Pennsylvania Dance Theatre's Friday night performance in Eisenhower Auditorium presented a decidedly light-hearted program to a woefully small audience.

Modern dance became a vehicle for satire and humor in three of the four pieces presented. Fortunately, the humor was varied by different choreographers' works, keeping the program from becoming boring.

PDT was clearly saving the best works for last. Legal Tender, a dance about pre-wedding nerves, was a comedy hit. The piece began innocently enough, with the bride-to-be walking across stage, absently rehearsing the wedding vows to herself.

The normalcy of the situation was soon interrupted by the groom, wearing only his underwear, negotiating his way over the audience's seats while muttering "Excuse me, Pardon me -- may I climb over this seat right here?"

Things got pretty weird from there.

The couple's marriage anxiety is represented by the two dancers wearing trenchcoats up over their heads and scurrying across stage.

The humor of the situation is increased because one of the marauding brides is actually one of the male dancers in drag.

Surprisingly, the piece does not end with the lovers' marital bliss, but with the image of the bride-in-drag struggling for free movement in his constricting gown.

'Round This World Baby Mine, created by New York choreographer Dan Wagoner in honor of his home state of West Virginia, had provided an excellent introduction for the evening's works. The dance focused on themes of community, friendship and love although Wagoner couldn't seem to make up his mind whether it should be danced as ballet, modern, tap or a square dance.

Nonetheless, the piece was often humorous and always entertaining. The choreography possessed unusual transitions, such as hand clapping or thigh slapping, that called the audience's attention to a particular dance sequence.

LaRue Allen, the company's director, stole the stage with her portrayal of a little girl in Issue. The piece was an adroit mixture of ballroom and modern dance styles, unlike the cruder mingling of styles in 'Round This World Baby Mine.

Windspace, choreographed by Allen, seemed somewhat out of place among the lighter fare of the evening, but demonstrated the group's capability for more serious themes. The piece was unusual for its use of three wind sail sculptures, created by local artist Rob Fisher, that were the focus of the piece.

The dancers swung, spun, carried and climbed the sails, exploring their stage capability. Some of the images produced were original and exciting. For instance, one dancer attached herself to the sail while the others manipulated it back and forth.

Some of the dancers, however, seemed restrained or inhibited, failing to perform the full, effortless extensions of legs and arms the choreography seemed to demand. The piece was further marred by the unwieldiness of the sails.

Dancing could have been better, typically ranging from mediocre at its lowest point to better-than-average. Yet, PDT boasted an entertaining show with many choreographic styles that helped to make the performance seem shorter than the two hours it ran.