Tripping the Lit Fantastic In GALA's 'Latido Negro'

The line "Don't try this at home!" does not appear in "Latido Negro: Peru's African Beat," an informative but awkwardly written primer on Afro-Peruvian music and dance. But you could almost see GALA Hispanic Theatre asking scriptwriter Fernando Barreto to add the warning. After all, among the choreographic traditions covered in this production is a too-hot-to-handle form called the alcatraz.

In the alcatraz, dancers sporting tissues affixed to their lower backs vie against partners who try to ignite the material with candles. As the cast makes clear, it's a highly erotic dance, playful as a game of tag but characterized by sinuous, hip-swinging movements that are suggestive enough to merit an R rating. The flames add a tantalizing hint of danger.

No wonder that, as this production's program notes relate, the style was banned during Peru's period of colonialism. And no wonder that the alcatraz rendition proves to be a highlight of "Latido Negro," which was conceived by Rafael Santa Cruz and Pierr P. Vasquez, and directed by Santa Cruz (the scion of a family known for spearheading an Afro-Peruvian cultural renaissance). Unfortunately, you have to wait a good long while before the highlights materialize, due to a perfunctory -- and ultimately unnecessary -- narrative that frames the dance and musical numbers.

The narrative concerns a scrappy band of Washington area artists who perform Afro-Peruvian music and dance, and who rehearse in a historic building -- designer Eric Grims sustains the local note with a courtyard-like set, with orange walls and rounded arches that evoke the Tivoli Theatre, GALA's home.

In a sluggish initial scene, we meet Francisco (Santa Cruz), Nelson (Lalo Izquierdo, the show's choreographer), Jenny (the quicksilver dancer Abby Charles) and other characters, some of whom have easily summed-up problems (i.e., Jenny has a leg injury). After an all-too-brief round of the zapateo (Peruvian tap dancing), the characters debate the merits of traditionalism and artistic syncretism, and discuss Pancho Fierro, a 19th-century artist who captured Peru's melting-pot culture.

With that ground finally covered, "Latido Negro" can devote its second act to showcasing more music and dance, including versions of the pregón (street vendor song) and the zamacueca (a fluid, whirling dance with handkerchiefs).

Costume designer Marcela Villanueva ratchets up the exuberance with brightly colored costumes, including flouncy skirts that emphasize the dancers' oscillating hips.

In the show's most theatrical moment, hooded monklike figures conjure a festival procession (a performer with arms outstretched denotes the crucifix they carry). As fireworks explode (with help from sound designer Brendon Vierra and lighting guru Ayun Fedorcha), the hoods and capes come off to reveal the colorful masked demons of the "Son de los Diablos," the Devil's dance.

As these charmingly grotesque beings spin and caper, knees bent, arms swinging, one can't help thinking that "Latido Negro" might have been better as a straightforward concert of Afro-Peruvian music and dance.

After all, with the "Son de los Diablos" and alcatraz in the line-up, there's no need to turn to a storyline for drama.

Latido Negro: Peru's African Beat, conceived by Rafael Santa Cruz and Pierr P. Vasquez; written by Fernando Barreto; directed by Santa Cruz. With Victoria Leyva, Zonaly Ruiz and others. About 1 hour and 40 minutes. Through July 1 at GALA Theatre-Tivoli, 3333 14th St. NW. Call 202-234-7174 or 800-494-TIXS, or visit http://www.galatheatre.org.