Consistent in Addison Hoffman's eclectic choreography is an ability to externalize the inner world of women. In all four of his works performed by the Hoffman Dance Consort at Glen Echo Park's early matinee Sunday, the audience was given insight into distinct female characters. "Meggin's Province," to a Benjamin Britten harp suite, was busy, nervous and had little consistency of movement. Yet Fernanda Setubal's Megin became a thoughtful, intense presence as she danced with or cradled her playmates.

"Aria," a portrait of a Spanish madonna as child and young adult (to Villa-Lobo's music), used Elanor Bunker's flexible back, limpid arms and secure balance to suggest different ages. The held step forward, with skirt raised and leg high, effectively telescoped this woman's allure into a single movement. "Axanklaxxen," three pop-music solos, contained the most fluently constructed passages in the program, with Beth Spicer as a naive floozy, Setubal sensual and wary, and Bunker as the daffy dancer.

But Hoffman, himself an engaging and able performer, gave few clues to the character of the man in his new "Scenario," a fitful marathon to Steve Reich's stuck-record fiddling. Judging from the reactions of his two women, Donna Bradenburg and Shawn McNesby, the man seemed an egotist.