In CLYDE’S, a stirring new play from two-time Pulitzer Prize winner Lynn Nottage and her frequent collaborator, director Kate Whoriskey (Ruined, Sweat), a truck stop sandwich shop offers its formerly incarcerated kitchen staff a shot at redemption. Even as the shop’s callous owner tries to keep them under her thumb, the staff members are given purpose and permission to dream by their shared quest to create the perfect sandwich. You’ll want a seat at the table for this funny, moving, and urgent play. It’s an example of Nottage’s “genius for bringing politically charged themes to life by embodying them in ordinary characters living ordinary lives” (The Wall Street Journal).
The full creative team for Clyde’s includes scenic design by Takeshi Kata, costume design by Jennifer Moeller, lighting design by Christopher Akerlind, sound design by Justin Ellington, original compositions by Justin Hicks and casting by The Telsey Office.
Clyde’s is supported by the Art for Justice Fund, a sponsored project of Rockefeller Philanthropy Advisors and by Terry and Bob Lindsay, with additional support provided by American Express.
I think what is most powerful about the show, as with Nottage's Sweat, is how convincingly epic it quickly makes the everyday feel. Here are very small lives which seem huge, thanks to brilliant writing and just-as-brilliant acting. It is also notable that Clyde's features a happy ending, for everyone. The temptation with a drama like this is to go 100 percent gray and scratchy realism, but Nottage does not do that. The end brings together all the themes in one sandwich. Until then, each character has struggled to make their personal best, but then the climactic sandwich-the sandwich that may yet undo Clyde-is a creation of them all. And with their signature ingredient deployed, they are free.
For the most part Nottage establishes her characters and their troubled pasts and uncertain futures economically and with compassionate nuance. But "Clyde's" nevertheless also feels schematic, as scenes of confrontation with Clyde (who, incongruously, appears to the both proprietor and the only front-of-house worker) alternate with scenes of communal sandwich-making that bind the kitchen gang together. At regular intervals, we hear revelations about just how the characters ended up behind bars.
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