A.I.M. by Kyle Abraham: White Space
American Premiere at Jacob's Pillow.
By: Charles Giuliano - Jul 20, 2026
A.I.M. by Kyle Abraham: White Space
U.S. Premiere
Ted Shawn Theatre, McCann Stage
Jacob’s Pillow
July 15-19, 2026
Choreography, Kyle Abraham in collaboration with A.I.M
Music, original composition by Jason Moran and Nico Muhly; Schubert, four impromptus, Op.90, D.899 No. 3 in G-Flat Major
Music performed by Stephen Gosling and Derek Wong
Lighting design, Don Scully
Scenic Design, Glenn Ligon
Costume design, Reid Bartelme, and Harriet Jung
Dramaturge, Charlotte Brathwaite
Performers, Mykiah Goree, Alysia Johnson, Suzy Mondesir, Faith Joy Mondesire, Destin Morisset, William Okajima, Donavan Reed, Luc Simpson, Niya Smith, Gianna Theodore,
Olivia Wong
The first impression of the McCann Stage is glittering white. This entails a back wall as well as the floor. White streamers on either side of the stage mark entrances and exits from the wings. On either side of the stage are 12 white chairs. This is a bit surprising as White Space is performed by a company of eleven dancers.
One-by-one they enter the informal space which emulates a studio. They sit on chairs and begin warm-ups to a hip hop sound track. Kyle Abraham, the twelfth chair, is among them executing the spectacular and inventive moves that define the company. After this brief taste he departs only to return for the end.
This new work was partly developed during a winter residency at Pillow. There is a poetic reference to this as soft snow falls during an interval.
While the initial impression is stark white, as the hour-plus work unfolds color transformations demarcate segments of the dance. The back wall morphs like a vast, minimalist painting. At one point a pale cerulean blue evokes nature and sky.
The exotic costumes are also color coded with the white dancers as well as those in brown. The most spectacular costume is a clinging, body length, blue leotard worn by Mykiah Goree. It has a dipping collar that emphasizes his shoulders, He is a stoic, slow moving, singular entity who dances with but apart from the other dancers.
As the dance evolved its impact and invention was galvanic. In terms of power and originality it has become one of the foremost international companies. Abraham states that he creates “A post modern gumbo rooted in social dance practice.”
The music for this dance, by Jason Moran and Nico Muhly, is truly remarkable. It is performed by Stephen Gosling and Derek Wong. They bring four hands to a piano. In this performance we were emphatically reminded that piano is a percussion instrument. They stood above the keyboard to play with maximum force. The playing and related dance was also richly nuanced with softer passages for slow, controlled movement. Toward the end of the performance the company responded in a very different mode to the playing of Schubert.
There was a constant ebb and flow to the dance which evoked a range of emotions including the comic. The choreography explored every possible configuration from ensemble passages to solos and duets.
The latter was particularly evocative when Luc Simpson and William Okajima, literally, locked heads. It was an intimate and erotic exchange which linked their bodies while foreheads touched.
The most compelling highlights were provided by Goree. Initially, he lay in repose as three dancers performed with no interaction. Like Nijinsky in à l'après-midi d'un faune this mysterious individual evolved into a slow and meticulously executed solo. His exquisite control and definition of movement was magnificent to experience.
The audience lapsed into delighted amusement as Abraham provided an interlude of comic relief. With hilarious ineptitude Gianna Theodore wobbled about absurdly trying not to fall. In the background there was comic chatter and the sound of individuals munching on potato chips.
Expect the unexpected with this amazing choreographer. For example, toward the end of the piece the chairs were kind of trashed in a heap. Then there was something about balloons.
There were so many inventions and surprises that it was rather shocking when it all ended more with a whimper than a bang.