Rachel Greene

Rachel Greene

Hello! I am an playwright/performer/educator/dramaturg/multi-hyphenate theatre artist. My primary goal as a playwright is to create rich, embodied, multi-dimensional fat woman characters and put them center stage. My writing most often wrestles with the thorny intersections of consent, agency, sex, power dynamics, fatphobia and fat liberation, gender politics, and intersectional feminism. Also, I've never...
Hello! I am an playwright/performer/educator/dramaturg/multi-hyphenate theatre artist. My primary goal as a playwright is to create rich, embodied, multi-dimensional fat woman characters and put them center stage. My writing most often wrestles with the thorny intersections of consent, agency, sex, power dynamics, fatphobia and fat liberation, gender politics, and intersectional feminism. Also, I've never written a play that didn't attempt to marry Shakespeare/Greeks/Classics with contemporary pop music. Ask me about it sometime.

Plays

  • John Deserves To Die
    All is calm until theater department favorite Professor Daniel Holmes casts unassuming freshman Laura Vogel as Carol in his Spring production of David Mamet’s Oleanna. No one is less pleased than ambitious sophomore Jen Barnett, who threatens to expose a secret that could turn lives and careers upside down. When fiery student reporter Andy Stark starts to follow leads for an explosive exposé, it is only a...
    All is calm until theater department favorite Professor Daniel Holmes casts unassuming freshman Laura Vogel as Carol in his Spring production of David Mamet’s Oleanna. No one is less pleased than ambitious sophomore Jen Barnett, who threatens to expose a secret that could turn lives and careers upside down. When fiery student reporter Andy Stark starts to follow leads for an explosive exposé, it is only a matter of time before dangerous truths come out. Art begins to imitate life as secrets unravel, masks come off, and classic texts are challenged. In this decidedly murderous exploration into the devilish intricacies of sex, power, consent, and gender politics in academia, three students take control in asking: If Carol was telling the story, wouldn’t John deserve to die?
  • Power Play: A Full-Length Play about Consent, Bodies, and Fat Liberation
    When overachieving, agreeable, and undeniably fat undergrad Sarah gets cast to play historical sex symbol Helen of Troy in a student production, she and her peers are forced to confront their understandings of beauty, sex, and fatness. To make matters more complicated, a budding tension between Sarah and her on-stage love interest Chris begs the student actors to ask where the characters end and the real bodies...
    When overachieving, agreeable, and undeniably fat undergrad Sarah gets cast to play historical sex symbol Helen of Troy in a student production, she and her peers are forced to confront their understandings of beauty, sex, and fatness. To make matters more complicated, a budding tension between Sarah and her on-stage love interest Chris begs the student actors to ask where the characters end and the real bodies begin. With a cast of all-too familiar characters, Power Play puts a magnifying glass to the underbelly of “liberal” and educational theatre-making and the bodies it continues to marginalize.
  • Margaret My Name
    Margaret My Name is an explosive adaptation of Shakespeare's first tetralogy retold from the perspective of the oft-neglected and villainized Queen Margaret of Anjou. Most popular scholarship ignores Margaret entirely, or else dismiss her as a villain; scholar Harold Bloom goes as far as to call her “termagant,” “any actress’ nightmare,” and “a ghastly widow, for whom Shakespeare never could compose a...
    Margaret My Name is an explosive adaptation of Shakespeare's first tetralogy retold from the perspective of the oft-neglected and villainized Queen Margaret of Anjou. Most popular scholarship ignores Margaret entirely, or else dismiss her as a villain; scholar Harold Bloom goes as far as to call her “termagant,” “any actress’ nightmare,” and “a ghastly widow, for whom Shakespeare never could compose a decent line.” This adaptation strives to tell the gentle, proud, and ruthless Queen Margaret’s story in its entirety, and to explore the capacity of modern artists to reclaim classical narratives for the women who drive them forward