I believe what makes Bill T. Jones' choreography so effective is that it is rooted in story telling. The art of narrative through expressive movement is the touchstone for all of modern dance. That is what Bill brings to the table. It is not what the Broadway audience typically thinks of as choreography, and that could hurt its chances, but there is no denying that he was able to evoke the inner life of these character's yearnings in the form of a repeated gesture which starts out with Wendla in a gentle, questioning way and then infects the rest of the cast building in intensity until finally, it explodes.
While I don't have any strong feelings one way or the other, reading the impassioned defenses the "Spring"-heads come up with to deter any and all objectivity to any aspect of the show has become one of the most entertaining aspects of the board lately.
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.