Archived Work

Developed as part of The Kennedy Center’s Local Theatre Residency program at the Reach in the division of Social Impact, When Birds with Broken Wings Fly is a solo performance piece that explores the spiritual, mental and physical journey of black women when the world negates and exploits their “Black Girl Magic.”

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A compilation of mixed media, monologues, poetry, song, dance and music that travels through the challenges and triumphs of black women navigating a world that often imitates their essence while erasing their existence. From stories of self-awareness, relationships, family and independence to moments of grief, healing and joy, this piece aims to provide a safe space that elevates the voices of black women while reclaiming their sovereignty, divinity and power.

Inspired by the structural format of “For Colored Girls…” and “Women on Fire” this piece is an exploration of infertility, loss, and barrenness in support of pregnancy and infant loss awareness. Through a series of monologues, song, and dance, “Rainbow Children, Angel Babies and Fruitless Fig Trees expresses the stages of grief (denial, anger, bargaining, depression and acceptance) for those who have experienced loss or inability to have children.

“Death is inevitable for a young lost soul who doesn’t know or can’t be who they truly are…” Through the lens of The Jumper, The Hanger, The Shooter, The Pill Popper and The Cutter, The Suicide Journals explores the grim reality of teenage and young adult suicide by addressing issues of identity, peer pressure, abuse, love, neglect, and acceptance.

Recipient of Best Play and Best Ensemble at the 2015 Capital Fringe Festival in Washington, DC, The Suicide Journals premiered in NYC at the 2018 New York Theatre Festival and proceeded to North Carolina for its NC premiere at the ArtsCenter in Carrboro, NC in which a series of panel discussions with state-wide psychologist, therapists, and adolescent care workers convened. Most recently, The Suicide Journals premiered at The REACH at The Kennedy Center for the 2023 Local Theatre Festival (Staged Reading).

Chocolate Vanilla is the exploration of racial tension between African American males and females. From the beginnings of slavery to the 21st century, this piece explores the difficulties, judgments, assumptions and struggles of being an African American and the internal struggles within American Society. Infused with spiritual hymns, poetry, song, dance and step, Chocolate Vanilla gives voice to the hushed disparity of prejudice, discrimination, and colorism within the African American culture.

Chocolate Vanilla premiered at the PSI Theatre in Durham, North Carolina in conjunction with the non-profit organization, Hope for Hair, Inc. before its off-Broadway premiere at Roy Arias Studios and Theatres in New York City, North Carolina tour and revival production at the 2015 DC Black Theatre Festival in Washington, DC. The North Carolina tour invited various community and college organizations such as Duke Graduate students to attend and participate in an after-show discussion on relationships within African American culture and the effect of post-traumatic slave syndrome, colorism, and systemic oppression within the African American culture.

Walking Again” focuses on the life of a successful young entrepreneur diagnosed with Multiple Sclerosis. As her physical state weakens from the effects of the disease and her ability to walk decreases, she struggles with her identity, faith, and purpose. This production partnered with the Eastern North Carolina Chapter of the National Multiple Sclerosis Society before its off-Broadway debut at Roy Arias Studios & Theatres in 2010.

Created in partnership with CAARE, Inc. in Durham, NC, My Brother David is a theatrical piece centered on HIV/AIDS awareness and sex education within the teenage community. The work uses narrative, dialogue, and lived experience to open conversations around prevention, stigma, and the impact of silence—offering young audiences space to engage with truth, accountability, and care.

Self-Portrait of a Sinner is an abstract theatrical meditation on salvation, struggle, and spiritual transformation—told through the embodiment of the Seven Deadly Sins: Lust, Gluttony, Greed, Sloth, Wrath, Envy, and Pride.

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Each character represents a distinct challenge on the path toward redemption and the evolving relationship between the human soul and the sacred. Rather than a linear narrative, the piece unfolds as a spiritual journey—exploring not only the fall, but the ongoing process of salvation after grace is received.