In his company’s current stint at the Joyce, Abraham also shows skill as a programmer and company director. He certainly knows how to choose and cultivate his dancers. And as he has grown busier, creating works for New York City Ballet, the Royal Ballet, and many others, he has opened his own small ensemble, A.I.M., to the works of other choreographers. In the Joyce program, one full-length piece and two shorter movement studies by Abraham alternate with a new work by a former company-member (Maleek Washington) and an older one by the veteran dancemaker Bebe Miler, “Rain.” The two additions are perfectly chosen; different enough from his own to create variety and contrast, but sharing a sense of purpose and seriousness. They are part of a continuum. The result is a program that feels like a harmonious whole, rendered more so by Abraham’s glorious dancers, each a marvel of through-the-body grace and individuality. In his company’s current stint at the Joyce, Abraham also shows skill as a programmer and company director. He certainly knows how to choose and cultivate his dancers. And as he has grown busier, creating works for New York City Ballet, the Royal Ballet, and many others, he has opened his own small ensemble, A.I.M., to the works of other choreographers [1]. In the Joyce program, one full-length piece and two shorter movement studies by Abraham alternate with a new work by a former company-member (Maleek Washington) and an older one by the veteran dancemaker Bebe Miler, “Rain.” The two additions are perfectly chosen [2]; different enough from his own to create variety and contrast, but sharing a sense of purpose and seriousness. They are part of a continuum. The result is a program that feels like a harmonious whole, rendered more so by Abraham’s glorious dancers, each a marvel of through-the-body grace and individuality.