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overacting. but robin foley has a lovely, unflappable quality as the abandoned wife, and ardys flavell is quite funny as the shrill baptist. carl john nolan, as the younger brother, is both laconic and sensitive. paula plum directed and codesigned the appropriately sloppy sets with helen wheelock. through april 13.the boston ballet looked turbulent on all fronts last week. the new artistic director, bruce marks, did not renew the contracts of five dancers, undoubtedly the first stage of a new plan for the company. meanwhile, at the wang center last thursday the ballet struggled  brilliantly  through a dance that kept getting away from it. elisa monte's ``vii for viii'' was partly paid for by the national choreography project, designed to introduce choreographers to companies they might not otherwise work with. monte and the boston ballet would certainly never have crossed paths without it.``vii for viii'' is hectic and dark. it assimilates (without copying) the

 ers in cambodia (or kampuchea).on the rebel side are the khmer rouge and two noncommunist, westernaided forces under prince nordom sihanouk and son sann. on the other are the sovietbacked vietnamese army and its ally, the armed forces of the people's republic of kampuchea (prk) under hun sen, a khmer rouge defector who rules in the capital.with so many competing authorities, peasants often find themselves forced to switch allegiances, only to swing back at other times.in sophal's case, he fell in with the khmer rouge and was taken to one of their camps known as ``1003,'' near the mountainous northern border with thailand. his commanders told him of the historic ``disloyalty'' of vietnamese communists toward their fraternal khmer communists, and the glories of certain victory. they taught him military and psychologicalwarfare tactics, such as how to use antitank guns or frighten villagers by spreading rumors that the vietnamese were poisoning wells.rapidly promot