Love me, love me, love me, love me.

Love me, love me, love me, love me, love me.

Love me, love me, love!

[ Woman screams ] All: [ Chanting ] I won't disappear.

I won't disappear.

I won't disappear.

I won't disappear.

I won't disappear.

An integral part of dance today, for me, is making a place that is a safe place for people to move in with different bodies, with different minds, with different histories.

All: [ Chanting ] I won't disappear.

I won't disappear.

I won't disappear.

I won't disappear.

I won't disappear.

I won't disappear.

We're doomed.

We hope.

We're doomed.

We hope.

We're doomed.

We hope.

We're doomed.

We hope.

We're doomed.

We hope.

We're doomed.

We hope.

We're doomed.

We hope.

We're doomed.

We hope.

We're doomed.

We hope.

We're doomed.

We hope.

We're doomed.

We hope.

We're doomed.

We hope.

We're doomed.

We hope.

We're doomed.

We hope.

We're doomed.

We hope.

We're doomed.

We hope.

We're doomed.

We hope.

We're doomed.

We hope.

Imhof: The word "doom" is used a lot, and I think I wanted to give it an apocalyptic vision of the world, like a place where people can be safe and hopeful and live their life as they want and be free.

I hope the audience feels that and is invited to be a part of it.

♪♪ ♪♪ That was the first time for me to work with ballet, which, um, I was struck by their devotion to this project.

I was stunned by how disciplined one has to be to be able to internalize all that knowledge and mastery that you need to move in that specific form.

The form freed me a lot.

The female body as, like, an object of desire -- that was very interesting to me.

♪♪ ♪♪ ♪♪ ♪♪ ♪ Make that money like Mansa Musa ♪ ♪ Money like Mansa Musa ♪ ♪ Left, right ♪ ♪ Left, right ♪ [ Rapping indistinctly ] Imhof: The flexors I worked with, for me, it was almost like a negative space to the ballet that has amazing expression and amazing range of expression.

It's very literal, too.

So both of the disciplines are about storytelling, a unified image that the audience is invited to do their own edit of my show.

This is why we were telling the story of "Romeo and Juliet" backwards, and, like, ended with a moment when everybody meets and comes together, almost like one body onstage in front of everybody, showing exhaustion, showing their devotion, showing offstage and onstage behavior in front of everybody.

I think this was a very new experience for me and very new experience for dancers.

And my audience is so well educated because they have been through life, and life teaches everybody where to look at and what to choose and what to take from it.

Young woman: Hey.

All: Hey.

Hey.

Hey.

Hey.

Hey.

Hey!

Hey!

Hey!

♪♪