CHAOS -- United Dance Productions -- City Hall Theatre, April 8-11.

There is a new force to be reckoned with in Bermuda's dance world -- and its name is United Dance Productions.

In a programme enthusiastically received by a capacity audience, Suzette Harvey confirmed that her group of dancers is indeed, now a company.

Young, energetic, well trained and rehearsed, the dancers tackled a wide range of dance styles, the theme of which was the spiritual and societal order that emerges out of the `Chaos' of the title.

Order, in this case, seems to emerge from a sound technical base which Harvey has worked hard to achieve: the discipline of ballet provides the underpinnings but it is fascinating to see that a Grahamesqe modern dance technique is already leaving its signature imprint on this young group. Harvey also strengthened the show by importing supporting dancers and choreographers from overseas.

Best of all, was the sheer entertainment value of the evening. A cluster of turbanned, tub-scrubbing women, circling and raising their hands to heaven in Harvey's African `Harriet and Sojourner's Truth' was the first in 11 short works that provided a kaleidiscopic insight into what now epitomises contemporary dance.

Taken from Maxwell's reworking of the rhythm and blues ballad, `This Woman's Work' was a moving and elegaic piece; clad in a long black dress, Suzette Harvey danced a solo of lament, the dramatically angular lines also serving as choreographic homage to the great Martha Graham.

African dance performed to the beat of Samba's Drums of Destiny wielded its usual mesmeric effect in Sadie Cameron's `Funga', an atmospheric piece and full of vitality as each brightly robed woman stepped forward to perform a deceptively `impromptu' solo. Maria Wells, guest choreographer from Baltimore, also turned to Africa for her contribution. `Bai-de Bai-ya', with its circular, crouching motions and moments of wry humour reflected the traditions of African dance movement that translate so effectively to the theatrical stage.

Kevin Malone, recently seen here with Philadanco, choreographed the abstract, loosely Bermuda-themed `Kiskadees', a modern ballet which brought the only pointe work of the evening -- appropriately enough, to convey the ethereal flutterings of bird movements. Earlier, he had offered `Watermark', an enigmatic piece for three males, esoterically set in a smoke-filled, candlelit temple.

Dancers Anthony Burrell, Melvin Clark and Kevin Goodwine, all guesting from the US, brought a high degree of professionalism to this work -- and, with their muscular athleticism, must surely have been a bit of an eye-opener for those with stereotyped notions about male dancers.

Wayne St. David, already earning a name for himself as a choreographer of jazz and musical theatre in the US, also used this trio for his `I'm A Givin' Way', another modern work which revealed interesting linear perspectives and, again, revealed an exuberantly high level of dance technique.

Hip-hop took centre stage -- and thrilled the audience -- in `Mix Up', jointly choreographed by Chevonne Furbert, Suzette Harvey and Omar Jetter. With its roots in street dance, it is truly a mix-up of dance styles and traditions -- a strong acrobatic element fleshed out with slightly surprising shades of Russian cossack dances. Rikkai Scott revealed natural talent, and expertise way beyond his nine years, as he spun into the solo spotlight. Predictably, the audience went wild.

Another showstopper was `Clash', set by Harvey and Natasha Outerbridge. As the title suggests, this was a demonstration of tap dancing, raising the pulse with Drummer's Path as the girls (Harvey among them), `Rikkai Scott revealed natural talent, and expertise way beyond his nine years, as he spun into the solo spotlight. Predictably, the auidience went wild.' struck jauntily staccato rhythms. A competitive edge, complete with climactic "so there!'' aggressive shoe slaps, was laconically humorous -- and ended in hugs all round.

On the debit side, a total of 11 pieces was too much to ingest: fewer works, some of which could happily have stood extension, would have given more weight to a programme that became a series of appetisers with no main course.

Altogether, though, a highly entertaining evening, performed by people who obviously love to dance -- in any, and just about every style in the contemporary dance vocabulary.

PATRICIA CALNAN NEW DANCE FORCE -- Suzette Harvey