The following is a re-print from L.A. Theatre Review

by Tracey Paleo, Gia On The Move

Living in isolation, the outside world in turmoil, a group of twelve disparate individuals must confront a deadly mystery before the encroaching darkness consumes them all.

Apocalyptic an sinister, composed with dense language and completely un-frivolous as an immersion of words, Deity Clutch describes itself as a modern Shakespeare. However, although our favorite bard might not recognize himself in the new verse presented here, he would never-the-less speak ‘much ado’ about this psychological thriller for the stage.

Deity Clutch can certainly count itself in the good company of other classic works such as, Ionesco’s The Chairs, Jean Genet’s The Balcony and Carol Churchill’s Numbers, along with the dread of Sartre’s No Exit, of which at times, its flavors are reminiscent. But Deity Clutch succeeds much farther, imbued with its own articulate parlance and unique style. I found myself thoroughly engrossed in this powerful offering. Do Not Miss!

Excellent performances by a deftly skilled cast (I loved that I understood every single word out of their mouths for starters, which made the story enjoyably easy to follow), Dana DeRyck, Taylor Fisher, Christina MacKinnon, Tyler Olshansky, Kate O’Toole, Virginia Welch, Thomas Bigly, Edward Casuera, Rob Cunliffe, Michael Hoagg, Alex Parker and Bryan Romo. Charged with the intelligent writing or Artistic Director Gus Krieger, The Porters of Hellsgate Company is a theatrical force to be reckoned with. Also worth noting: Matrix-like costume design by Jessica Pasternak and sound design/composition by Alex Parker