Review: Clyde’s, Tower Theatre

At Clyde’s, a greasy spoon favoured by passing truckers, “sandwich sensei” Montrellous, known as Monty (Josiah Phoenix) invigorates the ex-con staff with whimsical new filling ideas, and the belief that this small cafe could really be something one day. Meanwhile, formidable owner Clyde (Layomi Coker) cares about just one thing: making money and paying off her debtors.

Lynn Nottage’s play sees long-term staff members Letitia (Sabrina Robinson) and Rafael (Benedict Cezair-Thompson) joined by Jason (Ciarán Lawless). They’re immediately hostile – Jason’s white supremacist tattoos don’t make an excellent first impression. Over time, however, with the mediation of Monty and the shared indignity of working for such a hard taskmaster, the three get to know each other better and form a strong bond. Along the way, each shares their story: how they ended up in prison and what their lives look like now.

These stories are slightly too neat, all of them presenting the idea of a ‘good’ criminal whose actions can, in one way or another, be ethically justified. It makes sense, building sympathy for the characters, but it may have been more interesting if any of these down-on-their-luck figures had done something truly heinous.

Regardless, both through their monologues and interactions with one another the cast bring these characters to life. Robinson really comes into her own as the play unfolds, and while there could be more variety to her delivery at times, her increasing worry and frustration around looking after her child are touching.

A real standout is Lawless, who seems to transform completely into his character (accent and all) and gives the most affecting of the monologues. This scene also features an impressively long on-stage hug, which is a bold directorial choice from Phoenix Rayo, but one that pays off.

Monty’s wish to make something of the cafe, to improve it and the people who work there, is a worthy cause that only sometimes leans into preachiness. A loud gong sounds every time he outlines a new sandwich idea, with a warm spotlight on his face. A sandwich is not just a sandwich, it can be human connection, freedom, a reason to get up in the morning. Clyde’s reluctance to sample any of Monty’s creations is brilliantly performed by Coker, in a push-pull between her and the temptation of the freshly-made treat.

Most arresting, pardon the pun, is the set design (Max Batty). Tower Theatre’s stage is entirely transformed into a truck stop kitchen that looks like it probably breaks at least a few health or safety regulations. From the stained doors to the paper pasted onto the walls, the execution is flawless and kicks the story off well before the play begins.

Clyde’s brings up interesting ideas of life post-imprisonment, approaches to personal change and self-improvement, and the joy that a simple (or not-so-simple) sandwich can bring. A tasty bite from Tower Theatre.

Directed by Phoenix Rayo
Set Design by Max Batty
Costume Design by Sara Mackenzie and Kathleen Morrison
Lighting Design by Stephen Ley
Sound Design by Phoenix Rayo & Peta Barker
Stage Manager Gary O’Keefe
Assistant Director: Işık Kaya
Lighting Operator: Imogen Front and Phillip Ley
Sound Operator: Peta Barker and Laurence Tuerk
Set Construction and Get-in: Phillip Ley, Dina Benderra, Olga Walkowska, Austin Tran, Rob
Hebblethwaite, Keith Syrett, Alex Burton, John McSpadyen, Emma Brown
Intimacy coordinator: Lexie Woodroof
Directing Mentors: Amanda Waggott and Nick Edwards

Clyde’s plays at the Tower Theatre until Saturday 23 May