[2] Writing in The Boston Globe, Bryan Marquand said the resulting "work repeatedly shattered the silence about issues such as race, illness, and sex.
[1] Her other major works include Sugar and a trilogy: Mississippi Freedom, Turf and The Other Weapon, with the first segment playing at the 1993 Whitney Biennial.
[7] She joined Emerson College—becoming its first black faculty member to receive tenure without filing a discrimination suit—and taught there from 2001 to 2013 when she took professor emerita status.
[14][15][16] Reviewing the show for The Village Voice, Alissa Solomon found this objective successful: "Unlike typical attempts at audience participation, we weren't being manipulated or coerced.
In collaboration with Arts Company as well as local artists who had personal ties to the voting rights movement, the pieces are mixed media, incorporating elements of music, audience participation, inviting viewers to stay after the show to discuss with the cast.
[21] The last piece in the trilogy is titled The Other Weapon, and tells the stories of the Black Panther Party, community empowerment, and law enforcement in Los Angeles.
McCauley describes as well as demonstrates (even drawing her own blood or pausing to inject insulin) the difficulties and complexities of living with diabetes as a black woman working in the theater.
[24] Reviewing the play's premier, Don Aucoin of The Boston Globe describes McCauley as "a skilled performer and raconteur who knows the subtle difference between speaking with—rather than to or at—her audience.
[26] Persimmon Peel was a collaboration with fellow For Colored Girls alum Laurie Carlos, "a cryptic, often poetically allusive little work" performed in Minneapolis in 1990.
[27] McCauley performed Love and Race in the United States Revisited as a work-in-progress in Hartford in 1999, soon after joining the faculty of Trinity College.
[28] McCauley performed Jazz'n Class as her part of Badass, an evening of new works, with Magdalena Gómez and Kate Snodgrass, produced at Boston Playwrights' Theatre in 2015.
[2] Early in their relationship, they worked together on a short-lived project called Sedition Ensemble and later Montgomery wrote music for some of McCauley's plays.