News & Updates
This beautiful piece isn’t twined around specific events or credos, and although three words— love, longing, and loss—impel it, we never hear them spoken. In fact, we may hear nothing but the sound of breathing, a foot brushing the floor, or a stray cough in the audience. The dance was composed and rehearsed in silence; spectators in the Doris Duke Theatre can experience it that way or listen to the score composed by Jerome Begin via handed-out earphones.
Review in ArtsJournal
In Dearest Home, choreographer Kyle Abraham (Abraham.In.Motion) has made space for tears (quiet, copious, frequent), hands that shake from illness, incomprehension or desperation, and so many moments of vulnerable physical and emotional intimacy that we do not or rarely see in contemporary dance.
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.
“Dearest Home,” shown in the round Tuesday evening, May 16, at Yerba Buena Center for the Arts Forum, is a chamber piece for the six dancers of Abraham.In.Motion exploring in a mixed vocabulary nuances of feeling in a series of solos, duets and one pansexual trio. The barefoot performers (Matthew Baker, Tamisha Guy, Marcella Lewis, Jeremy “Jae” Neal, Connie Shiau, Stephanie Terasaki) come from diverse areas of the dance spectrum, and in performance a postmodern stretch will be followed by a ronde de jambe.
For his latest work, titled Dearest Home, which premiered on May 16 in San Francisco, Kyle Abraham told us that he drew on his personal experiences of love and loss, and on the experiences of LGBT seniors and teens who participated in workshops led by Abraham during the two-year creative process.