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Bill T. Jones' Subtle Outlook
by Laurie Callaway

For those who don't know it, Bill T. Jones has an agenda. Unlike some, Mr. Jones does not let his opinion rest in ambiguity. It is not up to interpretation and it is not insinuated silently into his dances. Quite the opposite, his message is broadcasted to the audience, not caring to be inclusive to every opinion that might crop up. For those who want a bucketful of candid judgment, Bill T. Jones' "The Phantom Project" is playing through February 3-7 at BAM.

Of the three dances performed on February 5, the first two, The Gift/No God Logic and There Were..., act as appetizer for the third piece, The Phantom Project: Still/Here Looking On. The Gift/No God Logic is technically entertaining with its symmetry satisfying the audience's inner perfectionist. The stark black costumes, the minimal lighting and the sparse music all contribute to the purist, pattern-driven sensibility of the piece. Still, after about two repetitions of the arrangement of dance steps that is the core of The Gift/No God Logic, the continuity births a desire for a change of pace or a lopsided motion. What ensues is some straining to perceive the meaning of the dance from the audience and a slight preachiness from the dance.

There Were.. possesses more flare than The Gift/No God Logic but it only shows up in spurts and flashes. The intended meaning of the choreography is clearer to the viewers than the meaning of The Gift/No God Logic, it being announced at the beginning and the end of the dance by Mr. Jones. Through the symbolic use of a weekend in the country, it portrays the frivolity of sexually active people just before the widespread consciousness of AIDS. The dancers flirt and switch partners so fast, comparisons to whirling dervishes are appropriate. It does aptly render the sexual freedom that some felt before disease and death became associated with casual sex. The downfall of the dance is that it tries to titillate too forcefully. The costumes - gauzy pastel colors - and the lighting  baby blue and pink  practically scream "Innocent Children!" and "Unaware Of Danger!". Suggestive dance moves and impromptu kisses put into the choreography are not surprising anymore. They come off as forced and blasé, looking to elicit a shocked gasp that will not come anymore from an audience that has seen more explicit.

The crowning jewel, in fact, the entire reason to see the performance comes in The Phantom Project: Still/Here Looking On. It, the movements, the spoken passages, the earnestness of the dance, is so vigorous, that it becomes distressing to sit through. Still, it never crosses anyone's mind to leave for fear that they will miss one of the magnificent moments sprinkled like faerie dust throughout the piece. The Phantom Project is the reprisal of the argument-provoking Still/Here, first seen in 1993. In the reprisal, video and audio testimonials of terminally ill people are still spliced with dance. The change is the commentary. Bill T. Jones tells the audience about the experience of first presenting Still/Here; the demonstrations, opinions, and praise it incurred. The dancing is fevered, as if the dancers' imperative mission is to convert every single last viewer to Mr. Jones' reality. It has a delicacy that seems impossible to preserve coupled with the delirious violence of the choreography. The miracle of The Phantom Project is how it inspires hope in the face of an as yet incurable killing disease without any aftertaste of ridiculousness.

As the last curtain call ended, the audience of Bill T. Jones' "The Phantom Project" turned to leave, satisfied and stimulated. If anyone looked towards the stage, for a moment ignoring the crush of the departing crowds, they would see the curtain going down on a company of dancers, musicians and one singer. Instead of basking in their applause, the company is dancing, actually grooving, with euphoria. It is understandable, taking into account the show that just was given.

Explanation: I wrote this review for a casual arts-goer who does not have a great knowledge of what is around them and is trying to find a performance that they will enjoy. I am most influenced by the reviewing styles seen in New York Magazine.