‘The choreography has its own characteristics. A smooth, slow passage may be interrupted by explosive moves, then calm down. Big, sweeping steps contrast with small gestures, polished dancing with easy-going walking, tentativeness with assurance. Unlike much of what we see onstage these days, Abraham’s choreography has the kind of expressiveness that infuses good conversation. The dancers may silently drawl or sputter or sing out movements, or ration them via hesitation. Champions at body linguistics, they’re able to summon up fluid ripples of motion or bring one set of muscles into negotiations with another set. You watch them and ponder what they’re thinking, what they’re feeling.’
Read the full review here.
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