Let's call it "Layla's Dream," for short -- Ntozake Shange doesn't write conventional titles. We also know that from her best known play, the 1975 "for colored girls who have considered suicide / when the rainbow is enuf."

Like "Colored Girls," "Layla's Dream" is a "choreopoem," which is to say, free-form poetry dramatized with plenty of expressive, usually abstract dance, recorded music and an occasional song.

As the title says, it's Layla's dream. So the central conflict we see is really internal, between her attraction to a sexy, graceful, very abusive man and her perception of his awful behavior and recognition that he won't change. Eventually she does free herself and celebrates with all the real friends and spiritual guides and forebears who have supported her.

In invoking these guides, Layla reaches deep into the past, reading aloud records of slavery. She's smart and self-confident, except in the presence of the dangerous Yves. At Kuntu she is acted and danced by Candy Smith, a Swissvale native now performing mainly in New York, who also choreographed, in concert with the direction of Vernell A. Lillie.

I wasn't always sure what was going on, but the general story is clear, and it contains vigorous passages of satire and passionate outcries against the ways women are stolen, jailed, abused and killed.

Some of the poetry is forceful, insightful and/or clear, but to my mind, it often, although doubtless sincere, strains for the effect of wisdom and packs in allusions to cultural icons to appear serious.

A supporting ensemble of 10 is led by Ruel Davis (Yves) and some lively women, including Mamothena Mothupi and Patricia Olaleye. Some of the sexy talk is pretty suggestive, which might affect what children you'd bring.

"Patience is the key," someone wisely says, "in the hunt as in the cooking."