Maybe it's the theatricality that gives this body of work such universal appeal, and these dances remains among the company's most popular. And for good reason: Alwin Nikolais (1910-1993), with a career spanning 50 years, is the father of multi-media performance art, and his affected perceptions of lighting, music, costuming and even the definition of abstraction.

"Crucible," the first piece in R-W's "Tower," offers a textbook example of Nikolais' choreographic style. Arms first appear on stage, brightly lit and moving in organic yet unnatural ways, seemingly disconnected from bodies. Nikolais wanted to take the focus off the dancer as an indivual and place them in an environment that would create impressions and images.

Later in the dance, when full bodies are revealed, they function as screens for the spectacular lighiting effects, and the dancers remain unidentifiable figures. Still, "Crucible" is hypnotic. It demonstrates Nikolais' love for the body in motion and gives audiences a new perspective on time and space.

"Tensile Involvement" redefines the space with huge elastic bands strung from the ceiling and across the stage. In this piece, the dancers are clearly visible in brightly colored unitards, exploring the effects of weight and energy on the elastic cords. Dancer Caine Keenan performed a solo, not as an abstract element but as a fully fleshed out dancer. Keenan is a dancer who could be considered - to use a sports term - "coachable." Based on this performance, he probably cleans out his kitchen sink with gusto.

Although Nikolais broke from the Martha Graham-era tradition of storytelling through myths or history, his choreography always revolves around a central idea. "Liturgies" contains characters with specific parts and movement themes that convey a formalized structure. Dancer Jo Blake's portrays a menacing Sorcerer who uncovers the frailities of human kind, while Erin Lehua Brown moves economically, giving clarity to the quickest of movements.

"Tower," a newly reconstructed piece, is more overtly theatrical in a wacky, wild, anything-goes mid-60's kind of way. It's endearingly reminiscent of that optimistic time before the self-important, post-modernists seized control of non-classical dance. It's a work that causes the audience to laugh out loud during "Tower," as the dancers reveal their true personalities through on-stage conversations and comments. This is the controlled energy of good entertainment.