Myrna Colley Lee is a veteran costume and scenic designer whose work shaped American theater from the late 1960s onward. She built a career in the Black Theatre movement and became known for thoughtful, character-driven costume work that supports story and performance.

She trained formally in design and art and then spent decades designing major productions across regional theaters and Off-Broadway. Her credits include collaborations on landmark plays and consistent contributions to theater companies nationwide.

Myrna Colley Lee — Quick Biography

Fast facts

• Profession: Costume & scenic designer, educator, arts leader.
• Training: Holds advanced design training; studied at Temple University and the Women’s College at UNC Greensboro.
• Notable work: Designs for plays such as The Piano Lesson, Fences, Seven Guitars, and The Ballad of Emmett Till.
• Public profile: Longtime figure in theater; widely photographed with industry peers and family.

Early life and training — the foundation

Myrna Colley Lee began with formal art education that set the stage for a design career. She completed undergraduate studies in art education and continued with specialized scene painting and properties work before earning an advanced degree in scenic and costume design.

That education translated quickly into practical theater work. An early decision to combine visual art with theatrical storytelling gave her costumes the clarity of an artist and the practicality of a designer — a balance actors and directors depend on.

A simple rule guided her then and still does now: design must help an actor tell the story. This idea made her a sought-after collaborator in productions that depended on authentic period and character detail.

Career highlights — what defines her work

Myrna Colley Lee built her reputation through consistent, character-driven design in important theatrical productions.

• She worked widely in the Black Theatre movement, contributing to plays central to American drama.
• Key collaborations include designing for August Wilson plays and other contemporary works that required deep research and cultural sensitivity.

Her designs are praised for being both accurate and economical: costumes that look lived-in, reveal character, and never distract from acting. As one industry colleague put it, “a costume should whisper, not shout,” and that sums up her approach.

Notable productions and collaborations

Myrna Colley Lee’s portfolio reads like a who’s who of modern American theater: productions at major regional theaters and partnerships with well-known directors and playwrights.

• August Wilson productions — multiple collaborations, including Fences and Seven Guitars, where her period research and fabric choices supported the playwright’s strong character work.
• The Ballad of Emmett Till and other socially urgent works where costumes helped define historical context and emotional tone.

Practical takeaway: when you design for story, directors and actors keep calling you back. Her repeat collaborations are proof.

Public life and philanthropy

Beyond the stage, Myrna Colley Lee has been active in arts organizations and community initiatives.

She served in leadership roles and supported programs that bring theater, literacy, and arts education to broader audiences. One organization page lists her involvement and leadership with Books ’n Blues, highlighting her commitment to community arts.

Her public presence — interviews, program notes, and lecture appearances — consistently emphasizes mentorship and passing practical design skills to new generations.

Personal life — brief and factual

Myrna Colley Lee was married to actor Morgan Freeman; their marriage was a long public relationship that ended in divorce. They married in 1984 and the divorce was finalized later. This aspect of her life brought wider media attention but did not define her professional contributions.

Her reputation in theater stands independently: colleagues point first to her eye for detail and collaborative spirit rather than celebrity headlines.

For readers interested in family-related stories of well-known personalities, you can also explore Alexis Danson, the adopted daughter of actor Ted Danson, known for her private and inspiring life journey.

Why her work matters — influence and lessons

Myrna Colley Lee matters because she shows how design supports narrative without dominating it. Her approach offers three practical lessons for creatives:

• Research deeply. Accurate details build trust with the audience.
• Design for performance. Materials and cuts must serve the actor’s movement and the play’s tone.
• Collaborate openly. Repeated partnerships are built on reliability and clear communication.

A useful analogy: good costume design is like a well-written supporting character — essential, revealing, and perfectly placed.

Real-life examples

• In Fences, period-accurate yet worn clothing signaled economic pressure and family history without exposition; actors wore the clothes and felt the character.
• In The Ballad of Emmett Till, costumes needed to balance historical accuracy with sensitivity; Colley Lee’s choices supported the play’s emotional impact.

These examples show her consistent focus: clothes that tell a story quietly but clearly.

Practical tips for designers who want to follow her model

• Start with photographs and oral histories when researching a time period.
• Prioritize fit and movement over aesthetics alone; actors must live in costumes.
• Keep a “go-bag” of fabrics, trims, and quick-repair tools for previews and unexpected changes.
• Build long-term relationships with directors; reliability is as valuable as creativity.

These steps mirror what made Myrna Colley Lee successful: steady craft, empathy for actors, and strong research habits.

Similarly, those curious about inspiring professional journeys outside the arts might enjoy reading about Ron Fisico, a Canadian fitness expert known for his dedication and success through consistency.

Final notes — reputation and continuing work

Myrna Colley Lee remains respected for decades of work that quietly shaped major productions and helped define design standards in American theater. Her career demonstrates that technical skill, historical knowledge, and collaboration create lasting contributions to performing arts.

As she has said in many program notes, “design gives an actor the first idea of who the character can be.” That line captures her practice: design as a starting point for performance, not a distraction from it.

Short quote to remember: “Design should serve the story—when costumes steal the scene, the story has already lost its way.”