Tracey Conyer Lee

Wilson Faison idealizes his marriage and family, ignoring the controversy of his job as a police officer in the shadow of the BlackLivesMatter movement. He smiles through pain his wife, Ruby, wishes he would share. Tired of feeling helpless and trapped in her Huxtable-like existence, Ruby Faison has a secret plan to break her husband out of his plastic shell. And that plan may just fix the American gun problem.

Ruby's best friend, Claire, takes refuge at the Faison home after suffering a tragedy. Her visit unearths secrets, old and new, and stirring a pot of reality Wilson has never tasted.

This quickfire tragicomedy examines how we live our truth in an America built on lies.

This genre defying comedy begins as a solo and evolves into a four hander.

In a last ditch effort to repair a broken family bond and change life patterns that have been long nurtured, Damonica, a thirty-something waitress and stand-up comic implores her lost-soul father to contact his dying mother. Hilarity ensues! Realities converge and two seemingly divergent worlds collide as the audience is ricocheted from the father's alcohol-strewn living room to the waitress's moonlighting stand-up routines. Can the waitress heal old wounds? Not before picking at the scabs. That's act one.

15 years later Louise, Patrick and Taylor are here to support Damonica as she lays her past to rest. Is she ready? Are they? Secrets are revealed. truths uncovered, and mistakes...big mistakes...are tended to. Or not. Let's just say it gets real messy in the end.

Yvette and Talvin star in a highly syndicated but controversial African-American sitcom. John is engaged to 1st generation Indian American, Sunni. On the precipice of John and Sunni's nuptials, Yvette and Talvin enter their lives looking for clarity and healing. What ensues is a puzzling game of cultural pride Olympics mediated (or perhaps, complicated) by Sunni's brother, Nirav.

Exploring how we exorcise our demons through art, The First Time uses multi-media technology to infect the space in varied capacities, like with the tv show “Blingin'” in which Yvette and Talvin play Turquoise and B.Hood. The others watch, Yvette and Talvin watch them watch, the audience watches them watch the others watch. And as the show's episodes unravel, so do the lives of this quintet.

The truth shall set you free, except when it doesn't. Curtis's truth has kept him behind bars for over two decades. Those he left on the outside are unwittingly entrenched in lies. A mother hides her true identity from her son, the son hides his truth from himself and all who love him. A “by any means necessary” private investigator, a do-gooder novelist, and Curtis's steadfast father all paint a less than honest narrative and are confined by its chains.

When our lives are defined by systems--family, church, community, penal--and our systems fail us, we all do time. Who gets exonerated? Whose appeal is heard? And who chooses solitary confinement? Inspired by a true story, Retreat examines the lies we tell ourselves and each other in order to survive under the systems we collectively create. And until Curtis is free, no one will be. #thewholetruthandnothingbutthetruthsohelpme #freedomandjusticeforall

It's hard to be a pioneer, especially when all you want is to be comfortable in your own skin. This super meta showbiz romp with music autopsies Latiné representation in the American theater through the lens of one man--embodied by three (and a woman)--at the hand of some Black chick he trusted (that's me). Just like us, a work in progress.

It's 1981. A Black theatre artist is tired of only being considered for "A Raisin In the Sun" and must find a way to fulfill his artistic destiny despite his pregnant wife's insistence he finally get a "real" job.

Enter two career criminals--a white dude and his Black ex-lover--with a life story so fantastical the artist can't help but take notice. The unlikely trio lie, cheat and steal their way into a contract for a workshop production of "Love Thief", the musical within this musical. The challenges of creating a new musical for the stage are compounded by the different agendas of the cast, the production team and even the artist himself as he longs for his family's support. Can the artist change the landscape of the American Theatre, with the help of two ne'er do wells, by challenging the status quo of whose stories deserve to be told and how, and keep his family intact as he does? Probably not. But he's gonna die trying.

By exploring the cultural and social maladies of 1981, Triple Threats interrogates the strives we've made, and those we clearly haven't, in this industry and in the world.

Trapped in a New York townhouse, three tenants must examine the value of taking off their masks. Yup...it's inspired by the Kennedy play of a similar title.

Do you consider yourself "color-blind"? Before you answer, recognize that blindness is a disability. Three scholars tightrope through seeing themselves and each other in an America desperate to be "post racial".