THEATER REVIEW : ‘Country’ a Rough Trip to Acceptance

More than 100 Native American tribes recognized and respected a state of being that is both male and female. This state of being, or spirit, came to be named by the European conquerors as the berdache. The contemporary gay community has rediscovered the berdache, whose existence can be seen not only as a sign of Native American enlightenment but also as proof of homosexuality’s place in the natural order of a society.

The berdache is a symbol of “the freedom of choice,” according to a self-indulgent performance piece now at the Los Angeles Theatre Center. Part of the Loco Motion series at LATC, “Strange Country, This” summons the spirit of the berdache (Marco de Luca) to help its young gay hero (Ted Monte) on his journey toward self-acceptance.

Led by a down-to-earth Native American guide called Urban Cyot (Kai Ganado), the hero journeys backward and forward through time in his attempt to “participate in the great mystery that is ourselves.” One of the more enjoyable and imaginative scenes finds him in a disco club circa 1975. Dressed in an ill-fitting red gown, our big-boned hero lip-syncs kittenishly to Marilyn Monroe until he is propositioned by an evil Spanish conquistador (Ilia Volokh), who for some confusing reason has an Eastern European accent.

Despite the occasional inventive theatrical flourish, “Strange Country, This” is mostly unconvincingly enthralled with its own sensitivity. Written by Ganado, Alan Pulner and Michael White Bear Claws, it is the kind of work designed for an audience already in deep sympathy with what it has to say.

In his journey through time, our young hero comes to meet two very nasty types, the lustful conquistador and a priest (Oscar Valdes), both of whom show homosexual leanings of their own. But our hero perseveres. He has been armed with the knowledge that “the universe is your teacher,” that “all things in life are sacred,” and that “you must look within your heart to find your way.” The show makes one wonder if Native Americans liked to stitch their sayings into pillows.

In the time-traveling hero’s final adventure, he becomes a berdache in the 1850s who must undergo a humiliating examination at the hands of an army doctor and a priest.

But, not to worry, he survives the ordeal in a final spasm of insight. “Look at me! I’m human just like you are!” he exclaims, before hugging all the characters he has met on his journey, in full acceptance, I guess, of their flawed humanity. At this point, “Strange Country” begins to resemble Dorothy’s return to Kansas in “The Wizard of Oz.”

Directed by Raoul N. Rizik, the actors move and dance clumsily in what can only be called an awkward space. Kai Ganado undercuts some of the play’s incessant wisdom by bringing a welcome nonchalance to the role of the guide. When he speaks of “the dreaming place,” our young white hero asks him, “Is it just for your people or can I go there?” The answer is of course you can go there, but you might not want to.

* “Strange Country, This,” Los Angeles Theatre Center, Theatre 4, 514 S. Spring St., Fri.-Sun., 8 p.m. Ends June 4. $13. (213) 485-1681. Running time: 2 hours, 30 minutes.