Clyde’s, currently playing at the Bluma Appel Theatre, is so much more than a play about ex-cons making sandwiches. There are layers of meaning here that I’m only beginning to unpack. But let’s take a step back and summarize. Lynn Nottage’s play is set in the kitchen of a truck stop owned by Clyde; a woman with a short fuse, a sharp tongue and a thoroughly jjaundiced view of the human condition. The kitchen is led by the enigmatic Montrellous who seeks to create the perfect sandwich and is making progress. His calm enthusiasm captivates the three other ex-cons who work the kitchen and who aspire to meet Monty’s standard of sandwich excellence while coping with their fractured lives and keeping out of reach of Clyde’s wrath.
Tag Archives: bitter
Genrefuck at Buddies
Genrefuck is a double bill that opened on Wednesday at Buddies in Bad Times. It consists of two one performer shows; Reina written by Augusto Bitter and performed by Jaime Lujan, and Never Walk Alone written and performed by Julie Phan.
And over, and over
Ho Ka Kei’s take on the last canonical part of the story of the House of Atreus; Iphigenia and the Furies (on Taurian Land) opened last night at the Aki Studio in a production directed by Jonathan Seinen. It’s a very funny and very thought provoking take on the story that will likely be best known to opera goers as the plot of Gluck’s Iphigénie en Tauride. I want to start with the three questions that the playwright set out to answer:
- What does it mean for mainly POC’s and marginalized folks to be taking this tale on?
- What do we gain/ what do we lose/ what may feel erased/ what is truly universal about this tale or is that an assumption due to its status in the canon?
- When we end a cycle, say a cycle of vengeance, what other cycles emerge?
This interests me especially because I’m not in any real sense a marginalized person. Indeed I’m almost “archetypically” of the group that has made the classical canon its own; i.e a white male with a traditional classical education(1).


