Lichlyter choreographed two contrasting dances, the first an blues piece titled , "Love's a Sometime Thing," to music by Bob Dylan. Danced in front of a projected night cityscape, five dancers swayed in heavy, weighted moves, changing level and twisting into sensual shapes against the floor. Lichlyter's second piece, "The Thin Line," danced by Crystal Fernandez and Allie Hawkins, revealed two figures, separated in space, who strained towards each other in agonizing effort to make emotional connection. They reached, then slowly contracted to a crouched position, gradually approaching each other, repelling and then curling their bodies around in intimate contact. Both dancers maintained a strong psychological connection as Alberto Ginasteraís violin music created an ambiance of aching dramatic intensity.

"Nowhere Slowly," by Predock-Linnell, was a premiere of both this dance and music by Panaiotis. The opposite of "going nowhere fast," this dance presented a kind of topsy-turvy world with contrasting fast and slow moving groups of dancers. Smoke on stage dissipated gradually to reveal several dancers standing on their heads, and others crouched low to the ground. Sudden sliding entrances energized the scene, and then as suddenly all slid to the floor. Black outs divided scenes into striking vignettes. In one scene six dancers formed three couples who held their partners weight, or pulled against each other. Their were cold confrontations between partners, and then divisions between groups of four against two, and three against three . Little dramas took place as confrontations became more intimate. A repeated motif of one or two figures moving into slow suspended arabesques and wide, sideways leg extensions moved against a larger group whipping into rapid successions of patterns. The dancers performed the rhythmic phrases with high energy and musical clarity.

Vanessa Reyes performed a strong "Alegrias," with Kevin Romero on guitar. Encinias- Sandoval choreographed the piece and sang the flamenco cante. Reyes has mastered the posture and assertive stage presence so necessary in flamenco dance. Sudden dramatic turns and changes of focus contrasted with delicate curling fingers and arms. Her percussive footwork was clear and finely articulated.

"Autumn Suite," Simballaís dance spoof to music by Arcangelo Corelli and Antonio Vivaldi, was a delightful play on the dancers themselves, some of whom were quite accomplished while the three men were less so. The dancers flitted from nicely executed balletic sections, to hip swinging jitterbug, styled breaks. This could have been just awful, but the way it was all put together was fun and entertaining.

Jewell's "Shift" embraced the audience as dancers appeared above and on both sides of the auditorium, in front of the proscenium. Exciting percussion was composed and performed on stage by Stuart Smith, who ambled among of the dancers themselves as his recorded sound took over. When dancers moved back on stage they shift into an exciting embodiment of the rhythm itself, almost a kind of demonic possession. Groups exploded onto the stage as others drifted off. All eleven dancers seemed to ooze the rhythms from their pores, demonstrating great freedom within the technical demands of the piece itself.

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