Watching Superior Donuts on Broadway is a little like sitting in front of your TV set watching a re-run of "Seinfeld." This is not necessarily a bad thing. There's a reason that sitcom went on and on for many years. It offered "authentic" characters that did everyday things. Same with Superior Donuts.
In this case, the one-set play revolves around a dilapidated doughnut shop that an aging hippie inherited from his parents. It's not located in the best part of town, which in this case is Chicago. Arthur, the hippie, lives life in non-committal mode. For example: If he doesn't feel like opening the shop on a particular day, he skips it. As the play opens, however, the shop has been vandalized overnight, and a neighboring shop owner is telling the police about the break-in. From first glance, you can tell that Max, the shop owner, is a funny guy. He talks funny (with a strong Russian accent), he scrambles his English in delightful ways, and he never fails to speak his mind. Max is an immigrant who works very hard and dreams of expanding his shop. At the moment, he is incensed that his neighbor has been violated. Thankfully, Arthur eventually appears. Dressed in "grunge" attire and wearing a ponytail and an earring, he is indeed a mellow fellow. We meet a few of the "locals" who wander in for a doughnut.
The play's turning point is when Arthur meets Franco, a young African-American in need of a job. He asks about a "help wanted" sign in Arthur's window. Arthur isn't so sure the fast-talking Franco will be a good "fit" for the shop, but Franco forces his new boss to make up his mind. Finally, Arthur gives in. The two become an "odd couple" that seem to fit together perfectly. How this happens is sweetly touching, funny and insightful. Letts has an excellent ear for dialogue, and he uses this skill to move the story forward. It's only later one remembers that not much actually happens during the play. A fistfight in the doughnut shop is about all the action one views.
This critic, who lives near Chicago, can attest to the realism of the set, costumes -- and weather. The play is set during the winter, typically the time when most wealthy folk fly to warmer climates. But not this working-class group. They are always here -- the heart and soul of Chicago. Even the bag lady, who is probably the best one you will ever see onstage, provides a few surprises. Jane Alderman gives this character, ironically called "Lady," a sort of noble dignity beneath her scruffy exterior.
The actor Michael McKean, who plays Arthur, is virtually unrecognizable in his ponytail and beard. He gives a stunning performance, as does Jon Michael Hill as the hyperactive Franco.
All the supporting characters are also fine, especially Yasen Peyankov as Max, the video store owner, and Kate Buddeke as a police officer who would like to know the unmarried Arthur more intimately. The play is filled with sight gags, one-liners and long anecdotes with funny punch lines. But the characters are true to their circumstances, and one must credit director Tina Landau for a seamless performance. The playwright proves that author Studs Terkel isn't the only one to capture the various incarnations of Chicago's soul. The play is imported from Steppenwolf Theatre Company in Chicago, but it seems right at home in the Big Apple.
