DUAT feels like my magnum opus, demanding all the aspects of theatre making that I have worked for two decades to cultivate—it is one part performance piece, one part play, one part devised project, one part musical, and one part mystery pageant. I have worked, primarily, with deep roots in the Black American avant-garde, and Queer performance art. I have carved out space that considers my own and subsequent generations’ experiences of crossroads identities—identities that contain multiplicities (particularly as regards race, gender and sexuality) and that trouble reductive definitions and caging narratives. My art hones in on the centrality of love to the full expression of our humanity, and exposes the dangers of any reductive beliefs about the transformative power of love. I create spaces of embodied, real-time intimacy. I want to underscore the need for a radicalized imagination as central to our way forward.