
The Repertory Theatre of St. Louis presents “Clydes”, February 5 – March 2, 2025.
Pictured L to R: Phyllis Yvonne Stickney, Essence Tyler, Brendan Hickey, Alfredo Antillon, Ron Himes. Photo by JON GITCHOFF
– By Cate Marquis –
The Repertory Theater of St. Louis’ Mainstage current production “Clyde’s” may be the highlight of its season. Pulitzer Prize winner Lynn Nottage’s comedy/drama is set in a run-down sandwich shop, a favorite of truckers, where a handful of formerly incarcerated kitchen staff find work and may be get a second chance at life. But two forces are pulling them in different directions: one a joyful yet mysterious older cook, Montrellous, encouraging them to express their creativity and humanity through the creation of new kinds of sandwiches. and the other the sandwich shop’s fierce, hypercritical owner, Clyde, who berates and belittles them constantly, snarling at them to just make the damn sandwich. That struggle sets the stage for both comedy and drama, in a good versus evil battle where redemption and rediscovered humanity are on the menu.
Everyone at Clyde’s is formerly incarcerated, even the fearsome Clyde (Phyllis Yvonne Stickney) herself. Montrellous (Ron Himes) is the old hand at the sandwich shop but why he was in prison is a mystery. His younger co-workers Rafael (Alfredo Antillon) and Letitia (Essence Anisa Tyler) regard Montrellous as a mentor, and he is the master of sandwiches.
Montrellous strolls into work at the sandwich shop, declaring the beauty of the day, encouraging the younger staff to take a wider, philosophical view of the world, and challenging them to match him in his latest sandwich creation, which he describes in loving detail. When a new employee joins the kitchen, Jason (Brendan D. Hickey), newly released from prison, he is guarded and closed, rebuffing friendly gestures – until Montrellous’ sandwich magic starts to click for him too.
The sense of fun and creativity in the kitchen is shattered periodically by the arrival of Clyde, barking orders through a loudspeaker that is way too big for the tiny kitchen. Alternating between snarls and seduction, she belittles and bullies her staff, in a way that is colorful, over-the-top, and entertaining (to the audience anyway).
But every time Clyde herself steps away, and especially when Montrellous is there, there are creative new sandwiches not on the menu. Either there are new sandwich creations to taste, in hopes of thrilling a palette, or one of the kitchen staff calling out creative sandwich ingredients – turkey, with Gouda, on sourdough, topped with dill – in rounds of competition, trying to top each other. When they hit on what sounds like a good one, the sandwich gets made, and often presented for judgment by their mentor. Montrellous is generous, offering praise or a gentle critique and suggestions, but always pushing them to excel. Sometimes the sandwich is Montrellous’ creation, because he is a striver too.
Actually, some of these sandwich creations sound pretty dreadful but it is the creativity and originality that matters. The sandwich creations are moments of joy and freedom, offering hope for the future. That happiness lingers – until Clyde arrives, barking out the new order from customers and squashing any joy, like a bug beneath her boot.
Clyde is both evil and hilarious, but she’s as mysterious as Montrellous, leading the kitchen staff to wild speculations. Is it true she made a deal with the devil? Is she the devil? Clyde herself is glad to be mysterious. But she has little tolerance for the creative sandwich ideas the staff come up with.
Lynn Nottage’s play puts a spotlight on those who have come out of prison and now face the challenges in rejoining society, chief among them just finding a job. Clyde’s dingy sandwich shop offers that, but it comes with a cost and a benefit: the sharp tongue-lashing of their employer Clyde or the warmth and humanity of the encouraging Montrellous.

“Clyde’s” is directed by Josiah Davis, and is being presented in partnership with Prison Performing Arts, the local theater company that works with the incarcerated, recently incarcerated and others impacted by the prison system.
The play has plenty to say but what really makes “Clyde’s” spring to life is its excellent cast, led by the incomparable Ron Himes as Montrellous and the incredible Phyllis Yvonne Stickney as Clyde. Ron Himes, the founder and producing director of the Black Rep, is an award-winning actor and director who graces the Rep stage as well from time to time. As always, Himes shines on stage, projecting a riveting presence as the charismatic sandwich master. Phyllis Yvonne Stickney, an actor and comedienne familiar to many from appearances on TV, and in numerous movies and plays, is fabulous as the sharp-tongued, quick-witted and unrelenting Clyde.
Both Himes and Stickney are standouts, electrifying the stage every time they appear. But the rest of the cast are good as well, with Alfredo Antillon, Essence Anisa Tyler and Brendan Hickey forming a fine ensemble as well as crafting touching, well-developed individual characters.
There is one more character in “Clyde’s” that plays an essential role, and that is the set itself. The Rep regularly goes above and beyond in building remarkable sets but this one exceeds even those high expectations. The action all takes place in the diner’s kitchen but the design of the kitchen speaks volumes in itself. Towards the back and right it looks much like any commercial kitchen, apart from an enormous loudspeaker, the kind usually found outdoors, from which Clyde bellows her orders, in an effect that is both comic and intimidating. As the set rises above the stage and runs out to the edge of the stage, cracks appear, tiles degrade and the grime get darker and even weeds sprout up. Hanging above the stage, towards the back, is the diner’s worn sign.
On the back wall toward the left is a particularly large, jagged crack, filled with a neon streak, which plays a role late in the play. The effect is striking even before anyone takes to stage. Scenic designer Jean Kim deserves much applause for this creation.
“Clyde’s” is an outstanding production, the best so far in an already strong season. This is a show that offers the whole package, from the cast to the direction to the set and the play’s meaningful content. And all that along with some of the biggest laughs your find.
There is plenty of time to catch this must-see show. “Clyde’s” is on stage at The Repertory Theater of St. Louis’ in the Mainstage theater at the Loretto Hilton Theater in Webster Groves through Mar. 3.
© Cate Marquis
