"The White Dresses" opened with a provocative installation. Dozens of dresses were hung just above eye level in the lobby, and each had a tag with a personal note, such as "…mother sewed this tutu for me…" The tags told a story and made us connect with each garment. A favorite prom dress from the 80s had a slight stain on the front. A christening gown and lacy bonnet evoked discussion about the dying tradition. Well-worn granny dresses from hippie days prompted a few snickers, and a collection of wedding gowns inspired quiet discussions about fashion etiquette and faux pas, tradition and trends.

The installation set a tone of joyful nostalgia, but also a sense of mortality and deep loss, which was appropriate for the dance concert by Betzi Roe, fellow faculty from the Coronado School of the Arts (CoSA), and guests, that explored the metaphors and themes of dresses, rites of passage, and life events.

In the prelude "it seams..." by Roe, a giant dress of 100 yards of fabric was a metaphor for the work that women do. Young women (from the CoSA where Roe is department chair) sat quietly upon the fabric. Their delicate sewing gestures evoked images of women past and present preparing for marriage, working in sweatshops, and ultimately accepting or rejecting their fate.

A woman's struggle to be feminine in a patriarchal society was the focus of "Paperdoll," a polished duet choreographed by Gina Bolles, and performed by Bolles and her husband Kyle Sorensen, the newest MFA candidate at USCD. Set to music by Deaf Center and Yann Tiersen, the dance contrasted playful lifts and rolls with quick zigzags and changing directions to create tension. Bolles and Sorensen are excellent partners with chemistry, and they like to take risks. In one sequence, they ran to a blue dress that hung from the rafters, but surprised us when they pushed their noses and fell to the floor, only to have Sorensen easily lift Bolles straight up from her thigh. Their necks and shoulders remained relaxed, and we didn't want the harmonious encounter to end.

Katie Lorge, a graduate of CoSA and very recent alumna of UC San Diego Theatre Dance, performed a version of her solo "(perch)" a cathartic work inspired by the death of her father. But the stripped down SUSHI venue didn't support her rich original staging seen early in June at the university's "New Directions Choreographer's Showcase."

Standing atop a table in a tattered gown of lace and bubble wrap, Lorge again captured our attention with intense focus and imagery. A haunting score by CocoRosie with the lyrics "there once was girl who talked to geese" intensified her bird-like gestures and desperate arm scoops. The piece remained compelling, and our lobby experience had us thinking about the wedding Lorge's father will miss, but the work suffered from bright light; it needed more shadow, birdcages, and some distance to be truly successful.

The six-part suite "American Torch Songs," by Sadie Weinberg, followed four young women through dating, getting stood up, and self-reliance. Set to snappy tunes by artists such as Elvis, Aretha Franklin and the Everly Brothers, four women broke into solos and duets filled with drags and hip swivels, and they quickly changed in and out of prom dresses and slips with giddy musicality. Veronica Martin-Lamm was a standout in her tight interpretation of "I Wonder Where You Are Tonight," and a pregnant Weinberg's take on Franklin's "Today I Sing the Blues" was especially poignant. As she stretched her perfect limbs into arabesque and plunged into a deep plie, we heard the lines "we're through…" yet Weinberg rose up proudly to reveal her beautiful round middle.

Weinberg was equally stunning in "Phases in Blue," Roe's four-part suite of solos on the phases of womanhood for four inter-connected women. As the Young Woman, Weinberg's arcing arms mirrored a glowing paper moon, and each delicate gesture seemed to embrace a new life within. (One connection - Weinberg is Roe's daughter, so that new life will make Roe a grandmother).

Nelli Sithong, a 14-year-old California Ballet student, portrayed Youth with exceptional grace. Jennifer Curry-Wingrove, a veteran ballerina and actress, offered a lovely interpretation of Maturity with smooth tumbles over the floor, quick arm gestures, and expressive hands that fluttered like tiny wings. Framed by branches, her final pose was exquisite, but also lonely.

The climax of "Phases" was Roe's defining portrayal of Old Age, set to Saint Saens' "The Swan." Roe, 61, tiptoed through rippling waves of blue fabric like a regal bird, but each time she spread her strong arms she sighed and collapsed slightly. Her sharp flaps and tighter turns were powerful and a slight departure from smoother versions that I've seen. It turns out that Roe alternated with that theatrical style on Friday and the softer original, in the realm of Pliesetskaya, on Saturday.

"The Orchid," by Daniel Marshall (of CoSA and La Diego Dance Theater), had two artists paint the movement of dancers in real time on a roll of paper on the back wall. In the end, one dancer broke free from a skirt and the group as if to say I will not conform, I will not marry. In solidarity, others joined her, and they defiantly ripped the painting off the wall, ending the piece with a crisp ripping sound. At its best, the piece was intense, with physical bursts and energized dancers, but it became convoluted. The most memorable aspect was watching the simultaneous painting that captured the movement.

The program ended with the upbeat ensemble "Louise/Louie," by Roe, with dancers strutting to a French waltz beat, blowing kisses, and exuding Cabaret sexuality on barstools. Vanessa Tipon sizzled with her "I'm so bored" mannerisms, and Jessica Reed switched from charming to naughty in a flash, which nailed the two-faced premise.

CoSA students performed "A Friend in Need," a duet about high maintenance friends and the need for balance in relationships. The work was well rehearsed, and dancers Angela Bevevino and Samantha Galaz revealed fine technical training - they were flexible and had very nice feet. It was a good effort, and I commend Ms. Roe for offering students a chance to perform and develop their craft in a professional setting.

If you missed "The White Dresses," don't fret. Betzi Roe, Gina Bolles, and Kyle Sorensen will perform Aug. 2 at the Vine, Bernardo Winery, 13330 Paseo Del Verano N., San Diego.

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