Who is Myrna Colley Lee?
Myrna Colley Lee is an American costume designer, scenic artist, and arts patron who built a prominent career in U.S. theatre over five decades.
She is widely recognized as a leading figure in the Black Theatre Movement, designing for major regional theatres and Off-Broadway productions.
Her work ranges from small, low-budget Black theatre productions in the 1960s and 1970s to large museum exhibitions and university collections today.
She’s also known publicly for her long marriage to actor Morgan Freeman, though her professional legacy stands on its own.
Biography Table of Myrna Colley Lee
| Attribute | Details |
|---|---|
| Full Name | Myrna Colley Lee |
| Date of Birth | 1948 (Age: 77 years as of 2025) |
| Birthplace | North Carolina, United States |
| Nationality | American |
| Education | BFA – University of North Carolina; MFA – Temple University |
| Profession | Costume Designer, Scenic Artist, Arts Patron |
| Known For | Leading figure in Black Theatre Movement; Award-winning costume designs |
| Ex-Husband | Morgan Freeman (Married 1984 – Divorced 2010) |
| Children | None (helped raise Morgan Freeman’s children from previous relationships) |
| Net Worth (Estimated) | Around $5 million (as of 2025) |
| Residence | Charleston, Mississippi, USA |
| Awards | Multiple state and lifetime achievement awards in costume design |
| Notable Works | The Piano Lesson, The Wedding Band, The Ballad of Emmett Till |
| Years Active | 1970s – Present |
| Known For Quote | “Clothes can tell the story before the first line is spoken.” |
Early life and education
Myrna Colley Lee grew up in North Carolina and trained formally in art and theatre at recognized institutions.
She earned a BFA from the Women’s College of the University of North Carolina (now UNCG), studied scene painting and props at Brooklyn College, and completed an MFA in Scenic and Costume Design from Temple University.
That academic foundation helped her move quickly from sketches and renderings to full production work, where she combined fine-art technique with practical theatre needs.
Career highlights — what she’s best known for
Myrna Colley Lee designed costumes for landmark plays such as The Piano Lesson, The Wedding Band, The Ballad of Emmett Till, Gee’s Bend, and multiple August Wilson productions.
She worked across major regional companies — Goodman Theatre, Repertory Theatre of St. Louis, Arizona Theatre Company and others — and moved comfortably between period pieces and contemporary drama.
Her portfolio includes both production costumes and museum exhibitions that preserve her renderings and working pieces for study and display.
Quick bullet list — notable credits:
- The Piano Lesson — major regional productions.
- The Ballad of Emmett Till — collaboration and design work shown in exhibitions.
- Long career in Black Theatre from the late 1960s onward.
In a similar creative path, Marcus Leithold followed his passion for acting and performance, contributing to film and theatre in unique ways that parallel Myrna Colley Lee’s dedication to stagecraft.
Signature style and influence
Myrna Colley Lee uses clothing to define character and community: fabrics, silhouette, and period details are choices that reveal personality before the actor speaks. Many colleagues say her work “tells the story before the first line is spoken.”
She favored research-driven design: archival references, texture choices tied to setting, and economical solutions when budgets were tight. Those practical skills made her especially valuable to theatres with limited resources.
Her influence shows up in younger designers who study her renderings and in university collections that use her work to teach costume history and methodology.
Awards, honors, and legacy
Myrna Colley Lee has received multiple honors for design and arts patronage, including state arts awards and lifetime achievement recognition in costume design circles.
Her working collection—renderings, collages, and finished pieces—has been donated or loaned to institutional collections and exhibitions for study and public display. That preserves her practical process and inspires students.
Her legacy is twofold: a body of designed work for important plays, and visible impact on the Black Theatre Movement’s visual language.
Personal life — the concise facts
Myrna Colley Lee married actor Morgan Freeman in 1984; the couple later divorced (separation reported 2007; divorce finalized 2010). She is noted for keeping her professional identity visible throughout their marriage.
Outside theatre, she has been active in arts patronage and community cultural events, serving on boards and supporting exhibitions that highlight Black theatre arts.
Like Myrna Colley Lee, Fielder Jewett also gained public interest for his connection to a well-known Hollywood figure while maintaining a distinct professional identity in the entertainment industry.
Real-life example — how her designs mattered on stage
At a regional production of The Wedding Band, seating and lighting were modest, but Myrna Colley Lee used fabric choice and period silhouette to anchor the play’s time and class context. Audiences reported a clearer grasp of the world the moment characters appeared. This is a practical illustration of: design = instant context.
Analogy: think of her costumes as a short, highly specific stage biography for each character — immediate, economical, and accurate.
What designers and theatre people can learn from her work
- Research first. Colley Lee’s designs were rooted in historical and social detail.
- Prioritize storytelling. Costumes should communicate who a character is without explanation.
- Work within limits. Low budgets don’t mean low impact — smart materials and silhouette choices do the heavy lifting.
These points are direct, practical, and easy to apply in both small and large productions.
Bottom line — why Myrna Colley Lee matters
Myrna Colley Lee remains a respected and practical model of sustained creative work in American theatre.
Her designs helped shape the visual voice of plays that matter, and her collection now educates future theatre artists.
If you want a single takeaway: study her renderings and notes — they show how costume design answers narrative questions fast and clearly.
