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.
What melts away as you get to know the characters are the monumental stigmas attached to jail time. Donovan's Jason is inked to the max with prison tats, some of them racist symbols, but the story behind them reveals something unexpected. Letitia, here called Tish, in Young's smashingly vibrant turn, is all adolescent energy and adult anxiety, the latter brought on as a single mother caring for a sick child. Salazar's hyper Rafael needs an emotional home for his nurturing instincts, as an alternative to his weakness for drugs.
Sweat asks a bleak question about whether work can sustain us; Clyde's offers a hopeful if fantastical answer. Many of the things that usually drive a play are absent in Clyde's. It's unclear about its stakes, and I couldn't always follow the way action leads to reaction - but as the play lifts off into its final minutes, it enters a realm where conventional dramaturgy doesn't apply. These characters aren't heading for dramatic resolution. They're aiming for a place, reached via sensual delight, of reconnection and reawakening.
2021 | Broadway |
Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2022 | Drama Desk Awards | Outstanding Costume Design for a Play | Jennifer Moeller |
2022 | Drama Desk Awards | Outstanding Featured Actor in a Play | Ron Cephas Jones |
2022 | Drama Desk Awards | Outstanding Lighting Design for a Play | Christopher Akerlind |
2022 | Drama Desk Awards | Outstanding Scenic Design for a Play | Takeshi Kata |
2022 | Drama League Awards | Distinguished Performance Awards | Uzo Aduba |
2022 | Drama League Awards | Distinguished Performance Awards | Ron Cephas Jones |
2022 | Drama League Awards | Outstanding Direction of a Play | Kate Whoriskey |
2022 | Drama League Awards | Outstanding Production of a Play | Clyde's |
2022 | Outer Critics Circle Awards | Outstanding Featured Actress in a Play | Uzo Aduba |
2022 | Outer Critics Circle Awards | Outstanding New Broadway Play | Clyde's |
2022 | Theatre World Awards | Theatre World Awards | Kara Young |
2022 | Tony Awards | Best Costume Design of a Play | Jennifer Moeller |
2022 | Tony Awards | Best Performance by an Actor in a Featured Role in a Play | Ron Cephas Jones |
2022 | Tony Awards | Best Performance by an Actress in a Featured Role in a Play | Uzo Aduba |
2022 | Tony Awards | Best Performance by an Actress in a Featured Role in a Play | Kara Young |
2022 | Tony Awards | Best Play | Clyde's |
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