Presenting its 15th season of Ballet Builders, New Choreographers On Pointe gave its audience a watching work out with seven artists showing on April 9-10. Family and friends filled Florence Gould Hall at the French Institute/Alliance Francaise along with many ballet watchers who love to see the process of development. The young dancers were committed and persuasive. The ideas they portrayed were sometimes less complete than their technical abilities. We need more people like Michael Kraus and Ruth Chester to provide opportunities for ballet choreographers in New York.

In Slow Dance, Bonnie Scheibman provided a delicate and peaceful beginning. Lydia Walker and Stephen Staub, evoked a dream-like love affair through slow gesture and accentuated developes. Inch by inch they promenaded to the Mendelssohn score. Sly smiles by Walker led to an extended ballroom dance posture giving the relationship asymmetry. Both performers dance with the Suzanne Farrell Ballet.

Other dances appeared to be appetizers for what a choreographer might like to present in a larger context. In Whispers, by Alison Seidenstricker, continuous and repetitive gestures and patterns did not form a clear meaning but they were not strictly abstract. Sharon Milanese, Keiko Nakamura, Tobias Parsons, Dartanion Reed and Kerry Shea moved in jazzy symmetrical groups to music by Keiko Matsui. I felt a need for editing to help me find my way. Ms. Seidenstricker directs the ASEID Contemporary Dance Company.

Paul Vasterling, artistic director of Nashville Ballet, showed Efimero. With a dramatic relationship at its core a questioning quality lingered in the dancer's interaction. Sadie Harris and Jon Upleger moved through the Bach adagio, in command of their technique.

Pedestal was created by Jamey Leverett to Samuel Barber's Adagio for Strings in memory of Timothy Draper, the founder of the Rochester City Ballet whose members performed. Heavy with feeling I found it complicated in its genre-crossing. Traditional ballet costumes and dancer groupings competed with a theatrical solo by Sari Ostrum evocative of a performance piece. It appeared that Ms. Leverett, the artistic director of the Company, had two separate ideas but for me they were not linked.

No Defense by Gina Patterson had greater simplicity and humor making its viewpoint recognizable. Different relationships were explored combining movement and drama in an easy-going manner. The interplay of rhythm and pause was boosted by the music composed and performed by Tucker Livingston.

Aria by Jennifer Hart to Vivaldi featured asymmetric movement and a pas de deux that challenged Metropolitan Opera Ballet dancers Anna Laghezza and Griff Braun with its modern edges. Using the space well and combining her two bodies in embracing lifts Ms. Hart started and ended with Ms. Laghezza, a strong figure even when left alone. A freelancer with ties to the Minnesota Dance Theatre, Ms. Hart's work was satisfying in its reach.

Melissa Barak a corps member of the New York City Ballet presented Romp 'n Roll featuring fellow dancers Sterling Hyltin, Sarah Mearns, Tyler Angle and Vincent Paradiso. The upbeat piece to music by Matthew Pierce was created with the support of the New York Choreographic Institute another, less accessible, showcase. Ms. Barak and her dancers were gleaming in their professional skill level and she is a lively, fast-paced dance maker. It's to the credit of all the other choreographers and dancers as well as the administrators of this workshop that though the last dance was great it did not outshine the others.