Dancers who make the move to choreographer are not always blessed with a smooth transition. Performance depends upon the ability to interpret another's vision with clarity, to communicate intangible ideas through movement. Making dances demands a combination of skills, not the least of which is an understanding of how very different bodies can relate to one another, to music, and to an environment. Choices are made at every turn, determining whether a piece becomes a coherent whole or a string of unfinished thoughts. Wynn Fricke, a splendid dancer in her own right with the Zenon Dance Company, crafts a fully realized style with her Borrowed Bones Dance Theater and through numerous commissions. She premiered the kinetically urgent Two Fridas at the Minnesota Dance Theatre concert in February, sending Peggy Seipp and Christy Coughlin through an emotional spiral that could only have been inspired by Frida Kahlo's internally violent paintings. It's enough to make the viewer believe that Fricke can cast spells through her dancemaking: There is always a hint of the supernatural in her choreography, something boiling, rumbling, and softly breathing under the rough-hewn physical terrain.