The Boston Globe - 02.08.2019

B10 The Boston Globe FRIDAY, AUGUST 2, 2019

that she was only joking about

rejoining the cheerleading

squad, she did leave the door

slightly ajar for a possible re-

turn to the field for Gronk.

“As of right now, Rob has re-

tired, but he’s got a mind of his

own and a life of his own,” Ko-

stek said. “So if he wanted to go

back, I would support him. But

now, I support him taking a

break and doing what’s best for

his body.”

Kostek was named a cover

model for the 2019 Sports Illus-

trated Swimsuit Issue, a dream

Kostek said she had been pursu-

ing since she was 15 years old.

Now, the longtime dancer has a

new mission: landing a role on

“Dancing With the Stars.”

“As a dancer and a fan, I’ve

always loved watching that

show,” Kostek said of the ABC

competition series. “The only

way to get on it was to be a star

first. Now that I have the title

of cover model, I think it has al-

lowed me to have a claim to

dance with the stars now.

That’s my next goal.”

KEVIN SLANE, Boston.com

then come back for two more

years. I’ve actually only com-

pleted two years, two seasons

with the Patriots cheerleading

team. So I always joke with Rob

and say, ‘You know, I could go

back anytime and audition.’

“I’m not, but technically I

could,” Kostek continued.

“There have been times that

we’ve joked around and I have

said, ‘You could go back and

play football for the Patriots,

and I could go back and be a

Patriots cheerleader.’”

While Kostek made clear

CouldRobGronkowskiand
CamilleKostekmake a simul-
taneous return to the Patriots?
In an interview with Fox
News, the former Patriots
cheerleader and longtime
Gronk girlfriend said that she
and the retired Patriots tight
end have joked about retaking
the field together as cheerlead-
er and player.
“For the Patriots, you can be
a cheerleader for four years,”
Kostek said. “They can be four
consecutive years. You can do
two years and take a break, and

Names

By Janine Parker
GLOBE CORRESPONDENT
BECKET — Choreographer Kyle
Abraham and his company A.I.M.
(Abraham In Motion) have become
beloved regulars at Jacob’s Pillow
Dance Festival in the 10 years since
they first performed here. They return
this week, to our open arms, with a
program of five dances.
Abrahamhas begunaddingthe
works of outside choreographers to
his company’s repertoire. In Andrea
Miller’s handsome, enigmatic “state,”
Keerati Jinakunwiphat, Catherine El-
lis Kirk, and Marcella Lewis are like
one organism, expanding, receding,
advancing. While the large amount of
unison movement is rivetingly crisp,
the individuality of each dancer is sa-
credly clear. The composition’s taut-
ness does slip with the series of solos,
but these women’s star turns are
worth it.
“The Quiet Dance” is the title of
only one piece on the Pillow program,
but it could just as well describe much
of Abraham’s choreography. Though
the vocabulary that he creates for
himself and his dancers — a lush mix
of modern and hip-hop dance — is
weighted, the performative physical
quality of it is hyper-tactile, the move-
ment executed with a hushed preci-
sion. It is somehow contained, as if
protecting its deepest secrets.
In other ways, Abraham lets it all
hang out, particularly in his own ap-

pearances, which this week are limit-

ed to his 2018 solo “INDY.” Set to Je-

rome Begin’s now let’s-go-clubbing,

now take-me-to-church score, Abra-

ham, costumed in Karen Young’s

whimsical fringed pants and top, like-

wise alternates between personas.

Traversing the stage in repetitive pat-

terns, cockily vogue-strutting, one

hand perched insouciantly on a hip,

or pacing with agitation, he uses rest-

lessness to represent a shifting inner

turbulence. Abraham has often made

private angst public, or at least perfor-

mative, leaving it up to the viewer to

discern fact vs. fiction. Sometimes he

has literally sobbed onstage, though

in “INDY” his occasional anguish is si-

lent, the grief visible in his hunched-

over, heaving back.

It’s a kind of generosity to be so

vulnerable, but Abraham’s thematic

material can be uncomfortable, as if

we’ve burst in on someone’s personal

drama but cannot intervene. There’s a

lovely balance, however, in Abraham’s

beautifully poetic 2011 “Quiet Dance.”

To pianist Bill Evans’s performance of

Leonard Bernstein’s classic “Some

Other Time,” five dancers often move

in precise uniformity as if they are

threaded together, yet there is an air

of individual melancholy, certainly in

the majestic Kirk’s largely solitary

phrases, but also in the tender, faintly

distant duets.

Meanwhile, the program’s other

solo, the 2018 “Show Pony,” is a re-

minder of Abraham’s slyly subversive

wit. On Wednesday night, Lewis, who

alternates the role with the exquisite

Tamisha Guy, slinked or sliced her

way about the stage, at times moving

powerfully in near-robotic isolations.

Like the titular creature, Lewis some-

times seems trapped in lighting de-

signer Dan Scully’s series of spot-

lights, but her final near-wink of a

pose suggests that she’s in charge;

that glow is following her, not defin-

ing her.

In Abraham’s 2017 “Drive,” Scully’s

haze-filled, mysterious lighting design

is evocative, the eight dancers slip-

ping in and out of the shadows magi-

cally, thrillingly. Guy, Jinakunwiphat,

Kirk, Lewis, and Matthew Baker,

Claude “CJ” Johnson, Donovan Reed,

and Jada Jenai Williams are all excel-

lent. Though the only drama in this

dance is physical, it is intensely com-

pelling, and while some of the dancers

are newer to A.I.M., the sense of en-

semble is again striking. Abraham’s

signature layering of unison work is

amplified here — it’s wonderful to see

one person’s solo become doubled, tri-

pled, quadrupled, the overlapping as

natural as waves rippling onto a

shoreline — but it’s electrifying to see

the specific gifts of each dancer in the

mini solos peppered throughout.

Janine Parker can be reached at

[email protected].

At Jacob’s Pillow, lush wonders from A.I.M. by Kyle Abraham

DANCE REVIEW

A.I.M.BYKYLEABRAHAM

At Jacob’s Pillow Dance Festival,

Becket, through Sunday.

Tickets $35-$78. 413-243-0745,

http://www.jacobspillow.org

Seems like yesterday thatTom Bra-
dyandGiseleBundchenunloaded
their Back Bay digs for $9.2 million
and decamped for the lush and leafy
confines of Brookline — and the
manse they designed from the ground
up.
Could they be planning a similar
suburban exodus in New York?
The New York Post reports that
Tom and Gi, owners of a jaw-dropping
$25 million pad in Tribeca, are house
hunting in ultrawealthy enclaves out-
side the city, including Greenwich,
Conn., and Alpine, N.J.
In 2014, they snapped up a 3,300-
square-foot condo in the soaring One
Madison tower for $11.7 million, flip-
ping it four years later for just shy of
$14 million.
Prior to that, TB12 owned a
swanky abode at the Time Warner
Center, which he reportedly never
lived in and finally sold in 2011, and
Bundchen had a sweet West Village
townhouse she cut loose for $4.4 mil-
lion.
And let’s not forget their most
sprawling residential undertaking, an
18,000-square-foot French-style cha-
teau in the hills of Brentwood, Calif. —
complete with moat, koi pond, and

photovoltaic solar arrays, the latter a

nod to Gi’s environmentalist passions.

After buying the land alone for $11.75

millionandspendingfouryearserect-

ing the mansion of their dreams, Bra-

dy and his better half sold the spread

to music producerDr.Drein 2014 for

a cool $40 million.

So why scout properties in Con-

necticut and New Jersey? An elegant

suburban mansion would mean more

room for the couple’s three growing

kids —Jack,Benjamin,andVivian—

and their large extended family. And

with Tom Terrific celebrating his 42nd

birthday on Saturday, perhaps he and

Gi are starting to envision how their

post-NFL world might shape up out-

side New England?

HAYLEY KAUFMAN

In “The Red Sea Diving Resort,”ChrisEvanstakes on

his first lead role since putting down Captain America’s

shield in “Avengers: Endgame.” But the Sudbury native

still finds himself playing hero — albeit a scruffier, span-

dex-free kind — in theGideonRaff-directed thriller,

about Mossad agents tasked with smuggling persecuted

Ethiopian Jews out of war-torn Sudan.

Based on a real, recently declassified mission, the

’80s-set film (now streaming on Netflix) follows a group

of Israeli intelligence agents — played by Evans,Ales-

sandroNivola,HaleyBennett, andMichielHuisman—

who reopen a deserted beach resort on the Sudanese

coast, using it as a cover through which to steer thou-

sands of refugees toward safety to Jerusalem.

“This story was so inspirational and hopeful,” said

Raff by phone. “It reminded me that, when people come

together, they can do great things.”

Evans’s character, Ari Levinson was drawn from mul-

tiple real-life agents Raff met while researching the sto-

ry. In search of more dramatic roles beyond Marvel, Ev-

ans read Raff’s script and asked to meet.

“I found in Chris not only such a passionate actor but

also one of the smartest people I’ve ever met,” recalled

Raff. “I knew he’d elevate this character I wrote.”

Production took place in South Africa and Namibia.

Evans, according to Raff, supported cast and crew

throughout the physically and emotionally draining shoot.

“Chris is a leader, on and off set,” said Raff. “He has

all the qualities of a leader; people want to follow him.

He always takes care of everybody around him, which is

fantastic to see, but he also has a lot of vulnerability, and

he’s got the courage to show it.”

In this, Evans bore remarkable similarities to his char-

acter, said Raff. On set, the “Avengers” alum grew close

with Nivola, a Boston-born actor whose Mossad agent

Sammy Navon clashes with Evans’s Ari.

“Chris [plays] the more reckless, intuition- and gut-

driven guy,” said Raff. “He has an idea and goes for it; he

pounces. Most of the time, that works well, but some-

times people get hurt.”

All involved hope viewers come away heartened by

the humanity in the film. “We need more compassion in

the world,” said Raff. “Chris, Alessandro, Haley, Michael,

they understand this on a very human level, that that

idea is as relevant today, if not more, as it was then.”

ISAAC FELDBERG

The city of Boston is funding seven
new public art projects for its
new “Transformative Public
Art” program. The city put
out an open call earlier this
summer for projects and
received 30 applications.
The seven chosen will
receive a total of $75,000 to
bring them to fruition. Proj-
ects include murals, installations,
and performances. Among
them: “Augment,” byNick
Cave(inset, above), an in-
stallation that will move
from the South End to
Dorchester with a public
parade; new murals byRob
Gibbsin Roxbury andVictor
Quinonez(inset, right) in the
South End; and “Water’s Edge,” a
live music and projection piece in East

Boston around the climate change cri-

sis by the group MASARY Stu-

dios. The $75,000 funding

package is part of the city’s

10-year Boston Creates

cultural plan, meant to

addtoa“strongsenseof

place,” according to a

statement from the office

of MayorMartinJ.Walsh.

Other projects: A mural in Chi-

natown byBrianBeyung, work-

ing with the Chinese Histori-

cal Society of New England;

SamanthaFields’s perfor-

mance piece “desires not

even our own” in Down-

town Crossing this fall; and

a sculpture in the Back Bay

byLeviBedallwith the Rhode

Island design collective Pneuhaus.

MURRAY WHYTE

GRACE KATHRYN LANDEFELD

Kyle Abraham of A.I.M in “INDY.”

Boston funding 7 new public art projects

MARCOS CRUZ/NETFLIX

From left: Chris Evans, Haley Bennett, Michiel Huisman, and Alex Hassell in “The Red Sea Diving Resort.”

‘Red Sea’ director says Evans

‘a leader, on and off set’

Camille Kostek weighs in on whether Gronk could come out of retirement

RICHARD SHOTWELL/INVISION/AP

Rob Gronkowski and Camille Kostek in Las Vegas in May.

PATRIOT PICS/FAMEFLYNET PICTURES

Tom Brady and Gisele Bundchen’s

home in Brookline.

Bradyhousehunting

inConnecticut,N.J.?