You have to hand it to Addison Hoffman for sheer ambition and productivity. The Hoffman Dance Consort -- of which he is the founder-director, chief choreographer and featured dancer -- has been in business for less than two years, and already the repertoire includes 11 Hoffman pieces, plus three by other area choreographers.

The problem is, there's not a single Hoffman opus you'd want to see twice. These dances are far from all alike, but they have things in common -- a promiscuous stylistic eclecticism, and an utter lack of rational, poetic or kinesthetic order. They look haphazard, and not in particularly interesting ways. One would guess that even the occasional striking patches arise more by accident than design.

The HDC program at the Publick Playhouse this past weekend did nothing to improve the picture. The new "Meggin's Province (Hoffman has a penchant for pretentiously enigmatic titles), set to withered-sounding solo harp music by Britten, has five women gesticulating oddly, sliding to the floor, lifting each other, spinning, rolling, rising, and sinking, all without perceptible pattern or expressive point.

Billed as a "preview," "Four Movements for Ensemble," to a ragged tape collage, at least exhibits some sectional contrasts in layout and dynamics, but is otherwise equally arbitrary.

"Axanklaxxen" did show off the facility and control of dancers Fernanda Setubal. Beth Spicer and Eleanor Bunker, as "Voices" did for Hoffman himself. But the only work on the program that made any choreographic sense was Daniel West's droll little "Stravinsky Quartet." The Consort is an able group of dancers; it remains to be seen whether it can establish a repertory worthy of its proficiency.