The child Mozart must have presented his papa the latest score with as much delight as Cathy Paine presents sharing her discoveries about the wide world of choreography with the audience.
In works new and recent, performed at a Dance Place gala for her company on Saturday, Paine played with explicit plot and musical implications, linear continuity and movement isolations, body placement and sense of space. She even explored the differences between dancers while keeping her rhythmically alert, dynamically light grasp on the issues.
In the wry moods of "Rain," to an overlay of the sounds of downpour and thunder onto baroque music, there were such ingenious ornaments at the instant run. Performers, by catapulting themselves forward while squatting and rising, seemed to dash when, in fact, they had taken only one step. Or, the prone embrace formalized as pas de deux partnering with supple Carla Perlo and strong Phil Baltazar rolling across the floor. Or, the gesture of hailing a cab developed into a suite of porte de bras that captured the resignation and wonder of walking in the rain.
"Yesterday," Paine's new solo based on stages in a hectic dancer's life, seemed long. The nearly eerie, almost erotic "Those Two," for herself and Perlo, also a premiere, was not as pungent as last year's women's pieces, "Bedtime Story" and especially "Weasel," which contrasted the dancing of clear, quick Beth Spicer, statuesque Ellen Gray Denker and Paine's own breathless excitement.