CLYDE'S Previews

I hope all of you are getting hungry.

One of two new works this season from playwright Lynn Nottage, Clyde’s begins previews at the Helen Hayes Theatre tomorrow night, with an official opening currently set for November 23. The five-person play – directed by Kate Whoriskey – is led by Emmy winners Uzo Aduba (from "Orange Is the New Black" and Ron Cephas Jones (known for "This Is Us".

Yesterday, Second Stage Theatre announced a series of social justice initiatives in conjunction with the production. These include a paid apprenticeship program with Second Stage for justice system-impacted youth and weekly talkbacks hosted by advocates in the social justice field, among other initiatives.

“In this stirring new play from the team of two-time Pulitzer Prize winner Lynn Nottage and director Kate Whoriskey, a truck stop sandwich shop offers its formerly incarcerated kitchen staff a shot at reclaiming their lives. 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.”

Who’s going?

Updated On: 11/2/21 at 12:03 AM

Lynn Nottage has to be the best living playwright this side of Tony Kushner. What a gift to theatergoers this play is. Maybe not as strong as Vera Stark or Intimate Apparel, but confident, funny, and moving. The dramatic structure is sophisticated, and the text is a sustained piece of writing. Ultimately, it's a parable about the creative process — like so many plays — but it works beautifully as drama too. Only a great author could write Clyde's.

Don't want to spoil too much since you should see it yourself, but I think the cast is still getting into shape with the material, particularly Uzo Aduba, who has the makings of a great lead but probably isn't there yet. Kara Young is a total star, and the whole cast is excellent overall, but still figuring it out. I look forward to seeing it again later in the run.

Updated On: 11/3/21 at 10:18 PM

enjoyed this, especially the second half of it as it picked up steam, but unlike Nottage's other brilliant works, I'm not sure I understand what she's ultimately trying to say, and the ending makes little sense. Alot of nodding in understanding by the audience as if a very powerful point had been made, but we talked to a couple of those nodders and they admitted to not really have any idea what the hell they had just seen.

that said, until that silly ending, Nottage keeps us engaged and her writing is, as always, nothing short of brilliant. Each character has their own unique tone/perspective, and it never feels forced.

I was not such a fan of of the casting. I'll start by saying that everyone eventually has their moment- Edmund Donovan and Reza Salazar both clearly have the ability but are directed to enter screaming at full volume, and never really modulate from there. (Salazar is at a 10 from the start in terms of intensity, which makes some sense, but Donovan enters literally yelling. Can't tell if they are mic'd). Cephas Jones will eventually get into his groove, but I think Nottage wrote his character to have some humor; Cephas Jones does not.

The absolute standout without question is Kara Young; I hope she is remembered come awards season. She was hilarious and incredibly moving, and most of all genuine in a way the other characters were simply not. I think the play suffers from the emphasis on Uzo Aduba's character, not because she isnt great (she is!) but because her character isn't nearly as interesting (Nottage doesn't really allow her to be), and certainly not sympathetic. I thought Young walked away with the show.

couldnt see the mezz, but the orchestra was mostly full (back few rows were totally empty). Nottage was in the back taking notes and then accepting congratulations. We sat on the aisle of Row J, and noted that with the high stage at the Hayes, they have the whole show (its one set) raised even higher on a platform. I wonder if those first few rows might not be the best idea for this show; front mezz is prob perfect.

Completely agree not knowing about what was author trying to say ; but I still enjoyed it as just a slice of life. Edmund did start out screaming at performance I saw; however he modulated as show went on or I just got used to it.
i found the play very enjoyable even without knowing point.

I do have to say that I expect some type of revelation from Clyde towards end that would tie everything up n it didn’t. This would be a great show to hear a post show conversation with cast to see what deeper meaning was

Damiensta said: "Completely agree not knowing about what was author trying to say ; but I still enjoyed it as just a slice of life. Edmund did start out screaming at performance I saw; however he modulated as show went on or I just got used to it.
i found the play very enjoyable even without knowing point.

I do have to say that I expect some type of revelation from Clyde towards end that would tie everything up n it didn’t. This would be a great show to hear a post show conversation with cast to see what deeper meaning was"

Yeah as both you and @chrishuyen said, when Clyde is alone at the end, I was fully expecting some monologue, even a corny one that breaks the fourth wall, to tie it together. The ending tonight was... not that. But i do want to emphasize that I enjoyed watching it unfold, and I would recommend seeing it for Kara Young and Uzo Aduba's few-and-far-between moments alone.

Happy to discuss but not 100% sure how to use the spoiler tech on this board (is it like discord?)