In response to the racial violence of the 1890s-1930s (and beyond), Black women playwrights birthed a genre of theatre known as “anti-lynching plays.” Cultural critic and scholar, Koritha Mitchell, calls these plays ``community-centered theoretical statements” that allowed Black people to “rehearse belonging” in the face of racial terrorism. These playwrights, doubling as anti-lynching crusaders, cemented the artists’ role as witness, as truth-teller, and as historical recorder in times of crisis.

Pulsating at the intersection of art and social commentary and creating in the lineage of form-shattering giants such as Anna Deavere Smith, Ntozake Shange, and Sonia Sanchez, my current work is inspired by an artistic vision to create “community-centered theatrical statements” (full-length plays, solo shows, and microplays) powered by a series of dramatic questions: "What does an anti-lynching play look like in the 21st century? What kind of unique, theatrical experiences are birthed out of the quest towards global, Black liberation? What are we as a society in desperate need of rehearsing and how can we utilize theatrics as a way to do so?"

In all, my work is grounded in the words of Toni Cade Bambara, “As a culture worker who belongs to an oppressed people my job is to make revolution irresistible.” That is to say, I seek to write stories that create new possibilities via theatrical reimagination and open up freedom portals wherein justice and liberation - denied to my people by the State - can be rehearsed and reimagined in the body.