Sweat LitChart

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Sweat
RELATED LITERARY WORKS
INTR
INTRODUCTION
ODUCTION
As a play concerned with the everyday lives and struggles of
BRIEF BIOGRAPHY OF LYNN NOTTAGE blue-collar Americans, Sweat is a kind of contemporary
extension of Britain’s 20th-century “kitchen sink realism”
Lynn Nottage was born in 1964 in Brooklyn to schoolteacher
movement, which sought to portray the often-grim realities of
and principal Ruby Nottage and child psychologist Wallace
working-class life. John Osborne’s Look Back in Anger and
Nottage. She attended Fiorella H. LaGuardia High School
Shelagh Delaney’s A Taste of Honey are two well-known kitchen
(which specializes in visual and performing arts), during which
time she wrote The Darker Side of Verona, her first full-length sink plays that focus on the social issues facing young, working-
class Britons in the 1950s. Sweat is also similar to Philipp
play. Nottage went on to earn her bachelor’s degree from
Brown University, followed by an MFA from the Yale School of Meyer’s novel American Rust and J.D. Vance’s memoir Hillbilly
Drama in 1989. After this, Nottage worked at Amnesty Elegy, which both paint honest and nuanced portraits of the
International’s press office and went on to write several American Rust Belt region where Sweat takes place.
plays—most notably Intimate Apparel; Ruined; By the Way, Meet Additionally, as a play that tackles a wide range of social
Vera Stark; and Sweat. She earned her DFA from Brown in 2011 issues—including financial hardship, racial animosity, addiction,
and has received honorary degrees from Julliard and Albright and fraught relationships—Sweat is comparable to Annie
College. Nottage is married to Tony Gerber, with whom she has Baker’s The Flick, Quiara Alegría Hudes’s Water by the Spoonful,
two children; she and Gerber are cofounders of Market Road Arthur Miller’s classic Death of a Salesman, and Nottage’s own
Films production company. Nottage won Pulitzers for both Intimate Apparel. Also relevant is Langston Hughes’s “Let
Ruined and Sweat, making her the first and only woman to win America Be America Again,” the poem which Nottage chose as
the Pulitzer Prize for Drama twice. She’s also the recipient of a the epigraph to the play and which encapsulates the critique of
MacArthur “Genius Grant” Fellowship, a Merit and Literature the American Dream that echoes throughout Sweat.
Award from The Academy of Arts and Letters, and a
Guggenheim Grant, among several other awards and honors. KEY FACTS
Nottage is currently a professor of playwriting at Columbia
• Full Title: Sweat
University.
• When Published: First performed at the Oregon
Shakespeare Festival in 2015
HISTORICAL CONTEXT
• Literary Period: Contemporary
Sweat is set in the real-life city of Reading, Pennsylvania,
• Genre: Drama
centering on a fictionalized working-class community of
laborers who work at steel and textile mills. In 2011, Nottage • Setting: Reading, Pennsylvania, alternating between 2001
began research for the play by interviewing residents in and 2008
Reading, which at the time was one of the U.S.’s poorest cities • Climax: While Jason and Chris are attacking Oscar at the
with a poverty rate of over 40 percent. In particular, Nottage local bar, Jason accidentally hits Stan in the head with a
was interested in how the early 2000s downturn in the baseball bat, leaving him permanently disabled with a
traumatic brain injury.
manufacturing industry destabilized both the economy and
race relations in Reading. Nottage has likened her
conversations with former steel workers in Reading to those EXTRA CREDIT
she had with workers in the English Midlands during the 1984 Reading Rainbow. In 2017, Nottage and a team of fellow
miners’ strike. In this way, Sweat speaks to a prolonged history artists put on an experimental multimedia experience called
of working-class struggle both in the U.S. and abroad. The play This is Reading in Reading, Pennsylvania (where Sweat is set).
also references the 2008 recession, in particular the contrast The project mixed live performance and visual media with the
between how big banks were bailed out versus how ordinary goal of weaving individuals’ unique stories of struggle and
Americans suffered financially during this time. First performed success into to a unified narrative about the city.
in 2015, critics lauded Sweat for its raw portrayal of blue-collar
Americans. The play has specifically been praised for the insight A Book by its Cover. Although Nottage’s writing often portrays
it gives into the culture of the Rust Belt, the Northern region of the daily lives and hardships of marginalized people, she’s
the U.S. that was the country’s hotspot of heavy industry up stated that she doesn't want her plays to be judged based on
until the late 20th century. her race or gender in a way that her white male counterparts’
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work isn’t. teaching program, which shocks Jason—they both work on the
floor at Olstead’s, and Jason always assumed they would retire
and open a business together. Jason is hurt that Chris didn’t tell
PL
PLO
OT SUMMARY him until now, and he’s adamant that Chris can’t leave Olstead’s
because they’re supposed to be a team. But Chris has his heart
In September 2008, Jason, a man with white supremacist facial set on following his own path—it’s just something he has to do.
tattoos, meets with Evan, his African American parole officer.
Jason is uncooperative when Evan asks him simple questions The following month, Brucie sits at the bar and confides in Stan
about his living situation and employment, and their tense about the lockout at his textile mill, which has been going on for
interactions culminate in an argument wherein Jason yells nearly two years. Brucie and the other employees refuse to
racial slurs at Evan. Finally, Jason breaks and admits that he give into concessions on their retirement benefits. Now, the
recently ran into Chris, whom Jason tried to forget while he plant is bringing in Mexican immigrants as temporary laborers.
was in prison. The scene switches to Evan’s parole meeting with Stan commiserates with Brucie—he spent 28 years at Olstead’s
Chris, a black man who’s struggling to integrate back into and is glad that his injury got him out of there. Brucie admits
society since his release because he’s ashamed of being a felon that he feels lost, and he recounts an incident of racism he
and consumed with remorse over what he did. He tells Evan recently experienced at the labor union. Then, Cynthia, Tracey,
about how he recently saw Jason: the two men had hugged on and Jessie enter, and Brucie harasses Cynthia until she agrees
the street despite their heightened emotions and Jason’s to talk to him. He tells her that he’s in a rehab program, which
offensive tattoos. doesn’t impress Cynthia. Cynthia shares Chris’s news about
Albright, and Brucie disapproves of the tuition cost and of Chris
The play flashes back to January 2000. Tracey (Jason’s mother), leaving Olstead’s. Brucie ends up begging Cynthia for another
Cynthia (Chris’s mother), and their friend Jessie are celebrating chance, but she stays strong with Tracey and Jessie’s support.
Tracey’s birthday at a local bar in Reading, Pennsylvania. A
drunken Jessie is passed out at a table while Tracey and In April, Cynthia has gotten the promotion to Warehouse
Cynthia dance; they’re clearly close with each other and with Supervisor, and she and her friends celebrate at the bar. Tracey
Stan, the bartender with whom they engage in flirtatious goes outside to smoke a cigarette, and Oscar comes out to ask
banter. Cynthia tells Tracey and Stan about how she recently her about working at Olstead’s—he recently saw a job posting
kicked out her estranged husband, Brucie, again—he’s been at the local Latino Community Center. This confuses Tracey, as
abusing drugs ever since he was locked out of his job at a local she’s adamant that they’re not hiring. Besides, Oscar would
textile mill. They also discuss Freddy Brunner, an acquaintance need to be in the union and to know someone at the plant to
who recently burned his own house down. He apparently did so get a job there. Changing the subject, Tracey tells Oscar that
due to the stress of his failed marriage, debt, and rumors of Cynthia only got the promotion because she’s black and then
cutbacks at Olstead’s Steel Tubing (the mill where Tracey, makes an offhand comment about Latinx people like Oscar
Cynthia, and Jessie also work). Though Cynthia and Tracey coming to Reading to get jobs—but Oscar says that he was born
make light of such rumors, Stan is adamant that because of in Berks County just like Tracey was. However, Tracey is
NAFTA, steel workers’ jobs could easily be outsourced to adamant that German immigrants like her own grandparents
Mexico. built the town. She tells Oscar that “Olstead’s isn’t for you.”
During this conversation, Jessie wakes up and become A couple of weeks later, Jessie waits alone at the bar—Tracey,
belligerent when Stan won’t serve her another drink. Oscar, the Cynthia, Jason, and Chris are all late to her birthday
often-ignored Colombian American busboy, escorts her to the celebration. Eventually, everyone but Tracey shows up, and
bathroom. Cynthia and Tracey worry that Jessie’s problem with Cynthia and Jessie reminisce about their early days at the
alcohol could get her fired. The two women begin talking about factory. Just as Jessie is vulnerably sharing her unrealized
recent changes at Olstead’s: there’s an open position for dreams of seeing the world as a young woman, Tracey bursts in.
Warehouse Supervisor, and to Tracey’s surprise, Cynthia is The mood becomes tense, and Tracey and Cynthia get into a
thinking of going for the job. Stan is cynical about the spat: Tracey clearly resents Cynthia for getting the promotion
disrespectful management at the plant, where generations of over her. She’s is upset that Cynthia seems to be ignoring her
his family and he himself worked before he lost part of his leg in and sucking up to management. Cynthia understands, but she
a work accident. Still, Cynthia and Tracey, who both have over asks Tracey not to make things about race, and she promises to
20 years of experience on the warehouse floor, are both set on let everyone know if she hears anything about the rumored
applying. layoffs.
In February, at the same bar, Jason, Chris, and Stan have a On July 4, Chris and Jason run into Brucie at the bar, and they
playful conversation about the motorcycle Jason wants to buy tell him that Olstead’s moved three mills out of the factory over
and about Chris’s new girlfriend while Oscar listens in. Then, the holiday weekend. Now, the company has posted a list of
Chris reveals that he’s been accepted to Albright College’s names on the front door, and Chris and Jason are in a hurry to

go see it for themselves. Brucie warns them that no machines counters that to her, it is personal.
means no jobs—he thinks they’re about to be in the same A week later, Chris, Jason, and other union members protesting
situation he’s in. He advises them to take any concessions that on the line get into a physical fight with the Latinx temp
are offered to prevent a lockout from happening. Chris and workers at Olstead’s. Afterward, they go to the bar—where
Jason rush off to Olstead’s. Jessie is once again passed out at a table—and excitedly tell
The play flashes forward to October 2008, a couple of weeks Stan about it, but Stan isn’t impressed. He thinks Jason and
after Jason and Chris’s parole meetings. Jason has come to beg Chris should move on and get out of Reading. Chris agrees—he
Tracey for money, but she’s hostile and unwelcoming. Jason is doesn’t want to end up like Brucie. While they talk, Oscar
horrified to realize that Tracey is high—it seems she developed comes into the bar to get his things from the back and say
an addiction to pain medication while Jason was in prison. At goodbye to Stan just as Tracey comes out of the bathroom.
the same time, Chris goes to Cynthia’s apartment, where he’ll Tracey, Jessie, and Jason make racist slurs and comments at
be staying. Cynthia, who lost her house and now works Oscar, and Jason stands up threateningly. Stan slams a baseball
irregular hours at maintenance jobs, is warm and tearfully bat down on the bar and orders Jason to sit, but Jason blocks
apologetic to Chris—though Chris doesn’t think she has Oscar from leaving and begins to beat him. Stan and Chris try
anything to be sorry for. She tells him that she and Tracey no to intervene, but Tracey and Jessie egg the fight on. Chris
longer speak after everything that happened. Chris shares that eventually becomes angry as well, and he joins Jason in beating
Jason is out too, and Cynthia angrily reflects that Jason is the Oscar. Jason grabs the baseball bat and hits Oscar in the
one who got Chris into trouble. She asks Chris to tell her what stomach, and as he swings back to hit him again, he accidentally
happened back then, because she still doesn’t understand. strikes Stan in the head. Stan falls, hits his head on the bar, and
The play flashes back to July 2000. In the bar, Stan and Oscar lies bleeding on the ground.
stand by as Tracey, Chris, Jason, and Jessie angrily demand The play returns to Jason and Chris’s separate parole meetings
Cynthia to tell them what’s going on. Cynthia begs everyone to with Evan in October 2008. He encourages both men to let go
stop yelling, but she eventually reveals that Olstead’s is going of their shame and self-blame and to meet up with each other
to renegotiate the floor workers’ contracts: in order to save to talk. A few days later, Chris goes to the bar, where Oscar is
jobs, there will be a 60-percent pay cut and concessions on now the manager. Jason shows up too, which initially alarms
benefits. She says that the U.S. plant has gotten too expensive Oscar. Jason panics and goes to leave, but he stops when Stan
to operate, and because of NAFTA, Olstead’s can easily enters to wipe down tables. Stan is now severely disabled with
outsource labor to Mexico. Tracey and the others are outraged. a traumatic brain injury; he struggles to hear or speak. Jason
A month after this, Olstead’s workers have rejected the deal comments that Oscar is kind to take care of him, and Oscar
they were offered, and the lockout goes forward. Cynthia replies that this is how things should be. Chris and Jason are
spends her birthday alone in the bar, where she confides in Stan clearly apologetic but can’t yet bring themselves to verbalize
how stressed and guilty she feels about locking her friends (and what they’re thinking. The four men uneasily wait for the next
her own son) out of the plant. Tracey and Jessie show up and moment, together yet divided.
get into an argument with Cynthia, calling her a traitor.
However, Cynthia is adamant that she can’t give up the
opportunity she’s been given; Tracey and Jessie don’t CHARA
CHARACTERS
CTERS
understand what it’s like to walk in her shoes.
Chris – Chris is a young African American man; he’s Cynthia
In September, Jason and Chris run into Brucie (who’s clearly and Brucie’s son and Jason’s best friend. In 2008, Chris and
high) at the bar, and Chris shares how his childhood memories Jason are 29 years old and have just been released from eight-
of Brucie leading other men in a walkout at the mill inspire him year prison sentences for assaulting Oscar, a busboy at the bar
to stay strong and keep protesting. However, Brucie tells him in Reading, Pennsylvania, that they frequented. During the
it’s pointless—Chris should follow his dreams and get an beating, Jason also inadvertently hit the bartender, Stan,
education instead. The following month, Oscar tells Stan that leaving him with a traumatic brain injury. Back in 2000, before
he’s taken on some temporary hours at Olstead’s because it the assault, 21-year-old Chris has followed in his parents’
pays so well, but Stan warns him that doing so will anger the footsteps and gone to work at Olstead’s Steel Tubing plant
floor workers who’ve been locked out. Oscar doesn’t care, straight out of high school. But he has bigger aspirations than
though—everyone in Reading others him, so he feels no loyalty this: he’s been accepted to Albright College’s teaching program.
to them. Tracey comes into the bar while Oscar is in the back, However, this goes out the window when a lockout is instituted
and she tells Stan about how lost and humiliated she feels at Olstead’s, and Chris is swept up into the collective outrage
without a job. When Oscar returns, she hurls racial slurs and and union protests that ensue. Seemingly more thoughtful and
goes to lunge at him, but Stan holds her back. Oscar tells Tracey less impulsive than Jason, Chris is conflicted between walking
that him working at Olstead’s isn’t personal, but Tracey the line and moving on from Reading altogether—especially

having witnessed Brucie’s descent into drug addiction during sexual encounter). Tracey is a “laugher”—she uses humor as a
his own lockout at a local textile mill. Eventually, tensions flare means of escape and loves to drink, gossip, and dance. She’s
between the locked-out floor workers at Olstead’s and the also a hardworking, traditional woman who dislikes the ways
Latinx temp workers who’ve been brought in (Oscar among Reading has changed over the years. In particular, Tracey is
them). Against his better judgement, Chris is swept up in bitter about Reading’s growing Latinx immigrant population,
Jason’s violent rage and joins him in beating Oscar. After whom she views as outsiders coming to steal away jobs. Her
serving his sentence for this crime, Chris is consumed with racist beliefs become even more pronounced when Cynthia
shame and guilt and struggles to reintegrate into society. He gets a promotion at Olstead’s, and Tracey resentfully claims
turns to Christianity for solace, and his parole officer, Evan, that her friend was only chosen because she’s black. After
encourages him to forgive himself. Chris and Jason ultimately Olstead’s institutes a lockout and hires Latinx temp workers
reunite amicably, and they both take the difficult step of (including Oscar, the busboy at the bar), Tracey becomes
returning to the bar to make amends with Oscar and Stan. despondent and purposeless without her job and increasingly
Introspective, hard-working, and riddled with conflicting hateful toward Oscar. This culminates in Tracey encouraging
emotions, Chris’s character exemplifies how financial hardship her son Jason and Cynthia’s son Chris to attack Oscar, an
can ripple outward to wreak havoc on people’s lives, as well as assault that inadvertently leaves Stan with a traumatic brain
how shame can be destructive and forgiveness can be healing. injury and lands Jason and Chris with eight-year prison
Jason – Jason is a young white man of German descent; he’s sentences. When the play picks up with Tracey eight years after
Tracey and Hank’s son and Chris’s best friend. In 2008, Jason this incident, she’s seemingly out of work, addicted to pain pills,
and Chris are 29 years old and have just been released from and estranged from her former friends and from Jason.
eight-year prison sentences for assaulting Oscar, a busboy at Tracey’s unfortunate trajectory exemplifies how a combination
the bar in Reading, Pennsylvania, that they frequented. During of economic hardship, resentment, and prejudice can
the beating, Jason also inadvertently hit the bartender, Stan, effectively destroy a person’s life and the lives of those around
leaving him with a traumatic brain injury. Back in 2000, before them.
the assault, 21-year-old Jason is an irreverent troublemaker Cynthia – Cynthia is a middle-aged African American woman;
who works alongside Jason at Olstead’s Steel Tubing plant. she’s Chris’s mother and Brucie’s wife. In 2000, Cynthia and
Unlike Chris, he doesn’t have big dreams beyond getting a her best friends Tracey and Jessie have worked at Olstead’s
motorcycle—so when a lockout is instituted at Olstead’s, Jason Steel Tubing in Reading, Pennsylvania, for over 20 years. They
feels utterly lost and consumed by violent rage over losing his spend most of their downtime in the local bar socializing with
job. Jason’s anger becomes racially motivated when Latinx one another and with Stan, the bartender. Cynthia has been
temp workers are brought into Olstead’s (Oscar among them), estranged from her husband, Brucie, since he got locked out of
and he ends up attacking Oscar at the encouragement of his textile mill and became addicted to drugs. This stress, along
Tracey and her friend Jessie. After serving his sentence for this with the thankless hard labor she does on the floor at
crime, Jason’s anger and hatred still hasn’t subsided—he Olstead’s, leaves Cynthia fed up. She decides to apply for an
acquired white supremacist tattoos in prison, and he lashes out open Warehouse Manager position at the plant, and she ends
with racial slurs at his African American parole officer, Evan. up getting the promotion. However, this only creates more
However, when he runs into Chris after they’re both released, stress and tension in Cynthia’s life: when Olstead’s institutes a
the two hug and seem to be on good (if complicated) terms lockout, Tracey, Jessie, Chris, and Jason resent Cynthia for
despite the fact that Chris is black. Evan encourages both Jason being part of the management that’s put them out of work.
and Chris to let go of their shame and move on, and they take Cynthia, like her son Chris, has deeply conflicted feelings: she’s
an initial step to do so by returning to the bar to make peace guilty about betraying her friends and son, but she’s also been
with Stan and Oscar. Hot-headed and passionate yet troubled underappreciated and discriminated against for decades. To
and disaffected, Jason’s character represents the tendency for Cynthia, it would be a personal insult to walk away from the
economic strife to exacerbate already present anger and racial money and security that her newfound opportunity offers.
tension, as well as the life-altering consequences of However, when the play flashes forward to 2008, Cynthia is
succumbing to such animosity. remorseful about her decision to keep the job, which she lost
Trace
aceyy – Tracey is a middle-aged white woman of German after Olstead’s ultimately shut down. Now, her decades-long
descent; she’s Jason’s mother and Hank’s widow. In 2000, friendships are permanently ruined, and she believes that her
Tracey and her best friends, Cynthia and Jessie, have worked at complicity as a manager during the lockout makes her
Olstead’s Steel Tubing in Reading, Pennsylvania, for over 20 responsible for the assault that Chris and Jason committed
years. They spend most of their downtime in the local bar against Oscar, a temporary laborer at the plant. Headstrong
socializing with one another and with Stan, the bartender (who and principled yet ashamed of her perceived failures, Cynthia’s
often flirts with Tracey and playfully references their past character demonstrates the unfortunate ramifications that can
arise from trying to get ahead in life.

Oscar – Oscar is a young Colombian American man; he’s the hinders his speech, hearing, and movement. Eight years later,
busboy at the bar in Reading, Pennsylvania, where most of the Stan has become the busboy at bar, while Oscar is the new
play’s scenes takes place. In 2000, as the only Latinx character manager and weekend bartender. Stan’s tragic fate is symbolic
in the story, 22-year-old Oscar is viewed as an outsider and of how economic strife and racial animosity (the reasons behind
ignored by the white customers who frequent the bar. Though why Chris and Jason attacked Oscar) can radiate outward to
Oscar is a “quiet but alert presence” in the background of nearly affect innocent people.
all the play’s dialogue and action, he’s usually only Jessie – Jessie is an Italian American woman in her forties;
acknowledged by Stan, the bartender. However, as economic she’s a close friend and coworker of Tracey and Cynthia. In
downturn hits Reading and tensions rise, people become 2000, Jessie and her friends have worked at Olstead’s Steel
increasingly hostile toward Oscar: Tracey, a longtime employee Tubing in Reading, Pennsylvania for over 20 years. The women
at Olstead’s Steel Tubing, is adamant that Latinx people aren’t spend most of their downtime in the local bar socializing with
welcome at Olstead’s or in Reading. When Olstead’s institutes one another and with Stan, the bartender. Having gone to work
a lockout and Oscar becomes a temporary laborer at the plant, at Olstead’s straight out of high school and given up her dreams
Tracey and her friend Jessie hurl racist slurs and comments of traveling the world to keep working and get married, Jessie
about Mexican immigrants at Oscar, despite the fact that he’s is now divorced and dissatisfied with her life. As a result, she’s
Colombian and was born in Berks County just like they were. seemingly developed a problem with alcohol abuse: she’s
Oscar’s father was similarly disrespected when he was a janitor passed out drunk during many of the play’s scenes and even
at another local mill, so Oscar feels no loyalty to the white shows up to work reeking of vodka. Although Tracey and
working class of Reading who’ve always looked down on him Cynthia feel that Jessie brings them down, they still love
and his family. The racism Oscar faces culminates in Tracey’s her—and Jessie loves and supports them in return, refusing to
son Jason and his friend Chris (who’ve also been locked out of get caught in the middle of Tracey and Cynthia’s feud over
Olstead’s) assaulting Oscar—and, in the process, accidentally Cynthia’s promotion. However, Jessie also has a dark side:
hitting Stan and leaving him permanently disabled with a when she’s drunk, she taunts Stan for being a “gimp” and joins
traumatic brain injury. Eight years later, Oscar has become the Tracey in hurling racial slurs at Oscar, the bar’s Colombian
manager of the bar and looks after Stan, who now works as a American busboy. When the play flashes forward to 2008,
busboy. He seems open to forgiving Jason and Chris when they Olstead’s has closed, and it’s never revealed what’s become of
come to make amends after being released from prison. Oscar’s Jessie since. This lack of closure perhaps implies that people
hard-won success conveys the hopeful message that minorities like Jessie—a blue-collar laborer who succumbs to stagnancy,
living in predominantly white, working-class communities can despair, and addiction—unfortunately tend to end up forgotten
rise above discrimination and adversity to achieve upward by the companies they serve, by the American public, and even
mobility. by their own loved ones.
Stan – Stan is a white man of German descent in his fifties. In Brucie – Brucie is an African American man in his forties; he’s
2000, he’s the bartender at the bar in Reading, Pennsylvania, Chris’s father and Cynthia’s estranged husband. In 2000,
where most of the play takes place. Stan became the bartender nearly two years after being locked out from the textile mill
after losing part of his leg in an accident at Olstead’s Steel where he works, Brucie has become addicted to drugs and has
Tubing mill, where he worked (like previous generations of his resorted to stealing from Cynthia, which leads her to kick him
family did) for 28 years. Now, Stan serves as a beloved friend, out. Now, Brucie feels hopeless and purposeless as he attends
confidant, and wise sage for his regular customers—including rehab and accepts union handouts, all the while facing racism
the play’s other main characters, Chris, Jason, Tracey, Cynthia, from white union members. Though Chris has fond childhood
Brucie, and Jessie. Stan is also the only one who’s friendly to memories of Brucie standing strong like a “warrior” during
Oscar, the bar’s Colombian American busboy. Stan is perhaps union protests, he now worries about Brucie and reluctantly
the most cynical of the play’s characters: he distrusts white- hands over cash to his struggling, strung-out father. When
collar management and career politicians, and he declares that Chris and his friend Jason are similarly locked out of their jobs
it’s “not a good philosophy to resist knowledge” or to blindly at Olstead’s Steel Tubing, Brucie encourages them to take the
trust authority figures. But unlike most of the play’s other concessions Olstead’s offers and even to move on to bigger and
characters, who hold staunch, polarized beliefs about personal better things rather than end up indefinitely unemployed like
and social issues, Stan seeks to understand and empathize with him. Brucie desperately wants Cynthia back, and he hopes that
everyone who sits across the bar from him and confides in him Chris will take advantage of the higher education available to
about their problems. Sadly, Stan’s concern for others has life- him rather than waste his life away at a factory. As a
altering consequences for him: when he tries to intervene in a downtrodden man who desperately wants to work and provide
fight between Chris, Jason, and Oscar, Jason inadvertently hits for his family, Brucie represents the existential malaise,
Stan with a baseball bat. This causes Stan to fall and hit his head psychological suffering, and addiction that can arise from
on the bar, sustaining a traumatic brain injury that permanently

financial hardship.
Evan – Evan is an African American man in his forties; in 2008,
TERMS
he’s Chris and Jason’s parole officer after they’re released from Concession – Concessions are a form of collective bargaining in
their eight-year prison sentences. Evan encourages Chris and which a union agrees to certain stipulations (such as lower pay)
Jason to be straightforward with him and to open up about in order for workers to secure their employment. In Sweat,
their struggles reintegrating into society and coping with guilt Cynthia and Brucie warn the floor workers at Olstead’s Steel
as ex-convicts. However, he also has no patience for Tubing that they’ll have to accept concessions if they want to
nonsense—for instance, when Jason is uncooperative and racist end the company lockout and get their jobs back.
during his parole meeting, Evan threatens him with a drug test
Lock
ockout
out – A lockout is a work stoppage in which an employer
and a negative report, and he’s vocal about his distaste for
prevents employees from working (often by literally locking
Jason’s white supremacist facial tattoos. Ultimately, though,
them out of company property), typically in response to labor
Evan serves an important role as a confidant and voice of
union demands. Often thought of as the opposite of a strike,
reason for Chris and Jason. He teaches both men one of the
the goal of a lockout is generally to get employees to accept
play’s central lessons: that shame is a destructive and
certain concessions, such as lower wages or reduced benefits.
counterproductive emotion and that the best course of action
In Sweat, there is a lockout at Olstead’s Steel Tubing where
is to forgive oneself and others. As such, Evan is the catalyst for
Chris, Jason, Tracey, Cynthia, and Jessie work (as well as one
Sweat’s tentative resolution: at the end of the play, Chris and
at the textile mill where Brucie works), the fallout of which
Jason take his advice, meeting up amicably and going to the bar
leads to financial hardship, disillusionment, and rage among the
to make peace with Oscar and Stan. Though the final scene
plant employees.
leaves off with the four men standing in an ambivalent state of
“fractured togetherness,” Evan’s guidance opens up the potential North American F Free
ree TTrrade Agreement (NAFT
(NAFTA)
A) – The North
for reconciliation and sends the optimistic message that American Free Trade Agreement (NAFTA) was a 1994
animosity, blame, and self-destruction can be overcome. agreement between the United States, Canada, and Mexico
that created a free-trade zone in North America. NAFTA
Hank – Hank was Tracey’s husband and Jason’s father. He
removed barriers to trade and invest—such as government
passed away prior to the events that take place in 2000; it’s
restrictions and tariffs—with the goal of increasing North
implied that he was killed in a work-related accident at
America’s viability in the global economy. However, NAFTA
Olstead’s Steel Tubing, where Tracey and Jason still work. As
enabled U.S. industries to outsource labor to Mexico, which
Tracey and Jason are ganging up on Oscar for taking temporary
resulted in widespread wage cuts and job loss in the Rust Belt
hours at Olstead’s while they’re locked out of the plant, Tracey
region and other U.S. manufacturing hotspots. Reading,
asks Jason what Hank would have done in this situation in
Pennsylvania (where Sweat takes place), is one such Rust Belt
order to provoke Jason into physically attacking Oscar—an
city that suffered after NAFTA was passed. As such, characters
assault that culminates in Stan being inadvertently hit in the
like Stan and Cynthia are cynical about jobs at the local steel
head and permanently disabled. In this way, though Hank is
mill being sent over to Mexico, and Jason, Tracey, and Jessie
only mentioned a few times in the play, his memory is a catalyst
take this sentiment so far as to espouse racism toward Latinx
for the play’s central tragedy, exemplifying how grief can be a
people (like Oscar) in general.
destructive force that drives people to act impulsively.
Rust Belt – The Rust Belt is a region in the Northern U.S.,
Freddy Brunner – Freddy is a mutual acquaintance of Tracey,
primarily situated around the Great Lakes, that was once the
Cynthia, Jessie, and Stan who works at Olstead’s Steel Tubing.
backbone of the nation’s steel production and industrial
Near the beginning of the play, an article appears in Reading,
manufacturing industries. However, the region has been in
Pennsylvania’s local paper reporting that Freddy burned his
decline since the 1980s as industrial jobs have been
own house down. Stan and the others theorize that this was
increasingly outsourced or automated. Reading, Pennsylvania
due to Freddy’s stress over his failed marriage and debt, as well
(where Sweat takes place), is one such Rust Belt city. In the play,
as rumors of impending cutbacks at Olstead’s. As such, Freddy
its economic center has long been Olstead’s Steel Tubing plant,
represents the dire personal consequences that can arise from
where most of the play’s main characters work (as have
financial hardship.
previous generations of their families). The events in Sweat are
Howard – In 2000, Howard is the manager of the bar in largely put into motion by the negative impacts of NAFTA on
Reading, Pennsylvania, where most of the play takes place. He the Rust Belt’s economy.
oversees Stan, the bartender, and Oscar, the busboy. In 2008,
when Chris and Jason return to the bar after they’re released
from prison, they find that Howard has retired to Phoenix, THEMES
Arizona, and that Oscar has taken over the bar as manager.
In LitCharts literature guides, each theme gets its own color-

coded icon. These icons make it easy to track where the themes manufacturing is so ingrained in Reading’s culture that people’s
occur most prominently throughout the work. If you don't have very identities are defined by their roles in the industry.
a color printer, you can still use the icons to track themes in However, the fall of industry is even more impactful than the
black and white. rise: when Olstead’s and other local mills begin cutting costs
and instituting lockouts, workers turn to self-destructive
WORKING-CLASS DISILLUSIONMENT behavior as they’re left feeling distraught and alienated in their
Sweat is preceded by an excerpt from Langston own hometown. When Olstead’s begins relocating its
Hughes’s “Let America Be America Again,” a poem equipment and transferring management, it’s rumored that the
that critiques the false promise of the American company is taking advantage of NAFTA by outsourcing its labor
Dream and encourages poor and working-class Americans to Mexico. This is never directly confirmed, but regardless, pay
(among other marginalized groups) to rise up and “make and benefits are cut—and the employees are locked out of the
America again”—essentially to “redeem” the oppression they’ve plant until they agree to these concessions. Literally overnight,
faced and the opportunities they’ve been cheated out of. Olstead’s floor workers are left with no jobs and no answers, a
However, Sweat’s cast of characters is anything but situation that exemplifies how working-class communities are
empowered: rather than resist the hand they’ve been dealt, devastated by such downturns in the manufacturing sector.
they have little choice but to make ends meet by laboring in Olstead’s is only one of multiple local plants that has locked out
Olstead’s Steel Tubing plant and to weather the early-2000s its employees, and in the wake of this mass unemployment,
downturn of the U.S. manufacturing industry. Under these Reading’s working-class community falls into despair. Brucie,
conditions, the play’s main characters rapidly fall into personal who works at a textile mill that has been locked out for nearly
decline that mirrors the economic decline affecting their two years, becomes dependent on drugs to numb the
hometown of Reading, Pennsylvania, and the rest of the Rust desperation and sense of hopelessness that comes with
Belt. Whereas news coverage (such as the headlines included unemployment. His son Chris and Tracey’s son Jason, who are
at the beginning of each act) tends to focus on how corporate locked out of Olstead’s, alternate between protesting on the
leaders and stockholders are affected by shifts in the economy, union line and seething with rage as they drink at the bar where
Sweat serves as a case study in how working-class individuals Stan works. Tracey and Jessie—lost, aimless, and
are those most hurt by economic decline. The play argues that embittered—similarly turn to alcohol. Essentially, the
in such situations, communities like Reading bear the worst community undergoes a kind of collective existential crisis
burden, as they’re left financially destitute, outraged, and when the industry to which they’ve dedicated their lives begins
steeped in disillusionment. to crumble, resulting in their own self-destruction.
The rise of industry that Reading, Pennsylvania, has Ultimately, this community-wide sense of despair culminates in
experienced over the years has left the town largely violence—a trajectory that exemplifies the negative chain
unrecognizable to residents who were born and raised there. reaction that economic downturn can have on working-class
Tracey, a longtime employee at Olstead’s Steel Tubing plant, people. When Jason and Chris’s wrath over losing their jobs
bittersweetly recalls how Reading used to be when she was a finally reaches its breaking point, they lash out and physically
child. She’s adamant that her German immigrant family “built attack Oscar, a busboy at the bar who’s begun working at
this town,” and that her grandfather was a talented Olstead’s for a lower wage while the regular employees are
woodworker—back then, she says, “if you worked with your locked out. Oscar is, of course, not to blame for the lockout, but
hands people respected you for it.” However, now that large- the fact that he has a job at the plant is too much for the other
scale industrial manufacturing has taken over Reading, Tracey men to bear—a clear example of how economic strife can lead
and the rest of the working-class population are left longing for otherwise reasonable, hardworking people to desperately and
the former reverence that manual laborers and craftsmen senselessly lash out. However, Stan is the one who ends up
enjoyed. Indeed, this feeling of underappreciation is a common injured in this altercation: Jason grabs a baseball bat from
sentiment in Reading. Stan, a local bartender and former behind the bar and accidentally hits Stan in the head instead of
Olstead’s worker, is embittered by the new management at the Oscar, leaving Stan with a traumatic brain injury and landing
plant. The clean-cut young men with MBAs who now oversee Jason and Chris with eight-year prison sentences for the
Olstead’s refuse to “understand the real cost, the human cost” assault. This tragic chain of events shows just how devastating
of labor, leaving floor workers feeling overlooked, exploited, economic decline can be on working-class people, resulting not
and replaceable. Notably, many employees have essentially put only in self-destructive behavior but in the ruining of an
their aspirations on hold to start at Olstead’s straight out of innocent man’s life. The effects of downturn and job-loss
high school—Tracey’s friend Jessie, for instance, gave up on her radiate outward to affect not only businesses, but the
dreams of backpacking in Alaska and Asia to start at the plant at psychological wellbeing of laborers and the integrity of the
18. By 2000, when most of the play takes place, steel communities to which they belong.

Sweat doesn’t end on an entirely pessimistic note, however. In the sacredness of close relationships for the play’s struggling
2008, after Chris and Jason are released from prison, Chris working-class laborers.
reveals his intentions to complete his bachelor’s degree in lieu But when characters begin to distance themselves from the
of the Albright College teaching program he dreamed of status quo and pursue different opportunities, these
attending before his sentencing. Oscar, meanwhile, has worked relationships gradually disintegrate as those left behind feel
his way up to become the manager of the bar. Years after the resentful of their friends’ new paths. When Chris reveals that
initial decline of the manufacturing industry, the play plants he’ll be leaving Olstead’s to study teaching at Albright College,
these seeds of hope to send the message that although Jason is blindsided—he’d hoped to work alongside his best
economic changes and failing industries are inevitable, there friend for the foreseeable future and to eventually retire and
are still other avenues by which ordinary, working-class people open a business together. To cover up how hurt he is, Jason
can “make America again.” mocks Chris and tells him he’ll never succeed in such a low-
paying career before asking, “But seriously, man, why didn't you
RELATIONSHIPS, STATUS, AND tell me?” Despite Jason’s tough exterior, it’s clear that he’s
RESENTMENT genuinely upset by Chris’s attempts to leave their shared lot in
life behind and pursue higher education. Similarly, when
The characters in Sweat have spent decades of their
Cynthia earns a promotion from floor worker to Warehouse
lives thanklessly laboring in Reading Pennsylvania’s
Supervisor at Olstead’s, Tracey becomes spiteful and
local steel and textile mills amid poor working conditions,
downright cruel—even though she, too, applied for the job. She
disrespectful management, and union disputes. To combat this
bitterly tells Oscar, the busboy at the bar, that she “know[s] the
constant strain and underappreciation, the members of
floor as good as Cynthia” does, and Jessie confirms that
Reading’s working-class community depend upon tight-knit
Cynthia’s promotion has “pissed off a lot of people” even
relationships with one another as a means of stress relief,
though she earned it fairly. All of the floor workers at Olstead’s
support, and fulfillment. However, several close relationships
feel replaceable and worry about their job security, so Cynthia’s
are challenged as characters try to pursue new opportunities
bump in pay and benefits comes off as a slap in the face to her
and escape the very circumstance over which they bond with
coworkers—one that drives a wedge between her and Tracey
others. The play thus shows how changes in status—being
especially. In the world of the play, attempting to raise one’s
promoted at work, reaching a higher socioeconomic class, or
status and transcend one’s current situation breeds
pursuing higher education—can create tension and resentment
resentment among the very friends who commiserated with
among people who are all struggling to make ends meet, driving
that situation.
a wedge between even the closest of friends.
Tensions between friends come to a head when Olstead’s
The people in Reading find common ground with one another in
begins making changes and floor workers face the threat (and,
their shared difficulties at work and in fraught romantic
eventually, the reality) of a lockout—and the newly promoted
relationships; they lean on their close, long-lasting friendships
Cynthia comes to be seen as a traitor. As Warehouse
for comfort. Most of the play takes place in a local bar, where
Supervisor, Cynthia has a newfound insider’s perspective into
friends like Tracey, Cynthia, and Jessie (a trio of middle-aged
the management side of the plant. Although Cynthia breaks the
women who’ve all worked at Olstead’s Steel Tubing plant for
rules by warning Tracey, Jessie, Chris, and Jason that a lockout
decades) gather to socialize with one another and with the
is imminent, they begin to see her as a betrayer rather than a
beloved bartender, Stan. The bar itself is symbolic of the
trusted member of their inner circle due to her position of
friendships that play out within it, as both the place and the
authority over them. “I’m on your side,” Cynthia tells them, but
relationships it facilitates are safe havens away from the stress
Tracey challenges her: “Then act like it,” she says. “You're
of the outside world. The sheer amount of time that characters
making the same sorry excuses that they do. We're friends!”
spend together in the “lived-in and comfortable” bar after work
Both Cynthia and her loved ones feel hurt and misunderstood,
emphasizes just how important a similar sense of familiarity
further demonstrating the tendency for inequality in status to
and comfort is in their relationships with one another. Tracey
break apart relationships. After the lockout goes forward,
and Cynthia, in particular, are “close friends who’ve shared many
Cynthia’s friendship with Tracey completely disintegrates—and
adventures”—they console each other, cheer each other on, and
when the play jumps forward from 2000 to 2008, it’s revealed
encourage each other to stay positive and have fun rather than
that they’ve never reconciled. Their decades-long friendship
dwell on the stress of work. This kind of intimate friendship
ends in a seemingly insurmountable grudge, a heartbreaking
seems to be the norm rather than the exception in Reading:
reality that drives home the pain, jealousy, and hostility that can
Tracey’s son Jason and Cynthia’s son Chris are also best friends
come about when one friend feels left behind by another.
who work at Olstead’s and who depend on each other for
solidarity and camaraderie. “We’re a team,” Jason says of The fact that everyone in Reading is trying to keep their heads
himself and Chris, one of many sentiments that drives home above water seemingly makes them less encouraging rather

than more so when their friends try to get ahead. Ultimately, Latinx community. They hurl racial slurs at Oscar when they
Sweat shows the interpersonal costs of raising one’s station: find out he’s among the temporary workers who are replacing
when desperate people strive for more out of life, fellow them during the lockout. “You better believe it’s personal,”
desperate people—even, and especially, dear friends—will often Tracey tells Oscar, driving home the idea that racial divisions
respond with resentment rather than support. become more pronounced and indeed “personal” when
people’s livelihoods are at stake. When Tracey’s best friend,
ECONOMIC STRAIN AND RACE Cynthia (a black woman), is promoted off the floor to
RELATIONS Warehouse Supervisor at Olstead’s just before the lockout,
Tracey also turns on her. Despite Cynthia having earned the
Sweat takes place in Reading, Pennsylvania, a Rust position fair and square, Tracey claims that “they wanted a
Belt city whose predominantly white and largely minority […]. They get tax breaks or something.” By writing off
working-class population is deeply affected by the early-2000s Cynthia’s accomplishment as an affirmative action ploy, Tracey
decline in the manufacturing industry. As a community already reduces her friend to her race, demonstrating how perceived
steeped in tradition and resistant to outsiders, this downturn economic inequality can bring out formerly nonexistent (or at
causes Reading’s white working class to become downright least unvoiced) prejudice. Cynthia is deeply hurt by this
hostile toward black and Latinx people—even individuals they insinuation: “Be angry, but don’t make it about this,” she says to
once called friends—because they believe minorities are Tracey as she points to her own skin. Although Tracey is
stealing their jobs away. As such, the play shows how economic perhaps understandably resentful over the lockout and
strain can worsen race relations between white and minority Cynthia’s complicity in it as a manager, her racism toward
communities, creating desperation among blue-collar laborers Cynthia is unwarranted and undeniably cruel. The gradual
that brings underlying racial tensions to the surface. dissolution of their friendship shows how economic strife can
Even prior to the worst of the financial strife that the breed racial tension not just among strangers, but between
characters face, there is palpable tension between the trusted friends.
community’s different racial groups. Tracey, a middle-aged The economic strain and subsequent racism that gathers steam
white woman who works at the local Olstead’s Steel Tubing throughout the play culminates in tragedy, driving home the
plant, is adamant that German immigrants like her severe consequences that can arise from such animosity.
grandparents built Reading from the ground up and made it Distraught over losing their jobs at Olstead’s, Jason, along with
what it is today. When Oscar, a Colombian American busboy at Cynthia’s son Chris, attack Oscar (and, inadvertently, Stan) in a
the bar Tracey frequents, expresses interest in working at the racially motivated hate crime. Jason and Chris go to prison for
plant, she tells him outright that “Olstead’s isn’t for you.” eight years for the assault, during which time Jason is
Although Tracey claims to hold no prejudice, and despite the seemingly initiated into the Aryan Brotherhood. His face is
fact that Oscar was born in Berks County just like she was, it’s covered in white supremacist tattoos when he’s released,
clear that Tracey views Reading—and particularly Olstead’s—as despite the fact that Chris, who’s black, was once his best
a kind of in-group where Latinx people aren’t welcome. This friend. Jason’s willingness to lash out at Oscar and his
rarely spoken but ever-present prejudice isn’t limited to Tracey. transformation to full-blown white supremacy demonstrates
Seemingly all of the white people who frequent the bar the slippery slope of racist sentiments that arise in response to
purposefully ignore Oscar—no one but Stan, the bartender, desperate circumstances. However, the play ends on a hopeful
acknowledges him despite the fact that he is a “quiet but alert note: after Chris and Jason are both released, they reunite
presence” on the periphery of nearly every scene. As the only amicably in spite of Jason’s offensive tattoos, and they go back
Latinx character in the play, Oscar’s status as an outsider to the bar to make peace with Oscar and Stan. This suggests
represents the broader experience of minorities in Reading: that while economic strife can certainly bring out the worst in
though rarely outwardly discriminated against, they’re largely people and exacerbate already present racism toward
distrusted, marginalized, and ignored by the white community. minorities, such racial tensions aren’t necessarily
When Olstead’s and several other local mills are hit by the insurmountable.
early-2000s manufacturing downturn and begin to institute Critics have praised Sweat for the insight it provides into the
lockouts, already tense race relations further deteriorate in American Rust Belt, a region that experienced a shift in ethnic
tandem with the economy. As Olstead’s workers face the demographics alongside severe unemployment and poverty
reality of being locked out of the company to which they’ve with the fall of heavy industry in the early 2000s. In some areas,
dedicated their lives, they’re incensed that the plant is the Reading of the play included, this complex combination of
supposedly outsourcing manufacturing to Mexico and circumstances has resulted in social and political animosity
simultaneously bringing in cheap labor from across the border. between the white working class and minorities—and the play
This results in people like Tracey and her son Jason (who also certainly doesn’t seek to excuse racist sentiments. Rather,
works at Olstead’s) lashing out at Oscar and the rest of the

Sweat raises awareness of this real-life racial tension, shedding Warehouse Manager at Olstead’s Steel Tubing plant. While this
light on the economic and cultural factors behind the issue and is initially a point of pride for her, having worked at the mill for
adding nuance to the audience’s perceptions of both minorities over 20 years, it quickly becomes a source of shame when her
and the white working class. Ultimately, the play offers hope coworkers (who are also her dear friends) turn on her for her
that reconciliation between these polarized groups is possible. alleged complicity in a lockout at Olstead’s. She confides in
Stan, “Do you know what it feels like, to say to the people
SHAME, REGRET, AND FORGIVENESS you’ve worked with for years that they’re not welcome
anymore? I haven’t slept in…over a week.” Though Cynthia
Sweat’s cast of characters reads as distinctly
knows she needs the money that comes with her new position,
human: none are wholly good nor wholly bad, and
part of her regrets taking it because it means betraying her
nearly all make mistakes that hurt themselves or
friends—again, the play shows that even those with good
their loved ones. The play alternates between the same
intentions can make regrettable decisions. Indeed, this remorse
characters in 2000 and 2008, a plot structure that allows the
haunts Cynthia for years. By 2008, she’s realized that taking
audience to see how these choice pan out over time—and the
the promotion wasn’t worth it—she even apologizes to Chris
shame and guilt that characters feel in response to their
when he’s released from prison (when presumably he should be
actions, even eight years later. By showing how people are
the one apologizing to her). This implies that she blames herself
consumed by regret over the course of nearly a decade, Sweat
not only for the fallout with her friends, but for Jason and
makes the case that shame is a powerful, self-destructive force, Chris’s crime, since they attacked Oscar out of rage in reaction
ultimately advocating for the healing power of forgiving oneself to the lockout that happened while she was a manager. Cynthia
and others. has since isolated herself and resigned herself to low-paying
Sweat begins by introducing the audience to Jason and Chris, maintenance jobs, which suggests that she, too, is held back by
former best friends who are newly out on parole after 8-year the shame she feels over her past decisions.
prison sentences for their mutual involvement in a crime. The However, the play’s cautiously optimistic ending suggests that
mystery of this crime becomes the central force driving the people are not doomed to live in shame and regret—they can
play, and though the specifics of the incident aren’t revealed and should move beyond past mistakes to forgive themselves
until the end, Jason and Chris’s remorse is raw and palpable. It’s and others. Toward the end of the play, Evan tells Jason and
eventually revealed that in 2000, Jason and Chris—fueled by Chris that shame is “not a productive emotion. Most folks think
racially and economically motivated hatred—assaulted Oscar, a it’s the guilt or rage that destroys us in the end, but I know it’s
busboy at the local bar they frequented. However, Jason also shame that eats us away until we disappear […] whatcha gonna
inadvertently ended up hitting Stan, the bartender, which left do about where you’re at right now?” With this, he
Stan permanently disabled with a traumatic brain injury. encapsulates one of the play’s central messages: that everyone
Leading up to this incident, Jason and Chris are portrayed as makes mistakes and experiences shame, but it’s ultimately futile
normal 21-year-old men with strong work ethic and an even and harmful to dwell on the past. This advice seems to resonate
stronger friendship. The fact that these seemingly average with Jason and Chris, as they ultimately reunite on good terms
young men are capable of such a brutal crime sends the and go to the bar to make amends with Oscar and Stan. The
message that people who do evil things aren’t wholly play ends with this stage direction: “There’s apology in their eyes,
evil—anyone, the play shows, is capable of making terrible but Chris and Jason are unable to conjure words just yet. The four
mistakes. Regardless, in 2008, Jason and Chris are still men, uneasy in their bodies, await the next moment in a fractured
ashamed and tortured by what they’ve done. Evan, their parole
togetherness.” This sense of a tentative mending among the four
office, has separate meetings with them in which both men
men suggests that, although Jason and Chris are still mired in
reveal how much they’re struggling. It’s implied that Jason has
shame and unsure of how to navigate their newfound freedom,
turned to drugs to numb his emotions, and Chris is racked with
they’ve taken an important step toward forgiving
guilt: he’s “quite fidgety and anxious” and is having trouble
themselves—and there’s hope that Oscar and Stan will forgive
sleeping and communicating with others. He reflects, “A couple
them as well.
minutes, your and I whole changes, that’s it. It’s gone. […] What
if. What if. What if. All night. In my head. I can’t turn it off.” As Importantly, Nottage doesn’t aim to rationalize or excuse any of
both men are struggling to hold down jobs and integrate her characters’ actions, particularly those of Jason and Chris.
themselves back into society, it’s clear that the shame they still But by providing a nuanced picture of what led up to their
feel over the assault is hindering them psychologically and mistakes and the aftermath of those decisions, Sweat shows
leading them back down the path of self-destruction. that allowing oneself to be held back by shame is
counterproductive for all parties involved. Rather, people
Jason and Chris aren’t the only characters in the play who make
should strive to forgive themselves and others, even if the first
decisions they’re ashamed of: Chris’s mother, Cynthia, is also
step is only “fractured togetherness.”
hung up on the past. In 2000, Cynthia receives a promotion to

Sweat published in 2017.
SYMBOLS
Symbols appear in teal text throughout the Summary and Act 1, Scene 1 Quotes
Analysis sections of this LitChart. CHRIS (Escalating emotions): I dunno. A couple minutes,
and your whole life changes, that’s it. It’s gone. Every day I think
THE BAR about what if I hadn’t…You know…I run it and run it, a tape over
and over again. What if. What if. What if. All night. In my head. I
The unnamed Reading, Pennsylvania, bar in which can’t turn it off. Reverend Duckett said, “Lean on God for
most of Sweat’s scenes take place symbolizes the forgiveness. Lean on God to find your way through the terrible
disillusionment that the play’s working-class characters storm.” I’m leaning into the wind, I’m fuckin’ leaning […] What
experience and the escapism they seek out as a result. The we did was unforgiveable…
“lived-in and comfortable” bar at the center of the play is a
meeting place that facilitates the similarly familiar and
comforting friendships—like the decades-long bond between Related Characters: Chris (speaker), Jason, Evan
Tracey, Cynthia, and Jessie—that take place within it. In this
Related Themes:
way, the bar is both a literal and symbolic safe haven from the
outside world—it’s the one place where characters can try to
forget about work, speak their minds without fear of being Related Symbols:
reprimanded, and “stop complaining and have some fun.”
Additionally, drinking alcohol tends to loosen people’s Page Number: 10
inhibitions and bring out underlying emotions—this is certainly Explanation and Analysis
the case for the bar’s customers, who often confide in
Having just been released from an eight-year prison
bartender Stan about their financial strife, relationship woes,
sentence, Chris attends a meeting with his parole officer,
and broken dreams. In this way, the bar in which this drinking
Evan. Both Chris and his former best friend, Jason, were
takes place represents the hardships of blue-collar life and the
convicted of assault after they attacked a busboy at the
resultant need for emotional release, community support, and
local bar. Here, Chris reflects on the guilt he feels over the
leisurely distraction.
crime. Having been a hardworking 21-year-old man with
As a multigenerational staple of Reading’s working class, the dreams of becoming a teacher prior to the assault, Chris
bar also represents tradition and the tendency for people to get now incessantly questions how his life would have panned
stuck in the status quo. All of the play’s main characters were out if he’d made different decisions, which introduces the
born and raised in town, and most of them (like previous idea that shame can be a destructive force on an individual’s
generations) have worked at the local steel mill and frequented psychological wellbeing and ability to function. His turn to
the bar in their downtime for decades—all the while feeling Christianity, “lean[ing] on God for forgiveness,” indicates
stuck in their jobs and in their lives. Stan reflects that “nostalgia how desperate he is for others to forgive him for what he
is a disease,” and the bar, as a place where people both dwell on personally believes was an “unforgiveable” act. However,
the past and fruitlessly dream about the future, symbolizes this the fact that his guilt is still disrupting his sleep suggests
idea. However, at the end of the story, Jason and Chris return that he’s going about making amends in the wrong way.
to the bar after eight years in prison to find that it’s “refurbished,
In the play’s penultimate scene, Evan advises both Chris and
polished” and that Oscar, the former busboy, is now the
Jason to forgive themselves before reaching out to others,
manager. The fall of heavy industry and ensuing economic
since making amends with those they hurt will be
downturn that drives much of the play’s action changes
meaningless if they haven’t already forgiven themselves and
everyone and everything in Reading, and the bar is no
each other. Shame, Evan suggests, is an unproductive
exception. But ultimately, its change in appearance and
emotion that can destroy people if they let it take over. This
management in the aftermath of Sweat’s central crises
is one of the most important messages in the play, and it’s
represents the hopeful idea that communities doesn’t have to
backed up by the struggles Chris is admitting to here.
stay mired in the past—instead, they can (and should) respond
Ultimately, Sweat suggests that searching for forgiveness
to hard times with resilience and adaptation.
from other people, or even from God, isn’t what’s
important—rather, those experiencing shame must forgive
QUO
QUOTES
TES themselves in order to regain their sense of normalcy, move
on, and do something positive with their lives.
Note: all page numbers for the quotes below refer to the
Theatre Communications Group edition of Lynn Nottage

Act 1, Scene 2 Quotes

Related Characters: Cynthia, Stan (speaker), Tracey,
CYNTHIA: […] let me tell you something, once he started Freddy Brunner
messing with that dope, I don’t recognize the man. I know it’s
tough out there, I understand. Yeah, yeah, yeah. He went Related Themes:
through hell when his plant locked him out, I understand, but I
can’t have it. Related Symbols:
Related Characters: Cynthia (speaker), Tracey, Stan, Brucie Page Number: 19-20
Explanation and Analysis

Related Themes:
At the bar, Stan, Cynthia, and Tracey discuss a mutual
Related Symbols: acquaintance, Freddy Brunner, who recently burned his
own house down. It’s rumored that this was due to marital
Page Number: 17-18 and money problems, and here Stan suggests that it also
had to do with potential layoffs at Olstead’s Steel Tubing,
Explanation and Analysis where Freddy, Cynthia, and Tracey all work. This disturbing
In the bar that Sweat’s main characters frequent, Cynthia anecdote shows just how severely working-class people can
explains her marital struggles with her husband, Brucie, to be impacted by financial strain and unemployment. Such
Tracey (Cynthia’s best friend) and Stan (the bartender). She workers are typically already struggling to make ends meet,
reflects on the hardships Brucie has experienced since he and when they’re laid off or locked out after dedicating
was locked out of his job at a local textile mill two years ago: years of hard labor to their company, the stress is simply too
Brucie has since begun using drugs and stealing, and he’s much to bear. Cynthia and Tracey are sympathetic rather
become an unreliable and volatile person. This situation than judgmental of Freddy, as they go on to joke that they
introduces the play’s theme of working-class should burn their own houses down. This suggests that
disillusionment, as Brucie is the character who’s perhaps Freddy’s experience isn’t an anomaly—rather, extreme
most directly impacted by the realities of life as a blue-collar stress and job insecurity are common struggles faced by the
laborer. Having dedicated his entire adult life to working for working class.
a particular company, Brucie is now barred from working This exchange also introduces the North American Free
and at risk of losing the pay and benefits he worked hard to Trade Agreement (NAFTA) as a point of contention among
earn. the working class in Reading, Pennsylvania (where the play
Without the job he’s held for so long, Brucie experiences a takes place). NAFTA eliminated barriers to trade and invest
loss of identity and purpose along with his loss of livelihood, among the U.S., Canada, and Mexico—and this allowed
a phenomenon that’s common among the play’s other companies to more easily outsource business to Mexico,
characters who go on to be locked out of Olstead’s Steel where labor and manufacturing costs are generally less
Tubing. In this way, Sweat shows how common it is for expensive. As the play’s resident cynic and skeptic, Stan
working-class people to be underappreciated and cast aside warns the others that this could easily happen at Olstead’s.
by their employers, and how this experience has a tendency Though Stan doesn’t necessarily mean any harm by this, it
to bring about psychological turmoil and self-destructive implicitly sets up Latinx people as a collective threat to the
behavior for unemployed people to the point that they’re white working-class community. And in a town like Reading
unrecognizable to their loved ones. that’s already steeped in tradition and resistant to
outsiders, such sentiments breed animosity toward the
city’s Latinx population as a whole. By pairing Freddy’s story
with Stan’s comment about NAFTA, the play hints at how
STAN: Says he got wind that they were gonna cut back his working-class disillusionment has a direct impact on race
line at the plant. Couldn’t handle the stress. relations: when predominantly white, blue-collar laborers
CYNTHIA: That rumor’s been flying around for months. are laid off and left destitute, they’re more likely to turn on
Nobody’s going anywhere. outsiders (particularly Mexican immigrants) as scapegoats
STAN: Okay, you keep telling yourself that, but you saw what for their financial woes.
happened over at Clemmons Technologies. No one saw that
coming. Right? You could wake up tomorrow and all your jobs
are in Mexico, whatever, it’s this NAFTA bullshit—

CYNTHIA: Who knows? I might apply. Act 1, Scene 3 Quotes
TRACEY: What?! Get outta here. JASON: […] But seriously, man, why didn’t you tell me?
CYNTHIA: Why the hell not? I’ve got twenty-four years on the CHRIS: Cuz—
floor.
JASON: Shit, I just kinda thought we’d retire and open a
TRACEY: Well, I got you beat by two. Started in ’74, walked in franchise together. We’re a team, you can’t leave!!
straight outta high school. First and only job. Management is
CHRIS: Yeah, I can.
for them. Not us.
JASON: What about me?
CYNTHIA: More money. More heat. More vacation. Less work.
That’s all I need to know. CHRIS: What about you?
JASON: You coulda told me.
Related Characters: Tracey, Cynthia (speaker), Brucie, Stan CHRIS: Dude, it’s just something I gotta do.
Related Themes:
Related Characters: Chris, Jason (speaker), Cynthia,
Tracey, Stan
Related Symbols:
Related Themes:
Page Number: 24
Explanation and Analysis Related Symbols:

At the bar, Cynthia, Tracey, and Stan discuss managerial
Page Number: 32
changes at Olstead’s Steel Tubing, where Cynthia and
Tracey have worked for over 20 years. One of the higher- Explanation and Analysis
ups has just been transferred, leaving a Warehouse
Eight years prior to Act One, Scene 1, Jason and Chris are
Supervisor job open, and Cynthia is thinking of applying for
hanging out in the local bar that all of the play’s main
the promotion. Both of the women’s reflections about their
characters frequent. Chris has just shared with Jason and
many years at Olstead’s reinforce the idea that working-
Stan his intentions to pursue teaching at Albright College,
class laborers often dedicate their entire adult lives to the
which surprises both of them. Prior to this exchange, Stan
same company—which makes it especially difficult when
expresses disapproval on a practical level: he believes it’s
they’re laid off or locked out, like Cynthia’s husband, Brucie,
crazy to walk away from the sought-after high pay at
was at his textile mill. Additionally, the fact that both women
Olstead’s Steel Tubing (where Chris and Jason currently
have over 20 years of experience yet haven’t achieved any
work). This attitude is a potential reason behind why
advancement in that time suggests that companies tend to
working-class laborers tend to get stuck in jobs that are
underestimate their lower-level workers and keep them
unfulfilling and underappreciated: they’re afraid of
stagnant in the same positions. Tracey’s comment that
disrupting the status quo and leaving behind the high pay
“Management is for them. Not us,” further suggests that
that comes with dangerous factory work, even if the
there’s a stark divide between Olstead’s white-collar and
alternative they could pursue would be safer and more
blue-collar workers. This likely contributes to the floor
secure in the long term.
workers’ feelings of being overlooked and exploited while
management enjoys perks like “More money. More heat. Jason, by contrast, is critical of the idea on a personal level.
More vacation. Less work.” Though he mocks Chris for his lofty “aspirations” prior to
this, his question of “But seriously, man, why didn’t you tell
It’s also significant that Tracey’s first reaction to Cynthia’s
me?” implies that he’s genuinely hurt over Chris keeping his
intentions to apply is skepticism rather than support. The
dreams a secret. Additionally, Jason’s conviction that he and
women have been friends for nearly as long as they’ve
Chris are a “team” and that they’re supposed to retire
worked at Olstead’s, so Tracey should ostensibly be happy
together mirrors Tracey’s concern over Cynthia getting
for her friend rather than discouraging. The fact that Tracey
promoted to Warehouse Supervisor at Olstead’s. Both
isn’t implies that she’s threatened by the thought of Cynthia
Jason and Tracey are unsupportive of their respective
moving on and leaving her behind, and this sets up one of
friends because they’re afraid of being left behind, again
the play’s central arguments: that among people who are all
highlighting the tendency for struggling people to feel
struggling, an individual’s attempt to raise their station is
threatened and resentful when their loved one tries to get
often seen as a kind of betrayal rather than a commendable
ahead—even if it’s “just something [they] gotta do.”
effort to better themselves.

Act 1, Scene 4 Quotes BRUCIE: […] this old white cat, whatever, gets in my face,
talking about how we took his job. We? […] He don’t know
STAN: […] That’s when I knew, I was nobody to them.
my biography. October 2nd, 1952, my father picked his last
Nobody! Three generations of loyalty to the same company.
bale of cotton. He packed his razor and a Bible and headed
This is America, right? You’d think that would mean something.
North. Ten days later he had a job at Dixon’s Hosieries. He
They behave like you’re doing them a goddamn favor […] they
clawed his way up from the filth of the yard to Union Rep,
don’t understand that human decency is at the core of
fighting for fucking assholes just like this cat. So I don’t
everything. I been jacking all them years and I can count on my
understand it. This damn blame game, I got enough of that in
hand the number of times they said thank you. Management:
my marriage.
look me in the eye, say “thank you” now and then. “Thanks, Stan,
for coming in early and working on the weekend. Good job.” I
loved my job. I was good at my job. Twenty-eight years jacking. Related Characters: Brucie (speaker), Stan
And look at my leg! That’s what I get.
Related Themes:
Related Characters: Stan (speaker), Brucie Related Symbols:

Related Themes:
Page Number: 37-38
Related Symbols: Explanation and Analysis

At the bar, Brucie tells Stan about an incident of racism he
Page Number: 37 experienced while in line for union handouts: a white man
Explanation and Analysis accused black people like Brucie of coming to Reading to
take white people’s jobs. Having presumably been laid off or
As Brucie sits at the bar, he confides in Stan about how
locked out from his company, just like Brucie was, this man is
much he’s been struggling since he was locked out of his job
likely experiencing similar psychological struggles and
at a local textile mill nearly two years ago. Stan shares his
financial strain that Brucie has been suffering from for the
own experiences working at Olstead’s Steel Tubing, where
past two years. It seems, then, that racial animosity between
he spent 28 years before losing part of his leg in a work
the white man and Brucie (and perhaps between white
accident. Stan’s bitterness at his experience there is
people and black people in general) is being brought to the
understandable: even after he and his family gave “three
surface by the external stressors of working-class life.
generations of loyalty” to Olstead’s, the company was cold
and thankless toward Stan despite his hard work. All Stan In response, Brucie reflects about how his father worked his
got in the end was a debilitating injury that permanently way up from a cotton picker to a yard-worker to a Union
took him out of factory work—a disheartening outcome Rep who fought on behalf of all labor union members, black
that’s not all that uncommon among blue-collar laborers. or white. Particularly alongside this context, the white man’s
cruelty is unwarranted since Brucie has a long legacy of
His experience adds another dimension to the struggles
both living in Reading and standing in solidarity with the
that working-class people face: while people like Brucie are
union. With this in mind, Brucie decries the “blame game”
affected psychologically by how poorly their companies
that people resort to when times are tough, again
treat them, factory workers are clearly risking their physical
emphasizing how people tend to lash out and make entire
health as well. Stan’s comment that “this is America”
groups of people into scapegoats—even if those people, like
highlights the play’s implicit critique of the American
Brucie and his father before him, are in the same boat and
Dream, which promises to award hard work with financial
are fighting for the rights of everyone.
prosperity—and, perhaps just as importantly, with respect.
Instead, as Stan and Brucie’s trajectories show, ordinary
working-class people are often devalued and cast out in
spite of their hard work, understandably leading to
disillusionment among people of this socioeconomic class.


on her discriminatory beliefs (despite her claims that she’s
TRACEY: […] I know the floor as good as Cynthia. I do. […] I “not prejudice”) because she’s hung up on how Reading used
betcha they wanted a minority. I’m not prejudice, but that’s how to be and is resistant to those she perceives as invaders and
things are going these days. I got eyes. They get tax breaks or as threats to tradition and job security. As such, the play
something. […] I’m not prejudice, I say, you are who you are, you shows how a complex interaction of different social
know? I’m cool with everyone. But I mean…c’mon…you guys issues—economic downturn, working-class discontentment,
coming over here, you can get a job faster than— and shifting ethnic demographics—can breed resentment,
OSCAR: I was born here. distrust, and even racism.
TRACEY: Still…you weren’t born here, Berks.
OSCAR: Yeah, I was.
TRACEY: […] It was back when if you worked with your
TRACEY: Yeah? Well, my family’s been here a long time. Since
hands people respected you for it. It was a gift. But now,
the twenties, okay? They built the house that I live in. They built
there’s nothing on Penn. You go into buildings, the walls are
this town.
covered over with sheetrock, the wood painted gray, or some
ungodly color, and it just makes me sad. It makes me…whatever.
Related Characters: Oscar, Tracey (speaker), Cynthia OSCAR: You okay?
Related Themes: TRACEY: Listen, that piece of paper you’re holding is an insult,
it don’t mean anything, Olstead’s isn’t for you.
Related Symbols:
Related Characters: Oscar, Tracey (speaker)
Page Number: 48-49
Related Themes:
After Cynthia receives the promotion to Warehouse Related Symbols:
Supervisor at Olstead’s (which she and Tracey both applied
for), Tracey becomes bitter about the situation. She tells Page Number: 49
Oscar, the Columbian American busboy at the bar, that she
has just as much experience as Cynthia and that Cynthia Explanation and Analysis
was probably only hired because she’s black. This is another Outside the bar, Tracey and Oscar get into a conversation
example of how economic strain can bring out the worst in about Olstead’s Steel Tubing, where Tracey works and
people: rather than being supportive of people who are just where Oscar is hoping to get some hours. Here, Tracey
trying to get by, Tracey and others react with resentment at looks back on how Reading, Pennsylvania (where the play is
not getting ahead themselves. Even worse, such financial set) has changed since her grandparents first settled here in
struggles seem to make racism (which was previously either the 1920s. She bitterly reflects on how everything in town
nonexistent or not openly expressed) come to the surface, is drab and uniform now that mass manufacturing has taken
as people like Tracey look for an easy scapegoat onto which the place of craftsmanship like that of her woodworker
they can channel their anger and frustration. As such, grandfather. Additionally, she’s upset that blue-collar
Tracey chalks up Cynthia’s achievement to an affirmative laborers like her are now unappreciated and
action ploy rather than the result of Cynthia’s hard-won disrespected—whereas back then, “if you worked with your
qualifications for the job. hands people respected you for it.” This reflects the broader
Tracey extends this racism further when she lumps all Latinx disillusionment that the working class often feels: whereas
people together—“you guys”—and suggests that this group manual labor was once considered a respectable profession,
is only trying to take jobs away from the white working workers like those at Olstead’s are now treated as
class. However, Oscar informs her that he was born in Berks disposable and replaceable.
County (where Reading, the story’s setting, is located) just Tracey takes this frustration with Reading’s fall from
like Tracey was, thereby disproving Tracey’s notion that all tradition and with her own poor working conditions out on
Latinx people are outsiders. However, Tracey’s response Oscar. As a member of Reading’s Latinx community, Oscar is
that her family has been here longer than Oscar’s and that lumped in with those whom Tracey considers outsiders.
“they built this town” suggests that she’s unwilling to budge Reading’s predominantly white, working-class community
generally holds the belief that NAFTA enables companies to

more easily outsource labor to Mexico and to bring in cheap scapegoat on whom they can blame their problems.
labor from over the border. As such, it seems they’ve
generally come to view all Latinx people—whether Mexican
immigrants or Colombian American people who were born Act 2, Scene 1 Quotes
in Reading, like Oscar—as threats to their job security. As
CYNTHIA: […] You know after everything. I wanna say
such, Tracey’s comment that “Olstead’s isn’t for you” is a
that…
deeply racist and xenophobic sentiment: essentially, she’s
sending the message that Latinx people like Oscar aren’t (Cynthia fights back emotions.)
welcome at Olstead’s (or, by extension, in Reading) because I’m sorry.
they don’t belong to the community’s racial in-group. The CHRIS: For what?
play thus shows—but doesn’t excuse—how economic
CYNTHIA: It’s just, I shoulda…
downturn and other social changes can be so unsettling as
to provoke openly racist sentiments among the white (Chris places his arms around Cynthia.)
working class. CHRIS: C’mon. C’mon. I don't want this to be a big deal. Tell me
about what’s been going on. You hear from the old gang?
Tracey?
Act 1, Scene 6 Quotes CYNTHIA: Fuck her. After what went down. We don’t really—
CYNTHIA: […] I don’t deserve the things you’ve been
saying. You’ve always been cool. Be angry, but don’t make it
Related Characters: Chris, Cynthia (speaker), Oscar, Jason,
about this…(Points to the skin on the back of her hand) Look at me,
Tracey
Tracey. You don’t want to go down that road, we’ve got too
much history between us. You got a problem, you tell me to my Related Themes:
face.
Page Number: 69
Related Characters: Cynthia (speaker), Tracey
Related Themes: Act Two begins with a shift from 2000 to 2008, when Chris
has just been released from his eight-year prison sentence.
Page Number: 59 When he goes to visit his mother, Cynthia, she’s warm and
affectionate toward him, and she expresses her remorse
Explanation and Analysis about everything that happened all those years ago.
After Cynthia receives a promotion to Warehouse Cynthia’s apology and vague reflection that “I shoulda…”
Supervisor at Olstead’s, Tracey reacts by suggesting that suggests that she blames herself both for the fallout with
Cynthia didn’t really deserve the job and that she was only her friends (which happened as a result of her promotion to
given the promotion because she’s black. Here, Cynthia Warehouse Supervisor) as well as for Chris’s crime. Jason
pleads with Tracey not to make things about race. Her and Chris’s assault of Oscar was largely motivated by the
comment that “you’ve always been cool” implies that Tracey lockout that happened at Olstead’s while Cynthia was a
wasn’t always racist (or at least not openly so), meaning that manager, so Cynthia seems to consider herself complicit in
her prejudice has been brought out and exacerbated by the the crime. The job that was once a point of pride for Cynthia
resentment she feels over Cynthia’s promotion. This is is now something she deeply regrets taking. And given how
particularly disturbing given that Tracey and Cynthia have Cynthia has suffered emotionally and financially in the past
been friends for decades. Tracey’s sudden turning on eight years (she’s since lost her house and her job at
Cynthia suggests that among people who are all struggling Olstead’s and is clearly racked with guilt), the play once
to make ends meet, one friend’s success may be seen as a again makes the case that shame is a toxic emotion that
threat or a betrayal to another friend who wasn’t awarded tends to keep people unproductively preoccupied with the
the same opportunity—even if they’ve had a close past.
relationship for years. Through Tracey, the play shows that Further, Cynthia’s admission that she and Tracey are no
this kind of mutual struggle and bitterness can specifically longer in contact reveals that the women never reconciled.
result in previously nonexistent or unvoiced racial tension, Tracey became bitter and racist in reaction to Cynthia
as those who feel left behind or threatened are likely to getting the promotion to Warehouse Supervisor over her,
misdirect their anger onto others and look for an easy seemingly because Tracey feared being left behind while

her friend rubbed elbows with the very management who reason to sympathize with her. Instead, the fact that
disrespected the Olstead’s floor workers for decades. The Cynthia has experienced the same working conditions is
sad reality of their ruined friendship shows the long-term even more reason for her friends to feel betrayed, as they
consequences of this kind of conflict: when friends are believe that Cynthia has stepped on them to get where she
resentful rather than supportive of one another’s success, it is. Additionally, they view Cynthia’s new allegiance with
can permanently destroy even cherished, decades-long management as a direct affront to their financial stability
relationships. and job security. With this, the play shows how a personal
triumph can become a source of tension among friends and
loved ones—particularly those who are struggling
Act 2, Scene 3 Quotes themselves.
CYNTHIA: I’ve stood on that line, same line since I was Further, Cynthia’s defeated comment that “You don’t know
nineteen. I’ve taken orders from idiots who were dangerous, or what it’s been like to walk in my shoes” implies that despite
even worse, racist. But I stood on line, patiently waiting for a the three women’s shared work environment, Cynthia’s
break. I don’t think you get it, but if I walk away, I’m giving up experience at Olstead’s has been different because she’s
more than a job, I’m giving up all that time I spent standing on black while Tracey and Jessie are white. As such, the play
line waiting for one damn opportunity. suggests that different facets of people’s identity can
TRACEY: You want us to feel sorry for you? further compound the hardships they experience as
working-class people—in Cynthia’s case, her status as a
CYNTHIA: …I didn’t expect you to understand, babe. You don’t minority woman makes her more vulnerable to
know what it’s been like to walk in my shoes. I’ve absorbed a discrimination and abuse in a predominantly white and male
lotta shit over the years, but I worked hard to get off that floor. workplace. With this in mind, Cynthia and Jessie are not
Call me selfish, I don’t care, call me whatever you need to call only belittling Cynthia’s hard work—they’re also trivializing
me, but remember, one of us has to be left standing to fight. her unique struggles with racism, further highlighting the
tension and misunderstanding that often exists between
Related Characters: Tracey, Cynthia (speaker), Jessie white and minority working-class people.
Related Themes:
Related Symbols: OSCAR: […] I keep asking for some good fortune. That’s it.
A little bit of money. That’s it. My father, he swept up the floor
Page Number: 83 in a factory like Olstead’s—those fuckas wouldn’t even give him
Explanation and Analysis a union card. But he woke up every morning at four A.M.
because he wanted a job in the steel factory, it was the
After Cynthia’s friends turn on her for being part of the
American way, so he swept fucking floors thinking, “One day
management that locked them out of Olstead’s, Cynthia
they’ll let me in.” I know how he feels, people come in here every
spends her birthday alone at the bar. Tracey and Jessie
day. They brush by me without seeing me. No: “Hello, Oscar.” If
eventually crash the evening and accuse Cynthia of being a
they don’t see me, I don’t need to see them.
traitor, and this exchange is how Cynthia defends herself.
Although Tracey, Jessie, and the other floor workers view
Cynthia’s promotion to Warehouse Supervisor (which Related Characters: Oscar (speaker), Stan
happened just before the lockout) as a betrayal, Cynthia
explains that she’s been devalued, disrespected, and put at Related Themes:
risk by management since she was 19 years old—a
sentiment that Tracey and Jessie should ostensibly Related Symbols:
sympathize with, since they’ve also been thanklessly
laboring at Olstead’s since they graduated high school. Page Number: 92
However, this common experience of being disillusioned Explanation and Analysis
with Olstead’s isn’t enough to bring Tracey and Jessie over
In the midst of the lockout at Olstead’s Steel Tubing, Oscar
to Cynthia’s side. Tracey sarcastically asks if Cynthia wants
takes on some temporary hours that have been made
them to feel sorry for her, which suggests that she and
available since the regular floor workers have lost their jobs.
Jessie don’t view their shared struggle with Cynthia as a

Stan warns Oscar that this will anger the locked-out Explanation and Analysis
workers, and this quote is how Oscar responds. He brings
up the fact that his father was disrespected when he While Jason, Tracey, and Jessie gang up on Oscar at the bar,
worked as a janitor in a steel factory—and now, Oscar is Stan defends him. Whereas the Olstead’s workers have
othered in a similar way by Reading’s white working class branded Oscar as a traitor for taking on temporary hours at
who “brush by [Oscar] without seeing [him].” His scathing the plant while they’re locked out, Stan argues that Oscar
comment about “the American way” suggests that the isn’t to blame for the situation—he has nothing to do with
American Dream of hard work and success isn’t realistic for the lockout and is only trying to make a living, just like they
minorities like him. Instead of being respected and seen as a are. Stan’s response to Jason’s outrage at the Latinx temp
worthy member of the community, Oscar and the rest of workers (and particularly at Oscar, who’s been made into a
Reading’s Latinx population are viewed as outsiders who scapegoat) echoes the play’s broader argument that the
are threats to people’s job security. white working class’s anger and discontentment is often
misplaced: rather than blaming Latinx people (and
This is especially unfair given that Oscar is struggling to get particularly Latinx immigrants) for their job insecurity, they
by just like the locked-out workers are: he only makes $8 an should be angry with big businesses and investors who
hour at the bar, so making $11 at Olstead’s could be life- exploit minority workers for low pay and profit while the
changing for him. However, the other characters’ terrible working class suffers.
treatment of Oscar (they go on to berate him with racial
slurs and even physically attack him) shows that widespread However, this isn’t enough to convince Jason, who
economic strain in the working-class community tends to physically assaults Oscar shortly after this exchange. Jason
exacerbate tension among people rather than encouraging believes that Oscar is essentially stealing food out of his
solidarity. Ultimately, such conditions can bring about unfair mouth by taking the hours at Olstead’s, and this deep-
discrimination against minorities like Oscar who are only seated anger over being cast out and left with nothing
trying to make an honest living. drives Jason to take things out on an innocent person. As
such, the play shows that individuals tend to decline when
their community’s economy declines, turning to self-
Act 2, Scene 6 Quotes destruction, hatred, and even violence in reaction to the
perceived injustices they’re facing.
JASON: […] Eleven dollars an hour? No thank you. They’ll
work us down to nothing if we let ‘em. “Jacking ain’t for softies!”
But they know they can always find somebody willing to get Act 2, Scene 7 Quotes
their hands sweaty. And they’re right. There will always be
someone who’ll step in, unless we say NO! EVAN: I’ve seen enough guys in your situation to know
that over time it’s…it’s crippling. I’m not a therapist, I’m not the
STAN: Look. Olstead is a prick. If he was here I wouldn’t stop right dude to talk to about any of this. But what I do know, is
you. In fact I’d hold him down for you to give him a proper that it’s not a productive emotion. Most folks think it’s the guilt
beating, but Oscar…he’s another story. or rage that destroys us in the end, but I know from experience
[…] that it’s shame that eats us away until we disappear. You put in
JASON: […] All I’m saying is that he needs to understand the your time. But look here, we been talking, and we can keep
price of that dinner he’s putting on his table. talking—but whatcha gonna do about where you’re at right
now?
STAN (Shouts): What the fuck do you want him to do? Huh? It
ain’t his fault. Talk to Olstead, his cronies. Fucking Wall Street.
Oscar ain’t getting rich off your misery. Related Characters: Evan (speaker), Stan, Oscar, Chris,
Jason
Related Characters: Stan, Jason (speaker), Jessie, Tracey, Related Themes:
Oscar
Related Symbols:
Related Themes:
Page Number: 109
Related Symbols:
Page Number: 101-102
Having just served eight years in prison for assaulting

Oscar, Chris and Jason are struggling to cope with their staying hung up on the past. Evan and Chris go on to take
emotions as ex-convicts. Near the end of the play, Chris and Evan’s advice, meeting up amicably and returning to the bar
Jason’s parole officer, Evan, advises both of them to let go of to make amends with Oscar and Stan (who was also injured
their shame. With this advice, Evan encapsulates one of the in the assault). While the play ends before they can
play’s central themes: that shame is a counterproductive verbalize their apologies, the fact that they go at all
emotion and that people should forgive themselves in order suggests that they are taking steps to forgive themselves
to move on and make the most of their lives. This is and make things right. By ending Sweat on this thematic
particularly pertinent for Chris and Jason, who are so note, Nottage sends the message that everyone makes bad
ashamed of the assault they committed that they’re decisions and experiences shame, and it’s pointless and
struggling to integrate back into society or even to function even destructive to obsess over past mistakes—instead,
on a basic level. self-forgiveness is essential if people are to heal, mend their
Evan’s question, “whatcha gonna do about where you’re at relationships with others, and make improvements in their
right now?” is also important, as it prompts them to focus on lives.
how they can best utilize the present moment rather than

SUMMARY AND ANAL

ANALYSIS
YSIS
The color-coded icons under each analysis entry make it easy to track where the themes occur most prominently throughout the
work. Each icon corresponds to one of the themes explained in the Themes section of this LitChart.
ACT 1, SCENE 1
September 29, 2008. In the news, the Dow Jones Industrial Nottage’s choice to begin each act with a news headline sets up the
Average has fallen 778.68 points—the worst single-day decline in idea that Sweat is a play in conversation with the broader
stock market history. In a parole office, Jason, who has a black economic, social, and political events happening during the play’s
eye and whose face is covered in white supremacist tattoos, timeline. In particular, the inclusion of financial developments like
sits with Evan, his African American parole officer. Evan asks the stock market decline orient the audience to the 2008 Great
some questions about Jason’s employment and living situation, Recession, which had dire financial consequences for ordinary
and Jason gives reluctant, one-word responses. Evan manages Americans—and particularly for struggling people like Jason.
to fish out that Jason has gotten a job making soft pretzels and Though what Jason did to end up serving a prison sentence hasn’t
is living at a local church shelter. yet been revealed, it’s clear that he’s racist and distrustful of
authority—characteristics that will surely cause conflict between
him and Evan.
Jason begins to fidget, and Evan asks him if he’s going to tell At this point, Jason doesn’t appear regretful about whatever crime
him what happened. Jason continues to be uncooperative, he committed, nor is he interested in improving his behavior. Rather,
which angers Evan—he doesn’t want to be here any more than it seems he’s a rather hateful person (given his white supremacist
Jason does. Evan tells Jason that he isn’t playing around and tattoos) who’s angry at both himself and others. Jason is stuck in a
threatens to make Jason’s life difficult by reporting that he’s cycle of defiance and denial, still putting himself in violent situations
defiant and confrontational. Then, Evan repeats his question that risk him violating his parole.
about what happened, and Jason responds that he didn’t do
anything. Evan counters this by asking if Jason gave himself a
black eye and a cut lip, and Jason admits that someone sucker-
punched him.
Evan continues to question Jason and slowly drag information Again, Jason doesn’t seem particularly remorseful: he refuses to take
out of him, piecing together that a biker punched Jason in the responsibility for his actions and own up to the fact that he went
bathroom of Loco’s (where Jason knows he’s not supposed to somewhere he shouldn’t have and associated himself with the
go) for looking at his girlfriend. Still, Jason maintains that he wrong people. Lashing out at Evan with a racist slur further
didn’t do anything. Evan asks what the results will say if he highlights how angry and hateful Jason is—he seems to be
drug-tests Jason’s urine, and Jason responds that he’s telling channeling his personal frustrations with his life into racial
the truth even if Evan doesn’t believe him. Jason refuses to pee animosity against innocent people like Evan.
into the cup, and they get into a heated exchange. Finally, Jason
erupts, calling Evan an “asshole” and yelling, “Fuck you, nigga!”
©2020 LitCharts LLC www.LitCharts.com Page 20

Evan stares Jason down, and Jason halfheartedly repeats “Fuck The halfhearted way in which Jason yells at Evan further suggests
you!” Evan again orders Jason to pick up the cup, but Jason that his hostility and racism toward others is at least partially a
breaks and begs Evan to give him a break since he just got a job. front for his own self-hatred. Regardless, Jason’s tattoos and use of
Evan drops the issue and switches back to asking if there’s racial slurs are highly inflammatory and understandably create
anything Jason wants to tell him. Jason responds that he’s animosity between him and Evan. Jason’s plea about keeping his
following the rules, but Evan, incredulous, asks Jason if he (likely minimum-wage) job suggests that he's struggling to make
wants to end up in prison again. He advises Jason to get rid of ends meet—another potential contributing factor to his misplaced
his offensive tattoos and openly admits that they make him anger and prejudice.
want to knock Jason out.
Evan continues asking Jason what’s going on even as Jason Jason’s rare show of emotion implies that Chris was someone he
keeps resisting—he’s not going to let Jason off the hook. Finally, was close with and that he deeply regrets how things transpired
Jason reveals that he recently ran into Chris; to his own between them. Jason’s admission that he tried to put what
surprise, he becomes emotional at this admission. Evan asks happened with Chris out of his mind perhaps suggests that he
Jason what he’s going to do, since Chris is out in the world and actually is remorseful about his actions—he’s just afraid to show it.
isn’t going anywhere. But Jason doesn’t know how to handle
this—when he was in prison, he tried to repress everything that
happened with Chris.
Evan turns around, and the scene switches: he’s now in a parole Unlike Jason, Chris is straightforward about how guilt is affecting
meeting with Chris, an African American man. Chris, visibly him as a parolee: his wellbeing is suffering, and his churchgoing
nervous, tells Evan that things have been tough and that he implies that he’s looking for forgiveness and a sense of meaning. His
hasn’t been sleeping well. He’s struggling to relate to others reference to “that damn question” that’s like a “barbed-wire fence”
and feels like he’s always talking in circles. Chris has been suggests that he’s having trouble getting hired due to the question
attempting to get some clarity by attending prayer meetings at on most job applications about felony convictions. Chris’s
the church rectory where he’s living. Chris tells Evan that he’s unrealized goals in this regard are clearly contributing to the shame
discouraged by how low-paying the jobs he’s been applying to and psychological turmoil he's experiencing as an ex-convict.
are—and by the “barbed-wire fence” of “that damn question” on
the applications. Chris is eight credits short of completing a
bachelor’s degree—he needs to earn some money and get his
life together before he can finish, but Evan is encouraging
about this plan.
Evan points out that Chris seems anxious, and Chris replies Again, Chris is markedly more regretful and upfront about his self-
that he’s angry with himself. He pauses introspectively before blame than Jason is. Additionally, his surprise at Jason’s white
admitting that he recently saw Jason. Chris was surprised by supremacist tattoos perhaps suggests that Jason wasn’t always
how different Jason looked—Chris had encountered the Aryan racist (or at least not openly so). Such beliefs may have been
Brotherhood in prison but was nonetheless unsettled by brought out and exacerbated by Jason’s incarceration, as it’s
Jason’s white supremacist tattoos. common for prisoners to divide themselves on racial lines.

Chris begins to emotionally spiral, telling Evan how he This passage further emphasizes how deeply Chris’s shame plagues
constantly thinks about what would have happened if he’d him and how his preoccupation with the past is preventing him from
made different choices even though Reverend Duckett has making progress. The emotional encounter between Chris and
encouraged Chris to forgive himself. He says that when he saw Jason is another hint that their relationship was once highly
Jason crossing the street, he forgot everything he’d imagined important to both of them, and that they’re now missing the sense
saying to him. He felt his emotions well up and clenched his of camaraderie, familiarity, and support that their friendship once
fists, but suddenly, he and Jason were hugging. Chris holds provided. Additionally, their affection for each other despite the fact
back tears and reflects that at that moment, for the first time in that Chris is black suggests that Jason’s racist sentiments are based
eight years, he felt like he could return home. Suddenly, in misplaced anger rather than any real ideological convictions.
Santana’s song “Smooth” begins to blast, and the past seems to
slash through the year 2008.
ACT 1, SCENE 2
January 18, 2000. Eight years earlier. In the news, the income gap Though the stock market is performing markedly better in 2000
between the richest and poorest American families is widening, than it does in 2008, poor and working-class Americans are likely to
likely due to the booming stock market. At an old, cozy bar, lose out in either scenario, as the rich and powerful are typically
Santana’s “Smooth” is playing on a jukebox as a rowdy those who stand to gain from drastic changes in the global economy
celebration winds down. Longtime friends Cynthia and Tracey, (hence the widening wealth gap). Meanwhile, the characters
both middle-aged women, are drunkenly dancing with each introduced here seem to be close friends who value their time
other. The bartender, Stan, smiles as he watches on. together, much like Jason and Chris still clearly value each other,
Meanwhile, a woman named Jessie has passed out, face down, foreshadowing the importance of such relationships as the play
on a table. progresses.
Cynthia and Tracey tease Stan as they dance seductively, Again, the camaraderie and ease among Stan and the bargoers
prodding him to join them. Stan resists, and the song ends, after emphasizes that they’re close and comfortable with one another,
which Stan asks who’s taking Jessie home. Tracey replies that and that this bar is a familiar safe haven for them. However, the fact
Howard usually just closes up and leaves Jessie in the bar, yet that Jessie often attends work hungover introduces the idea that
somehow Jessie always makes it to work on time the next these characters come to the bar as means of (potentially self-
morning. They manage to startle her awake for a moment, destructive) escapism, likely because they’re overworked or
which makes everyone laugh, but then she slumps back onto dissatisfied with their lives.
the table. Stan tells them that she can’t stay at the bar, and he
confiscates Jessie’s keys out of her pocket.
Stan offers Tracey another drink and smiles at her seductively, Stan and Tracey’s flirtatious interaction further emphasizes the
but she lightheartedly rejects his advances and tells him what history that these characters share—it’s clear that they’ve known
happened between them was a one-time thing—it’s not going one another for quite some time and that they likely rely on one
to happen again. Stan counters that it happened twice, but another as a means of support. Especially given Cynthia’s overtime
Tracey laughingly retorts that the second time didn’t hours at the mill and her desire for a vacation, it seems that the bar
technically count. Just then, Oscar, the busboy, comes in and and the interactions that take place within it are sources of comfort
starts wiping down the bar. Cynthia gets up to leave, saying and stress relief for its working-class clientele.
that she has an early shift at work, to which Tracey replies that
Cynthia has worked enough overtime. Cynthia, however, is
determined to take a cruise on the Panama Canal this summer.
Tracey urges Cynthia to have one more drink since it’s Tracey’s
birthday, and Cynthia relents—but if she loses a finger in the
mill, she says, it’s Tracey’s fault.

Stan comments on the successful night—lots of people turned In a lockout, a company prevents employees from working as a
out for Tracey’s birthday party. Stan was hoping to see Brucie, means of demanding concessions like pay cuts or reduced benefits.
but Cynthia reveals that she kicked Brucie out (again) after he The fact that Brucie’s lockout has made him into someone
stole all of her Christmas presents and her expensive fish tank. unrecognizable to his own wife suggests that unemployment and
Then, on New Year’s Eve, he showed up unannounced and the ensuing financial hardship can wreak havoc on an individual’s
clearly high. Brucie has been unrecognizable since he started wellbeing as well as their relationships with their loved ones. Brucie
doing drugs, and although Cynthia says she sympathizes has seemingly lost his sense of self and purpose along with his job.
because things have been tough since Brucie got locked out of
his plant, she can’t have him around in his current state. She
and Brucie ended up getting into a fight that got Cynthia
arrested for disorderly conduct. Tracey had to bail her out.
Changing the subject, Stan asks if the women heard about Freddy is another example of the ways in which the stresses of
Freddy Brunner—this morning’s paper reported that he burned working-class life can effectively destroy a person: with no wife, no
his own house down. Freddy seemingly broke due to stress: his financial stability, and no home, Freddy is completely destitute.
wife had left him, he was deep in debt, and he’d heard a rumor Stan’s concern about NAFTA (a government policy which enabled
about cutbacks at the plant. Cynthia brushes off this rumor, but U.S. businesses to more easily outsource labor to Mexico)
Stan warns that people’s jobs could be outsourced to Mexico at underscores the fact that blue-collar laborers often don’t have the
any moment because of NAFTA. Tracey tries to make a joke out luxury of job security—all of their hard work can be taken from them
of this, but Stan cautions that it’s unwise to keep oneself in an instant. Given this, Freddy’s stress (if not his reaction to it) is
ignorant. understandable.
Tracey diverts, wondering aloud if it’s illegal to burn your own Tracey and Cynthia’s casual banter about burning their own houses
house down. Stan thinks it’s legal with a permit, and Cynthia down implies that they, like Freddy, are under financial and
sarcastically says that she should set fire to her own run-down interpersonal strain—in this way, the play implies that such stress is
house. Tracey says she’d hire someone else to burn hers. She common among working-class people. Tracey’s offhand comment to
asks Oscar who she should ask about this, since Puerto Ricans Oscar suggests that there is tension between Reading’s white
are burning things down all over Reading. Oscar replies that working class and its Latinx community that’s perhaps exacerbated
he’s actually Colombian, and Stan and Cynthia squabble with by economic strain.
Tracey until she drops the subject.
Stan redirects the conversation, recalling that Freddy was the Stan’s work injury, which cost him part of his leg, shows another
one who shut down the mill when Stan got injured. If it weren’t potential cost of manual labor jobs: people’s physical wellbeing is in
for Freddy, Stan says, he would have lost his entire leg. jeopardy along with their mental health and financial stability.
Suddenly, Jessie wakes up and demands that Stan give her Additionally, it seems that Jessie’s cruel, ableist slurs toward Stan
another drink, threatening to call her ex-husband if he doesn’t. are yet another example of a struggling person misdirecting their
Stan reminds Jessie that she’ll wake up her ex’s new wife if she personal problems and anger onto someone else.
calls, which provokes Jessie to fling insults like “cripple” and
“gimp” at him. Cynthia orders her to calm down, and Oscar
escorts Jessie to the bathroom.

With Jessie gone, Cynthia tells Tracey she needs to talk to Here, the extent of Jessie’s drinking problem is revealed: she
Jessie about her drinking problem—Jessie keeps showing up to seemingly uses alcohol abuse as a way to cope with the stresses of
work reeking of vodka. Tracey points out that she herself never work (where significant changes are underway) as well to help her
abused alcohol even though her husband died. She asks forget her romantic woes. Meanwhile, the fact that Cynthia has
Cynthia if she’s going to report Jessie at work, but Cynthia worked at the mill for so long but has yet to be promoted to a
replies that they’re already looking for reasons to fire people supervisor position is indicative of how blue-collar workers tend to
since their supervisor is being promoted and transferred. To be undervalued by management and prevented from advancing in
Stan and Tracey’s surprise, Cynthia reveals that she’s thinking status and pay.
of applying for the open position since they’re going to hire
someone from the floor. She has 24 years of experience, and
now she wants the perks of a managerial job.
Incredulous, Tracey points out that she’s been working the Tracey’s conviction that “management is for them” and Stan’s
floor for 26 years, since she graduated high school. opinions about the underappreciative higher-ups at Olstead’s make
“Management is for them,” she says. “Not us.” No one was ever the case that, at least in the world of the novel, managers and
promoted straight off the floor during Stan’s 28 years at the lower-level workers are viewed as entirely different stock with
mill, either. Still, Cynthia thinks she may as well apply, and Stan opposing ideologies. Therefore, Tracey likely has conflicted feelings
agrees that the worst that could happen is being told no. This about Cynthia applying for the promotion because she’s concerned
gives Tracey pause; she thinks she may try for the job too. about her friend crossing the line and allying herself with
However, Stan cynically interjects that not much has changed management rather than maintaining her solidarity with Tracey and
since he left the mill in 1969 or even since his grandfather the other floor workers.
started there in 1922. Although Stan didn’t like Olstead, he
respected him because he was hands-on and involved. He
points out that the younger men with MBAs are reluctant to
get their hands dirty—they don’t understand the real labor that
goes into making their product.
Suddenly, they hear a drunken commotion from the bathroom, Cynthia and Tracey’s simultaneous concern and scorn for Jessie
and Cynthia and Tracey agree that Jessie is dragging them again illustrates how important close, longtime friendships are to
down even though they love her. They make snide comments Reading’s working class—but also how looking out for oneself is at
about Jessie’s outdated dress just as she comes stumbling in. the forefront of everyone’s minds. Cynthia’s desire to relax and
Jessie again demands a drink, and Tracey warns her to get forget about more serious matters drives home the role of the bar as
herself together—but Cynthia cuts them off and tells them to a source of escape and much-needed leisure for laborers.
relax and have fun. Music begins to play, and they start laughing
and celebrating again.
ACT 1, SCENE 3
February 10, 2000. In the news, Steve Forbes drops out of the The headline about Forbes, who has $66 million of personal wealth
Republican Primary after having invested $66 million into his own at his disposal, serves as a stark contrast to the play’s main
campaign. Jason and Chris stand at the bar, tipsy, while Oscar characters, who are struggling just to get by. Clearly, there are
works and listens in the background. Jason shows Chris and people getting ahead despite (or even because of) the working
Stan a photo of the Harley motorcycle he’s thinking about class’s plight. Meanwhile, this portrayal of Jason and Chris eight
buying, brushing off Stan’s concerns about what Jason’s mom years prior to Act One, Scene 1 provides more insight into their pre-
will think—she made it clear that she’s done parenting Jason prison relationship: they—like Tracey, Cynthia, and Jessie—are
when she kicked him out after his 21st birthday last October. clearly close friends who come to the bar to relax and escape from
Stan comments that this does sound like Tracey. the pressures of daily life.

Jason estimates that he can afford the bike after another Jason and Chris’s money woes are telling: despite how hard it is to
month and a half of saving, complaining that he has little money work at Olstead’s (as evidenced by the serious injury Stan sustained
left over because the union appropriates most of it for benefits. on the job), they scrimp by without much discretionary income.
Chris commiserates with Jason—between his new girlfriend, Jason’s dismissive and mocking reaction to Chris’s news indicates
high taxes, and the temptation to buy things like expensive that he likely feels jealous or insecure about his own
sneakers, Chris is struggling to save money for school. Jason is future—whereas Chris has big dreams, Jason is only focused on
surprised to hear Chris mention school, but Chris reveals that short-term and relatively frivolous goals like getting a motorcycle.
he’s been accepted to Albright College’s teaching program.
Stan congratulates Chris, but Jason mocks him, teasing that he
won’t last as a teacher and that he’ll come begging for his old
job at Olstead’s back.
Stan reluctantly agrees with Jason—it’s unwise to walk away Stan’s cynicism about giving up the sought-after pay at Olstead’s
from Olstead’s given how high the pay is and how in-demand implies that even when working-class people have the opportunity
jobs at the plant are. Chris counters that he has aspirations and to raise their station in life and take a safer job, they often choose
wants to do something different than his parents. Jason teases not to do so because of the uncertainty and break with tradition
him about these aspirations, asking if it’s Black History Month that it requires. Jason’s taunting reinforces his insecurity about
(Chris replies that it is, actually) and says that it should be Chris’s aspirations, as it’s clear he resorts to casual racism out of his
called “Make White People Feel Guilty Month” instead. Stan own discomfort and jealousy.
refuses to back Jason up on this.
Chris continues to defend his decision to leave Olstead’s, Jason is hurt that Chris didn’t tell him about Albright before now,
complaining about the loud machines and reasoning that their and he’s disappointed at the thought of his best friend leaving him.
jobs could easily be automated. He asks Jason if he has a This is similar to Jason’s mother Tracey’s discouraging reaction to
backup plan, but Jason is set on retiring from the plant at 50 Cynthia going for a promotion at Olstead’s: clearly, neither wants to
with a pension. Suddenly, Jason seems hurt and questions why be left behind while their friend attempts to get ahead in life. Chris
Chris didn’t tell him about the teaching program until now. is understandably afraid of getting stuck at Olstead’s (like Chris and
Chris can’t leave, Jason says—they’re supposed to be a team Jason’s parents have), as such work is high-paying but dangerous,
that retires and opens a Dunkin’ Donuts franchise together. insecure, and devoid of much potential for advancement.
Chris says that this is just something he has to do, and Jason
begrudgingly accepts this before asking Stan to pour Chris a
shot to shut him up.
ACT 1, SCENE 4
March 4, 2000. In the news, a brass hardware maker plans to open Leesport is located in the same county as Reading, so the opening of
a 280,000-square-foot factory in Leesport, Pennsylvania. Brucie an enormous new factory suggests that the Rust Belt’s economy is
sits sipping a drink at the bar, where the Republican debate volatile: some industries are booming, while others (like textile
between Keyes, McCain, and Bush is playing in the manufacturing, in the case of Brucie) are struggling. Hearing
background. Stan asks Brucie who he favors, but Brucie thinks Brucie’s side of the story adds nuance to Cynthia’s prior
it doesn’t matter because “they’ll all shit on us in the end.” Oscar conversation with Stan and Tracey—his distress (if not his substance
enters and begins restocking the bar, listening in on the abuse) is understandable given how long he’s been locked out and
conversation. After some small talk, Stan asks Brucie how long the loss of pay and benefits he’s up against if he and the other
he’s been locked out of the textile mill, and Brucie replies 93 workers concede.
weeks. Brucie and the other employees didn’t want to accept a
new contract that would take away their retirement benefits;
even after the employees offered a 50-percent pay cut, the
company still won’t budge.

Brucie complains that he’s worked at the mill since he was 18, Brucie’s feelings of being trapped, underappreciated, and
and now the company expects them to be “wage slaves” for a undercompensated at the mill highlight the difficult reality of being
lifetime. Stan asks if the mill has brought in temporary workers, a blue-collar laborer, as he’s seemingly worked hard for his entire
and Brucie says they’re bringing in Mexican laborers who are adult life only to be turned away and denied what he was promised.
willing to work “to the bone” before being replaced by “a fresh His comment about Mexican temp workers also adds insight to the
batch” three months later. Brucie is only holding out because he racial tensions that exist among Reading’s white, black, and Latinx
hopes standing strong with the union will result in a big populations: white and black working-class people likely feel
payout—but he also recognizes that his years of hard work threatened by the presence of Mexican immigrants in their
have been pointless. community, as they perceive such individuals as a threat to their
own job security.
Stan sympathizes with Brucie: he says he’s thankful he got Stan’s reflection that he was “nobody” to Olstead’s again helps
injured because it allowed him to escape the prison of explain the disillusionment that most of the play’s characters feel, as
Olstead’s. Three generations of his family had worked there, they’re consistently devalued and cast aside by the very companies
yet he was “nobody to them” in spite of his 28 thankless years to which they dedicate their lives. Brucie’s experience with the racist
on the floor. Brucie feels the same way, and he confides in Stan “blame game” shows that Reading’s black residents are
that he no longer knows what his purpose is. He recently had discriminated against in a similar way to Latinx people—and that
an encounter at the union with a white man who claimed that economic strife like the union members are experiencing has a way
black people like Brucie came north to take people’s jobs. of bringing this racial animosity to the surface.
Brucie is tired of this “blame game.”
Just then, Cynthia, Tracey, and Jessie enter the bar. Cynthia Brucie’s unenthusiastic reaction to Chris’s pursuit of higher
and Brucie have a tense exchange, and Tracey and Jessie education echoes Jason and Stan’s skepticism: Brucie is similarly
encourage Cynthia to ignore Brucie’s attempts at charming her. discouraging about the notion of giving up the competitive pay at
Finally, after relentlessly harassing the women at their table, Olstead’s despite his own struggles in the manufacturing industry.
Cynthia marches up to Brucie and demands to know what he This once again highlights the common phenomenon of working-
wants. He tells her that he’s in a program, but Cynthia is class people (like those in Reading) getting stuck in unfulfilling jobs,
unimpressed since having a drink in a bar doesn’t seem to align as well as the tendency for people to respond with disapproval
with rehab. Cynthia tells Brucie the news about their son rather than support when their loved ones attempt to break from
Chris’s acceptance to Albright, urging him to be supportive the status quo.
even though Brucie think tuition is too expensive and that
Chris is a fool to walk away from Olstead’s.
The conversation then turns to the promotion to Warehouse Again, Brucie’s rude reaction to Cynthia and Tracey’s earnest
Supervisor that Cynthia and Tracey are both going for. Brucie aspirations is likely based in resentment, as Cynthia and Tracey
offends Cynthia with a joke that Olstead’s must be desperate have the potential to make significant career progress while Brucie
to consider them, after which he apologizes for what happened is prevented from even going to work. Meanwhile, Brucie is clearly
in December and claims that he’s getting clean. He begs for remorseful over the choices he’s made during the lockout, yet the
another chance, but Cynthia remains skeptical—though she fact that he’s still drinking while he’s in a rehab program suggests
does give into his smooth ploys for a kiss. This angers Tracey that his internalized shame over losing his job and failing his family
and Jessie, who yell at Brucie to either get clean or leave is perhaps driving him to keep using substances rather than making
Cynthia alone. Brucie becomes emotional and again begs any meaningful progress.
Cynthia to take him back, but Cynthia denies him.

ACT 1, SCENE 5
April 17, 2000. In the news, the “tech bubble” has recently burst, The news headline in this act again emphasizes the volatility of the
causing a record 617-point drop in the Dow Jones. Tracey is economy as a whole—even those working in the tech industry, who
smoking outside the bar, and Oscar steps out to ask her for a presumably make much more money than the characters in Sweat
cigarette. She denies him, and they get into a tense spat and do, are facing financial uncertainty at this time. The fact that
hurl insults at each other. Finally, Tracey breaks and gives Oscar Olstead’s is seemingly turning to the Latino Community Center for
a cigarette. Oscar asks Tracey a series of questions about what job recruiting doesn’t bode well for current employees like Tracey,
it’s like to work at Olstead’s, finally revealing that he saw a job who denies that the plant is even hiring. If Olstead’s brings in Latinx
posting at the Latino Community Center and that he’s thinking (and particularly Latinx immigrant) workers who are willing to work
of applying. He shows Tracey the poster, but she doesn’t for a lower wage due to a lack of opportunity elsewhere, this
believe it’s real—Olstead’s isn’t hiring, she says. Further, she foreshadows potential tension between the Latinx community and
tells him that he’d have to be in the union and would have to the predominantly white Olstead’s workers who are at risk of being
know someone at the plant to get hired. replaced.
Changing the subject, Oscar notes the loud party in the bar, Rather than supporting her friend, Tracey reacts to Cynthia’s
and Tracey informs him that they’re celebrating Cynthia’s promotion with jealousy and spite. She even resorts to racism,
recent promotion. She tells Oscar that she’s just as qualified as which was seemingly not an issue in their relationship until now.
Cynthia is and that Olstead’s only promoted Cynthia because This, along with the offhand racist comment that Tracey makes
they’ll get tax breaks for having a manager who’s a minority. about Latinx people, suggests that she feels threatened by others
Oscar is doubts this, but Tracey is adamant that this is just the getting ahead while she remains stagnant, and that such a situation
way things are—but she reassures him that she’s not can create or exacerbate racial tension.
prejudiced. Then, Tracey makes an offhanded comment about
“you guys coming over here” to get jobs, but Oscar tells her that
he was born in Berks County just like she was.
Tracey responds that her family has been in Reading since the Tracey’s reflections about how Reading used to be gives more
1920s—“they built this town.” She tells Oscar that her context for her cruel behavior: she’s clearly disillusioned and cynical
grandfather was a German craftsman who was a talented about how the working-class community is now undervalued rather
woodworker and a respected figure in the community. She than respected for their hard work. As a result, she feels particularly
remembers how back then, Reading’s downtown was beautiful threatened by those she perceives as outsiders who could
and people used to dress up to go shopping. Manual laborers potentially replace her—and this manifests in racism toward Oscar
and craftsmen were respected—now, Tracey is saddened by and Latinx people in general, whom Tracey is adamant don’t belong
how ugly and generic all of the buildings in town look. Oscar at Olstead’s or in Reading.
asks if she’s okay, to which Tracey curtly replies that “Olstead’s
isn’t for you.”

ACT 1, SCENE 6
May 5, 2000. In the news, U.S. unemployment reaches a 30-year The contrast between the national headline and the local one shows
low; the city of Reading fires several employees as the city faces a that despite overall economic prosperity in the U.S., there are still
$10 million deficit. At the bar, Stan prepares a gimlet for Jessie, communities like Reading that are struggling financially. This likely
who’s eyeing a birthday cake on the counter. Oscar plays a contributes to characters’ sense of injustice as they struggle to make
handheld video game behind the bar. Jessie tells Stan that ends meet despite their hard work—to people like Tracey, it probably
Tracey and Cynthia were supposed to meet her here an hour seems as though everyone else is getting ahead while she’s
ago. Stan asks if something is going on, and Jessie tells him that underpaid and underappreciated. Jessie’s comment that there are a
Cynthia’s promotion is creating a lot of tension with Tracey. lot of people mad at Cynthia for her new job reinforces this: rather
Tracey is pretending it’s not a big deal, but she’s also spreading than supporting their longtime coworker, people feel resentful and
a rumor that Cynthia only got the job because she’s black. Stan even more disillusioned with the system given that they will likely
thinks it’s ridiculous that people at Olstead’s are angry about never receive promotions of their own.
the promotion since Cynthia earned it fair and square—they’re
just resistant to change.
Jessie says she’s sick of being stuck in the middle between Unlike Tracey, Jessie is supportive of Cynthia and refuses to get in
Tracey and Cynthia; she gives up on waiting and asks Stan to the middle of her friends’ conflict. This could be due to the fact that
get a knife for the cake. Jessie blows out the candles, and Stan Jessie is more apathetic about Olstead’s (as evidenced by how she
affectionately wishes her a happy birthday. Just as Jessie shows up to work drunk), which might make her less resentful of
begins to cut the cake, Cynthia rushes in and apologizes for those who get ahead. Tracey, on the other hand, cares very much
being late—she got stuck in a meeting. She gives Jessie her about being acknowledged and respected for her work, so it’s a slap
birthday gift, a Cher CD, and the two of them hug and sing a in the face that Cynthia has advanced while Tracey is stuck in the
few lines from “Believe” together. Cynthia tells Jessie about her same job.
meeting with the other Olstead’s supervisors, all of whom have
big ideas for how to run the floor more efficiently despite never
having operated the plant’s machines.
Stan comments that it must feel great to be a manager after so Cynthia’s experience as a new manger is telling: it seems that
many years on the floor, and Cynthia confirms that it is—she Olstead’s white-collar workers rarely if ever interact with the blue-
has an office with a computer, and she no longer has to stay on collar laborers, an atmosphere that explains why the floor workers
her feet for 10 hours without air-conditioning. She reflects feel overlooked and disrespected. The poor working conditions (long
how, despite working at Olstead’s for 24 years, she never spoke hours with no air-conditioning) likely also contribute to the floor
to anyone else in the office part of the plant before now. workers’ discontent, as management is comfortable and insulated
Suddenly, Chris and Jason burst into the bar, immediately while those on the floor suffer physically, financially, and
infecting the room with energy. They wish Jessie a happy emotionally.
birthday, and Chris tells everyone that they just took a spin on
Jason’s new motorcycle. Jason asks where his mom is, but
Jessie doesn’t know; Jason reassures her that Tracey will show
up.

Chris comments on how professionally Cynthia is dressed, and Jessie’s unrealized dreams show the long-term consequences of
Cynthia and Jessie reminisce about how they looked when they getting stuck at a factory like Olstead’s: rather than saving enough
first started at Olstead’s: Cynthia had an Afro and platform money to achieve her goals, Jessie ended up stuck in a cycle of work
heels, and Jessie had hair down to her bottom. Jessie recalls in which she essentially forfeited her dreams and dedicated her life
how she started at the plant when she was 18 (Jason bets that to a company for little in return. However, Stan’s wisdom about the
she was hot back then, and Stan confirms that she was). Jessie downsides of seeing the world suggests that it’s counterproductive
only planned on working long enough to save the money she to look back on the past with regret—and sometimes, it’s better to
needed to backpack in Asia along “hippie trails” with her stay with what’s comfortable and familiar rather than branch out
boyfriend. But that never happened—she met Dan, her now-ex- and risk experiencing traumatic things.
husband, and got caught in the “riptide” of working. Now, Jessie
regrets not getting out and seeing the world. She becomes
emotional, and Stan shares that he saw some of the world after
he was in the Vietnam War and reassures her that sometimes
“not knowing” is better.
Just then, Tracey rushes into the bar and announces that the Tracey’s rude behavior toward Cynthia is driving a wedge in their
party can begin. She and Cynthia get into a spat about how late decades-long friendship. This is particularly hypocritical given that
she is, and Tracey brushes Jessie off when Jessie asks if she’s Tracey went for the same job and likely would have taken the
okay. Jessie notes that the gathering suddenly doesn’t feel like promotion if she had been offered it. Clearly, Tracey is acting out
a celebration. When Tracey avoids sitting next to Cynthia, because she feels jealous of Cynthia and left behind by one of her
Cynthia confronts her: they’ve been friends for a long time, she oldest friends.
says, so Tracey should speak her mind instead of creating
tension if she has a problem. She tells Tracey that she doesn’t
deserve what Tracey has been saying and asks her not to make
the promotion about race.
Tracey admits that she’s hurt because Cynthia is rubbing Tracey’s admission of how hurt she is drives home the idea that
elbows with management while ignoring Tracey on the floor. people tend to react with resentment rather than support when
Cynthia understands, but she asks them all to cut her some they feel left behind by their love ones—even, and especially, if
slack since she’s under so much pressure. At this, Tracey asks if they’re all in the same boat of trying to stay afloat in life.
there’s something Cynthia isn’t telling them and if there are Meanwhile, the revelation about potential layoffs gives legitimacy
going to be layoffs, which alarms Jason and Chris. Cynthia to the job posting at the Latino Community Center: it seems that
hesitates to answer. She admits that there’s been talk of cutting Olstead’s may indeed be going behind their employees’ backs to
overhead, and Tracey makes her promise to tell them if she look for replacements who are willing to work for lower pay.
hears anything definitive. She calls Oscar over to read Cynthia
the job posting from the Latino Community Center.
ACT 1, SCENE 7
July 4, 2000. In the news, the pay gap between men and women is Again, while society as a whole is seemingly progressing, Reading is
narrowing; Reading cracks down on a recent increase in violent still facing social and economic problems, emphasizing how
crime and takes measures to combat urban blight. As Chris and working-class communities often don’t experience any benefits
Jason rush out of the bar, Brucie (who’s smoking a cigarette when other socioeconomic groups undergo a positive upswing.
outside) asks Chris if his mom is inside. Chris says she isn’t and Meanwhile, the fact that Olstead’s has gotten rid of machines and
tells Brucie to give Cynthia some space. Then, Brucie begs posted names on the door doesn’t bode well for the workers—it
Chris for money until he hands over $10. Chris and Jason are in seems the company is going forward with cutting overhead and is
a hurry: they tell Brucie that Olstead’s moved three mills out of beginning to cast its employees out in an underhanded manner,
the factory over the long weekend. Management posted a list which will only add to people like Chris and Jason’s sense of
of names (including Chris and Jason) on the door that no one disillusionment with the system.
was supposed to see until tomorrow, so Chris and Jason are
rushing over to read the list for themselves.

Brucie laughs cynically and warns Chris and Jason that this is As a drug addict who’s resorted to begging his own son for cash,
only the first step; he advises them to take the small Brucie is a prime example of how far people can fall when they’re
concessions they’re offered before there’s a lockout and locked out and their livelihoods are stripped away from them. His
temporary labor is brought in. This is the situation Brucie is comment about temp workers also raises a red flag, as it reaffirms
in—he and the other textile mill workers walked out, and there the possibility that Olstead’s is recruiting people from Reading’s
hasn’t been a resolution in the nearly two years since. Brucie Latinx community as temporary labor, which will certainly worsen
gives Chris his $10 back and warns them that no machines the racism already being espoused by people like Tracey.
means no jobs. Chris and Jason run off to Olstead’s.
ACT 2, SCENE 1
October 13, 2008. In the news, the Dow Jones has a record- In 2008, much the world is in the midst of the Great Recession.
breaking gain, and global government-funded bank bailouts are While big businesses are recovering and banks are being bailed out,
approved; Berks County, Pennsylvania, experiences a 111-percent poor and working-class people (like those in Berks County, where
rise in power shutoffs. Jason has come to visit Tracey, and he’s Reading is located) are struggling to pay basic expenses like
disappointed that his mom isn’t happy to see him—she forbids electricity bills. Tracey, who’s clearly addicted to drugs and can
Jason from sitting down and tells him that his facial tattoos are hardly spare $5, is a clear example of how this economic inequality
stupid. Tracey hands over $5, and they get into an argument can cost people their livelihoods and their wellbeing.
about her not offering him more money until Jason suddenly
notices that Tracey is strung out on drugs. He asks how long
this has been going on, but Tracey denies that she has a
problem—she claims she only takes medicine for back pain.
However, she snatches the $5 back, clearly desperate for a fix.
Jason, horrified, asks Tracey how this could have happened.
The scene switches to Chris, who’s come to visit Cynthia at her Cynthia has lost her house (and seemingly her Warehouse
barren apartment. Chris asks when she moved, and Cynthia Supervisor job at Olstead’s), again showing how the global recession
(who’s wearing a maintenance worker uniform) gives a vague has disproportionately affected working-class people and left them
answer about falling behind on her house payments. She asks destitute. Meanwhile, Chris’s conviction that Christianity saved his
Chris why he didn’t tell her he got released, and he says he life suggests that he has extended at least some level of forgiveness
didn’t want to bother her—but Cynthia is adamant that Chris to himself, and that this attitude is what has allowed him to keep
stay with her. She notices the Bible Chris is holding and says pushing forward rather than being destroyed by his shame and guilt.
she heard he got “churchy,” but Chris replies that this book
saved his life.
Changing the subject, Cynthia invites Chris to sit down and Cynthia’s apology to Chris and vague comment that “I shoulda…”
relax, and they each comment on how different the other looks. implies that on some level, she blames herself for whatever situation
Cynthia tells him that she’s been working some hours doing landed Chris and Jason in prison. However, Jason’s belief that she
maintenance at the university and at a nursing home. She shouldn’t be sorry suggests that Cynthia’s self-blame is
apologizes for not visiting Chris in prison recently because it unwarranted—and it’s likely holding her back and causing her
got too expensive. Suddenly, Cynthia becomes emotional and unnecessary emotional pain. Additionally, the fact that Cynthia is
again apologizes to Chris, saying “I shoulda…” though Chris no longer friends with Tracey shows the long-term consequences
doesn’t think she has anything to be sorry about. Chris asks that can happen when one friend feels left behind by another: in
about Tracey, but Cynthia says tells him they’re not in contact their case, a decades-long friendship was thrown away seemingly
anymore “after what went down.” Chris then shares that Jason because Tracey was resentful rather than supportive of Cynthia’s
is out too, which angers Cynthia—she reflects that Jason is the upward trajectory.
one who got Chris into trouble. She could have killed him, she
says. Cynthia asks Chris what happened back then—she’s still
trying to understand.

ACT 2, SCENE 2
July 17, 2000. Eight years earlier. In the news, easing eligibility Again, the contrast between local and national headlines shows
requirements allows more Reading families to receive free and that despite general progress being made in the U.S., communities
reduced school lunches. Several large U.S. corporations develop like Reading are struggling financially both in 2008 and 2000,
more leadership opportunities for minority employees. In the bar, emphasizing the unique hardships that the working class
Stan and Oscar look on as Tracey, Chris, Jason, and Jessie yell continually faces. Tracey and the others’ anger at Cynthia
at Cynthia, demanding to know what’s going on. Cynthia pleads exemplifies the toll that this financial struggle can take on people’s
with them to stop shouting and says that she’s been fighting for personal lives. Additionally, the fact that most of Reading is feeling
them—she had no idea Olstead’s was going to ship off the three this strain makes others less supportive of Cynthia achieving
machines. Tracey accuses her of avoiding them, but Cynthia upward mobility for rather than more so—desperation seems to
says she’s been in meetings trying to get answers—she’d lose breed resentment rather than solidarity.
her job if management knew she was talking to them.
Cynthia reluctantly reveals that Olstead’s is going to Olstead’s sudden and rather callous demand for concessions (likely
renegotiate the floor workers’ contracts, and they’re prepared reduced pay or benefits) shows the fickle nature of blue-collar work:
to fight for significant concessions. Tracey says that they’re not despite their hard labor, the floor workers at Olstead’s can have
afraid to strike in response, and Jason and Chris agree. Cynthia their livelihoods diminished or eliminated without notice.
says that long-time employees are at risk of being fired because Additionally, Cynthia’s comment about NAFTA foreshadows
they get paid the most, and Olstead’s can’t afford this “burden.” potential hostility between the white workers and Reading’s Latinx
This outrages Jessie and the others, but Cynthia explains that community, as the latter are likely to be stereotyped as a collective
due to NAFTA, Olstead’s could simply move the factory to threat to the former’s job security.
Mexico, where workers will happily work longer hours for a
lower wage.
Jason and Chris try to reassure the others that the union will Again, it’s understandable why the Olstead’s workers feel so
fight for them, but Cynthia counters that the union can’t bring incensed and disillusioned with the company—they’re seemingly
the machines (which she believes were sent to Mexico) back. being sacrificed for the sake of profits despite their often decades-
Management is saying that it’s too expensive to operate the long dedication to the company. Tracey’s outrage at Cynthia shows
U.S. plant, so Cynthia urges her friends to meet them halfway just how personal this kind of situation can be: when people’s
unless they want to lose their jobs entirely. Tracey is livelihoods are at risk, perceived betrayals between old friends are
incensed—she demands that Cynthia back up her claims that even more serious.
she’s on their side with action.
Cynthia goes on to break down what’s going to happen: floor The specific concessions highlight just how dire the situation is: the
workers will take a 60-percent pay cut and concessions on their floor workers will have to sacrifice nearly half their pay as well as
benefits to save jobs, and Olstead’s will lock them out if they some of their benefits to keep their jobs, essentially validating the
don’t accept. At this, Tracey exclaims, “Fuck you! Fuck them!” workers’ feelings of being disrespected and undervalued by the
and declares that she’d sooner burn the factory down than company. It’s significant that Tracey lashes out at Cynthia (“you”)
allow Olstead’s to take away her livelihood. Jason and Chris specifically before Olstead’s as a whole (“them”): since Cynthia is
back her up. Cynthia says that now that they know what’s Tracey’s closest tie to management, it seems she’s become the
coming, they must decide how they’ll vote. scapegoat for the higher-ups who actually made the call to lock the
employees out.

ACT 2, SCENE 3
August 4, 2000. In the news, Republican presidential candidate Cynthia’s experience after her promotion shows that sometimes,
George Bush begins a campaign trail across the Midwest. Cynthia, increases in status aren’t entirely positive: in this case, Cynthia’s
sitting alone at a table in the bar, tells Stan she’d rather be on a added responsibility has seemingly made her even more stressed
cruise on the Panama Canal. Stan replies that that’s a good way and overworked than she was as a floor worker. Her self-professed
to spend a birthday and asks if Cynthia is alright. She confides guilt, along with the fact that she’s spending her birthday alone, is
in him that she was hoping her friends would show up, but Stan further evidence of how such life changes can cause conflict in one’s
reminds her that they don’t have much of a choice. Cynthia relationships—even among beloved friends and family.
reminisces about how she felt special and accomplished when
she first started at Olstead’s—but now that she’s gotten the
managerial job she always coveted, she’s been wracked with
guilt over watching her friends be locked out.
Cynthia wonders if the plant gave her the promotion on The workers’ collective disillusionment and distrust of management
purpose so that she’d have to take the heat of the lockout, and is justified if Cynthia’s suspicions are correct, as this would mean
she regretfully admits that she needs the money. She’d thought that Olstead’s promoted Cynthia just to make her a scapegoat
that the floor workers would take the deal they were offered. during the lockout. However, despite Cynthia’s guilt and the way her
Stan reminds her that it’s their friends who are locked loved ones have turned on her, she seems to sense that wallowing in
out—many people in town wouldn’t even want him serving this isn’t productive—instead, she’s focusing on how the lockout
Cynthia. Cynthia tells him to drop the attitude. She had to lock could be a good thing in the long term.
out her own son, so she fully understands the gravity of the
situation. However, she also thinks that getting Chris out of
Olstead’s could be a silver lining.
Sensing how distraught Cynthia is, Stan reassures her that it’s Stan’s reassurance reflects the widespread nature of situations like
not her fault—many of Stan’s customers are in Cynthia’s what’s happening at Olstead’s: it seems that no one in Reading’s
position as other local plants institute layoffs and lockouts. He working-class community has job security at this time. As such, it
bitterly comments that politicians have no idea what’s going on makes sense that Stan and Cynthia are cynical about career
in the world, which is why he isn’t voting. Cynthia agrees, and politicians and are sympathetic to Freddy. A distrust of authority
she suggests that maybe Freddy Brunner wasn’t so crazy to and a tendency toward self-destruction seem inevitable when
burn his house down. workers are treated as disposable and their livelihoods are thrown
into question.
Just then, Tracey and Jessie enter the bar. The mood Cynthia has been presented with the dilemma of either retaining
immediately darkens; Tracey accuses Cynthia of being a traitor, her source of income or standing in solidarity with her friends—a
and Jessie asks Cynthia how it feels to betray her friends. choice which reflects just how unfairly Olstead’s employees are
Cynthia reminds them that they could have taken the deal, but treated, as they’re essentially forced to pick between their financial
Tracey says she’d rather be locked out and dependent upon security or their personal life. Choosing the former results in
union handouts than give up everything she’s worked for. resentment among loved ones, whereas choosing the latter leaves
Cynthia replies that she didn’t make the policy, but Tracey won’t people destitute and unstable like Freddy Brunner—either way,
hear of it—she accuses Cynthia of not being on their side. She people in Cynthia’s position lose out despite the ostensible career
tells Cynthia how humiliating it is to be locked out, and Cynthia progress they’ve made.
sympathizes but explains that she’s in a difficult position.

Still, Tracey refuses to hear Cynthia out and scoffs at the idea Tracey’s struggles are yet another example of working-class
of taking the deal. She tells Cynthia about the crowds lining up disillusionment: having dedicated her entire adult life to Olstead’s,
for handouts at the union office and admits that she feels lost Tracey has now essentially lost her identity along with her sense of
without her job. Tracey has always been a hard worker, and purpose. As such, she’s channeling the pain and betrayal she feels
now she wakes up with nowhere to go and is hesitant to spend into resentment toward Cynthia—whether her friend truly deserves
any money or even to leave the house. She asks Cynthia why that treatment or not.
she even came to the bar, and Cynthia reminds Tracey that it’s
her birthday.
Tracey begins to reminisce about their trip to Atlantic City with Tracey and Cynthia’s conflict emphasizes the differences in their
Brucie and Hank for Cynthia’s 25th birthday, when a drunken experiences: though they have similar histories as working-class
Cynthia viciously dug her nails into the fake breasts of a woman laborers and have both suffered the hardships inherent to this life,
who was flirting with Brucie at the casino. This is the feisty Cynthia is black while Tracey is white. As such, Tracey doesn’t
friend Tracey misses—the friend who fought for what she loves. understand the unique struggles of being a black woman overseen
However, Cynthia tells Tracey and Jessie that she’s been taking by presumably all-white management. Cynthia has clearly
orders from idiotic or racist supervisors since she was 19—now experienced racism on top of the experiences she and Tracey have in
that she’s finally gotten a break, she can’t give up the common, uniquely deepening Cynthia’s disillusionment with the
opportunity. Tracey asks Cynthia if they’re supposed to feel system and further compounding the divide between the two
sorry for her, and Cynthia replies that she didn’t expect them to women.
understand—Tracey and Jessie don’t know what it’s like to be in
her shoes. Although they think she’s being selfish, Cynthia
believes that her job will enable her to keep fighting on behalf
of her friends.
ACT 2, SCENE 4
September 28, 2000. In the news, Venus and Serena Williams win The contrast between the Williams sisters’ triumph in this headline
gold medals in women’s doubles tennis at the Summer Olympics; and Cynthia’s admitted struggles in the previous act implies that
three Mexican migrant farmworkers in Reading are killed in a car while minorities are experiencing success in some realms, those in
accident. Jason and Chris stumble into the bar, where Brucie is predominantly white and working-class communities still have
slumped over at a table, looking high. Relieved to have found hurdles to overcome. Meanwhile, Brucie’s story of feeling literally
his father, Chris asks where Brucie has been. He tells Brucie paralyzed during the protest is symbolic of the figurative paralysis
that Cynthia is worried and that he needs to pull himself most of the play’s characters are feeling: without any indication of
together. Brucie tells Chris and Jason to leave him alone, but when their respective lockouts will end, they’re essentially trapped
then he begs Chris to listen to something that recently in a limbo in which they’re unwilling to give into their companies’
happened to him: Brucie was protesting on the union line when demands but also unwilling (or unable) to move on and seek work
it started to rain, and but couldn’t flee with everyone else elsewhere.
because he felt paralyzed. Finally, someone pulled him into a
tent, where he sat shaking. He felt completely out of control.
Chris tells Brucie not to let the lockout get to him, and Brucie The conflict in Chris and Cynthia’s relationship once again shows
reassures Chris that he’s okay. Stan pours Chris a beer, and the interpersonal consequences of trying to get ahead in life. While
Brucie asks Chris about Olstead’s and about college. The Cynthia sees her job at Olstead’s as an indispensable opportunity
lockout is getting hostile, Chris says, and he’s decided not to (and the lockout as a way of giving Chris the necessary push to
enroll at school this semester because he can’t afford the pursue his dreams), Chris seems to be at least partially aligned with
tuition. Brucie asks what Cynthia thinks about this, but Chris Tracey and the others, viewing Cynthia’s management role as a
says that his relationship with her is strained right now. betrayal rather than a triumph.

Brucie worries that protesting with the union isn’t such a good Having come from a legacy of blue-collar union workers, Chris holds
idea for Chris, but Chris remembers the first time Brucie romantic ideals of union protestors as “warriors” pursuing social
walked out of his job: Brucie held a meeting with about a dozen justice. However, Brucie’s current state—financially destitute and
other men at their house after one of their coworkers lost his constantly inebriated—shows the long-term consequences of trying
hand in the mill. Brucie had shouted about how they’d rise up to take a stand against companies like Olstead’s. Brucie’s fall sends
and vote if the company didn’t meet their demands. After the discouraging message that Reading’s working class is
school, Chris and his friends rode their bikes to watch the men unappreciated and cast out no matter how hard they work or how
picket at the mill—he remembers that they looked “like persistently they fight.
warriors” standing in solidarity.
Chris says that this memory inspires him to be remain strong Although Brucie was initially skeptical of Chris’s aspiration to
on the line; he and Jason are adamant that Olstead’s won’t become a teacher, he’s now supportive. Having suffered the
break them. But Brucie remains skeptical: he tells Chris that consequences of being undervalued by a company, Brucie wants
they don’t “give a damn about your black ass” and reminds something entirely different for his son—even if that means feeling
Chris that he has the opportunity to get an left behind when Chris moves on. Additionally, his comment about
education—something Brucie never had. He encourages Chris Olstead’s not caring about Chris because he’s black supports
not to back down from his aspirations. What will happen, he Cynthia’s conviction that her identity as a black woman makes her
asks, when the line thins out? even more devalued and disposable at Olstead’s. The discrimination
that minorities face in Reading seems to worsen the already difficult
struggles of working-class life.
ACT 2, SCENE 5
October 26, 2000. In the news, the U.S. experiences yet another The local headline in this act could imply that income inequality is
school shooting despite government reassurance that schools are an issue in Reading, as some people are clearly able to afford
safe; 200 people camp out overnight at a Reading electronics store expensive video game systems while many others are struggling to
to buy the new $350 Play Station 2. At the bar, Jessie is slumped make ends meet. This would presumably make people like Oscar,
over at a table while Stan checks inventory. When Oscar who are just trying to keep their heads above water, even more
enters, Stan tells him he crossed a line and asks when he was disillusioned with their station in life. The fact that others are in the
going to tell him. Oscar explains that Olstead’s was hiring part- same boat doesn’t make them any more sympathetic, however—as
time temps; he hopes that picking up some hours will Stan recognizes, the financial strain that the working-class
eventually lead to a full-time job. Stan warns him to be community is facing is likely to make them hostile toward Oscar
careful—the locked-out floor workers are sure to be angry that rather than supportive of him, especially given that he’s working at
Oscar is earning money while they’re out of a job. Oscar says the very company many of them were locked out of.
that this isn’t his problem, but Stan is adamant that he shouldn’t
work at Olstead’s.

Stan offers to ask Howard about giving Oscar a raise, but Oscar Oscar’s situation is another example of how racism compounds the
tells him that Olstead’s is paying $11 per hour—$3 more than hardships that working-class people face: despite Oscar’s father
what he makes at the bar. Stan warns Oscar that he’s going to working tirelessly as per “the American way” of pulling oneself up by
make enemies and that he’s helping to do away with the wages one’s bootstraps, being a Latinx person meant that he was never
and benefits that Stan’s father’s generation fought so hard to accepted into the in-group of the factory workers. Oscar is similarly
earn. But Oscar maintains that he’s just trying to make a living; underappreciated and ignored at the bar, so it’s understandable
his father worked in a steel factory too, because it was “the that he doesn’t feel any particular sense of loyalty or solidarity with
American way.” For years, he swept floors with the pipe dream the Olstead’s workers.
of being hired onto the floor. Oscar knows how his father
feels—people at the bar never acknowledge him, so he doesn’t
feel obligated to care about them either. Still, Stan advises him
to look elsewhere for a job.
Just as Oscar goes to take some beer crates to the back, Tracey Again, Tracey’s struggles show the potentially self-destructive
walks into the bar. She orders a double vodka and updates Stan consequences of working-class disillusionment: having been cast
on the lockout: the union is offering people money to go back to out from the company to which she dedicated her life, Tracey is now
school, but Tracey has resigned to taking the meager handouts struggling to make ends meet and to rediscover a sense of purpose.
until she can find another job. She tells Stan to put the drink on As a result, she seems to be self-medicating with alcohol as a means
her tab, but Stan says he can’t—Howard is only allowing cash or of escape, despite not even being able to pay for a drink.
credit since so many people have been unable to pay their tabs.
Tracey doesn’t have a credit card, so she makes a show of
gathering her spare change until Stan offers to pay for the
drink.
Oscar walks back in, looking uncomfortably at Tracey. Tracey is Stan’s advice to Oscar has proven correct: though Tracey and Oscar
immediately hostile, hurling racial slurs at Oscar. She charges at are both desperate to make money, this common struggle doesn’t
Oscar, but Stan holds her back. Oscar laughs, asking Tracey make Tracey any more understanding of Oscar. Rather, her own
what she’s going to do. Stan orders him to take a break, and hardships cause her to view Oscar’s attempts to achieve a higher
Tracey warns Oscar to see what happens if he talks to her that socioeconomic level as a personal affront, which this passage shows
way when Jason is around. Oscar replies that he doesn’t have a could result in a physical confrontation—whether between Tracey
problem with her and that the situation at Olstead’s isn’t and Oscar or Jason and Oscar.
personal—but Tracey counters that it is personal for her.
ACT 2, SCENE 6
November 3, 2000. In the news, Bush and Al Gore are closely Reading’s proposed tax increase adds yet another layer to the
matched in the polls leading up to Election Day; Reading proposes working-class community’s struggles: already experiencing
an increase on income tax. Chris and Jason burst into the bar, economic hardship, they may face even more financial strain at the
where a drunk Jessie is sitting at a table. Chris and Jason are hands of the government in addition to the widespread lockouts in
riled up, and when Stan asks what’s going on, they tell him that town. The disillusionment that these intersecting situations are
there was a fight between “the scabs” and some of the guys on causing has seemingly brought out racial animosity within Reading’s
the line. Stan says that this won’t help their cause, but Jason white working class, as evidenced by Jason’s casual use of a racist
thinks they need to teach the temps (who don’t seem all that slur in reference to the Latinx temp workers.
temporary) a lesson. He reasons that it would be a waste of
time to give in and take the deal now.

Jason asks Stan what he thinks, and Stan replies that maybe it’s This passage implies that Jason’s father, Hank, was killed in a work-
time for Jason to move on and find opportunity somewhere related accident at Olstead’s. This could partially explain why
else. Reading isn’t what it used to be, he says, and people tend Tracey and Jason are even more outraged than others about how
to get weighed down by emotional and physical baggage when Olstead’s is treating the locked-out workers, as they’ve lost a
they stay in one place for too long. Stan knew Jason’s dad, beloved husband and father, in addition to their own livelihoods, to
Hank, and he recalls that Olstead’s took his life too early. Jason the company. Meanwhile, Stan’s attitude is an important contrast to
says that if things don’t go as planned, he’ll go to the Gulf to that of people like Tracey. Rather than being hung up on the past,
work on an oil rig, which Stan thinks is a good idea since it pays he’s adamant that “nostalgia is a disease”—essentially, that moving
exceptionally well—he’d go himself if he were 30 years younger. on and taking advantage of present opportunities is necessary to
Stan says that there’s nothing left in Reading and that avoid self-destruction.
“nostalgia’s a disease” he won’t succumb to.
Chris is tired of talking about all this; he suggests they get Chris seems to have conflicting feelings about Olstead’s: while the
drunk, smoke a blunt, and relax, which Jason is all for. Stan asks lockout has cost him his paycheck and his relationship (and he’s
about Chris’s girlfriend, but Chris says that he broke up with afraid of ending up like his father), he’s also been adamantly aligned
her because she couldn’t handle him being out of work. He with the union up until this now. This is another way in which the
agrees with Stan that they should get out of Reading. Chris hardships of working-class life can leave people disillusioned and
doesn’t want to end up like Brucie, and he longer cares what paralyzed: people like Chris are often stuck in a dilemma between
people will think of him if he goes against the norm and does staying with what’s familiar and forging a new, uncertain path.
something other than factory work.
Just then, Tracey emerges from the bathroom and asks Jason Oscar has presumably come to pick up his things because he’s quit
to buy her a drink. Chris offers to pay instead, and Jessie his job at the bar—likely because he’s gotten enough hours at
rouses and asks for a drink as well. Stan pours both drinks, and Olstead’s to support himself. Again, the floor workers’ resentment
Tracey begins to tell a story about a mutual acquaintance just has seemingly caused them to turn against Oscar (who’s struggling
as Oscar walks in. When he and Tracey see each other, Oscar financially just like they are) rather than having compassion for his
offers to come back another time to get his stuff from the back. situation. Tracey, Jessie, and Jason all resort to using racist slurs
Jessie shouts a racial slur at him, and Jason stands up; Stan against Oscar, exemplifying how these widespread feelings of
warns him not to do anything. Jason calls Oscar a “spic,” and disillusionment and resentment can worsen racial tension in
Tracey makes a racist comment as well. communities like Reading.
Chris and Stan try to calm Jason down, reasoning that the Stan’s defense of Oscar echoes one of the play central messages:
situation at Olstead’s isn’t Oscar’s fault—he’s only trying to when people allow their anger to take over, such hostility tends to be
make a living just like they are. But Tracey and Jessie egg Jason misplaced, and innocent people wind up as scapegoats. The floor
on, and he maintains that he wants to set Oscar straight. Stan workers should be (and are) angry at Olstead’s, but they also direct
slams a baseball bat down on the bar, yelling at Jason to sit their anger at Latinx temp workers like Oscar because it’s easier to
down, and Jason does. But then, Tracey makes a comment go after marginalized outsiders than it is to win the conditions they
about what Hank would do if he were here, and Jason balls up want from the company’s higher-ups. Rather than understanding
his fists. Oscar walks back in with his things, shakes Stan’s hand that Oscar is only taking advantage of a rare opportunity, they view
and thanks him for everything, and goes to leave—but Jason him as complicit with Olstead’s much like they view Cynthia as a
stands in his way. betrayer for being part of management. Additionally, Tracey’s
invocation of Hank’s memory is a catalyst that brings Jason’s anger
and resentment to the surface, as knowing that his father died
working for the very company that’s now shutting them out is too
much for Jason to bear.

Despite Chris’s pleas to let Oscar pass, Jason won’t back This passage is the climax of the play, as the mystery of the crime
down—he doesn’t know why, but he can’t let Oscar walk out of that landed Chris and Jason in prison is finally revealed. Having
the bar. Jason shoves Oscar and pushes Stan to the ground allowed himself to be consumed by self-destructive anger,
when he tries to intervene. Oscar goes to help Stan, but Jason resentment, and misplaced animosity, Jason unfairly takes out his
grabs him, and a chaotic fight ensues. Chris tries to break it up, woes on Oscar. In the process, he influences his best friend to
but Oscar headbutts him, and Tracey and Jessie continue commit assault and winds up seriously injuring Stan, an innocent
egging the situation on. Now angry, Chris puts Oscar in a bystander who has nothing to do with the conflict surrounding the
headlock and beats him to the ground. Jason grabs the bat from lockout. As such, this tragic outcome demonstrates the far-reaching
the bar and hits Oscar in the stomach. Again, Stan tries to consequences that economic strain can have on individuals and on
intervene, but Jason swings back and accidentally hits Stan in the communities to which they belong.
the head. He falls back, hits his head on the bar, and slumps to
the ground, bleeding. Tracey exclaims, “Stan?!”
ACT 2, TRANSITION
September 24, 2008. In the news, President Bush is preparing to This headline serves as a short interlude which brings the audience
warn the American people that the economy will be in dire trouble if back into the context of 2008. It’s significant that just prior to this,
Congress doesn’t immediately approve a $700 billion bailout for Jason and Chris are so distraught and resentful about their financial
Wall Street. woes that they commit assault against an innocent person—the
play has shown that the hardships working-class Americans face
can destroy individuals’ lives and the very fabric of struggling
communities. As such, the news of an enormous Wall Street bailout
emphasizes the inequality present in American society and the
unjust nature of ordinary Americans’ job insecurity and inability to
make ends meet.
ACT 2, SCENE 7
October 15, 2008. In the news, U.S. stocks fall 733 points, the This headline indicates that in the eight years that have passed
second-worst decline in history. In his parole meeting, Chris since Act Two, Scene 6, the U.S. economy is still struggling—it seems
finishes telling Evan about his encounter with Jason. Evan that working-class communities like Reading’s have been unable to
reassures him that it’s okay not to feel angry at Jason escape financial hardship. Meanwhile, Chris’s struggle to forgive
anymore—forgiveness is the easier path. Chris shares how the himself is an example what can happen if a person is unable to
night of the assault, he’d planned on driving down to overcome shame and self-blame: rather than being able to move
Philadelphia to go clubbing with friends and then visit Albright forward and achieve his goals, Chris is paralyzed by his perception
College the next day. He regrets not walking away from the that he’s undeserving of or excluded from life’s opportunities.
bar. Now, he feels like people only look at him like a criminal. He
prays for forgiveness, but all he sees are closed doors in front
of him.

Evan shifts, and the scene switches. He’s now talking with Like Chris, Jason is held back by the shame he feels over assaulting
Jason. Evan suggests that Jason and Chris meet up to talk. Oscar—but whereas Chris’s shame manifests in self-doubt, Jason’s
Jason hasn’t thought about the assault in a long time, but now is expressed through “blind fury” at himself and others, which could
everything in Reading reminds him of that day. Jason felt too easily lead to further violence down the line. In either case, their
depressed staying with Tracey, so now he’s camping in the reactions are counterproductive. Evan’s advice to both men echoes
woods. He hasn’t been able to focus since running into Stan’s sentiments from Act Two, Scene 6 and serves as one of the
Chris—he remembers the “blind fury” when he attacked Oscar most important messages of the book: everyone makes mistakes,
and admits that he hasn’t been able to shake it since. Evan tells and in order to move on and prevent further damage to oneself and
Jason that he’s experiencing shame, and that this is a crippling, others, it’s imperative that people learn to let go of shame and
unproductive emotion that can destroy people. In Jason and forgive themselves.
Chris’s separate meetings, Evan asks what each man is going to
do about the present moment, and Jason and Chris both
answer that they hear him.
ACT 2, SCENE 8
October 18, 2008. In the news, thousands of Latin American The news of Latinx immigrants leaving the U.S. suggests that white
immigrants are leaving the U.S. as manual labor and service working-class people and minority immigrants are facing similar
industry jobs dry up. Chris enters the bar, which has been struggles—and thus, the racial tension between these two groups is
refurbished, and sits at a table. Oscar is standing behind the largely misplaced and unwarranted. Chris seems to have come to
counter. Oscar says he heard that Chris and Jason got out, and this conclusion on his own, as he clearly no longer resents Oscar for
he pours Jason a beer. Chris compliments the bar’s new look, taking hours at Olstead’s and now wants to make peace. The bar, as
and Oscar says they’re catering to a new crowd—the an ongoing symbol of both working-class escapism and of nostalgia
customers have been mostly college kids since Olstead’s and tradition, has been remodeled since 2000, which sends the
closed. He tells Chris that Howard retired to Phoenix—Oscar is message that it’s possible for a community—and the individuals
the manager and weekend bartender now, which impresses that comprise it—to adapt and move on rather than staying hung up
Chris. on the past. Oscar’s upward trajectory from busboy to manager
mirrors this idea.
Just as Chris is about to say something, Jason walks in. Oscar Stan’s debilitating injuries exemplify how working-class
grows nervous and asks what’s going on. Jason panics and disillusionment can effectively destroy individuals and radiate
turns to leave, but Chris tells him to stay. Just then, Stan—now outward to affect innocent people in the community. His fate also
severely disabled due to his traumatic brain injury—enters. shows the dangers of reacting to other people’s attempts to better
Chris acknowledges him, but Oscar tells him that Stan can’t themselves with resentment rather than support, and of letting
hear very well. They watch as Stan wipes tables and struggles one’s anger manifest in racial animosity. All of these factors are
to reach for his cloth when he drops it; Jason rushes over and what collectively drove Jason and Chris to commit the assault that
picks it up for him. Stan thanks him in garbled speech. Jason hurt Oscar and changed Stan’s life. The play ends on an optimistic
says that it’s nice how Oscar takes care of him now, and Oscar note, however: having followed Evan’s advice to begin forgiving
replies that this is simply how things should be. Chris and Jason themselves and each other, Jason and Chris are taking an important
look apologetic, but they’re unable to find words to express and courageous step to make amends with Oscar and Stan.
themselves. The four men collectively hesitate in a state of Although the scene ends in an ambivalent state of “fractured
“fractured togetherness.” togetherness,” it leaves audiences with hope that disenchantment,
bitterness, racism, and self-blame aren’t insurmountable
problems—ordinary people like Sweat’s characters can prevail over
their circumstances and their mistakes.

To cite any of the quotes from Sweat covered in the Quotes section
HOW T
TO
O CITE of this LitChart:
To cite this LitChart: MLA
MLA Nottage, Lynn. Sweat. Theatre Communications Group. 2017.
Kunkle, Jenn. "Sweat." LitCharts. LitCharts LLC, 30 Apr 2020. Web. CHICA
CHICAGO
GO MANU
MANUAL
AL
30 Apr 2020.
Nottage, Lynn. Sweat. New York: Theatre Communications Group.
CHICA
CHICAGO
GO MANU
MANUAL
AL 2017.
Kunkle, Jenn. "Sweat." LitCharts LLC, April 30, 2020. Retrieved
April 30, 2020. https://www.litcharts.com/lit/lynn-nottage-sweat.

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Act 1, Scene 2 Quotes

Explanation and Analysis

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Explanation and Analysis Related Symbols:

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Related Characters: Stan (speaker), Brucie Related Symbols:

Related Symbols: Explanation and Analysis

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Act 1, Scene 5 Quotes

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SUMMARY AND ANAL

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