Who out there caught "Permanent Collection" when it played the Kirk Douglas Theatre back in early '06. Or, prior to that, at the Greenway Court? Very cool play by Thomas Gibbons about the new director of a too white art collection and his somewhat racial clash with the museum's director of education?

I ask because the third play in Gibbons's 3 play trilogy, titled "A House with No Walls," will arrive at the New LATC Theater on Spring Street starting May 9.

The production is courtesy of the Robey Theatre Co. which co-produced "Permanent Collection." That's the company co founded by Danny Glover and Bennet Guillory who will both direct and star in "A House with No Walls."

This one doesn't synopsize easily. The press release takes about four paragraphs. But what the hey, we've always got room...

Cadence Lane has so much going for her. The young African American woman is gifted with striking beauty, superior intellect, abundant charm, noted accomplishment, social prominence and affluence. She could almost be a role model for everything a young Black woman wanted to be. If only she wasn't a conservative.

She's a historian, and takes issue with people, especially those who try to cast African Americans as victims. She can somewhat afford to take this position as an educated, successful woman who has never known the sting of poverty. At the start of the play, she heads a committee concerned with planning the Museum of American Liberty in Independence National Park in Philadelphia, where George Washington's Executive Mansion originally was.

Cadence is about to lock horns with Salif Camara, an old school radical Black activist who is trying to have a reconstruction erected of the tiny shack where Washington's slaves resided when not at Washington's main home in Mount Vernon. His objective is to ensure that the Slaves of Washington the slave owner are not forgotten, abd is not above exaggeration to make his point. At one juncture, he asserts that Washington whipped and chained his household slaves, when in fact he did not.

Steven Gardner, a bureaucrat and a Republican, is charged with getting the museum opened in time. On his team is Allen Rosen, a white liberal. Meanwhile, somehow, some way, Cadence has established a mystical connection with Oney Judge. Oney, the subject of a historical volume penned by Cadence, is one of Washington's slaves, living in Philadelphia in 1797. Oney falsely believes the President will free her. Will she run away to freedom if given the chance? More importantly, what is Oney trying to communicate to Cadence across the chasm of 211 years?

Anybody still with me? Too much information?

So check out the production itself starting May 9 and continuing through June 15 at 514 S. Spring St. downtown. (213) 489-7402, www.robeytheatrecompany.com.

I interviewed Guillory for a feature prior to "Collection" at a Marie Calenders in the Valley. At the time we talked ab out his dream that the Robey would eventually get its own permanent space. I recall him asking me to print his fervid hope that Eli Broad would see the article and volunteer $10 million or so for the space.

The Robey may be nomadic, but it's an important company. They certainly could do a lot worse than housing at LATC for a month or so.