Since opening last year, this irresistible Argentinean import has become a celebrity hangout and a must-see for out-of-towners. The company's motto, "We're not trying to be profound, only to get out on the surface," pretty nicely sums up their fast-paced production. Subtitled "Villa Villa" (meaning "Improvise!), De La Guarda is a multi-media event as exhilarating as the trendy film "Run Lola, Run" for its succession of strong images with staying power. Most of the action takes place over the heads of the audience, several hundred strong and standing shoulder to shoulder. First comes a captivating shadow and light demo in a barrage of colors. Then a volley of glowing objects turns the paper ceiling into a psychedelic Pollock. Swinging from sturdy cables, one of the players breaks through from above and abducts an unsuspecting young woman to an unseen realm. By now sprays of water cause the canopy to break down, and De La Guarda's signature fliers are seen colliding with the walls and each other singly and in groups. On the wall of the four-story open interior of a one time bank, a pair of women from the mixed cast scamper from floor to ceiling. Here and there yelling matches break out and impromptu rhythm bands appear, but flying is the thing. About half way through the hour plus show, the players appear among the audience to share some uninvited hugs and kisses. Most of the action is in the center, but wallflowers lingering on the side get their share of attention, too. No one seems the worse for this or the periodic mists that come from the corners. Best of all are the seamless transitions from segment to segment, due in large part to Charles Trigueros's inventive lighting. Too bad that at times the raunch component gets out of hand.
