You'll see modern dance in its many guises, from the comedic to surrealistic, in this year's "Fall Footholds" program presented by the University of Hawai'i's Department of Theatre and Dance.

Two graduate student choreographers, Malia Bowlby and Kelly Wadlegger, present the most ambitious and finished works with the largest ensembles. Other dances, though more modest, nevertheless offer rich variety in movement style and themes.

Lisa Smith Orig's "Oops!" serves well as the opening number. Three wannabe ballerinas execute a series of quirky robotic moves which are accompanied by grimaces, eye movements and facial contortions. The juxtaposition of little white ballet tutus worn over everyday black slacks and shirts, in addition to the height difference between the dancers, adds to the charm and whimsy of the piece.

Becky McGarvey's "Describing Space" has dancer Tanya Somday performing center stage while the choreographer, seated at the edge of the stage, recites a poem. With impressive control, Somday, occasionally reflecting the spoken words, alternates outward extensions into the space around her with smaller, more intimate and reflective gestures.

Following "Recovery," a trio choreographer by Sarah Jane Carlton, Somday returns to perform her own choreography in "A Body of Water." Though her dancing is powerful, it is difficult to see the connection between the dance and the projected images of water.

Malia Bowlby's "DOn't!" ends the first half of the program. Using 10 dancers and dividing the piece into several sections, Bowlby presents the world of childhood as a time of exclusion, alienation and exploration. Through simple walks, runs, hesitations, turns of the head, shifts of bodies, she makes us aware that someone is always the outsider. For a while, that loner is Jennifer L. McGowan whose dancing commands the stage with its clarity, control and dramatic focus, while at the same time allowing her to appear childishly awkward and self-absorbed.

The second half of the program begins with Kelly Wadlegger's "Shadows." Divided into sections, this dance begins as Bowlby, one of its central figures, executes a short solo rich with slow, deliberate, fully committed movements. She is joined by the ensemble, and, through the onstage addition of costume pieces, they are transformed into recognizable characters, portraying multiple aspects of urban life. These include a couple in formal evening dress, a military man, girls in fashionable sportswear and others in jeans and T-shirts. The dancers perform the intricate and demanding choreography skillfully.

Tanya Somday's abstracted tango, performed by herself and Gwen Arbaugh, offers a subtle deconstruction of the most sexy of all ballroom dances while Natali McCleary's "Stasis," a duet performed on two black cubes, depicts separation and alienation. (Do we see an overriding theme here?)

Michele M. Painter shows her penchant for surrealism with "Wonder Child," featuring two masked robotic ballerinas and an Alice in Wonderland style character.

Controlled frenzy juxtaposed with precarious off-balance suspensions and tiny convulsive movements characterize Lauren Santos' solo, "All Right," which brings the program to a memorable close.

Carol Egan is a freelance writer living in Hawai'i.