DUAT feels like my magnum opus, demanding all the aspects oftheatre making that I have worked for two decades to cultivate—it is one partperformance 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 Americanavant-garde, and Queer performance art. I have carved out space that considersmy own and subsequent generations’ experiences of crossroadsidentities—identities that contain multiplicities (particularly as regardsrace, gender and sexuality) and that trouble reductive definitions and cagingnarratives. My art hones in on the centrality of love to the full expression ofour humanity, and exposes the dangers of any reductive beliefs about thetransformative power of love. I create spaces of embodied, real-time intimacy.I want to underscore the need for a radicalized imagination ascentral to our way forward.