Trey McIntyre is a modern dancemaker whose ideas are as evocative as the movements that express them. His White Noise dealt with a fear of death; Speak pitted soft ballet against violent rap; and Aliss in Wonderland cast the storybook characters in modern celebrity culture. McIntyre's latest creation, Bound, choreographed this year for Houston Ballet, explored the very different meanings of its title -- from boundless space to boundaries, from bounding across the stage to being bound up. In one memorable pas de trois, a corseted ballerina struggled to break free from a speedy series of soaring lifts that passed her back and forth between two men. When she succeeded, though, her freedom was disappointing. Independent at last, she bourréed limply away but longingly looked back. McIntyre's choreographic conclusion was somewhat subversive: In order to bound through space, she must be bound by the other dancers. We just hope Houston Ballet's choreographic associate feels bound to come home again soon.