Ethereal romance and earthly angst

As usual, unhappy relationships inspired a number of pieces on the latest Spectrum: Dance in L.A. program at the Ivar Theatre. But edition 18 of this valuable showcase for local choreographers and companies had plenty of other subjects to explore in a 16-part Sunday performance -- none more compelling than the plight of women in the Middle East as depicted by Sri Susilowati in a deeply artful trio, “Remembering.”

Wearing sarongs manipulated to become veils and hoods, the dancers moved in taut formations that evoked Javanese classicism, accompanied by an original score by C.F. Chang and a text that kept asking, “Why all these crimes? Can anyone explain?”

Spectrum No. 18 also boasted two accomplished, emotional solos: Kenji Yamaguchi’s wondrously supple expression of need, “Solitude,” and Paula Present’s fresh, endearing coming-of-age study, “Diamond Dance.”

The best of the formal women’s ensembles included Marcellina de Luna’s intriguing exploration of nuevo flamenco in “Oleo” and Benita Bike’s varied essay in postmodern athleticism, “Overlapping.”

The excerpts from Christine Baltes’ raunchy jazz octet “Toybox” and Yvahn C. Martin’s pithy “The Future Is Now” both started impressively, but they quickly settled into pointlessly repetitive statements of alienation.

Carla Lubow also tackled the plight of the outsider -- but with a more successful juxtaposition of soloist and corps -- in a Grahamesque modern-dance septet, “Inside Looking Out.”

Mismatched dancers weakened balletic love duets by John Castagna (“The Blue Pearl”) and Kenneth Walker (“Someday, Maybe, Forever”), while a cautionary tale of date-night alcoholism by Ricky Martinez, “From Hunger,” looked promising but unfinished.

However, Ken Morris’ “Deux” developed the old ballet cliche about a yearning, earthbound male and an elusive, floating female into a potent modern dance showcase for Miguel Banket and Ruby Karen.

Even hotter: Brian Frette’s sex-after-death duet, “The Uninvited,” which had the advantage of its unusual concept and of impeccable performances by Caitlyn Carradine and Rowdy Metzger.

Only two pop feel-good pieces turned up on this Spectrum (normally a series bursting with celebratory dances), but they each connected with the audience by exploiting a sense of ordinary people dancing rather than sleek pros knocking us out with their technique.

In “Personalities,” Carlos Jones deftly played with jazz-dance attitude and the varied capabilities of his six-member cast. “Can’t Make Money Tappin’ ” found Richard Kuller using speech, physical comedy and plenty of tap expertise to charm us with truths about the realities of the dance world.

Deborah Brockus’ previously reviewed “Aria” from “Fragments of the Soul” completed the program.