Lynn Nottage‘s Sweat relays the dignity of work, the American spirit, and the personal loss and devastating effect when factories shut down. With economic downturns, once-reliable union jobs disappear, and targeting immigrants and minorities for trying to stride into higher levels is the go-to re action. First performed in 2015 and set in a bar and factory in Reading, Pennsylvania, the play fluctuates between the time periods 2000 and 2008 as it deals with the aftermath of decisions made by presidents ranging from Reagan to Bush and the impact of NAFTA voiced by Clinton. The circumstances may be historical, but the white-hot rage that resulted is just as prevalent right now. A stunning collection of actors gives their absolute all, and sure direction by Bob Kleinberg provides a focus on the themes and issues that shift between two time periods, before and after the factory closes. Ryan Willis (Brucie), Emily Canavan (Tracey), and Jacqueline Youm (Cynthia) in ’Sweat.’ Photo by Bob Kleinberg. Jacqueline Youm brings her usual powerhouse stance to her role, with her physical presence and booming voice filling the room. Her Cynthia cascades through a stream of emotions in her interactions with her factory buddies. She relishes the camaraderie of working with them side by side on the line, enjoys their annual birthday celebration rituals and their mutual care and respect for each other. Everything changes when she is offered a promotion to manager and accepts it amid layoffs, drastic wage cuts, and an impending factory closure. Cynthia finds herself in the vortex of social, cultural, and racial upheaval, being officially part of management while dealing with the seething rage of factory workers who regard her as a traitor (and perhaps even a token hire) while their lives are being ripped apart by the plant closure.  While Youm is an anchor of strength in her portrayal, she is well matched by others in the ensemble. Notably, Taylor Peppers, as Jason, disappears into multiple aspects of his character so much that I had to consult the program several times to make sure that one actor was performing the role. He’s in the opening scene as an Aryan skinhead hardened in prison with facial tattoos and treacherous gloominess in his soul and manner while confronting his parole advisor. Nottage’s Pulitzer Prize–winning script then goes eight years back in time to earlier days of solid factory work and reliable paychecks. Jason jostles playfully with his buddy Chris, Cynthia’s son, wonderfully played by Joshua Prescott, on a trajectory from third-generation factory worker to college. Prescott’s Chris also shows how the financial ruin of the factory and his subsequent prison stint have derailed his ambitions and life journey, as seen in his face, his weary demeanor, and his halting articulation, with hopes and dreams evaporated just as he was on the ascent. Larry LaRose plays bartender Stan like a favorite loud, no-nonsense uncle who keeps everybody in check. Bob Kleinberg’s direction brings out the seismic emotional landscape of these characters, including buddies played by Emily Canavan and Lauren Barnes, and the mostly silent, constantly working employee in the background: Cristian Hernandez as Oscar, whose furtive glances and industrious mannerisms speak volumes. Oscar finally has his say in his breakout/breakthrough climactic scenes at the end. He is worth waiting for.  Kleinberg’s simple set design establishes a familiar and safe watering hole bar, which generally worked despite the constant table and chair adjustments. Set decoration/dressing designer Roy Peterson adds a flourish of liquors on the shelves and spigots to fill beer glasses to the brim. Neat lighting designed by Stephen Duda is matched by Kleinberg’s sound design with a period-perfect soundtrack. Costumes by Jeane Binney are as sturdy as the hard-working characters, with special attention to Cynthia’s ascent to management, comfortable jeans transitioning to crisply starched shirts reflecting her move up from the assembly line. TOP LEFT: Taylor Peppers (Jason), Larry LaRose (Stan), and Joshua Prescott (Chris) in ’Sweat.’ Photo by Mark McLaughlin. TOP RIGHT: Ryan Willis (Brucie) and Joshua Prescott (Chris); ABOVE LEFT: Larry LaRose (Stan), Taylor Peppers (Jason), Cristian Hernandez (Oscar), Emily Canavan (Tracey), and Lauren Barnes (Jessie); ABOVE RIGHT: Cristian Hernandez (Oscar), Emily Canavan (Tracey), Jacqueline Yuom (Cynthia), and Lauren Barnes (Jessie), in ’Sweat.’ Photos by Bob Kleinberg. Another special feature that ratchets up the caliber of the production is Kleinberg’s video playback of early years that plops the production into the middle of the 1990s–2000s, complete with presidential debates, trade agreement references, popular television shows, and newscaster vocals by Jason Kanow.  From the opening moments to the conclusion, this production of Sweat at Greenbelt Arts Center has a rugged muscularity that matches and even rivals other renditions I have seen in the Metro area over the years. Its message of the assault on personal and financial welfare by unchecked and seemingly unstoppable capitalist forces at the highest executive level fits the country’s current state of instability and unrest and is worth a visit. Running Time: Two hours and 40 minutes with one 15-minute intermission. Sweat plays through April 24, 2026 (Fridays and Saturdays at 8:00 PM, Sundays at 2 PM), at Greenbelt Arts Center, 123 Centerway, Greenbelt, MD. Purchase tickets ($24 general admission, $22 senior/military, $12 students/children) online. For more information, phone the box office at 301-441-8770 or email [email protected]. The program is online here. SweatBy Lynn NottageCASTMelvin Smith as EvanTaylor Peppers as JasonJoshua Prescott as ChrisJacqueline Youm as CynthiaLarry LaRose as StanEmily Canavan as TracyLauren Barnes as JessieCristian Hernandez as OscarRyan Willis as BruciePRODUCTIONProducer: Malca GiblinDirector: Bob KleinbergAssistant Director and Stage Manager: Wynne KleinbergThis show contains coarse language, smoking, and violence. ...read more read less