Review: CLYDE'S at TheaterWorks In Hartford

Lynn Nottage’s dark comedy, Clyde’s, is something of a departure for the author of Ruined and Sweat, among many other plays. Nottage is the only woman in history to win two Pulitzer Prizes for Drama, and though Clyde’s is not nearly in that league, the plot deals with people struggling to reclaim lives that at one time or another went terribly off course. TheaterWorks serves the play well, beginning with Mikael Burke’s strong direction and an ensemble of typically terrific actors and imaginative design artists.

On the surface, the plot is straightforward: Clyde’s, a greasy spoon truck stop, is presented as the only place that will hire those with a criminal record, and we meet cooks Montrellous, Letitia, Rafael, and the most recently hired Jason all doing their best to remain employed, keep their dignity, and create not only the menu’s fare but also “the perfect sandwich,” a playful metaphor for what it might mean to replace society’s disdain and their own tenacious guilt with equally tenacious hope.

But what about their employer, Clyde? I will leave you to discover this fascinating character yourself. Suffice it to say that Clyde may hire those who have been incarcerated, but she is not in the business of helping them adjust to the world outside. Clyde is in the business of Clyde: full stop.

For the most part, the casting and acting are marvelous. As Letitia (“Most people call me Trish”), Ayanna Bria Bakari is tough but endearing; Bakari perfectly portrays the person who just wants to stay out of trouble. Samuel María Gómez, as Rafael, brings much of the humor and sweetness to play. As Jason, the newest hire, David T. Patterson is a wiry loose cannon, superb in his portrayal of a man who is without a doubt capable of violence.

Michael Chenevert, last seen at TheaterWorks in The Rembrandt, is miscast here as Montrellous, who should be quite a bit older and wiser than the rest. Trish and Rafael clearly see him as a father figure, and one of the most moving scenes depends on this dynamic. However, Chenevert imbues the role with the necessary serenity and kindness. As Clyde, LaTonia Phipps is a wonder. Her scratchy voice, larger-than-life physicality, and sly smile bring menace and mystery into the plot from the first moments, and her Clyde can turn on a dime: just when you think she might be softening, she figuratively punches you (and whomever is unlucky enough to be near her) in the gut. Phipps’ performance is worth the price of admission, and it will be the focus of your conversation (there will be conversation) long after this brisk 95-minute play is over.

Collette Pollard has designed a literal kitchen sink set that immediately immerses us in the characters’ world. Alexis Carrie’s costumes are perfect: each person’s clothing tells a unique story. Eric Watkins has created a lovely lighting design that helps to make sense of the script’s episodic nature, and Christie Chiles Twillie’s sound design appropriately adds both realistic and surrealistic texture to the proceedings.

By all means, see Clyde’s and enter a world most of us know only from the usually questionable sources of television or film. Clyde’s has already been extended through August 5th. For more information and to order tickets, contact TheaterWorks Hartford by phone (860.527.7838) or visit www.twhartford.org.

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