Potter, Salinas, Montoya Photo by Craig Schwartz

Richard Montoya—of the performance trio Culture Clash—has scripted a play in which he and his Clash counterparts, Ric Salinas and Herbert Siguenza, as well as a cast of ten other actors—including the American Indian Activist Russell Means, seem to have a heyday performing. The recent show is titled Palestine, New Mexico—in production at Los Angeles' Mark Taper Forum, through January 24—and it's quite a dramatic pastiche; but it's also an amalgam of Montoya's three-year process of self-described "anthropological research," which includes the author's avowed knowledge of New Mexico's history.

Beguilingly directed by Lisa Peterson, the plot is centered on U.S. Army Captain Catherine Siler's travels and travails on a New Mexico Indian reservation. (Siler is athletically portrayed by Kirsten Potter.) Recently returned from the war in Afghanistan, the Captain is attempting to resolve a conundrum. Soldier Ray Birdsong (a stealth Justin Rain), son of Tribal Chief Birdsong (the credible Russell Means), has died under dubious circumstances. Was the callow infantryman killed by so-called friendly fire? What is the message and meaning of the last letter the deceased trooper sent home? And, who is the cryptic Suarez character (also played by Justin Rain)? Moreover, could Ray be guilty of treason?

On a set evocative of both New Mexican and Afghani topography (Rachel Hauck, scenic designer), and with indispensable lighting and projections (Alexander V. Nichols), Palestine touches our senses and gives us a visceral experience of time and place. Nonetheless, the story is convoluted and surprisingly devoid of emotional connection. Still, it's a tribute to Montoya's imagination that this 80-minute dramatic montage makes an unlikely juxtaposition of the tribal culture of Afghanistan with that of the American Indian, including the world of the Jews. Imperialism, oppression, and homegrown resistance make for the tripartite denominator which all three of these human entities share in common.

As Medicine Woman Maria 15 (the numeric labeling is easily and amusingly explained), Geraldine Keams has some rich comedic moments—as do Montoya, Siguenza, and Salinas as Top Hat, Farmer, and Bronson, respectively. But isn't there's more to Palestine than we are able to see or hear or, in its current state, fully understand? Right now the show, while full of mood and feeling (both high and low), is more an eclectic hodgepodge than a coherent drama. Perhaps another rewrite could congeal the disparate components of Palestine, New Mexico. While there's plenty to appreciate here (including a phantasmagorical re-creation of a peyote "trip"), the piece remains somehow inchoate.

Palestine, New Mexico continues at the Mark Taper Forum—135 North Grand Avenue, Los Angeles—through January 24. Show times are Tuesday through Saturday at 8 p.m. Matinees are on Saturdays at 2:30 and Sundays at 1 p.m., with Sunday evening performances at 6:30 p.m. For reservations, dial (213) 628 – 2772. For online ticketing and further information, visit  HYPERLINK "http://www.CenterTheatreGroup.org" www.CenterTheatreGroup.org.