by Ashley Steed~

Trapped inside a home with a group of people with dwindling resources and knowing stepping foot outside risks imminent death to you and your comrades is enough to make anyone crazy. Some more than others. Deity Clutch, written and directed by Gus Krieger and presented by the Porters of Hellsgate, chronicles the lives of a clutch of twelve whose numbers are dwindling in their mansion-turned-commune, dubbed Annalee’s House. “Perseverance”, “Dedication” and “Obedience” are written on the wall – an oath each member of the house upholds.

The play opens with a woman, Ashie (Kate O’Toole), singing as she gently sways and bounces her baby. Then she slowly unwraps the baby only revealing another blanket, which unwraps to nothing. A striking first image that sets the tone of what’s to come. Orko (Edward Castuera) and Dongo (Michael Hoag) – the comedic relief – set in with gossip of love.

Then a young girl Ukko (Christina MacKinnon) runs in, in search of a chipmunk. A serious situation as it proves there it a breach somewhere in the barricade. Eventually the three of them find it, seriously wounded, and decide to put it out of its misery.

Rob Cunliffe plays the jolly leader of the clutch, Taranis.  He is a mad-hatter-esque character whose eccentricities in the outside world make him magnetic in the confines of the mansion. The fear of the outsiders makes his reign all the more potent as the inhabitants are obligated to abide by his unwritten moral laws.  There’s a reason why his name sounds like the Greek turranus, which means tyrant.

Taranis says, “There’s a pattern to our lives here.” And there’s a pattern with the play. Something happens, someone goes missing, the rest have dinner – each time the level of ubiquitous cheer dwindles.

Taylor Fisher plays the Queen of Cheer, Perkunas, whose illness drives super-rebel Tama (Virginia Welch) to gather a secret group in order to come up with a plan to sneak out and get medical supplies from a nearby storeroom.

Twists and turns unfold, secrets revealed and what’s outside is always left unknown. Kriegar’s language is eloquent, charming and vivid. He is truly a master with words – which is extremely refreshing in our aurally challenged society whose use of language is generally condensed to 140 characters. His world, although vague, is filled with rich and complex characters. Thankfully, he has a talented ensemble that meets the challenge.

Kriegar’s staging, however, is the weakest link. The majority of the scenes are played center forcing scene changes to be a little long, and sometimes awkward. It would have been nice to see more of the stage used and scenes overlap. Personally, I hate scene, blackout, scene, blackout and think that set up should be avoided where ever possible.

I also think the problems with the staging is in part due to the set design. It is a little too simple and feels incomplete. There is no billing for a set designer in the program, which could be the problem. The play itself and the acting are so wonderful, it would’ve been nice to have a visual atmosphere to compliment it.

The costumes by Jessica Pasternak, however, are deceptively simple and quite clever. It’s evident that outfits are compiled of whatever the characters could get their hands on. A few of them even manage to look trendy, while still very much ingrained in the world of the play.

There truly isn’t a weak link in the ensemble. Rob Cunliffe as Taranis is quirky, humorous and at times disturbing. Bryant Romo plays Michabo, his right-hand-man, with great containment and military stature. Patrick J. Saxon’s Tarleton, Taranis’ man-servant, manages to steal a moment at the dinner table when he suggests they play a game. Thomas Bigley plays the anti-hero, Raamah, with great ease and complexity.

Both Edward Castura and Michael Hoag are entertaining and surprisingly deep. Taylor Fisher is sweet and endearing with her paper roses at Perkunas. Virginia Welch is a tough and formidable Tama. Although she appears for only a brief time, Christina MacKinnon’s Ukko is full of innocence and charm. Dana DeRuyck does well as the outspoken Mekkhala. Kate O’Toole as the ever-grieving mother Ashie is extremely sympathetic. Tyler Olshansky gives an energetic and layered performance as Lei, who hides behind the stories she tells.

Deity Clutch is a cautionary tale, asking us to look into the confines of the shadows of our own lives. What choices would we make knowing death is looming around the corner and knowing that there is no way out? What if, like Raamah, we only stay alive so that we might be here for the end? Whatever that end may be?

Deity Clutch plays Fridays and Saturdays at 8 pm, Sundays at 3 pm through May 30, 2010.

The Lex Theatre is located at  6760 Lexington Ave, Los Angeles, CA 90038, just east of Highland between Fountain and Santa Monica Blvd.

Tickets are $20.00, $15.00 for students, seniors and AEA.

Reservations on-line at portersofhellsgate@gmail.com or by phone at (951) 262-3030.