We are looking forward to seeing how it evolves.” In an e-mail Tuesday, Joan Diver said of the play: “We thought it had promise, but were aware it was just a draft and still needed work. That’s how the play comes across, that everything was hunky-dory. “So I don’t understand why they did it the way that they did. It’s not a nice story,” said Twymon, who was a middle-schooler bused from the South End to Charlestown during the time frame covered in the book. In an interview Friday, Twymon was strongly critical of that version of the play, contending it soft-pedaled the ugliness of the busing era. (Collins was invited but did not attend, according to the Huntington.) In February, Twymon and Jackson attended a reading of “Common Ground Revisited,” as did the Divers. Twymon went public with the news of her reunion with the son she gave up for adoption as a young girl: Tito Jackson, a former Boston city councilor and mayoral candidate.
Joanne Rathe/Globe Staff/The Boston GlobeĪ surprising new chapter was added to the Twymon family story last year when Rachel E. Twymon, and Lisa McGoff Collins, daughter of Alice McGoff. Twymon, McGoff, and the Divers are all characters in the play, as are Rachel E. Lukas told the story of busing through the experiences of Twymon and her children, who are Black and moved from Roxbury in 1971 to the Methunion Manor complex in the South End McGoff and her children, who are white and lived in Charlestown and Colin and Joan Diver, white parents who moved to the South End but ultimately chose to leave the city. Even today, the city battles a national reputation for racism cemented by televised images of white protesters throwing rocks at school buses filled with Black children. Lukas’s book chronicles the turmoil that surrounded the court-ordered busing in the mid-1970s designed to desegregate the Boston public schools. In fact, the playwright expects to do even more revisions after a Huntington Theatre Company production of “Common Ground Revisited” begins four weeks of performances May 27 at the Calderwood Pavilion and the creative team starts absorbing audience reactions.
Greenidge has written and rewritten the script for the two-act drama, and is still working on it.
For more than a decade, the pair has been wrestling Lukas’s Pulitzer Prize-winning epic into theatrical form, drawing from the author’s interview notes as well as the book.
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