Deity Clutch
There’s been some positive buzz surrounding the classical theater company, The Porters of Hellsgate ambitious Fringe Festival, post-apocalyptic drama by Gus Krieger. Unfortunately, this review won’t be among them so consider me the buzzkill.
At best, Krieger linguistically aspires to new heights but at worst the uneven performances and graphic novel/anime inspired storyline doesn’t ultimately grab hold—it just keeps plodding along. There are moments with excellent turns of phrase and an impressive relating of mythos throughout, but occasionally it sounds as though Krieger is taken in by his own prolixity. The work becomes arrogant, at times nonsensical and in the striving to be original comes across pedantic and overreaching.
Typical of the genre, a small faction of survivors (from what we never know) take refuge inside a mansion referred to as Anna Lee’s House and agree to live under the rules of their self-appointed leader, Taranis (Rob Cunliffe). Hmm…where have I seen that before? The Outsiders (those who live beyond the mansion’s grounds) are regarded as dangerous—again we never know why. Granted, all these stories be it film, literature, TV or in this case theater, play along the same lines of the same theme, but Krieger works so hard at sounding verbose that the impact and suspense dwindles.
Where the play takes a unique approach is in the moral and ethical conflicts that ensue when a Nietzsche-esque Overman asserts his own maniacal power to his own ends. The worst thing this small, ragtag clutch has to fear resides within their compound walls. One by one, individuals mysteriously disappear, raising fear and uncertainty that perhaps the Outsiders have found a way in. After all, a chipmunk did—mind you not a rat or a field mouse but a chipmunk, which like most of the words and symbols Krieger uses, substitutes a similar thing for another. It’s a bit dodgy and transparently artificial just like the supercilious names.
Even with this philosophical angle, it plays out to a rather predictable, bordering on effusive end. Muddled in all of this is a tenuous love story between an ill but innocent young woman and a brooding, strong but silent tragic figure of the self-sacrificing trope. For comic relief, Krieger writes a pair akin to Tweedledum and Tweedledee, both of whom are loquacious and distracting. There might be a few brilliant lines between them, but said too fast and with mushmouths the humor or emphasized language is irrevocably lost. Then there is the militia hero and his female counterpart with a serrated, self-preserving attitude that lacks cohesion and believability when she flip-flops at the dénouement.
The best part of this show are the standouts in this production that shine in spite of the drab, tattered clothes designed by Jessica Pasternak and inspired, it seems by The Matrix. Kate O’Toole’s haunting lullaby to a wrapped bundle of rags is a chilling opener and she seamlessly pivots between the fierce protectiveness of a mother and an obedient underling. Alex Parker’s evil masterminding butler steals a few moments with thinly disguised sneers. Cunliffe’s gives his power-hungry sociopathic leader energetic humor that plays well against the amazing presence of Bryant Romo’s solid and stoic hero of arms.
The rest of the cast either ironically suffers the fate of their roles by disappearing in the action or are swallowed up by the enormity of the language. Even the best classically trained actors cannot orate these complicated sentences structures and verbiage, nor should they.
If Krieger had spent more time on the story and the characters instead of consulting his thesaurus, this play could be a winner. As it stands, it’s just another post-apocalyptic flop.
“Deity Clutch”
Hollywood Fringe Festival
Third & final performance on Saturday, June 18 @ 4:30pm
The Ruby @ The Complex
6476 Santa Monica Blvd.
Los Angeles, CA 90038
PH: 818-325-2055
www.portersofhellgate.com