Bill T. Jones doesn't reveal much about himself in an interview but if you look closely at his choreography, you find clues that tell a lot about the man. Bill T. Jones/Arnie Zane Dance Company performed an all-Jones evening at the Aronoff's Jarson-Kaplan on Friday and revealed plenty.

        The first thing you notice is a sense of humor — seen in the way two men vie for dominance in “Just You.” They battle over a shirt — to wear it or not — and present some funny situations along the way. You see it, too, with a stuck-out tongue or swiveling hips in “Duet,” a work for two women.

        Modern dance can be a giant jigsaw puzzle; choreographers like to give pieces of movement information and let you put them together for a meaning. I see a lonely kid in “Duet” as Catherine Cabeen and Toshiko Oiwa dance a mirror image of each other — images that never touch. They dance the exact same movements facing each other, but they're contrary — not parallel — a hint of discord.

        In both duets and one group piece there's an impatience. Some pretty fantastic dance steps come and go and fly across the stage, but no one stays on stage very long to develop a movement theme. For me it's frustrating; others may see it as charged energy.

        Mr. Jones is positively invigorated by big, athletic movement and obviously thrilled at the feeling of the body flying through space. His works eat space. There's a feeling of risk as bodies fly through the air for last-minute catches and a sense of daring when dancers sail across the stage in belly slides.

        He sees things in twos — even the group piece “D-Man in the Waters” coupled the dancers throughout. And “Just You,” in its struggle about dominance, leaves you wondering which one is Mr. Jones — the one who refuses to put the shirt on — or the one who eventually gives in.

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