I don’t typically review preview performances for several reasons, but lately, I’ve felt compelled to write about them - especially since I paid for the ticket and therefore, am not violating any Actors Union protocols. Earlier this season, I wrote about - and still believe - that Sanctuary City might be the best show I’ve seen all fall. (And I’m seeing it again on Sunday afternoon.)
Tonight, after seeing CLYDE’S in the newly renovated Mo and Jack’s Place, I need to process a few feelings, so I’m writing about a preview again. This show is billed, described, and advertised as a comedy. And it has some hilarious moments, a lot of them attributed to Austin Kirk as “Jason,” whose timing is masterful. And the other ensemble members have a few amusing lines, all delivered authentically. But I don’t think there’s anything funny about Clyde herself.
Let me be clear. Maiesha McQueen, a Broadway veteran who can sing her face off (and does so in this clip from a Denver production of “The Color Purple” also directed by Timothy Douglas), is as fierce as they come in her portrayal of the titular character. She’s a no-nonsense ex-con whose life has been beyond difficult. She’s made choices in life that have helped her survive despite how cruel the world has been to her. And like many trauma survivors, she’s got an almost impenetrable shield around her. It prevents her from seeing anything positive; in fact, she is a hopeless character. But something about her willingness to hire other ex-cons in her diner signifies something underneath. But she is unwilling to show any vulnerability whatsoever. McQueen is so charismatic that the energy is palpable whenever she walks on stage. You want to see her show love to her staff. You want something from her that Nottage’s script doesn’t allow her to do.
Nottage is a frustrating playwright. She spends a lot of time developing characters and relationships with little plot development. It can seem sluggish sometimes, and these plays that run over 115 minutes with no intermission are starting to wear thin.
But just when I was ready to give up on the show, she peeled back even more layers of these broken but redeemable line cooks - and I found myself in tears. Just as Nottage did in “Sweat,” she lets the humanity shine with just enough exposition to make us care about what happens to the characters. Most of our investment, though, is because of what’s already happened to them. (By the way, the character Kirk plays - “Jason” - is also in “Sweat. It was a nice nod to the Nottage universe when I figured that out.)
The rest of the cast each has emotional moments, which are much more impactful than any comedic moment or joke in the script. I applaud Director Douglas for focusing on the pathos and not the punchlines. Shannon Dorsey’s “Tish” resonates with her natural speaking style and quiet confidence as an actress. Michael Chenevert (“Montrellous”) slow-burns with his spiritual approach to making sandwiches, and Juan Arturo (“Rafael”) will absolutely break your heart as things come to a climax in the kitchen.
I think this is a masterful play in terms of character development, the use of sandwiches as metaphors for redemption and hope, and the set by Se Hyun Oh is one of the best you’ll ever see. But know going in that you may need to let yourself settle for a while before you get to the really good stuff. I think it’s worth the wait.
CLYDE’S runs at the Cincinnati Playhouse in the Park through November 5th. Tickets and more can be found here.