Clyde’s

: I do love a good sandwich. As does everyone, I presume. But what makes a good sandwich does not just end at its ingredients. There’s an ephemeral, metaphysical quality that has to be stacked into it. The matter of intent, the purpose, does a good — nay, great — sandwich make.

: Lynn Nottage creates some deep, complex characters with pockets of incredible writing. Montrellous, basically a prophet at certain points, has incredible dialog that is diagetic and moving, almost pushing the brink of what is a character and what is a poetry slam. Many of the stories behind each character’s incarceration are not immediately known, but are dropped as nuggets throughout the show at great pace, never leaving you wondering for too long. I had qualms with the length, though. At certain scenes you could cut the tension with a knife, but is instead dragged out to simmer more, lessening its impact and extending the show to an unfulfilling ending. (I really wish she had eaten the sandwich). Something I loved about how the characters grow over the course of the play are the parts when they all discuss their dream sandwiches. Those recipes sounded incredible, not going to lie. @ Ms. Nottage, drop the cookbook please.8/10

: A small cast — five, total — fill in the hour and forty minute runtime like hand-picked ingredients, some complimenting the flavors better than others. The kitchen staff particularly had a rocky chemistry at first that I was not quite on board with, but it meshed well by the end. Rafael (Brandon Ocasio) and Letitia (Kashayna Johnson) were the standouts, with particular emphasis on Johnson’s performance. She was enrapturing to watch, and the audience would eat up every line she delivered. I really can’t wait to see more of her work in the local scene. Ocasio was so entertaining as well, delivering emphatic comic relief with a heartbreaking side-plot that did not leave a single eye un-misted. Surprising me was the nuanced Quinn M. Johnson (Jason), who while initially is a reserved, gang-tattoo having misfit, evolves into an equally complex member of the protagonist group that you end up rooting for. Surely gotta hand it to the power of theatre to have you sympathizing with the guy that has “1488” tattooed on his forehead. Montrellous (Lamont Thompson) was a gem, delivering a calm and prophetic performance that felt like a hug radiating throughout the theatre (his lines, between his metaphors and sandwich ideas, are the best in the show). The titular restaurant owner (Dee Dee Batteast), his foil, I found underwhelming. Clyde herself was but one slice of bread compared to the other unique options. One-dimensional, and each time the kitchen dominatrix arrived on stage I was wondering when the torture would end. Clyde’s abuse is already bad enough to watch, but when it’s just anger without the audience feeling the underlying nuance and emotion behind it, it becomes grating.9/10

:  Very realistic, down-to-earth production design that works. Outfits change, people are dressed well to their characters, and Clyde’s outfits specifically bring a lot to the table. Loud, powerful, and demanding, they automatically bring every eye in the house toward her and it makes for an imposing stage presence. Set is largely static, but incredibly well-done. Between the large sign in the corner reading the name of the restaurant, the music that plays from the kitchen radio, and the working kitchen appliances, you totally feel immersed in that kitchen. And speaking of it, it functions. Each sandwich they make up there onstage is absolutely real, and the subtle aromas, the herbiness and zest that emanates from the action, finally invites the sense of smell to the theatrical experience. The way the characters describe each sandwich, and then make it, makes the mouth water. I love how much kitchen detail they packed into this production, and actually making the props live like this was a superb choice by director Candis C. Jones.8/10

: Program art is a pure black with a neon “CLYDE’S” sign, each letter overlaid on an element of a sandwich (bread, lettuce, meat, etc). I will say, I was not immediately aware that those were even sandwich ingredients. Perhaps due to the high contrast causing their shadows to blend in with the background? Not to mention the heavy use of black with the beat-up neon gives more of a “detective noir” energy than one of a homey, character-driven show in a roadside diner. Pre-show staging conversely does portray this very well, thanks entirely to its detail-packed set by Junghyun Georgia Lee.4/10