, staff, and artistic meetings, company retreats, and produce (essentially work “front of house” duties and aid in the execution of dramaturgical preshow and post show initiatives) each show during C1’s season, including my own.
The residency has included use of the micro fund, and during the last three years I have begun a research project called Femtour with my sisters, novelist and columnist Kailyn Greenidge (We Love you Charlie Freeman) and historian Kerri Greenidge (Black Radical: The Life and Times of William Monroe Trotter), through which we seek to highlight women’s histories that have previously been unsung, myself in order to eventually write more plays, Kerri due to her interest in public history, and Kaitlyn to be able to write more fiction.