Dance : ‘Dance Kaleidoscope’ Season Comes to an End at Cal State

If you saw the recent “In the Works” and “Generator Eight” series, along with a few self-produced showcase performances this season, nearly everything would have been familiar on the final “Dance Kaleidoscope” program Saturday at Cal State Los Angeles. But by neglecting choreographic novelty, this eight-part evening highlighted the exemplary dancers who work in local ensembles: dancers worth a second look in even the most problematic vehicles.

Let’s start with the intense, emaciated Derek Penfield and Cathy Milne of Pacific Dance Ensemble. By now, Penfield has so brilliantly internalized every shift in mood, vocabulary and gestural reference in Young Ae Park’s Expressionist pageant “A Wrinkle in Space” that you need watch nobody else in the large cast; the complete experience is right here, condensed and deeply alive.

Milne proves scarcely less impressive, and in Lisbeth Davidow’s duet “Full Circle” (opposite Sean Sullivan), she transforms all the centrifugal movement patterns into an engaging personal statement about risk and vulnerability.

Stephanie Gilliland’s latest powerhouse solo, “Wash,” exploits her spectacular liquid writhings and unconditional sensual surrender. But equally fabulous, in its own endearingly silly way, is Victoria Koenig’s parody of grim, wounded ballerina hauteur in Raiford Rogers’ sleek period sextet, “So Nice” for Los Angeles Chamber Ballet.

“Underpinnings,” Loretta Livingston’s sardonic quartet about the mating instinct, boasts a physically bold, dramatically varied portrayal by Madeline Soglin--a coltish doxy at once overwhelmed by desire and hotly focused on manipulating her partner (David Plettner).

And through sheer dynamism, Toney Wilson of Jazz Dancers, Inc. makes every entrance in Dennon and Sayhber Rawles’ group display piece “A Tribute to Brubeck” seem like a major event.

Even in an ensemble of equals, some look more equal than others. Patricia Sandback’s Post-modern workout “Fives” gives nearly identical attention to Loni Palladino, Terri Shipman and Debi Toth, but Toth seems to provide an extra edge to the dancing--maybe just her own pleasure in it.

Similarly, Jeffrey Grimaldo brings an exultant bravado to Rudy Perez’s quartet “One + 2 Plus 1 Mischief” that draws you into its fascinating maze of movement tasks and social commentary.

“Dance Kaleidoscope” is often approached as a sampler of new Los Angeles choreography--and thus becomes a perennial disappointment.

However, the series may be most valuable as an index to the evolving artistry and dedication of local dancers. This year, there is plenty to celebrate.