The titles on last night's program of dances at Dance Arts/Moving Arts -- "Dreamscape," "Ceremonies," "Chronicle," "Child's Play," etc. -- were an appropriate precursor to an evening of overused movements and cliche'd images.
The seven dances by choreographers Suzanne Collins, Beth Easterly and Nancy Havlik filtered by, each more aimless and unformed than the one preceding it, chock full of pedestrian gestures, syrupy swoops and curves, blank stares and ritualistic walking patterns that any dedicated dancegoer has seen hundreds of times before.
Easterly's three pieces -- one a spooky quartet, the other two spare duets -- all started out promisingly but never delivered. Each began with a strong visual picture but was defeated by a paucity of invention, not to mention movement in general. Collins' "Dreamscape" to lulling music by Shadowfax had the choreographer and Jolie Barbiere swirling dizzily.
Havlik, the most structurally aware of the three choreographers, contributed three disparate, half-baked works. The first, an attempt at creating a child's exploration of her body and the world around her, was studied and unnatural (though the performer, Colette Yglesias, gave it her all). "Ceremonies" featured four women, clad in filmy draperies, traipsing back and forth while engaged in a series of scooping and shivering arm movements. As for "Home Base," what can one say about a piece that opens with a quartet assembling and then playing on wooden sawhorses in the most artificial manner imaginable, continues with a walking and rolling solo for a woman wearing an endless veil of multi-colored tulle, and ends just as it began?
The program will be repeated tonight at 8 and tomorrow at 5.