Standing room only — unfortunately — at Rio show

Joe Delaney

Friday, Oct. 20, 2000 | 10:22 a.m.

"De La Guarda," which opened this week at the Rio, is a primal assault on all of the senses, 70 unremitting minutes, a cacophonous onslaught, a formless admixture of aerial acrobatics, lights and sound, at times ear-shattering, sometimes quite misty, always interesting, despite the fact that there are no seats.

One stands for the entire time as the action plays overhead and on the sides of the room. It is tiring.

"De La Guarda" was created in Buenos Aires, Argentina, by Pichon Baldinu and Diqui James and composed by Gaby Karpel. The cast consists of four climbers, five technicians and 14 participants, possessed of limitless energy and impressive talent and athletic ability. They cram what seems like 140 minutes of effort into the show.

Thomas James works overtime as technical director, as does production coordinator/performer Fabio D'Aquila. Our compliments as well to Charles Trigueros as lighting designer/operator, and would also go to Martin Bygraves, sound operator, if he would only cut back about 10 percent. It was deafening at times; rock-concert levels. I still have good hearing -- or at least I did.

Producers Kevin McCollum, Jeffrey Seller, David Binder, Arielle Tepper and Daryl Roth have copious credits in theater. McCollum and Seller are co-producers of the Pulitzer Prize-winning Broadway musical "Rent," while Binder, Tepper and Roth are award winners in their own right.

"De La Guarda" is heading for its third successful year on Broadway and second year to full houses in London's Roundhouse Theatre. This is the show's first venture west of the Mississippi. Top stars have made it a point to rave about the show. It is certainly different.

The high-ceilinged, not-quite-square room holds about 800 people. There were approximately 600 at the show I caught, many invited guests. The audience entered a dark room and an overhead screen came to life with moving figures, balloons and various kaleidoscope-like effects. You are standing and looking up for 15 minutes or so before a performer breaks through the overhead screen, which is brought down entirely.

After this, cast members fly, climb walls and involve the audience. There is a sequence where the audience is encouraged to dance, stomp their feet, arms raised, very much like a rock-concert mosh pit. Younger members of the audience seemed to have a great time. I started checking my watch at the 40-minute mark. I left after the finale and encore, with a headache and a stiff neck.

"De La Guarda" is for the under-50s crowd and for the young at heart who still have a sense of adventure. If you are over 50 and still have good hearing, buy some ear stopples. If you wear a hearing aid, turn it off. Wear old clothes and comfortable shoes, limber up, do some exercises, or you, too, will have a headache and a stiff neck.

Now to the million-dollar question: Did I enjoy myself? I did enjoy the audience's willingness to participate. Would I go see it again? I think not. But I would recommend it to young people who can afford $45-plus-tax ticket price, and young-older people who still have a desire to keep up with what's happening.

Comparison with "Blue Man Group" at the Luxor? Both are departures from conventional theater, but any comparison ends there. "De La Guarda" is theatrical anarchy; "Blue Man Group" is not. Will it be a hit in Las Vegas? It's up to you.