Kia Corthron

Upon graduation in 1992, Corthron began writing plays and was granted a commission from the Goodman Theater in Chicago to write the play Seeking the Genesis, a piece dealing with parents drugging their children with Ritalin and the proposed government drugging of urban youth to prevent violence.[3]

Since her graduation, Corthron has received commissions for workshops, readings, and productions throughout the country. Her work has garnered critical and audience acclaim. Beginning with the commission from Chicago's Goodman Theatre, she has gone on to receive many other commissions for plays. Among Corthron's commissions are commissions from the Royal Court Theatre in London, the Alabama Shakespeare Festival, the Atlantic Theatre Company, the Manhattan Theatre Club, the Mark Taper Forum, the Public Media Foundation, the Children's Theatre Company, and National Public Radio with The Public Theater.[4] She has developed her work through numerous reputable workshops including the National Playwrights Conference, the Sundance retreat at Ucross, the Hedgebrook writer's retreat, the Audrey Skirball-Kenis Theatre Project, the Shenandoah International Playwrights Retreat, Intiman Theatre, A Contemporary Theatre, Crossroads Theatre Company's Genesis Festival, The Public Theater's New Work Now! Festival, Voice and Vision, and the Circle Rep Lab.[5]

Corthron's work is greatly criticized for trying to bundles many issues into one play. Even though Kia Corthron's criticism from critics, critics are able to acknowledge that Kia Corthron's ability to use language that is always poetic and rhythmical and she does not shy away from difficult questions show evidence of great promise.

Most of Corthron's work revolves around socio-political issues. The themes of her work have encompassed many issues found in newspapers. For instance, her work Force Continuum from 2000 dealt with the issue of police brutality. Her shorter piece Safe Box centered on an industry that dumped cancer-causing chemicals into the air and water. Her two-act drama Glimpse of the Ephemeral Dot dealt with veterans' issues. Life by Asphyxiation takes an anti-death-penalty stance.[6] In other plays, she has examined the land mine issue, female gangs, prisons, capital punishment, youth violence, and disability.

With the commissions, works, and impact of Corthron's work, she has acquired many awards, including the Daryl Roth Creative Spirit Award, the Mark Taper Forum's Fadiman Award, NEA/TCG Theatre Residency Program for Playwrights, a Kennedy Center Fund for New American Plays, the New Professional Theatre Playwriting Award, the Callaway Award, a Van Lier Fellowship, and was Delaware Theatre Company's first Connections contest winner.[7]

One of Kia Corthron's most influential plays is Force Continuum,[8] which centers around "an African-American police officer who struggles with the contradictions of his race and profession while confronting the black community he is bound to protect and being haunted by his cop father's violent death". Through out this play Kia Corthron draws parallels to the real world through the controversial topic of police brutality, which helps the audience perceive these types of situations from the perspective of both sides. This in turn, gives both parties the opportunity to explain the reasoning behind their actions and possibly receive some form of understanding from their critics.

Corthron's latest play, A Cool Dip in the Barren Saharan Crick, received its world premiere production by Playwrights Horizons and The Play Company in March and April 2010 at Playwrights Horizons' Peter Jay Sharp Theater in New York City. The play concerns Abebe, an African preacher-in-training who arrives in a drought-stricken rural American town intending to further his studies in religion and water conservation. Hosted by a mother and daughter haunted by tragedy, he takes an interest in a young orphan starved for guidance – all the while maintaining an infectious optimism in the face of his obstacles. Undaunted, Abebe determines to battle – by any means necessary – the personal and political forces that threaten the ecology of his new home.

Corthron's first novel, The Castle Cross the Magnet Carter, was published by Seven Stories Press in January 2016.[9][10] It won the 2016 Center for Fiction First Novel Prize,[11] and the New York Times Book Review Editors' Choice.[12] Her second novel, Moon and the Mars, was published in 2021, also by Seven Stories.

Corthron's first TV credit was for an episode of the 2004 series, The Jury called Lamentation on the Reservation.[13] In 2006 she wrote an episode of The Wire's fourth season entitled "Know Your Place" which earned her Writers Guild Outstanding Drama Series Award and an Edgar Award.[14][15]

In 2002 Corthron traveled with five other playwrights to Palestine, visiting theaters on the West Bank and Gaza. She was one of nine American playwrights selected by Minneapolis' Guthrie Theater for a special world travel/play commissioning grant. With their aid, In 2004, Kia chose to travel to Liberia while the country was recovering from its civil war, and has since been working with the theater on her play Tap the Leopard, chronicling the historical relationship connecting the U.S. and Liberia, from the initial tensions between immigrant American free blacks and the majority native population in the 19th century through the strife of the late 20th and 21st centuries.