In any society, there are a number of structures that seem impenetrable to most. The prison system and the relentless hamster-wheel of capitalism are two that stand out. Playwright Lynn Nottage generally has a focus on challenging dominant systems in her plays and her 2021 Tony-nominated play, Clyde’s is no different. Focussed around a sandwich shop in suburban America, run by an ex-prisoner who hires ex-prisoners who cannot get a job anywhere else, the play, expertly directed by Darren Yap, takes an insightful look into the challenges faced by those in a state of purgatory after their release as well as the systems that perpetuate this state. 

The cast only features five actors, but they all do an exceptional job of conveying character. Charles Allen is introspective, fatherly and daring as Montrellous, a character so calm and at peace that many wonder what his crime was throughout the play (it is later explained). Nancy Denis brings an exceptional amount of energy and pizzazz to her role as the strong-willed sandwich store manager, Clyde while Gabriel Alvarado, Aaron Tsindos and Ebony Vagulans were equally strong in conveying character in their supporting roles. 

The play was the perfect length (a touch over 90 minutes) to explore the themes Nottage wanted to discuss without labouring the points. Although the symbolism was a little heavy-handed at times, the metaphor of liminality and the fact that the play was set quite literally in a purgatorial sandwich shop in the middle of nowhere was very clever. 

While the characterisation and interpretation by the cast were strong, there were times where the acting seemed a little one-dimensional. The play seemed to be performed at one tone and volume for most of the 90 minutes, which may be reflective of the state of mind of the characters throughout their time in Clyde’s tough sandwich shop however, this meant that the potential for exploring some of the intricacies of the script were a little lost. 

The set design, led by Simone Romaniuk, was charming and innovative, making use of the entire space and playing to the side stalls as well as the front stalls, which is important in a theatre like Kirribilli’s Ensemble Theatre where the audience surrounds the stage. Scene changes and lighting were slick and the soundtrack was well chosen. 

It is also worth noting that all of the performers on stage (and indeed, many of the production team and crew) hail from diverse backgrounds. Ideally, this shouldn’t have to garner so significant a mention however in the Australian theatre industry, a commitment to respecting the diversity of the original production on stage and reflecting that diversity backstage does need to be lauded. In any production, a diversity of perspectives and interpretations will add a layer of nuance to the production, and this was certainly the case here. From Denis’ incredible humour to Allen’s wisdom and wonder, each cast member added their own spin to their character which made the performance all the more special. A genuine commitment to telling stories in an authentic and truly representative way is something that the industry should take a careful look at for the future. 

Overall, this is a strong performance by a very accomplished cast of an interesting and thought-provoking work. The themes discussed are challenging but it is the type of work seldom seen and explored in Australia, so it is most refreshing to see it performed so well. Definitely worth a watch!

Rating: ★★★★

Clyde’s plays at the Ensemble Theatre until 10th June. For more information, click here.

Photo credit – Prudence Upton