“On the Other Side,” its inspiration taken from emeralds, boasted a large Mark Bradford abstract backdrop that could have been an aerial view of L.A.’s freeways, or a mashup of Monet’s “Haystacks”—as if painted by Van Gogh—and a Giotto-esque homage to spatial construction. Again, set to Glass, but in a series of unconnected works, the dance featured the octet clad in Camille Assaf’s loose, comfy looking garb, while the performers dazzled, not only in sheer physicality, but in unending precision.

At one point, Conovan, a star among the LADP stars, was seen in a huge spotlight (Masha Tsimring designed lighting for the entire triptych), deploying twisty fierceness, her arms nothing less than those of Plisetskaya as the “Dying Swan,” her tall, lean physique aligned with the composer’s upward modulations, a beating heart come alive.

When the group gathered in a “Revelations’”-like pose, and slowly hoisted Conovan upwards, she could have been a phoenix rising, or a terpsichorean Statue of Liberty, her neo-classical countenance indeed “enlightening the world” with Emma Lazarus’ poetry ringing in this reviewer’s head, “Give me your tired, your poor, your huddled masses…” so appropriate for this roiling political moment.

That would have made for a picturesque finale, but with more false endings than heard in a Beethoven symphony, the dance featured codas aplenty in what was already a marathon evening. And with trust at the core of the LADP ethos (as it must be in any dance troupe), the sea of steps continued: running, skipping, and featuring an abundance of backbending, these eight superhumans came together to hold hands. 

Could the program have been a wee bit shorter? Sure, but overall, “Gems,” is precisely what its name signifies: beauty, preciousness and polish, and ultimately signified that all is well on Planet Millepied. Merci, monsieur!