Author: Sophie Myrtil-McCourty

‘If Abraham’s subject matter is political, the dances that he makes are intensely personal and imbued with a rare grace. What strikes you first about his choreography is the austere discipline underpinning its expressiveness. Rococo isolations of wrist, neck and shoulder flow from a centre that is always held, always calm.’ Read the full story here.

‘Pavement is a visceral and very considered piece of work. There is thought in the smallest detail, from noting that the lone female dancer is the only one who has no altercations to (halfway through the piece), trainers being strung up on telephone wires. It speaks to the zeitgeist of movements for equality stemming from…

Read the review here.

‘Abraham, however, is equally interested in the soul of his onstage community. He is an intensely musical choreographer, and whether he’s setting hip-hop to Verdi or ballet to Hudson Mohawk, his characters’ interior grace shines through their often very beautiful dancing. He has a genius, too, for combining the stylised and vernacular, as in the…

“We’re still dying” says African American choreographer Kyle Abraham. Limp bodies lie heaped upon one another: face down, arms twisted back, wrists crossed. Abraham returns repeatedly to this image in his work Pavement. ‘ Read the review full here.

‘One of the most powerful qualities in Pavement is that, in a work about discrimination and suffering, it never reduces its dancers to flat victims. They’re both a community and individuals. Running around the stage, their jog becomes a rhythmic stride, each dancer gleefully spinning off into their own version.’ Read the full review here.

Click here to watch the interview.

Read the Pittsburgh Post Gazette review here.

Read the Pittsburgh Courier preview here.