It was just as Andy Warhol envisioned it, 15 minutes of fame for each of 27 national and local companies at the National Performing Arts Convention's dance showcases last week. While that's not the best time frame to determine the worth of these companies, it did give viewers an idea of the vibrancy and power of American dance.

In New York City, these showcases are held in hotel rooms with makeshift stages or in nearby city studios. Pittsburgh offered professional facilities at the Kelly-Strayhorn Theater and the Pittsburgh Playhouse.

"Great stage!" commented one Washington, D.C., visitor as the curtain opened Thursday on Dance Alloy's "If This Is the Last Dance ... Dance Backwards."

Although the Pittsburgh companies held their own, it has been a year of turnovers, and most locals feel that the best is yet to come from these groups. The Kelly-Strayhorn presented the strongest lineup, with brief film clips in which the choreographers explained their thoughts behind the dance fragment to follow.

From New York came a duet from Larry Keigwin's "Mattress Suite," an intimate microcosm of a rebounding relationship, and Jane Comfort's almost-too-cute virtuoso puppet manipulated by a quartet of dancers.

Seattle's Lingo dancetheater created an urban sprawl, much like Doug Elkins, but with an inventive vocabulary that was largely dictated by words. But the star power of the night came from the pairing of Paradigm's legendary Carmen deLavallade and Gus Solomons Jr. in an ageless performance of Dwight Rhoden's "It All."

The first round of dance at the Playhouse the next night included duets by companies such as Groundworks Dance Theater, ZviDance and Sarah Skaggs. But Pittsburgh's African-American Cultural Center then issued a real wake-up call as Pittsburgh Dance Ensemble's "Fast and Furious" held the stage with two national powerhouses, Nego Gato Inc. and Xpressions.

Ronald K. Brown/EVIDENCE, set to appear in Pittsburgh next year, went "Upside Down" in a magnificent kaleidoscope of colors that never stopped swirling.

The program ended, as it should, with Philadelphia's Rennie Harris Puremovement, seen here in the past with the Pittsburgh Dance Council. Harris' urban choreographic assault was let loose in "Students of the Asphalt Jungle," a dazzling showcase of its own in which street dancing was elevated not only to a real technique, but to an art form.

-- Review by Jane Vranish

Los Lobos

This classic L.A. band's recording output has consisted of at least three distinct types -- ferocious roots-rock, a more gentle Latin swing and a moody, textured style -- all of which made for an interesting blend Sunday night at a packed Hartwood Acres.

Mostly, Los Lobos rocked, adding a stinging version of "Crossroads" to a set that already included rave-ups like "Don't Worry, Baby," "Shakin' Shakin' Shakes" and "Come On, Let's Go." The playful mood extended to a surprising medley that mixed up the Temptations and Bob Marley. A new song, "Rita," was an encore highlight, harking back to Traffic, and when it came time to wrap it up, Los Lobos stumped us again with, rather than "La Bamba," a thrashy version of "My Generation."

-- Review by Scott Mervis

'Honky Tonk Angels'

The corn sprouting around Jennerstown, Somerset County, will be knee-high by the Fourth of July. But inside the Mountain Playhouse, bushels are already being harvested.

"The Honky Tonk Angels," a musical review by Ted Swindley, creator of "Always ... Patsy Cline," is a knee-slappin' romp with a slight story line that knits together a dozen songs from country music's golden era.

Mary Ehlinger, whose redneck repertoire includes "Cowgirls" and the Patsy Cline tribute, is hilarious as a frazzled housewife who hops a bus to Nashville to become a country singer. On the way she meets a Los Angeles secretary (Kathi Gillmore) and a country girl (Missy Matherne) with the same dreams of stardom.

They're a joy to watch. The first act recounts their back stories through a set that includes Loretta Lynn's "Coal Miner's Daughter," Bobbi Gentry's "Ode to Billy Joe" and, of course, Kitty Wells' "It Wasn't God Who Made Honky Tonk Angels."

By Act 2, the group is performing its final show, which includes Pam Tillis' "Cleopatra, Queen of Denial," Dolly Parton's "Sittin' on the Front Porch Swing" and Jeannie C. Riley's "Harper Valley PTA."

Performed to the accompaniment of a live band, "Honky Tonk Angels" is a fun way to begin Mountain Playhouse's 65th season in a historic grist mill near the summit of the Allegheny Mountains.

"Honky Tonk Angels" is at Mountain Playhouse, Jennerstown, through June 27; 8 p.m. Tues.-Sat.; 2 p.m. Wed. and Fri.; 3 p.m. Sun. $16-$30, 1-814-629-9201, ext. 290.

-- Review by John Hayes

Jane Monheit at Dowe's

Jane Monheit isn't being hyped as hard as she was a few years ago, when she was hailed as the next best thing.

Nowadays, she just slides into town under the radar, sings two sets at Dowe's on Ninth, gives her fans their money's worth and moves on to the next show.

Performing with her quartet Friday, Monheit weaved moods and tones into a passionate mix of jazz and popular songs. She has also developed an alluring stage presence that makes it easy for her to connect with her fans, both male and female.

Musically, she continues to evolve and expand her range. She has perfect pitch and control, sometimes too perfect.

She flirted with the melody on "Honeysuckle Rose" and transported the audience to Brazil during interpretations of songs by Ivan Lins.

But her most savored moment occurred during the lyrical repose of "Over the Rainbow."

-- Review by Nate Guidry