It seems that when God appears to a washed-up cowboy, He takes the form not of a burning bush but of a Tumbleweed. In “All the Fame of Lofty Deeds,” House Theater’s latest production, this Tumbleweed (Corri Feuerstein) blows unbidden onto the desert property of one Lofty Deeds (Nathan Allen), a broken-down former country star, and forces him to reexamine his life as a singing cowboy.

It was a life of radio spots, television tie-ins, the hymn-singing of a purer time and the rise and fall of a career as a commodity. Deeds’ story is a simple one: a musician shoots for the moon, and ends up losing his family, his credibility and a good part of his liver. But this is a House production, and so the play moves quickly from the dusty environs of Lofty’s trailer home to more interesting ground: the devilish terrain of his memories, an eerie place populated with corporate wraiths, a faceless beauty in a dollar dress, and a smokin’ house band.

Lofty’s jaunt down a sulfurous memory lane is sound tracked by the songs of former Waco Brothers front man Jon Langford, and the characters and set design are inspired by his cadaverous art. The singer’s visitors from below include a slew of devil-caught honky-tonk denizens, among them his brother, Lefty Deeds (Patrick Martin), whose death in his wild prime allowed Lofty to pursue a solo career. He’s also dogged by the five-piece set of corporate suits who once seduced him into signing his name on the dotted line.

As Lofty, Allen carries his rangy body with the perfect, high-hung grace of a true country singer, and he’s got the musical chops to match. Anderson Lawfer as the Host brings sweaty menace and short-legged physicality to the role of an old-time radio jockey; as far as spiritual guides go, he’s the flipside to the heavenly Tumbleweed, who has a lovely voice but isn’t as much fun.

In one of the more visually arresting sequences in a hugely visual show, Lofty dances with his onetime wife (Lucy Carapetyan), a woman in a funereal veil who later paces the upper reaches of the dreamscape set (designed and lit by Lee Keenan). Their impeccably paced movements generate an eerie heat that is as elegiac as it is romantic.

As is often the case with House’s gorgeously staged productions, “Lofty Deeds” speaks best through staging and song. More than once the dialogue is lost beneath the static of Southern accents, and even the comprehensible stuff proves to be fairly thin webbing.

But the surreal parade of a life in the spotlight proves ample fodder for entertainment, and Allen’s expert handling of what could have been a stock character brings real pathos to his journey.