Boston Dance Company.

Boston Dance Company, now in its fourth season, is a second-tier company comprised of students, young professionals, and a smattering of seasoned veterans. This mix can produce some very uneven performances. However, its focus on rarely performed works of historical importance gives the company, founded and led by former Boston Ballet dancer James Reardon, a distinction worth noting.

The most recent program, "Pioneers of American Dance," featured works by Ruth St. Denis, Ted Shawn, George Balanchine, and Agnes de Mille. "Denishawn Suite," a set of eight works, was a fine vehicle for the company. Mostly solos, duets, and trios, the suite beautifully showcased the company's strongest performers.

Rachel Miscenich was exceptional in Red Radiance, with her lithe, airy grace and a lovely sense of suspension. Kerry Reutenik was stylish, crisp, and expressive in the Spanish-flavored "Espana Mia" ("My Spain") from Suite Espanol. Guests Rebecca and Robin Rice, who were instrumental in staging the work in an authentic manner from the teachings of Denishawn master Marion Rice (their grandmother and to whom the performances were dedicated), displayed an impressive sense of lyricism, timing, and phrasing in Valse a la Loie. Historical significance aside, Soaring is a stunning, memorable finale with a twenty-foot silk scarf that seems to have a life of its own, transforming itself into flower, cloud, wave, fountain.

Jenna Rae Lavin and Andrew Drost, on loan from Los Angeles Ballet, gave a spirited performance of Balanchine's bravura Tarantella, Drost soaring effortlessly through leaps and spins and Lavin displaying crisp footwork and solid turns: Another pioneer choreographer solidly presented.

However, de Mille's Golden Age (1964) was a poor choice for the company. First of all, it's a sodden, rather tedious ballet with unsympathetic characters and a convoluted plot. In addition, the heavy ballet vocabulary only served to throw the company's weaknesses into sharp relief. The corps of disparately trained dancers gamely tried for cohesion, but the ensemble dancing was sloppy.

Former Boston Ballet prima ballerina Edra Toth gave an able, convincing portrayal of the aging heroine, with some lovely dancing in the sensuous pas de deux with Michael Kruzich. However, the capable Stephanie Moy never quite came to life in her role as the prima wannabe.