A poem, "Eve's Exile" by Archibald MacLeish, prompted Diane Floyd's best choreography on her weekend program at the Marvin Theater. In overlapping solos for Kathy O'Brien as Eve in Eden and Dianne Hunt as Eve in Exile, Floyd showed two aspects of the eternal human -- exploration and hesitation.
Eve in Eden, crouching embryonically with knees protruding like breasts under a tucked-in chin, began to unfurl. This solo was one of discovery as the dancer examined her seemingly naked body , the tug of gravity and the invitation of the surrounding space, while unfolding and folding herself in predominantly spiral motion.
For the fallen Eve in her red dress, the movement material was similar, but the delivery was full of stops and starts. Short, phrasing and the pauses between suggested that not just watchfullness but a loss of confidence comes with knowledge. The accompanying music for flute and piano was by Gregory D'Amato.
Floyd's four other works were arid. "City Walk," for a dozen women and a man dancing to Claude Bolling scores, and the women's trio "Count Down" were sets of open-ended skits. The Antonio Vivaldi chamber "Concerto," a neobaroque modern dance for seven women and a man, managed to be both mechanically structured and untidily performed. "Forepaw," to Christopher Beaven's music, failed to develop the ideas of contact propulsion and dancing on all fours.