Christian St. Croix explores stage storytelling by salting lo-fi realism with a sense of strange wonder. A queer, Black playwright with working-class roots, the San Diego-based artist has been making waves with his breakout, award-winning play "Monsters of the American Cinema." As the LA Times’ Charles McNulty noted, St. Croix brings “grit” and “capacious empathy” to the stage, with a dash of surrealism. He’s not slowing down either—his O'Neill Finalist play "We Are the Forgotten Beasts" and the ’90s-inspired deep dive "ZACH" have both garnered serious attention, the latter being hailed by The Seattle Times as a “nostalgic yet probing exploration of belonging.” His work has been embraced by theaters known for championing new work, like Rogue Machine Theatre, Diversionary Theatre, and...
Christian St. Croix explores stage storytelling by salting lo-fi realism with a sense of strange wonder. A queer, Black playwright with working-class roots, the San Diego-based artist has been making waves with his breakout, award-winning play "Monsters of the American Cinema." As the LA Times’ Charles McNulty noted, St. Croix brings “grit” and “capacious empathy” to the stage, with a dash of surrealism. He’s not slowing down either—his O'Neill Finalist play "We Are the Forgotten Beasts" and the ’90s-inspired deep dive "ZACH" have both garnered serious attention, the latter being hailed by The Seattle Times as a “nostalgic yet probing exploration of belonging.” His work has been embraced by theaters known for championing new work, like Rogue Machine Theatre, Diversionary Theatre, and ArtsWest Playhouse. With accolades like the Carlo Annoni International Playwriting Prize and the Dominic Orlando Playwriting Award under his belt, and his latest project, "We Lovers," in the pipeline, St. Croix is quietly but unmistakably making his mark on the landscape of American theatre.