The lights come up, and I’m transported to 2008, inside of a warm, comforting old-fashioned donut shop in the heart of Chicago’s Uptown neighborhood. But … something’s not right. The place looks like it’s been ransacked. Tables are flipped, the window’s smashed in, and the word “PUSSY” is haphazardly spraypainted across the back wall.
Welcome to Superior Donuts, a coffee and pastry joint owned by the quiet and withdrawn Arthur Przybyszewski (Scott Westerman) and frequented by an eclectic band of characters.
The play begins with Max (Reid Coker), the Russian video seller next door, showing the scene to the police in disbelief and anger. When Arthur arrives, he goes on about his day as normal. It seems like the wreckage barely even phases him.
It turns out, Arthur’s former sole employee trashed the place, and now he desperately needs a replacement.
He slaps a HELP WANTED sign over the boarded-up window, and in walks Franco (John N. Williams) — a bright and energetic young writer, aspiring to reimagine America.
Franco’s father isn’t around, and Arthur is no-contact with his only daughter. Franco is outgoing, Arthur is introverted. Franco is hopeful — Arthur doesn’t know if he has hope for anything anymore.
The two form an unlikely friendship, crossing racial and generational lines and developing a deep and meaningful bond.
Franco teaches Arthur how to come out of his shell and, when Franco gets into trouble, Arthur goes to great lengths to protect his surrogate son.
The play is set in late 2008. Obama just won the election, and race is the topic on everyone’s lips. For once, folks were optimistic about race relations in America, and that status quo directly influences the script.
The play is structurally impressive, with Letts’ dialogue striking the perfect balance between heightened and naturalistic. However, the characterization definitely has a point of view that is ultimately rooted in the playwright’s experience as a white person. .
The Black characters in the show seem to orbit the white ones: they don’t get the same level of psychological depth and discovery. Arthur and Franco have a relationship that’s fantastically written, yet we learn next to nothing about Franco’s background or history as it relates to Chicago.
The story of Arthur’s Chicago Polish family was wonderfully incorporated into the story, but it is glaringly evident that the same cultural history is not touched upon when it comes to Franco.
In a day and age where systemic and institutional racism is more talked about than ever before, it would be wrong of me to not call out these elements of the script, which can make the play feel a bit dated.
Part of me wishes that some of the content was revised to reflect a more modern, informed perspective on race and racism, but I also understand the Artistic Home’s decision to keep the early 2000s script frozen in time. It emphasizes the gap between our world and the world of the characters onstage, and causes us to reflect on how societal norms have shifted.
Despite any minor qualms I have with the script’s content, The Artistic Home did a flawless job of bringing the script to life. An incredibly realistic setting calls for expert scenic and prop design, and designers Kevin Hagan and Randy Rozwell fabulously replicated the vibe of a small, family-owned Chicago business.
Rachel Lambert’s stellar costuming also helps “Superior Donuts” establish a clear and distinct setting. Franco dons tees over his long sleeves, and Randy, when out of her uniform, steps out in bootcut jeans and a stretchy, layered blouse. From the start, the costume elements help establish the timeliness of the action and transport the audience to the late ‘00s.
But what sold the show for me was the exemplary acting performances. Scott Westerman is the MVP of the night. His Arthur is complex, guarded and captivating. Every ensemble member put every last drop of their energy into fully embodying their roles, and it made for an impressive performance.
To close:
I’m a Polish-American Rust Belt kid myself. I say pop, not soda, sneakers are definitely tennis shoes, and “of course I know what a Paczki is, are you crazy?”
“Superior Donuts” is very authentic to that experience. The accent work is great, and Letts knew exactly what slang and terminology to integrate into his dialogue.
The characters were heavily recognizable. The play felt like home to me, and it was truly something special.
Yet I keep asking the question: would a Black audience member feel as correctly represented as I did? And is it fair to bill this play as an interracial “buddy comedy” when the story ultimately revolves around a white protagonist? As a white woman, that isn’t my place to say or decide. But it is something to consider. Nevertheless, I had a terrific time watching “Superior Donuts” unfold. If you want a heartfelt story to keep you warm while the temperatures outside drop, performances run at The Den in Wicker Park until Saturday, Dec. 6.
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