Kirsten Greenidge (Playwright, Hummingbird)

“I usually listen to music on my walks. But I also like to listen to True Crime mysteries or something similar.”

Kirsten’s plays are best described as works that place hyperrealism 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), COMMON GROUND REVISTED, co-conceived with Melia Bensussen, which is an adaptation of the Pulitzer Prize winning book of the same name by J. Anthony Lukas, 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 American Repertory Theatre (A.R.T.), The Kennedy Center, 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 where she is Co-Chair of Performance and Chair of Theatre Arts.