Martine Kei Green-Rogers obtained her PhD from the Department of Theatre and Drama at the University of Wisconsin-Madison. Prior to studying at UW-Madison, she received her B.A. in Theatre from Virginia Wesleyan College and her M.A. in Theatre History and Criticism from The Catholic University of America.
Her dramaturgical productions include: Sweat and Toni Stone at the Goodman Theatre, The Greatest with the Louisville Orchestra, Classical Theatre Company’s productions of Miss Julie, The Tempest, Uncle Vanya, The Triumph of Love, Antigone, Candida, Ghosts, Tartuffe, and Shylock, The Jew of Venice; productions of Radio Golf, Five Guys Named Moe, Blues for an Alabama Sky, Gem of the Ocean, Waiting for Godot, Iphigenia in Aulis, Seven Guitars, The Mountaintop, Home and Porgy and Bess at the Court Theatre (Chicago, IL); productions of Fences and One Man, Two Guvnors for the Pioneer Memorial Theatre; The Clean House at CATCO (Columbus, OH); Twelfth Night, It’s Christmas, Carol!, Hairspray, The Book of Will, Shakespeare in Love, Hannah and the Dread Gazebo (Research Dramaturg), UniSon(Asst. Dramaturg),The Comedy of Errors, To Kill A Mockingbird, The African Company Presents Richard III, A Midsummer Night’s Dream, Fencesand the Play on! project translations of Comedy of Errors and The Two Noble Kinsmen for the Oregon Shakespeare Festival (Ashland, OR); 10 Perfect and The Curious Walk of the Salamander as part of the Madison Repertory Theatre’s New Play Festival, and A Thousand Words as part of the WI Wrights New Play Festival.
She has also directed staged readings of Adopting Aunt Tabitha for the Alley Theatre’s HYPE program, and Venus and Adonis for the Classical Theatre Company. Last but not least, she has directed a production of Much Ado About Nothing for Kenyon College and The Brothers Size for the Ancram Opera House.
Some of her publications include the article "Talkbacks for ‘Sensitive Subject Matter’ Productions: The Theory and Practice" in the Routledge Companion to Dramaturgy, “A New Noble Kinsmen: The Play On! Project and Making New Plays Out of Old” in Theatre History Studies and “The Dramaturgy of Black Culture: The Court Theatre's Productions of August Wilson's Century Cycle” in On Dramaturgy: Unpacking Diversity and Inclusion, Case Studies From the Field.
With Dr. DeRon Williams and Dr. Khalid Long, she also co-edited the book Contemporary Black Theatre Performance: Acts of Rebellion, Activism, and Solidarity.
She also was the adaptor of the Kennedy Center’s World Premiere of Jason Reynolds’ Long Way Down.
She is the Dean of The Theatre School at DePaul University. Her research interests include violence in African American Theatre, African diaspora theatre, gender and race in American theatre, and issues of sustainability in the theatre.
She is a proud member of the Association for Theatre in Higher Education (ATHE) and the Co-VP of Anti-Oppression (along with Russ Dembin and Emma Bilderback) for the Literary Managers and Dramaturgs of the Americas (LMDA).
The College of Arts