Margaret Brate Bryant Civic Theatre – an intuitive perspective

But a metaphor for what exactly? Well in Lynn Nottage’s Clyde’s, you will have a number of candidates, life, work, family, person-hood, philosophy, or sometimes, just a sandwich. This is a very edgy play about a down and out diner, seemingly kept that way by the owner, Clyde. And Nottage populates it with five very unique and diverse characters who share one thing in common. They have all taken a wrong turn at some point in life and found themselves incarcerated in a state prison and are now trying to reclaim themselves and a place in society by working in the kitchen at Clyde’s.

Dennis Lewis. Photo by Anne Kenny Creative and courtesy of Waukesha Civic Theatre.

Director Ashley S. Jordan certainly has found the truth in each character and found the actors to voice that truth in her production at the Waukesha Civic Theatre. And Jordan didn’t shy away from the rough language and rough back stories for each of the characters either. Jordan brings them front and center since they are key elements in what this story is all about.

All of the action takes place in the kitchen at Clyde’s. Evan Crain has designed and built a serious looking kitchen area with complete grill, sink, and refrigeration areas. And I would like to add a thank you to sound designer Antoine Reynolds for the ‘soundtrack’ to the action, from contemporary rap, to classic soul, to lively Hispanic tunes, and finally to over the top loud metal music, and back. The set expresses the soul of the joint and the music expresses the soul of the characters.

Autumn Green. Photo by Anne Kenny Creative and courtesy of Waukesha Civic Theatre.

Yes, there are five characters here. And yes, they are all ex-cons. But one is not like the others, and that is Clyde. Clyde might still be into something nefarious?? But she knows that she can get away with mistreating her staff because Clyde’s is their last chance. And Autumn Green as Clyde, can be as mean and demanding as they come. And when Green storms onto the stage, and that’s a good description of nearly every entrance, she has the presence that just brings the chill into the kitchen and onto the audience. And here, Green’s voice has a shrill factor that at times when she is in high anger, just echoes across the entire theater. She sells it so well, that it is a bit of a shock at curtain, when this smiling waving obviously happy woman takes her final bows.

Left to Right: Ash Meeks, Kenan Pulver, and Roman Valdivia. Photo by Anne Kenny Creative and courtesy of Waukesha Civic Theatre.

The other four characters are her kitchen employees, and they know where they stand, and either keep quiet in her presence, or are very accommodating to her demands. Until the dynamic starts to change. It would be easy to ascribe the change to the arrival of a new cook, Jason, but not directly. Not only is Jason new but he too isn’t like the others. Although freshly released from prison, he isn’t a minority and feels an outsider as well as the new guy. Kenan Pulver mixes these feelings pretty well in his portrayal of Jason. Brash and bold to cover his insecurities but also a bit resistant to the current dynamic in the kitchen. Pulver also can be the fly off the handle Jason, but it is a pleasure to watch him transform as he begins to understand that he is in fact, part of the family here. Ramon Valdivia plays the sous chef, Rafael. Valdivia presents a Rafael who identifies with his role and has rules around his grill. Although, at first, not really receptive to Jason, he tries to steer him clear of a confrontation with Clyde. Although cool and business like at first, Valdivia moves easily into a confident flirty attitude with Letitia, and later also moves to feeling the rapport and family vibes that he and the rest of the kitchen staff have developed. And there is a surprising emotional down moment for Rafael, that Valdivia develops very effectively.

Left to Right: Ash Meeks and Roman Valdivia. Photo by Anne Kenny Creative and courtesy of Waukesha Civic Theatre.

Letitia? Letitia is a veteran at Clyde’s and a young mother of an ill daughter. Ash Meeks gives us the frustrated and distraught mother but can move to a very determined and direct young woman who has definite and well thought out opinions on the plight of young single minority mothers in our world. Meeks moves smoothly from the tested and very emotional young mother, to the experienced and in charge of herself cook, and the worldly woman she would like to be.

And then we have Montrellous. He is the main man in Clyde’s kitchen. And Dennis Lewis portrays the wise and thoughtful and maybe just a bit too philosophical Monty. Clyde’s has a menu full of sandwiches. Clyde’s is famous for its sandwiches. But Lewis’ Montrellous is searching for the perfect sandwich. It is a bit of a zen existence if you will and as each cook lists their ingredients aloud to each other, it takes on a bit of mantra. Jason resists at first but is pulled into the dynamic. At times, each character actually puts together their perfect sandwich for the others to try. And they all look up to Monty for his approval. Some attempts are better than others, but no one ever gives up in their search for their sandwich grail. Except Clyde…who does everything in her power to dissuade and discourage them. Until she pushes them too far.

Clyde’s runs from now until November 1, 2026 at the Waukesha Civic Theatre’s mainstage.

From WCT: *CONTENT WARNING 18+ SUGGESTED*⁠

Graphic Content: Bullying, Drug and Alcohol use and abuse, Emotional and verbal abuse, Sexual assault, Toxic relationships, Grief, Sexual harassment, Classism and Racism, Addiction, and Chronic illness.

There are 130 instances of strong language.

Additional information here. And Ticket information here.

This was my first visit to Waukesha Civic Theatre. And, no, they are not a new theater, they’ve been providing quality theater in Waukesha since 1957. And it was something of a homecoming for me since I grew up in Pewaukee in the 1950s and 1960s because WCT is located in the Pix movie theater on Main Street in downtown Waukesha. So I saw a few pictures there as a child and later in my teen age dating years. That little bit of coincidence added a little warm feeling for a brisk February afternoon.

So, what is my first encounter with WCT? Kate Hamill’s unique adaptation of Jane Austen’s Sense and Sensibility. It isn’t the drama that you might expect but: Is it a Comedy of Errors? A Comedy of Manners? A Comedy of 18th Century Society? Or all of the above? I vote for that latter. And yes it is a comedy here, but not the laugh out loud comedy we often experience in our contemporary era. No, this is on the lighter side…the kind of humor that makes you peek at your neighbor what was that? Or roll your eyes in a dramatic, I get it, fashion. Or maybe a titter behind the palm of your hand quickly raised to your face. But it is still a serious play and stays true to the events in Austen’s original novel. But sometimes the acting is just a wee bit exaggerated and over the top…much to the audience’s and my delight.

Oh, Henry Dashwood, how little we knew ye. Henry Dashwood dies within the first few minutes of the play. And his passing is the very pivot point that launches all of the stories and sub stories that co-directors Ashley Levells-Riemer and Patrice L Hood are about to tell in a fast moving series of vignettes, black outs, and quick set changes. Henry left behind a wife, three daughters, and an adult son from a previous marriage. And because of the vagaries of 18th Century law, only the son could inherit Henry’s estate. So his son John, promises to support his step-mother and half-sisters from his inheritance. So we are off!

John Dashwood is played by Mark Thompson who establishes John as an earnest and resolute man determined to respect his fathers wishes. Unfortunately he has married into wealth. Thompson’s John is obviously enamored of his wife, Fanny, but is clearly in fear of her as well. But Amy Wickland’s Fanny is clearly a shrew and a manipulator and has John wrapped around her finger. And after John proposes a fair financial support for the four women, Fanny coyly and coldly and openly, negotiates the terms down to just paying for their moving fees as they are evicted from their home. Fortunately they are able to move to a cottage on the estate of another relative and are also invited to ‘visit’ a number of other notables and relatives.

Mrs Jennings (Bre Brennan) sharing gossip with Elinor (Del Lovejoy, left) and Marianne
(Amelie Davis-Quiroz). Photo by Anne Kenny Creative

I am not going to go into too many details of the story. All of you Austen fans know this one by heart and for the rest of us, let’s not spoil the surprise. But you will certainly glean any number of details as I outline some of the characters in the play and the characters who play them.

Mack Bates certainly has a presence on stage as he plays Sir John Middleton with a certain sense of pomp and a certain sense of dignity, all supported by an awe inspiring sense of whimsy underneath. Such fun and Bates is obviously an audience favorite. And our youngest Miss Dashwood is played by Makayla Lloyd. Lloyd provides a saucy teenager who is curious, bored, overwrought, or just plain done with the goings on of the adults…just like you’d expect a teenager to behave. Angie Rodenkirch’s Mrs. Dashwood is a common sense go with the flow mother who just wants stability and the best for her daughters.

Sisters Elinor (Del Lovejoy) and Marianne (Amelie Davis-Quiroz) share a moment. Photo by Anne Kenny Creative

And the other two Miss Dashwood? Elinor is the eldest and she is played by Del Lovejoy. Lovejoy portrays a deep thinking rather stoic and quietly conservative young adult. Despite not having much more real world experience than many of the other young people, she seems to invite confidentialities and questions of advice. At times she is in deep pain but no one but Elinor knows it and Lovejoy maybe signals that a bit in her manner but never in her voice. And of course Marianne, the middle Dashwood. Attractive, outgoing, and interested in novels and theater, Amelie Davis-Quiroz plays her to a tee. Davis-Quiroz catches all of the excitement and all of the anguish involved in Marianne’s character as she is the magnet that draws in all of the eligible men.

Marianne (Amelie Davis-Quiroz) is charmed by Willoughby (Noah Merz) as her sisters
Elinor (Del Lovejoy) and Margaret (Makayla Lloyd) observe. Photo by Anne Kenny Creative

And the suitors? Colonel Brandon is an older man…probably a bit out of the ordinary for what most would consider an appropriate suitor for Marianne. Stefan Kent’s Brandon is a seasoned military man who is kind and never overbearing. He sees what needs to be done and takes care of it without asking. Kent’s portrayal brings a real person to life, unlike many of the other characters who are a bit ‘over the top’ (and I do mean that in a delightful way). And Willoughby: he finds Marianne with a sprained ankle and carries her home and soon carries her heart. Noah Merz gives us a very worldly Willoughby but also exhibits his rather foppish demeanor. That very practiced doffing and donning of his top hat eliciting any number of titters and snickers from the audience. And Edward Ferrars is our last gentleman, played by Tyler Glor. Ferrars is a nervous nelly and shivers when reading aloud and often stutters when speaking. Glor’s management of these social stigmas is wondrous and explicit and again elicits responses from the audience. He plays them to the hilt. His early scenes are reading with Marianne so I was slow catching on that there was a growing connection between Ferrars and Elinor.

Caitlyn Nettesheim and Laura Kloser as the Steele sisters. Photo by Anne Kenny Creative

One other pair of characters help push Sense and Sensibility from a drama to a comedy…and they are the Steele Sisters, Anne and Lucy. Laura Kloser is Anne and Caitlyn Nettesheim is Lucy. They play well together. The sisters are silly, loud, and often obnoxious…ne’er do wells?? Well at least on the surface but they are a noisy counterpoint to much of the more ‘serious’ characters we’ve encountered. But Kloser and Nettesheim catch their sly and devious sides too when they don’t have a larger audience.

And there is a happy ending.

Edward Ferrars (Tyler Glor) and Elinor Dashwood (Del Lovejoy). Photo by Anne Kenny Creative

My guesstimation is the play runs about two hours plus a fifteen minute intermission.

Sense and Sensibility runs from now through February 22nd, 2026 at the Margaret Brate Bryant Civic Theatre, 264 West Main Street in downtown Waukesha.

More information tickets can be found here.

Extra credit reading: The Playbill!

Category: Margaret Brate Bryant Civic Theatre

CLYDE’S: The Diner Where Sandwiches May Be More Than Sandwiches, They May Be A Metaphor

Waukesha Civic Theatre Presents Sense And Sensibility