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AUDIENCE REVIEW: Still/Here by Bill T. Jones: A Compelling look at Life's Complex Fragility

Company:
Bill T. Jones Dance Company

Performance Date:
November 1, 2024

Freeform Review:

On November 1st, I had the honor of seeing Bill T. Jones' choreographic work Still/Here; an incredibly thematic work of art encompassing complex themes of life and mortality in relation to his own experience within the HIV/AIDS crisis. Jones, who had lost his partner, Arnie Zane, to AIDS in 1988, and was himself HIV-positive, explores what it means to “still” be alive and “here” following the death of a loved one. Jones brilliantly utilizes a multimedia approach in his portrayal of complex and universally emotionally tolling themes that simultaneously leave viewers captivated, enlightened, and enthralled. It’s a revival from 30 years ago, this night marking its anniversary since the work’s original premier in 1994, only adding to the excitement and anticipation rippling through the auditorium, a sensation that could be felt from the dimming of the lights to the closing of the curtains two invigorating and thought-provoking hours later. 

            The first act, Still, is an intricate and emotionally resonant exploration of life and resilience, brilliantly blending modern and contemporary dance, projected film, and an evocative score into a singularly affective experience. The dancers wear minimalist neutral toned clothing like white, gray, and beige, with subtle hints of color in several dancers’ undergarments. The neutral tones symbolize humanity’s inevitable encounter with mortality while the hint of color creates subtle yet noticeable individuality within the cast. Additionally, the loose nature coupled with the overall neutral tones of the costuming, wildly reminiscent of stark clinical environments like hospitals and psych wards, signifies fragility and vulnerability. Choreographically, it dynamically varies, ranging from fluid meditative solos to intricate group sequences. The first act entirely heavily features gestural language, brilliantly blending art and humanity; humanity especially prevalent through the incorporation of video/audio documented volunteers and their real-life experiences. Additionally, it features a lot of solos to aid in the individual accounts and isolation associated with HIV/AIDS. I adore his attention toward cohesively combining elements of both traditional and abstract modern dance with everyday gesticular movements and real-life accounts, enhancing the performative element of the art whilst still creating a connection between the dancers and audience.

            The second act, Here, draws me right back in where I was left inquisitive following act one. Jones deepens the emotional and thematic exploration introduced, focusing on resilience, community, and the complex interplay between fear and hope. Immediately, I’m enthralled by the dynamic and communal choreography, a drastic shift from the somewhat monotonous nature of movement in the act prior. I enjoy that aspect though, for its stark contrast adds significance toward the emotional landscape of diagnosis, death, and acceptance overall. Group movements dominate, dancers forming intricate patterns that evoke interconnectedness, highlighting themes of support and solidarity. Kenneth Frazelle's score in the second act blends rhythmic, energetic passages with moments of poignant lyricism. Percussive beats may emerge, driving the action and evoking a heartbeat-like rhythm—a reminder of life’s persistence. Melodic lines, performed on strings or piano, provide a contrast, offering moments of introspection and beauty amidst the intensity.

The interplay of recorded voices with the live score continues, but the voices now speak of hope, strength, and the will to continue- emblematic of Jone’s emotionally authentic personal experience. Silence is less frequent, replaced by fuller and more layered soundscapes that suggest a growing sense of unity and purpose. The drastic shift from introspection in the first act to communion in the second reflects the journey from isolation to connection, from fear to acceptance- overall evoking a range of emotions: joy, defiance, and a bittersweet acknowledgment of life’s fragility. In all, Bill T. Jones Still/Here offers a brilliant display of life in the creatively fascinating way. Blending his distinct choreography with creative audio and visual elements creates an embodiment of everything he felt in those years of diagnosis and loss, a reminder of the power of connection, and a call to embrace life fully, even in the face of its inevitable end. 

Author:
Kristin Grace Robinson