Without question, Jones is one of the leading choreographer’s of modern dance. A Tony award winner for Fela!, he has collaborated with iconic artists like Jessye Norman and Max Roach. Compulsively well read in history, philosophy, and sociology, Jones seems cynical in an instinctively contrarian way. In fact, in its early stages he conceives Fondly We Do Hope . . . Fervently We Do Pray as a vehicle for airing a compendium of Lincoln’s less enlightened statements on race. One wonders why on Earth he would agree to spend such a considerable amount of time with a subject he was so ambivalent about.
Indeed, Jones gradually warms to Lincoln, embracing the unifying president, despite his flaws, following Lincoln’s own example. However, the choreographer’s leadership style will still most likely keep viewers at arm’s length. It is one thing to be demanding, but Jones eventually admits to the company his demeanor has not always been properly respectful.
Despite or perhaps because of Jones’ difficulty coming to grips with Lincoln, his choreography looks legitimately inspired. His dancers also have an impressive physicality, well suited to the nature of the production. It is fascinating to watch Fondly come together, but frankly it is not always pleasant observing Jones at work. (Those interested in a behind the scenes view of a major dance company would probably be better advised to check out Frederick Wiseman’s La Danse).
