Tag: Superior Donuts
Taking into account the nearly 700 productions that we reviewed in 2012, here are our picks for the best of the best. Bravo!! (FYI: We’re honored to have the national website Huffington Post use our choices for their Top 10 Chicago productions here)
Family Dysfunction Makes for a Good Dark Comedy
Profiles Theatre presents:
Review by Keith Ecker
I don’t think I’m going to create a controversy by saying Tracy Letts is one of the biggest deals in Chicago theatre. The man won a Pulitzer and a Tony for August: Osage County, his play Superior Donuts recently finished its run on Broadway, and he currently can be seen at the Steppenwolf, where he is an ensemble member, playing the hotheaded Teach in David Mamet’s American Buffalo (our review ★★★★). He’s like a Chicago theater god, both in skill and his omnipresence.
With all this acclaim and success, Letts’ name has become a hot commodity. And for theatres, producing one of his plays is a pretty safe bet for financial return. That’s why Profiles Theatre is smart to stage Letts’ 1991 trailer-trash tragedy, Killer Joe.
Killer Joe is a direct predecessor of August: Osage County. Thematically both pieces share many commonalities, including themes of family dysfunction, sexual abuse and death. Comparisons can be drawn on a more surface level, too, with Killer Joe taking place just a few hours south of Osage County in a trailer home outside of Dallas.
The play centers on an absurdly stereotypical Texas family. Their trailer home is a mess with remnants of last night’s McDonald’s meal scattered about the kitchen table, a pack of Marlboro cigarettes by the kitchen sink and a dog incessantly snarling and barking on the front lawn.
The father, Ansel (Howie Johnson) is a rotund man who feels most comfortable moping around in his underwear and watching NASCAR. When his son, Chris (Kevin Bigley), enters in a panic, begging for money to pay off a debt to a criminal, Ansel acts surprisingly nonchalant.
Unfortunately there is no one else in the trailer who can help Chris out of his bind. Ansel’s second wife Sharla (Somer Benson), a woman who sees nothing unsightly about wearing a thong with low-rise jeans, is more concerned with herself than her own husband. Meanwhile Chris’ little sister Dottie (Claire Wellin) is the epitome of fragility and naiveté.
Self-reliant and having an affinity for schemes, Chris comes up with a plan to hire someone to kill his birth mother, a wretchedly abusive woman who has an insurance policy on her head for $50,000.
Enter Killer Joe Cooper (Darrell Cox), one part Dallas cop and one part hired killer. Joe is the quintessential man in black. He has a booming voice and intimidating, penetrating eyes. And although his price may be steep, he always guaranties to get the job done. Just don’t ask too many questions.
The play is an engaging tale that plays out like a redneck soap opera or a trailer park Shakespearean tragedy. Still, at times the characters can come across as one-dimensional. Ansel is a big dumb idiot; Chris is a hotheaded rebel and Sharla is a skank. Dottie, who takes on the role of the sacrificial virgin, is the one character that undergoes dramatic change throughout the course of the play. Somewhat of a dark comedy, when the humor hits, it’s tragically funny. But there’s a lot of grave seriousness too, including some uncomfortable but well staged scenes involving sex and violence.
Cox does a good job playing Joe’s multiple facets, from southern gent to cold-blooded killer. His performance makes it that much more shocking when Joe tosses aside his southern hospitality to reveal the psychopath that lies beneath. However, the younger actors, Bigley and Wellin, seemed to struggle reaching emotional depth. Bigley plays angry and frustrated well, but he seems to be stuck on a single gear. The same can be said for Wellin, except replace angry and frustrated with melancholy and aloof.
Steppenwolf ensemble member Rick Snyder’s direction is magnificent. The theater is a small space flanked by the audience on either side. Cramming five actors into one scene is no easy task. But even in the most action-intense segments, the stage never seems overcrowded. In addition, scenes of violence and sexual abuse are not treated as gratuitous, but rather are staged in a manner that speaks to the core of the characters.
Killer Joe isn’t Letts’ most significant contribution to theatre. But it’s an entertaining play. Although not without a few flaws, Profiles Theatre’s production succeeds in adroitly transporting the audience to a tiny Texas trailer filled with family dysfunction.
Additional review: Chicago Examiner
Tracy Letts’ most recent play, Superior Donuts, just opened on Broadway with the same Steppenwolf cast. After receiving moderate to warm reviews here in Chicago, the NYC reviews so far appear mixed.
The NY Post gives Superior Donuts a very positive review – 3.5 stars:
After Superior Donuts, Tracy Letts‘ follow-up to August: Osage County, premiered in Chicago last year, the play was deemed entertaining but minor.
Either this Steppenwolf production has been drastically reworked on its way to New York, or we live in a cynical world where a show as tender and honest, as beautifully written, acted and directed as this one can be blithely dismissed.
While the New York Times produces a review that is so-so:
Mr. Letts has mothballed his angst and tossed the deadly weapons in the back drawer. Superior Donuts, a gentle comedy that unfolds like an extended episode of a 1970s sitcom, is a warm bath of a play that will leave Broadway audiences with satisfied smiles rather than rattled nerves.
Superior Donuts may be familiar and unchallenging, but it’s also comfortable — and no, there’s nothing wrong with that.
Below, Chicago Tribune theater critic Chris Jones interviews playwright Tracy Letts (“August: Osage County“) and lead actor Michael McKean (“Laverne and Shirley“, “Saturday Night Live“, “This is Spinal Tap“) about Superior Donuts, Letts’ new play premiered at Chicago’s Steppenwolf Theater. Letts’ 2007 play August: Osage County won the Pultizer Prize and Tony Award in 2008.
Good news for Old Town’s A Red Orchid Theatre: tickets for their current production Mistakes Were Made (our review here), by Craig Wright, have been selling like hot cakes – so much so that they’ve added an extra Wednesday night performance for all of October. Be sure to check it out before it closes on October 31st. Mistakes Were Made stars Michael Shannon, and is directed by Dexter Bullard. (h/t Chris Jones)
Letts and his cast can breathe deeply today. While a far less ambitious play than August, with its three-story set and sprawling cast, Superior Donuts is no less successful for what it aims to be: a tender, funny, and often tragic valentine to Letts’ Chicago in a time of intense cultural change. Fans of August won’t find that play’s heavy, gut-wrenching revelations here, but Donuts was always intended to be a smaller, lighter effort, as delightful and sweet as a doughnut itself. The play, which Letts began writing even before August, earned positive reviews when it first opened in Chicago with the same cast in July 2008, and after a year of Letts’ tweaks and rewrites, it may be even better….
Read the entire review here.
Per Perez Hilton:
Tina Fey’s brilliant comedy, 30 Rock, may be getting the one thing it’s severely lacking – a hot piece of eye candy!
For those of you who don’t live and die by the goings on of the Great White Way, Cheyenne has been in productions like Xanadu and All Shook Up!.