Pacing needed in an evening with Toezeye company

The Dictionary of Difficult Words defines “retromingent” as an animal urinating rearward. While this may sound unattractive, a dance of the same name proved worse at Electric Lodge on Friday when the bicoastal Toezeye Dance Company made a mostly inauspicious debut. The troupe’s artistic directors, Emma Nagata and Kindra Windish, in an evening dubbed “Personal Text,” demonstrated little feel for pacing or significant choreography.

Windish wasn’t alone, however, in creating and performing the animal-themed work. Christopher Williams shared credit and helped to design the faun-like garb, including long tails. Set to Tuva vocalizing, the 10-minute piece aimed for Nijinsky-type entrechats, split-air kicks and feral prowling, but sensuality and inspiration were wanting.

Windish’s collaboration with Maria Breza, “Elbow Grease,” was a better outing. With Arvo Part’s mournful “Fratres” as accompaniment, the pair partnered with ferocity; violent kicks thudding against thighs became an endurance test as they faced off, finally holding hands.

Breza also shone, as did Thania Acaron, in Windish’s “Boxed,” where whipping turns and technique ruled. But at 15 minutes, the work was, finally, affected. Another misfire: Nagata’s “Fox Wedding,” a 35-minute rendering of a Japanese fairy tale that featured the choreographer in fox mask and shredded kimono.

Thankfully, a trio of five-minute works by guest choreographers saved the night. Pamela Debiase’s solo, “At the back of my mind ...,” was buoyantly performed by the choreographer; John Byrne infused his lyrical “Bridge” with authoritative grace; and Artificial Real (Eisaku and Rhythm) gave its “The Urban Movement” hip-hop flair.