For many in the dance world, the renowned Nederlands Dans Theater (NDT) is synonymous with the name Jiří Kylián, a Czech choreographer who directed the company in the 80s and 90s. Kylián stepped down and has since served as house choreographer and artistic advisor for the past decade.

This all changed in 2012, when new artistic leadership stepped in. Now the company is trying to keep up the acclaim it was known for under Kylián. NDT toured in Los Angeles and performed at the Dorothy Chandler Music Center this past weekend and were met with standing ovations and cheers.

However, from this writer’s perspective, it’s difficult to distinguish what exactly LA audiences were so excited about. Was it the Olympian athleticism of the dancers? Maybe the expensive sets? It sure wasn’t the choreography.

Medhi Walerski’s (who concurrently dances with NDT) “Chamber” opened the show. It was apparently inspired by Stravinsky’s famous “Rite of Spring,” but the correlation was rather unclear.

“Rite of Spring” is about a ritual sacrifice, and I couldn’t quite discern any sacrificial component in “Chamber.” The show opened with a man ambling around onstage with a cane as the dancers filed in a line in the back, stripping down to nude leotards. From there, what commenced was rather basic choreography — group dance, duo, solo, duo, group dance — an endless succession of dancers parading through configurations. After the first couple of minutes, it was clear how the rest of the piece would play out.

Remember, though, that NDT is an internationally acclaimed company that has its pick of the best dancers in the world. It is difficult not to be impressed by NDT --- heck, the dancers could do sit ups and it would be enthralling. Unfortunately, Walerski, as well as artistic director Paul Lightfoot and artistic advisor Sol León, failed to choreographically match the dancers’ prowess.

In the next two pieces — Lightfoot and León’s “Same Difference” and “Shoot the Moon” — the choreography was a bit less predictable; but again, there was the same heavy reliance on sets, lights, dramatic music and insanely good dancing.

“Shoot the Moon” featured a revolving set and two enormous screens with real-time videos of the dancers projected on them. And the lights were a spectacle in itself, with lights in “Same Difference” literally hoisted up and down the back and sides. As for the music, both of Lightfoot and León’s pieces were set to Phillip Glass, one of the most over-used composers in dance. And though Walerski may not be the most inspiring choreographer...Boy, can that man dance.

Choreographically, Lightfoot and León’s pieces were as nebulous as Walerski’s. The program indicated “Same Difference” was about ego, but that wasn’t obvious unless one read the program notes. Seven dancers in an assortment of expensive-looking costumes made a variety of strange squawking noises while moving around lusciously. It was unclear what purpose the noises served. Overall, I didn’t come away with any insight into what Lightfoot and León actually thought about ego, only that, in some way, their piece had been about it.

“Shoot the Moon” was about relationships, which was straightforward enough, but it wasn’t the relationships between the dancers that was engaging to watch; it was just the dancers themselves, as usual. Choreography has to be about something specific. It should inform or instruct the audience on some level. Otherwise, you may as well watch a dance class or gymnastics.

It simply isn’t enough to buy expensive sets and lights and hire brilliant dancers. That’s called a large endowment, not an inspiring company. Kylián isn’t an easy act to follow, and perhaps with time, Lightfoot, León and Walerski will rise to the occasion. In the meantime, go watch Kylián’s work on YouTube. It will be more instructive of what great dance is than what NDT is performing in LA.

Nederlands Dans Theater performed through October 20th at The Music Center’s Dorothy Chandler Pavilion (135 No. Grand Avenue, Los Angeles). Tickets are $34-$125. For more information, visit here.

Contact Contributing Writer Emmaly Wiederholt here or follow her on Twitter here.

Read more by Emmaly Wiederholt at StanceOnDance.com.