Kristi Good

Kristi Good (they/she) is a freelance dramaturg and Assistant Professor of Dramaturgy at Carnegie Mellon University School of Drama. Kristi truly digs new work development and regularly dramaturgs for the Mid-America Theatre Conference Playwriting Symposium. Kristi specializes in topics related to LGBTQIA+, feminism, motherhood, trauma, grief, and "weird" plays.

Kristi Good (they/she) is a freelance dramaturg and Assistant Professor of Dramaturgy at Carnegie Mellon University School of Drama. Kristi truly digs new work development and regularly dramaturgs for the Mid-America Theatre Conference Playwriting Symposium. Kristi specializes in topics related to LGBTQIA+, feminism, motherhood, trauma, grief, and "weird" plays.

Recommended by

  • Gonzalez defies expectations with this modern retelling of The Gift of the Magi. His obvious talent for the 10-Minute format is on full display, with deeply empathetic characters and waves of emotion that will make you feel like you've known them forever.

    Gonzalez defies expectations with this modern retelling of The Gift of the Magi. His obvious talent for the 10-Minute format is on full display, with deeply empathetic characters and waves of emotion that will make you feel like you've known them forever.

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    Herbert facilitates an unlikely meeting to great effect while raising deep moral and philosophical questions. This 10-Minute gem deftly presents you with characters you thought you already knew and uses razor-sharp wit to make you seriously question whose side you would take in the War on Christmas.

    Herbert facilitates an unlikely meeting to great effect while raising deep moral and philosophical questions. This 10-Minute gem deftly presents you with characters you thought you already knew and uses razor-sharp wit to make you seriously question whose side you would take in the War on Christmas.

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    This is an exceedingly clever treatment of one of the great mythological tragedies of all time. Kirk brings biting, contemporary wit to these ill-fated characters; I found myself gasping in gleeful horror at this cursed underbelly of American suburbia. You’ll find characters you love and characters you love to hate, and you might never go to another neighborhood picnic as long as you live.

    This is an exceedingly clever treatment of one of the great mythological tragedies of all time. Kirk brings biting, contemporary wit to these ill-fated characters; I found myself gasping in gleeful horror at this cursed underbelly of American suburbia. You’ll find characters you love and characters you love to hate, and you might never go to another neighborhood picnic as long as you live.

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    Romero’s play is gorgeously poetic in how it weaves together the natural world with the tangible pain of the characters who inhabit it. Romero treats trauma with such exquisite care and artistry, offering the chaos and intensity of the natural world as symbolism for their internal struggles. Part magical realism, part eco-drama, all riveting.

    Romero’s play is gorgeously poetic in how it weaves together the natural world with the tangible pain of the characters who inhabit it. Romero treats trauma with such exquisite care and artistry, offering the chaos and intensity of the natural world as symbolism for their internal struggles. Part magical realism, part eco-drama, all riveting.

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    In a post-pandemic world (where we realize sometimes the show won’t actually go on), Young gives us relatable characters who go through all the highs and lows that make theatre truly magical. A true gut-punch of a love-letter to our art form that left me with “all the feels” and tears in my eyes. It also happens to be exceedingly producible!

    In a post-pandemic world (where we realize sometimes the show won’t actually go on), Young gives us relatable characters who go through all the highs and lows that make theatre truly magical. A true gut-punch of a love-letter to our art form that left me with “all the feels” and tears in my eyes. It also happens to be exceedingly producible!