Theater Review by Jeffrey Bruce . . . .
Luckily, I was able to catch the final performance of Clyde’s presented by one of Atlanta’s premier theater groups, Theatrical Outfit.
The scene is a Pennsylvania sandwich shop/truckstop run by the titular Clyde, an imposing woman if there ever was one. Dressed to the hilt to impart her superiority over her four sloppy, ex-convict employees, Clyde seems to have put her murder conviction behind her, assuming her new incarnation as a business owner. She runs Clyde’s with an iron spatula, ready at any moment to verbally and physically diminish any lasting bit of pride her underlings might have developed since leaving prison. All we learn about what Clyde has done is when she is asked “What’s her problem?” And is answered with “her husband changed the safe word. And she couldn’t remember it.” When off-color meat is delivered and the employees revolt, we learn yet another tenet of Clyde’s “If it ain’t brown or gray, it can be fried.”
While billed as a comedy—and there are hundreds of major laughs—there is also a sadness when one realizes that this hell hole is as far as the four workers may go.
There is Tish (Tequilla Whitfield) who stole oxy from a pharmacy because she had a baby that was born with a terrible, chronic disease and she couldn’t afford to pay for the medication. Raphael (Marcello Audino), who held up a Wells Fargo bank with his nephew’s BB gun, is in love with Tish. One of the joys of the play is watching the progression of Tish and Raphael’s relationship starting from scratch and then becoming a ray of sunlight and hope for them both.
Montrellus (Geoffrey Williams) is the voice of reason and the “leader” of the kitchen. His reason for being in jail is revealed toward the end of the 90 minutes and is a major jolt to the other characters, as well as the audience. “Jes cause you left prison don’t mean you out of prison,” he says.
Jason (Burke Brown) was convicted of murder. A naive, bright, sad character covered in “gang tats” on his face and arms, he realizes what he has done and his catharsis from intruder to family member is as fulfilling as Mr. Burke’s superb performance.
The role of Clyde, strongly played by Tonia Jackson, left me wanting more. Of all five characters, her background was the least revealed. Why was she the way she was? What hurt did she suffer to make her insufferable at times? Why would she treat people who were essentially her equals with the threats, anger and hostility that she did? This has nothing to do with Ms. Jackson. She gave a star performance. I only wish the brilliant playwright, Ms. Lynn Nottage, could have filled in a blank or two. We get a hint when, after receiving a rave critic’s review in a cheap handout newspaper, rather than basking in her glory, Clyde rides her minions even harder. Seemingly at the end of her tether, she yells at them that she owes “dangerous characters a lot of money.”
At the final curtain, justice is served. The foursome makes a unilateral decision that will affect Clyde in a way she was not expecting. It’s a deep sucker punch and a terrific way to end the play.
The smashing, award-worthy set, designed by Isabel and Moriah Curley-Clay takes over the entire playing area. All other tech credits are top-notch: Lighting by Rob Dillard, Costumes by Jarrod Barnes, and Props by Caroline Cook.
Lastly, the action speeds through the 90 minutes, never losing its ability to keep us both sympathetic and empathetic toward the characters. Brava to the director, Ms. January LaVoy. Down to the last details (the making of a sandwich, for example), Ms. LaVoy seems to have missed nothing. A thrilling evening of theater!
Clyde’s was performed through April 7, 2024 at Theatrical Outfit
(84 Luckie Street, Atlanta, Georgia). www.theatricaloutfit.org
Photo Credit: Casey G Ford
