DANCE REVIEW : The First of Two ‘Twisted Spring’ Mixed Programs Opens at LACE

With its rigorous logic and disciplined effort, Karen Goodman’s solo “Outer Reaches” outshone other works on the first of two mixed programs by local choreographers, entitled “Twisted Spring,” Friday at Los Angeles Contemporary Exhibitions (LACE).

Mechanical in repetition, martial arts-like in stance and use of expelled breath to energize movements, “Outer Reaches” also was vulnerable in reaching out yet withdrawing into rituals.

Standing with eyes closed, Goodman suddenly wrenched herself into a crouched-over position; straightened up, then hunched over again, initiating cycles of such repetitions. Over 15 minutes, she added new moves, ran through the ever-growing accumulations to end in a non-stop blaze.

Less focused were Tina Gerstler’s duet “New Moon Perpetual Beginning,” a short study in the exchange of contrasting roles and movements, though strongly danced by Gerstler and Grace Pumphrey; and her “Eclipse” (with Gerstler, Pumphrey, James Kelly and Cynthia Hord), a buoyant, kaleidoscopic movement piece that seemed prodigal in scattershot energy and undefined hugging couples.

With its striking cutout set of an ocean liner and black-and-white makeup and formal attire, Steven Craig and Karen Johnson’s theater piece “Sinking Oceans” began promisingly, but suffered from problems in tone, narrative gaps and inability to generate interest in their characters’ shipboard romance. Derek Duke’s attractive minimalist score was performed live by Duke, Alexis Lane Jensen, Julie Kay and Edward Jessen.

In “Pacific Electric,” a wavy-armed Perpetua (a.k.a. Carol Cetrone), assisted by welder Brett Goldstone, juxtaposed classical and mechanical imagery with obscure results.

Marianne Schneller lit all the works with dramatic effectiveness.