The superior acting in the Reston's Community Players' newest production, Superior Donuts, more than makes up for the lame title which, I suspect, does not draw audiences and might even turn some away.
Who wants to see a play about donuts? Or so, it would appear.
May I be so bold to suggest a different title, Trading Places?
Indeed, it was "trading places," the theme which struck me, rather than racism which director Seth Ghitelman writes in the program notes.
The production begins with the pernicious, prickly parasite, Max (wickedly acted by Tel Monks) in the racist role, but Max means no offense.
He taunts the black policeman, Officer Bailey (Matthew McCarthy): "I didn't mean anything by it, really."
Sure.
The play's timing is right for Martin Luther King Jr. Day and Black History Month next month, but, to me, this was all about contrasts of young and old, new and stale, go and stop, zest and doom. It had nothing to do with "donuts" which serves as a substitute for a much bigger piece of life's pie. (Groan)
Mr. Ghitelman extracts marvelous performances from his cast, especially from the star of the show, Michael Kharfen who is Arthur Przybyszewski, the shopkeeper who makes the best donuts in Chicago, but whose life is rather hum-drum.
Like the boring donut's shape, Arthur's life continues endlessly, round and round with nothing particularly to upset the apple cart other than constant sad memories he tells in soliloquies under a spot light (which tend to drag the play down. Dialogue could have better communicated the messages. I found myself thinking: "Oh no, not another one").
Regrets, yes, Arthur's had a few, but in walks a human tornado, Bryce Monroe as Franco, to drive Arthur's meaningless life pattern off course and set a new trajectory, or try to, anyway.
Arthur hires the upstart Franco who knows a thing or two about finding new customers, mind you, and how to attract members of the opposite sex. Franco doesn't hesitate to unload his ideas about shop and self improvements on Arthur.
To Arthur, Franco says: Why doncha play some music in here? Rearrange the seating? And if you have any interest in that pretty policewoman (Mattie Cohan is Officer Osteen), why don't you stand up straight? Get some shoes besides those lifeless tennis shoes, cut your awful pony tail, trim those eyebrows, and wear a nice shirt. Shed your hippy, old-fashioned ways, and Officer Osteen might take a shine to you, if you showed you care.
But does Arthur care?
Franco is too peppy, too full of life, hopes and dreams. He's enthusiastic, and he's young! Let's get real here and "grow up!" Arthur shouts at him. Dim your lights!
But who grows up?
A dream is shattered and hope is quashed until revived by an odd life saver who is rescued himself.
The bad guys (expertly acted by Ian Mark Brown as a tough and realistic Chicago hood, ably assisted by Michael King) enact punishment which is far too extreme. Did they have to go that far?
And what about the language?
Audiences need to be forewarned that Donuts is full of bad words, none, necessary but included, one supposes, to attract millennials to the stage, but is that what they want? Pshaw. It's a put-off.
The longest and best fight I have seen on stage was skillfully choreographed by Karen Schlumpf and Ian Claar (is there an award for fight choreography?) who direct two old men to duke it out all over the set and back in the kitchen.
One!
Two!
Pow!
Here, have some hot donut grease on top of that arm.
Ouch!
One of my favorite characters was Sally Cusenza who portrays a homeless woman who slouches in and out of the shop every now and then, a welcome creature dressed to the nines in homeless attire, lugging along a grocery cart full of her last belongings. Her mannerisms and personality add a welcome dimension to the show, with some funny lines, but no one ridicules her.
(Congratulations to Ms. Cusenza who excels in triple roles as hair and makeup designer.)
Donuts was billed as a comedy but if this is a comedy, you can eat all the donuts in Chicago for a year and not gain a pound. Besides, you'll be gnawing about these Donuts, not the sugary kind.
Also in the cast is Tice Rust, a heavy who, in real life, is a Spanish teacher at Herndon High School.
Other crew members are Bea and Jerry Morse, producers and set decoration; Laura Baughman, stage manager; Ashley Primavera, assistant stage manager; Maggie Modig, set designer; Adam Konowe, lighting; William Chrapcynski, sound; Mary Jo Ford, properties; Mary Gayle Rankin, costumes; Sara Birkhead, master electrician; Scott Birkhead, master carpenter; Sandy Dotson, light board operator.
Tracy Letts, who wrote the 2008 Pulitzer winner, August: Osage County, is the playwright.
Rated: R
Language: X
Ages: Adults
Who: Reston Community Players
What: Superior Donuts by Tracy Letts
When: Friday and Saturday nights at 8 p.m. through Feb. 2 with a Sunday matinee at 2 p.m., Jan. 27, 2019.
Where: Reston Community Center, 2310 Colts Neck Road, Reston, VA 20191
Tickets: Buy online, at the box office at the Community Center, or call 703-476-4500 and press 3 for 24-hour service. $28, adults; $24, students and seniors.
Duration: About two hours and 15 minutes with one intermission.
patricialesli@gmail.com
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