Bill T. Jones/Arnie Zane Dance Company.

BILL T. JONES / ARNIE ZANE DANCE COMPANY ALEXANDER KASSER THEATER, MONTCLAIR STATE UNIVERSITY, MONTCLAIR, NJ SEPTEMBER 21, 23, 24, 2005

With smoke circling from the cigarette he fingers, a svelte Bill T. Jones eases us into the complex dilemmas on his mind. Looking as dapper as Fred Astaire, he angles and swivels into a piece full of questions. The nature of patriotism is at issue and his new work, ambiguously titled Blind Date, delves into nationalism, war and peace, and the proscriptions of society and religion.

Using multiple tools--projected text and images, a full range of dance styles, and an eclectic mix of music--Jones establishes a zone where civilian and military life blur. In jeans and T-shirts or camouflage-influenced dress, the dancers sometimes evoke a friendly neighborhood, sometimes a military squad. Some shout, "Me!" and fall, and others rush to catch them. They slip into militaristic formations, swing above the belt in breath taking hand battles, love and boogie together. As questions of social progress and tolerance are raised, projections of the faces of real people (the underlying heartbeat of the piece) offer a steady reminder that nations are made up of individuals. The superb ensemble of performers also shines as individuals, bringing distinct personalities and movement techniques to Jones' crystalline choreography.

The first half of the piece is laid out as clearly as a military diagram. Questions, stories, and arguments follow a linear progression. The second half bursts onto the stage like a disco party. The dance becomes more amorphous and dangerous, the powers beyond man more present. Statistics of deaths from disasters, caused by nature or terrorism, are read, interspersed with cries of "Praise God!" In another section, religious prohibitions on sexual behavior are intoned, while a tender round-robin of intimate encounters unfolds, as arms and limbs, torsos and heads entwine.

What seems safe is shown to be vulnerable. A decorative border of ducks, which could delight a child, later hangs over the dancers as oversized cutouts, scarred and patched from battle wounds. The design team, Bjorn G. Amelan (sets), Liz Prince (costumes), Robert Wierzel (lighting), and musician/composer Daniel Bernard Roumain, contributes significantly to the unified vision. Jones, who has created a work grounded by social thought yet peppered with the absurdity of life, makes an eminent guide. See www.billtjones.org.