Her features still look chiseled under the crown of red hair, her legs extend easily, the arch of the foot has remained perfectly high and, returning to dance here after three years in New York, Carol Fonda still hovers irresolutely between ballet and modern technique and being a beauty or a comic.

No question, Fonda has skill in several directions. But once she's stated her themes, she is so tempted to show several of her facets that the choregraphy develops no further. In the opening work of her Joy of Motion program this weekend, a double solo with Phillip Matsu to Schumann's "Pointogetherdanceroundetcetera," Fonda concentrated on stretching, extending and balance. Into such technical and moodily remote work, an intimate motion was inserted. The dancers bent down to touch the inside of a leg. What possibilities! However, this led nowhere; technique was resumed and intimacy merely repeated.

Another double solo, "Message of Silence," was a mini-drama. Beth Burleson threw herself into anguished runs and sat down resolutely in stoic knee bends. Fonda, in the same movements, inappropriately displayed finely tuned balletic counterbalance and extended posture. In the self-portrait to Ravel's "Bolero," a ture solo, the classical Fonda undercut rather than complemented Fonda the clown.