Courtesy of Molly Smith

A reckoning of identity and family, “Little White Lies” by Natalie Brown ’25 is an enigmatic musical that transcends barriers of time.

In 1920s Harlem, motivated by the chance for love, Ella Robinson makes the life-changing decision to “pass” as a white woman. Not only does this decision to conceal her Blackness come at the cost of a name change, from Ella to Eleanor, it also mars her relationship with her family.

Fast-forward to the 21st century. In pursuit of fame and success in Hollywood, Brooklyn Robinson uses her racial ambiguity to pass as a white woman. Under her new identity as Brooke, she achieves her wildest dreams and makes it big. Unbeknownst to Brooke, she is set to repeat the history of her great-great-grandmother, Ella.

“It’s ultimately a story about family legacy,” said Brown. “We have to face our histories head on, or we will continue to make mistakes.”

A triple threat, Brown wrote the book, lyrics and music of this piece of musical historical fiction. “Little White Lies” is a senior thesis in music, acting and choreography for Brown, Victoria Pekel ’25 and Camille Lawson ’25, respectively. 

Grounded in the history of racial passing, a process in which people of color are perceived as white in the United States, “Little White Lies” takes on the challenge of sharing a story little told. 

The 1920s United States was a racially polarized environment, with intense public scrutiny on racial boundaries. The notion of racial passing moved to the forefront of public discourse. 

While historical scholarship on the topic is abundant, personal testimonies of those who racially pass are sparse. 

Imaginative storytelling comes into play within this gap between known history and individual narratives. Popular works such as Langston Hughes’ poem and Nella Larsen’s novel, both titled “Passing,” are examples of fiction that fill in these historical gaps.

The latter novel, in fact, was the inspiration for Brown’s musical.

“I was in my junior year of high school writing a paper on Black feminism in the Harlem Renaissance, and I read Nella Larsen’s book ‘Passing,’ ” Brown said. “I thought, ‘This idea feels very theatrical.’ So, I wrote a song about this woman in the 1920s named Ella, who marries a white man and passes for white.”

The song was left to germinate and, in the summer after her sophomore year, blossomed into “Little White Lies.”

There were moments throughout the editing and writing process where Brown was forced to “kill [her] darlings.” Yet, Brown said that she overcame this challenge by focusing on the heart of the story and the messages she wanted to convey.

“Natalie genuinely has the ability to craft beautiful and emotive musical compositions,” said Alika Osadolor Hernandez ’25, invited to view the dress rehearsal as an audience member. “I cannot wait for audiences to witness this, including those beyond Yale.” 

Rather than making moral judgment, the musical focuses on the desires and motivations of the characters, said Pekel. Though the leading women are morally gray, one can’t help but want the best for them, she continued. 

Pekel, who plays both Ella and Brooke, connected with these characters through her conversations with family members. She shared the story of her great-grandmother, who told her that her own grandmother, an enslaved woman, considered passing as white. 

“That kind of juxtaposition is born out of societal expectations and the world that we live in, but it’s also an individual choice,” said Pekel of Eleanor and Brooke’s decisions. “She still makes choices that hurt her friends and family, even while she thinks ‘I didn’t create this world — it’s not my fault that it’s working out.’” 

While Brooke’s choice to change her racial identity may appear extreme, the play contextualizes and complicates this decision. 

Brooke’s decision to assimilate into whiteness to succeed in the entertainment industry is not entirely fictional. Actors such as Chloe Bennet and Mindy Kaling have said that their name changes were motivated to be deemed more palatable for the public. 

“[Passing] leads into this modern day conversation about casting and representation in the arts,” said Pekel. “The United States biracial population has grown in insane ways, and I still don’t think ‘the arts’ know what to do … Do you cast them as Black, or white or both?” 

The 1920s scenery in the musical is made to appear as if the audience is looking at an old photograph. Sepia-toned lights, lovingly-worn furniture and period-piece clothing meld to create a vintage style.

The 21st-century setting is more vibrant in comparison, referencing modern fixtures such as social media. The performance space — the black box at 53 Wall St. — was designed to immerse audience members on all sides of the theater. 

The themes of identity and legacy had profound impacts on viewers who saw the show at the invited dress rehearsal, they said.

“It is a heartfelt and genuine story that is clearly written with care and creativity,” said Casia Provencal ’26. 

While tickets online are sold out, Brown encourages students to stay on the waitlist, as odds of getting off the waitlist are quite high.

Performances of “Little White Lies” will span over four shows, from Feb. 27 to March 1.