The Dance Transfer, a likable young company, presented a varied program of old and new works last night at the Publick Playhouse.

Of the previously performed pieces, Addison Hoffman's "Solo for Three Women" was the most intriguing. Despite its title, "Solo" was danced by its choreographer -- a man. The danger in the idea is that the dancer could appear to be either an effeminate man or a female impersonator.Hoffman avoided both traps, but never seemed particularly feminine. The two most obvious character traits were vanity and grace but, putting aside the question of whether these are "feminine," Hoffman lokked mostly like a dancer performing an abstract solo.

Nancy Galeota, a guest artist, choreographed the two new works, "Suite Sorella" and "Bejanblu." Her work shows a fine sense of composition. She knows how to use space, give a dance phrase a surprising twist, and handles entrances and exits well. Her movements flow from the music (in "Bejanblu," gentle guitar peices composed and performed on stage by Christopher Beaven) and are individual without being quirky.

What is lacking is clarity of intent. Galeota's titles are enigmatic, and there are no helpful program notes. "Suite Sorella" is a duet for two women, perhaps sisters, whose relationship is implied but not established. "Bejanblu" seems to be a series of vignettes; there is a moonlit beach atmosphere, but beyond that, nothing is clear.