For what would you sell your soul? To save the reputation of a family member? To get medicine for your sick child? Or to create the most perfect sandwich in the world? Lynn Nottage’s Clyde’s initially sounds like an uplifting comedy about second chances, and though that all does come to pass, there’s also a heated battle between good and evil raging in this greasy spoon’s kitchen. Directed by Philip Akin, Clyde’s will leave your brain puzzling and your mouth watering.

Plain walls, large sinks and counters, a flat top grill, and fryers you feel like you can smell from the audience immediately let us know the kind of establishment Clyde is running. Rachel Forbes’ set design evokes memories of your local family-owned restaurant, while also making use of the full width of the Bluma Appel stage. Arianna Moodie’s costumes are subtle, yet also very telling, particularly for Clyde: predominantly clad in skin-tight pleather pants or skirts in dark hues, there’s something dangerous about Clyde.

Clyde runs a little restaurant just off the highway, the long haul truckers enjoy the simplicity and quality of the sandwiches she serves. These sandwiches are hand made by a kitchen of former felons, with Clyde being one herself. To say that she’s a tough boss is an understatement, and it doesn’t take newly-hired Jason very long to be on the receiving end of that “tough love.” Montrellous leads the other kitchen staff with a gentle hand, consistently encouraging the others to want to improve themselves, to search for the perfect sandwich combination. Is such a thing possible? Can Clyde’s become more than just a highway truck stop? And what might happen if it did?

From the synopsis that’s posted on Canadian Stage’s website, I thought this was going to be an inspiring story about a motherly figure taking in these former felons and giving them a new shot at life. Boy, was I ever wrong! Clyde is a detestable character: she holds their past mistakes over her employees, makes them feel small and unskilled, and gets more handsy than a boss ever should. By the end of the story, I hated Clyde and what she puts her employees through. While the kitchen staff does all find their own sense of freedom and redemption, that’s in spite of Clyde, not because of her. This is a bold take for the situation Nottage sets up, and lulls the audience into a false sense of comfort only to continually tear the rug out from underneath us…or rather have it go up in flames.

I’ve never seen so much flash paper used on stage before. It’s fabulous. Michael Kras’ magic design comes into play several times throughout the performance, allowing Clyde to be an ever-present force who can appear when you least expect her. The kitchen staff thinks it might be because she’s the devil incarnate, and the text certainly lends itself to us thinking so. There’s definitely a reading of Clyde’s where the restaurant itself is some sort of purgatory, with Clyde beckoning her staff to the dark side, to take the easy way out. While on the other hand you have Montrellous, a sage elder asking them to want something better for themselves, to strive for greatness because it is possible for them. The final scene, full of pyrotechnics, certainly gives credence to this reading, while also making an unforgettable spectacle.

Sophia Walker stars as Clyde, and like with most villain roles, it looks like she’s having a ball with this part. Walker’s undeniable stage presence makes Clyde a formidable and ferocious force within the play. Sterling Jarvis’ Montrellous is the perfect foil to Clyde. Though his stage presence equals Walker’s, his calm demeanour and passion shine through in Monty and make him the character you gravitate towards. Jasmine Case plays Letitia, and she brings her unique blend of sweetness and sass to this role. Augusto Bitter’s Rafael is kind, fun, and playful; the exact kind of person you’d want to be working long shifts with. Johnathan Sousa gives a vulnerable performance as Jason; the deep sense of regret and desire to better himself makes Jason a loveable character despite his outward appearance. This cast has such great chemistry together; there’s clearly such joy and care which has gone into this production, and it radiates through these performances.

Clyde’s was not what I thought it was going to be, but in the best way possible. Though it leaves many questions unanswered (I need to know if Tish and Rafael are going to date!) there is also a great deal for us to chew on. What does it say about our society that former felons, whether they’re guilty or not, are treated this way once they’re out of jail? What is worth risking your freedom for? And what combination of ingredients could create the perfect sandwich?

Clyde’s runs at the Bluma Appel Theatre until April 26. For more information and tickets, visit: https://www.canadianstage.com/shows-events/season/clyde%E2%80%99s

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Cover Photo: Sophia Walker. Photos by Dahlia Katz. Set Design by Rachel Forbes. Costume Design by Arianna Moodie. Lighting Design by Leigh Ann Vardy.

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