Superior Donuts« Go Back To Stage

Tracy Lett's 2008 comedy has been produced at Steppenwolf Theatre and on Broadway—but after seeing this fantastic production in Mary-Arrchie's shoebox space, it's hard to imagine as a big-stage show. Richard Cotovsky is excellent as Arthur Przybyszewski, a lonely, aging radical who runs the shabby doughnut shop he inherited from his immigrant parents. The tale of Arthur's reluctant friendship with his wisecracking young shop assistant, Franco, and their run-in with a violent bookie, has the deep-fried flavor of sitcom. And yet it engrosses from the get-go. The local touches that might feel like Chicago schmaltz on Broadway (a mention of Carol's Pub, the el rumble in the background) come off as homey here.

Every so often you encounter the perfect pairing of actor and role. Mary-Arrchie founding member and Artistic Director Richard Cotovsky has found one of those roles. From his shoulder-slumped shuffle to his cautious and weary gaze, Cotovsky fully embodies Arthur, an inert Uptown donut shop owner who’s the center of Tracy Lett’s 2008 play, Superior Donuts.

Arthur, and his decaying, family-owned shop, are stuck in time, waiting for whatever to step in and say, “show’s over, time to move along, donut man.” Not even the lonely lady cop (Millie Hurley), who stops in daily to drop hints like lead balloons, gets through to him. Nor does the recent act of vandalism to his shop, an event that opens the play, throw him for a loop. Put on the apron and pick up the glass, it’s just another day to endure. This is a man who’s resigned himself to living a life full of yesterdays.

It isn’t until the persuasive Franco Wicks (Preston Tate, Jr.) breezes into his shop looking for a job that Arthur begins to smell the stale donut house coffee. A chronic idealist, Franco sees potential in the dusty shop: an anti-Starbucks haven for students and other locals with music, healthy food options and free wi-fi. Of course Arthur nixes the idea, but the needle has been moved — just a smidge. And Franco’s influence, as slight as it may seem, has deep and long-lasting impact — particularly when it comes time for Arthur to stand up for something other than his selfish, defeatist existence. In turn, Arthur recognizes a hidden talent in Franco, which ignites an inner fire.

As a follow-up to his groundbreaking August: Osage County, Letts’ Donuts is a shockingly simple play, relatively speaking. There are no histrionics, no sudden third act revelations that turn the entire show on its head. No: it’s a simple, straightforward and beautifully constructed play about people and relationships and the pain and necessity of change.

In short: I really dig Donuts.

And Mary-Arrchie’s superbly directed, designed and acted production is very much worth seeing, exemplifying the very best of Chicago storefront theatre. So get your tickets before this show closes up shop.

A couple of years have passed since “Superior Donuts” saw its world premiere at Steppenwolf back in 2008. Under the direction of Tina Landau, Tracy Letts’ slow-talking comedic gem of a play was put on the fast track for an American classic. And in today’s world, Chicago favorite Mary-Arrchie has picked up the sitcom styled comedy for another round of glazed donuts. The highly creative ensemble behind Mary-Arrchie holds no barriers against their gritty human nature exhaustion, and “Superior Donuts” reflects every fiber of their being with the exposure of one cultured donut shop owner and his new employee, whose troubling addictions have landed him in a hot spot with a rough crowd.

I greatly imagine “Superior Donuts” experienced a whole new transition stepping from Steppenwolf’s massive Downstairs Theater to the intimate space at Angel Island, which is a space Mary-Arrchie has proven the worth of time and time again. During this particular production we engage in the life of Arthur Przybyszewski (Richard Cotovsky), an easy-going donut shop owner who admires the cultured side of life, but you would never know from his aged appearance. His reasonably run-down Uptown Chicago shop has been in the family for over sixty years, and Arthur takes ”superior” pride in the establishment built by his father. The times are stuck in a constant repetition for Arthur, as his life revolves around frying a popular breakfast treat, until an ambitious youth stumbles into his shop looking for a job.

Franco (Preston Tate Jr.) has big dreams for the donut shop, but he’s having a hard time working around Arthur’s unchanging outlook on the image of the store. The play garners several excellent moments during the sequences where Franco and Arthur hold conversation on various topics such as music and poetry. The duo makes a very interesting pair, and their bond grows stronger over the coming weeks, especially when Franco’s past addictions to gambling becoming an issue with a loan shark. It’s up to Arthur to reach an agreement with these rough culprits before Franco gets himself into any serious harm.

Tracy Letts does an exceptional job developing the relationship between Arthur and Franco in the short time the play offers. The overall layout of the plot strikingly resembles that of a 1980’s sitcom, back when sitcoms had heart in their characters. I wouldn’t go as for to call it a dark comedy, and never that ugly word dramedy, it’s more like a detailed story from your incredibly interesting grandfather. You know, the guy who can tell any story and greatly evoke the humor. Letts significantly reminds us that there is emotion in the little guy who performs the same routine from nine to nine every day.

Mary-Arrchie just would not be Mary-Arrchie if every production didn’t introduce a powerful ensemble, and “Superior Donuts” is right there with it. Mary-Arrchie’s Artistic Director and another Chicago favorite Richard Cotovsky performs beautifully as Arthur. I am deeply convinced this part was made for Cotovsky. Alongside Cotovsky is his scene steeling co-star Preston Tate Jr., whose impeccable comedic timing eased us along comfortably. “Superior Donuts” is filled with quirky characters who parade around the donut shop, and Mary-Arrchie does an excellent job filling out the extra space with exceptional talent.

Mary-Arrchie is one of the few companies in Chicago that delivers time and time again with their outstanding and often chilling tales of human essence. And “Superior Donuts” is another great reason to head up to Angel Island for some quality theatre. Keep in mind this is the company who made my Top Ten List of 2011 for their life changing production of “Red Light Winter”. Mary-Arrchie Theatre presents "Superior Donuts" through May 6, 2012 at Angel Island Theater. For more information on this show, please visit the Theatre In Chicago Superior Donuts page.

25 years of storefront theater in Chicago is quite an accomplishment. Mary-Arrchie Theatre Company is nothing less than an institution, setting a high standard with in-your-lap productions that leave a lasting impact. Their commitment to the craft is both cerebral and straightforward. They are the grease-covered mechanic on the train that is reading a weathered copy of Nietzsche. They are the woman sitting next to him that is taking a virtual trip to the 1893 Columbian Exhibition on her iPhone. They are the contact buzz you get from the kid that just sat next to you. They are the drunken alley fight at 3am that startles you awake and then lulls you back to sleep laughing. Whatever the topic, whoever the playwright, whether you love the show or not; Mary-Arrchie is Chicago on a small stage.

It only stands to reason then that Superior Donuts should fall in their 25th anniversary season. Playwright Tracy Letts has crafted an endearing love letter to Chicago, warts and all. Although far sweeter than previous offerings by this Pulitzer prize-winner, it has its own emotional and physical sucker punches. It is funny, melancholy, brutal and entertaining. It IS Chicago and Mary-Arrchie realizes this Uptown snapshot of a changing city with superior charm.

Superior Donuts tells the story of donut shop owner Arthur’s unexpectedly transformative relationship with Franco, a young man from the neighborhood. While Mary-Arrchie has created a stand-alone production, it is difficult not to at least reference Steppenwolf Theatre’s 2008 world premiere. Friends who saw that performance have even asked, “Why see it again at a smaller theater?”

For one, location. Mary-Arrchie is located at Angel Island Theater, a few doors east of Broadway on Sheridan and just a few blocks from Uptown proper where the imaginary donut shop resides. Located only one Red Line train stop north of the Wilson stop that is heard in the background of the play, Mary-Arrchie’s production is infused with and informed by the energy of this part of the city; so much so that it is practically a site-specific production. In the tiny theater, you not only feel as though you have planted yourself on a stool at the donut shop but you know that you are in the very hood where the action takes place. Theater so often takes us far away, but this production of Superior Donuts is like coming home.

For two, the cast. While Steppenwolf launched this play with an exceptional ensemble and a very polished production, many of Mary-Arcchie’s casting choices deliver more emotional and dramatic authenticity. The show is rougher around the edges and that is perfect. Preston Tate, Jr. is darling as Franco. It is easy to get caught up in his enthusiastic optimism and hysterical wit. Paige Smith is wonderful as Max, the neighboring Russian shop owner determined to buy Arthur’s store. Karl Patthoff creates deceptively menacing charm as Luther, the bookie out to collect a large debt from Franco.

The rest of the cast is wonderful but it is Richard Cotovsky, as Arthur, that completely embodies this story and intimately captures our hearts. He is the daily pot-smoker, high on intellect but stupefied by lack of motivation; a dormant darling plodding along his life with a permanent emotional time-delay. He is as well meaning as one can be when worn down by a past that can’t be reconciled with, nothing totally catastrophic but tough enough to hold him in a melancholy haze. Catovsky’s performance is subtle genius. His facial expressions, especially his eyes, are fabulous; not only expressive but rich with comic and dramatic timing. His nuance in this role is art to behold and much like Mary-Arrchie Theatre Company, and much like Superior Donuts, it IS the nuance of Chicago.

Director Matt Miller plays the script with a subtly excellent build. He lets the story unfold with no heavy-handed tactics. Scenic designers Bob Groth and Jenniffer Thusing create a remarkable shopworn set, detailed to absolute dingy perfection. Although slightly awkward at times, fight director David Woolley choreographs the climactic donut shop fistfight with generous humor and also with much greater dramatic impact than that of the plays world premiere; which was as unbelievable in the original production as a Three Stooges sketch.

Mary-Arrchie’s Superior Donuts is a total crowd pleaser, hitting every mark with the script’s witty dialogue and emotional revelations. It is at times a bit bumpy and slightly sporadic, but that’s the city. Even with its potholes, we happily travel down these streets that we know and love. Mary-Arrchie creates a hysterical and heartwarming theatrical triumph with this outstanding production. Do not miss your chance to see their picture perfect postcard of Chicago.