It’s the end of a long rehearsal day
for the dancers of Abraham.In.Motion.
They’re reviewing phrases of a new work,
Dearest Home. It’s a pretty typical rehearsal scene. Some dancers cluster around
a laptop trying to piece together steps
learned long ago. Others review choreography together, working to figure out who
remembered which arms correctly.
What isn’t typical: The company’s
director and choreographer, Kyle Abra-
ham, is nowhere to be seen.
That’s because while the company is
based in New York City full-time, Abraham spends most of his year teaching at
the University of California, Los Angeles,
where he joined the faculty last September. It’s an unconventional model for a
single-choreographer–led troupe, almost
functioning like a repertory company in
which choreographers drop in for a week
to set a piece, leaving it up to the rehearsal
directors and dancers to keep the momentum going.
But the formula seems to be working
for the 11-year-old company. The more
stable the troupe has become—full-time
salaries, health insurance, a robust 38-
week season with 21 weeks of touring and
a loyal cast of dancers—the more flexibility it has allowed Abraham. “The company in the iteration it’s in right now, I’m
so inspired by them,” he says. “It makes
me rethink how I make dance and what it
means to even have a company.”
With dancers in New York City and its director
in L.A., Abraham.In.Motion has rediscovered its
mission with a quirky new company structure.
A COMPANY IN M
BY KRISTIN SCHWAB