Stephen Adly Guirgis’ 2011 Broadway Hit: The MotherF..ker With The Hat

In honor of the opening tonight of the revival of Jesus Hopped the A Train, and the launch of the 2017-2018 Signature residency of Stephen Adly Guirgis, below is my April, 2011 review of Guirgis’ only Broadway play so far: The Mothefucker With The Hat. He has since won the Pulitzer Prize for Drama for his Off-Broadway play, Between Riverside and Crazy.

Before Chris Rock even appeared on stage, “The MotherF**ker With The Hat,” despite its off-putting title, had me hooked. Veronica is talking on the phone with her mom, in-between snorts of cocaine, when Jackie enters with flowers and good news: He’s gotten a job, he’s ready for “grown-up plans,” “you and me plans.”  Read more of this post


Appreciating Michael Friedman: Review of His 2011 Occupy Wall Street Musical

In honor of Michael Friedman (September 24, 1975 – September 9, 2017) here is my October 29, 2011 review of “Let Me Ascertain You: Occupy Wall Street, Stories From Liberty Square,” a one-night only musical presented at Joe’s Pub by The Civilians, the theater company Friedman co-founded. (It’s astonishing this was only six years ago, no?)

OccupyonStage1 There is the man who was laid off a year and a half ago as the creative director for a children’s television production company, and showed up at Zuccotti Park a day ago after being evicted from his apartment. There is the firefighter from New Jersey who has served Read more of this post

Oslo on Broadway: The Surprising Story Behind Middle East Peace

Last year, “Oslo,” a fascinating if talky play about the surprising story behind the first peace accord between the Israelis and Palestinians, ran for a couple of months Off-Broadway. It is opening tonight on Broadway.  But since Lincoln Center produces the play, all that means is that it’s moving from the Mitzi Newhouse in the street level of Lincoln Center theater one flight up to the larger Vivian Beaumont on the plaza level, with cast and creative team intact, only minor changes to the script; the same three-hour running time but the elimination of one of its two intermissions…and a top ticket price 50 percent higher.

The biggest news about the show was announced earlier today: “Oslo” will be turned into a film, also directed by Bartlett Sher, and produced by La La Land’s Marc Platt (Ben‘s Pop.)

Below are a video and the photographs from the Broadway production and my review of “Oslo,” slightly altered, when it opened at the Mitzi Newhouse.


.According to “Oslo,” a little-known Norwegian couple instigated and pushed along the secret negotiations between the two warring sides that led to the famous moment when Israeli Prime Minister Yitzhak Rabin and PLO Chairman Yasser Arafat shook hands at the White House in 1993.

The versatile Jefferson Mays (“I Am My Own Wife,” “A Gentleman’s Guide to Love & Murder”) portrays sociologist Terje Rod-Larsen; Jennifer Ehl (“The Coast of Utopia”) is his wife Mona Juul, an official in the Norwegian Foreign Ministry, who serves as narrator. As Mona explains, the couple was working in the Middle East when they came upon a confrontation between Israeli soldiers and Palestinian protesters in a back alley in Gaza:

“Two boys facing each other, one in uniform, one in jeans, weapons in hand, hate flowing between them. But their faces—and we both see this—their faces are exactly the same. The same fear. The same desperate desire to be anywhere but here. To not be doing this, to this other boy. And there, in that moment, for us, it began.”

They used their connections and their convictions to forge a secret “back channel,” at the same time that official negotiations in Washington D.C. were going on with no progress. The Norwegian couple relied on their tenacity and Rod-Larsen’s model for negotiating between implacable enemies, which called for focusing on one issue at a time, rather than all issues at once, with the aim of building up personal bonds of trust. Within nine months, the back channel became the official channel, and the two sides signed the Oslo Accords.

“Oslo” is written by J.T. Rogers and directed by Bartlett Sher (better known for helming luscious revivals of “South Pacific” and “The King and I.”) They are the same team that put together “Blood and Gifts,” about America’s covert involvement in the Soviet Union’s war with Afghanistan. Like that 2011 drama, “Oslo” has a long running time full of a large cast portraying multiple characters engaged in lots of…talking. Unlike “Blood and Gifts,” the three-hour running time of “Oslo” went by relatively swiftly for me. The creative team invests the principal characters with personalities; we see them get passionate, yell, apologize, share stories about their families, even tell jokes and mock their superiors…slowly, in other words, build those personal bonds, turning from nervous and outraged in each other’s company, to standoffish, to something approaching friendship. It helps that the adversaries are played so credibly – especially by stand-out Anthony Azizi as Ahmed Qurie, the finance minister for the Palestinian Liberation Organization, and Daniel Oreskes both as a schlemiel of a professor of economics and as stately foreign minister Shimon Peres.

In a program note, the playwright points out that, although “the events in the play all happened,” the words the characters say “are mine,” and the chronology and other details have been altered. This makes one wonder whether the play could have done without some of those details.

The issue of Lincoln Center magazine about the play offers a debate as to the significance of the long-ago negotiations, and whether they should be admired as a model or regretted as a mistake – something that the end of the play toys with as well. Still, “Oslo” gives us not only a lucid refresher course on the Palestinian-Israeli conflict, and provides us entertainment that is both surprisingly funny and suspenseful. It also leaves us with the hope that maybe even the world’s most unsettling situations can someday be settled.



Written by J.T. Rogers; Directed by Bartlett Sher
Sets by Michael Yeargan, costumes by Catherine Zuber, lighting by Donald Holder, sound by Peter John Still, Projections by 59 Productions
Cast: Michael Aronov, Anthony Azizi, Adam Dannheisser, Jennifer Ehle, Daniel Jenkins, Dariush Kashani, Jeb Kreager, Jefferson Mays, Christopher McHale, Daniel Oreskes, Henny Russell, Joseph Siravo, Angela Pierce, and T. Ryder Smith
Running time: three hours, including one  intermission.
Tickets: $87-$147. (Digital lottery: $39)

Sweat on Broadway: A Timely Look at American Desperation

Lynn Nottage’s “Sweat,” opens tonight at Studio 54, marking the Pulitzer-winning playwright’s Broadway debut, as well as that  of five of its nine cast members.  It is opening less than five months after its debut Off-Broadway at the Public Theater in November. The creative team and the production are largely the same, as are eight of the nine cast members; the newcomer is Alison Wright, who is best-known as Martha in the FX TV series, The Americans. She portrays Jessie (pictured at far left in the photograph above). The photographs on this page are of the Broadway production. Below is my review of “Sweat” when it opened at the Public Theater:

 Like Grapes of Wrath, Lynn Nottage’s Sweat offers a devastating look at social and economic breakdown, told not with rants or statistics, but through a riveting tale about good people in a bad situation.  The characters in Sweat live in Reading, Pennsylvania, which 2010 U.S. Census data identified as the poorest city in America.

They are current, former and (they fully expect) future employees of a local factory, and they hang out together in a neighborhood bar, where most  of the play takes place.

But Sweat begins in what looks like a dark prison, with a parole officer talking to a young sullen white man, Jason, whose face is covered with white supremacist tattoos.  Then, separately, the parole officer talks to a young black man, Chris, also recently released from prison. It is 2008,  Jason and Chris are connected in some way, and we are left with a question: What happened?

Click on any photograph by Joan Marcus to see it enlarged.

The scene shifts to the bar in 2000, and we see that Chris and a boyish, clean-faced Jason (with no tattoos) are fast friends, as are their mothers, Tracey and Cynthia. The question becomes: How did this change?  It’s a crafty set-up, because the question doesn’t just pique our curiosity and create suspense; it’s the heart of the play thematically as well. As Jason puts it later, “How the f… did this happen?”  How did this solid town – and by extension, a significant swath of the working population in America — implode?   If, as Nottage has said in interviews, they were victims of the “de-industrial revolution,” Sweat isn’t as concerned with answering as in bringing us into the world of her credible, engaging characters, embodied by a terrific cast.

The play is the product of Nottage’s extensive field research (as was her Pulitzer Prize-winning Ruined, and as was John Steinbeck’s Grapes of Wrath.) But it never feels like research.

Unlike the Joads, the group of people in Sweat are not all related by blood; they have formed a sort of family of friends, across divides of race and ethnicity.  Cynthia, Tracey and a third woman, Jessie, are long-time workers at the Olstead’s factory, and friends for almost as long; they have created a tradition of celebrating their birthdays at the bar. Stan, the bartender, worked for 28 years at Olstead’s, until a workplace injury forced him out of his job. He knows and likes everybody, and the feeling is mutual.

There are hints of tension from the get-go. For one, Cynthia is estranged from her husband (and Chris’s father) Brucie; he is part of a long and fruitless union-organized fight against a different factory, and has turned to drugs for relief.  And then everybody is treated amiably except the other employee of the bar, Oscar, who might as well be invisible.  In a nice example of director Kate Whoriskey’s attention to telling details, while the others chat away and ignore him, Oscar silently crawls under the tables in order to scrape gum off the bottom.

But the strains between some of the characters are the exceptions; there is a feeling of general comity – until it is shattered when the company starts making clear its ominous plans for cost reductions.

What might have been under the surface all along, explodes into envy, resentment and prejudice, fanned by the plant’s divisive actions. Oscar, of Latino descent, shows Tracey a flyer from the company, written in Spanish, advertising job openings (at lower pay.)

“I’m not prejudice…I’m cool with everyone” Tracey says. “But, I mean… C’mon… you guys coming over here, you can get a job faster than…”

“I was born here,” Oscar interrupts.

“Still,” Tracey says, “you wasn’t born here, Berks” – the county where Reading is located.

“Yeah, I was.”

The exchange lands perfectly, thanks to the in-your-face performance  by Broadway veteran Johanna Day (Proof, August: Osage County, You Can’t Take It With You) as Tracey, and the winning mix of diffidence and determination by Carlo Alban as Oscar.

Michelle Wilson is equally effective as Cynthia, who is given a suspiciously-timed promotion that makes her the enemy in the eyes of her friends, and tears her apart.

Will Pullen, who was frighteningly believable as the bully in Punk Rock,  is spectacular once again as Jason, switching back and forth between the eager innocent of 2000 and the deflated loser of 2008.

Khris Davis, who made an impressive New York stage debut in an intense performance as the first black boxing champ in The Royale, here appropriately scales it back as Chris, a bright young man saving up money to go to college, trying to escape what everybody else accepts as predestined.

James Colby as Stan gives a performance that grows in power, and winds up central to Sweat’s ending. It’s an ending that may or may not stand as a metaphor for what’s happening in America, but is guaranteed to make you cry.

Studio 54

Production Staff
Theatre Owned / Operated by Roundabout Theatre Company (Todd Haimes: Artistic Director/CEO; Julia C. Levy: Executive Director; Sydney Beers: General Manager; Steve Dow: Chief Administrative Officer)
Produced by Stuart Thompson and Louise Gund
Co-commissioned by Oregon Shakespeare Festival and Arena Stage (Molly Smith, Artistic Director; Edgar Dobie, Executive Director); Produced off-Broadway by The Public Theater (Oskar Eustis, Artistic Director; Patrick Willingham, Executive Director)
Written by Lynn Nottage; Original Music by Rob Milburn and Michael Bodeen
Directed by Kate Whoriskey
Scenic Design by John Lee Beatty; Costume Design by Jennifer Moeller; Lighting Design by Peter Kaczorowski; Sound Design by Rob Milburn and Michael Bodeen; Projection Design by Jeff Sugg
General Manager: Thompson Turner Productions; Company Manager: Daniel Hoyos
Production Manager: Aurora Productions; Production Stage Manager: Donald Fried
Press Representative: Boneau / Bryan-Brown; Advertising: SPOTCo, Inc.
Carlo Albán Broadway debut as Oscar; James Colby as Stan; Khris Davis Broadway debut as Chris; Johanna Day  as Tracey; John Earl Jelks as Brucie. Will Pullen Broadway debut as Jason; Lance Coadie Williams Broadway debut as Evan; Michelle Wilson as Cynthia; Alison Wright Broadway debut as Jessie
Understudies: Benton Greene (Brucie, Chris, Evan), Hunter Hoffman (Jason), Steve Key (Stan), Deirdre Madigan (Jessie, Tracey), Lisa Renee Pitts (Cynthia) and Reza Salazar (Oscar)

Running time: 2 hours and 25 minutes.

Tickets: $59 to $149

For St. Patricks Day: The Irish and How They Got That Way

In honor of St. Patrick’s Day, a reposting of my 2010 review;

Eleven U.S. presidents have been descendants of the Irish, including Barack Obama. An Irishman was the first to make a piano in America; take out an American appendix; start a fistfight on the floor of the United States Senate; jump off the Brooklyn Bridge. Indeed, an Irish monk was the first European to discover America, in the sixth century, according to “The Irish…and How They Got That Way,” a musical revue and history lesson that was put together by the retired schoolteacher Frank

McCourt in 1997, a year after his memoir “Angela’s Ashes” made him famous.

The Irish Repertory Theater is now reviving the show exactly a year after McCourt’s death. If it were far shorter than its two-hour length, “The Irish” would be close to ideal as a stage show on Ellis Island, filled as it is with an educational mix of quirky facts and trenchant cracks (mostly about the hated British), historical overview and anecdotes, sentiment and humor, period quotations and old-time melodies, from the familiar (“Yankee Doodle Dandy”) to the inevitable (“Oh Danny Boy”) to the unearthed (“No Irish Need Apply.”) This is not to suggest that it’s an expurgated version of Irish-American history. Though not the irreverent romp that the title suggests, it has its share of zingers: During the nineteenth century, “there were two types of people the Irish did not get along with” one cast member says. “The blacks and the whites.” “This is a dark, dark world,” another quotes Adlai Stevenson. “That’s why the Irish are always half lit.” The six cast members include two that were in the original production, and two who variously play violin, mandolin, bodran, piano and accordion. In a more or less chronological series of monologues, against a changing backdrop of old illustrations, they tell us harrowing stories about the Irish potato famine that killed a fourth of the population, and drove many of the rest to America; about the astounding discrimination to which the Irish immigrants were subjected; about the infamous role the Irish played in the Draft Riots during the Civil War; about the Irish domination of big city political machines and labor unions and their role in the building of America: On a map of the United States, “run your finger along the route of any canal or any railroad and you’ll be passing over the graves of thousands of Irishmen who died… It was a rare thing in America to see a gray-haired Irishman.” They also touch on the Irish involvement in show business. There are four songs by George M. Cohan and a wonderful tap-dance-with-jokes vaudeville routine. Together they suggest the broader entertainment that could have been fashioned out of this gently diverting collection of history and song.

Beckett, George M Cohan, O’Neill, Shaw, Oscar Wilde

Postscript: Some of the world’s greatest dramatists were of Irish birth or heritage

Samuel Beckett

Sean O’Casey

Eugene O’Neill

George Bernard Shaw

Richard Sheridan

Oscar Wilde

Bloody Bloody Andrew Jackson

Benjamin Walker as Andrew Jackson in Bloody, Bloody Andrew Jackson, 2010. The musical by Alex Timbers and Michael Friedman, brought a campy downtown sensibility in its depiction of the seventh president of the United States as a combination sexy rock star, immature populist, and killer. They build in an ambivalence towards Jackson’s legacy with the meta-theatrical device of including a character who is a historian commenting on that legacy – until Jackson kills her halfway through the musical.

In honor of Presidents Day, I resurrect my review of “Bloody, Bloody Andrew Jackson,” which opened on Broadway on October 13, 2010 and closed three months later, on January 2, 2011.

Watching “Bloody, Bloody Andrew Jackson” for a second time, I wasn’t sure whether it reminded me more of “Urinetown,” “American Idiot” or “Springtime For Hitler.” One thing was clear: it was no “1776.”

The cheeky musical about America’s seventh president that has now moved to Broadway has turned me into Sybil, each of  my multiple personalities reacting differently. The history buff in me is appalled. The rock fan is entranced. The politico is irked that others somehow see in this sophomoric mish-mash a useful commentary on what’s going on in the country today. The would-be hipster wants desperately to talk about “emo” rock as if he knew what that meant, make knowing references to bands like Dashboard Confessional, and in general share in the downtown aura that invests this show with much of its marketing appeal. The theater aficionado is thrilled to witness the work of some intensely talented artists near the beginning of their careers, especially the actor who plays Andrew Jackson, Benjamin Walker, and the two first-time creative collaborators, director and book writer Alex Timbers and Michael Friedman, composer and lyricist.

“Bloody, Bloody Andrew Jackson” tries to set itself apart from your normal Broadway musical before the action has even begun, by turning the Bernard B. Jacobs Theater into a discotheque circa 1985 with a combination Wild West and Halloween theme, courtesy of set designer Donyale Werle—red lights are strewn across the ceiling along with the kind of chandeliers you can buy in bulk from ABC Carpet, a full-sized stuffed horse hangs upside down bound in chains, fake oil portraits of unnamed illustrious 19th century men line the walls, and placed throughout the theater are pelts, a Big Buck Hunter video game, a crow, a snarling grizzly bear.

None of this is on the stage, which is itself stuffed with beer cans, moose heads, faded landscape paintings, a disco ball, a dartboard, assorted bric-a-brac, like a T.G.I. Friday’s with an especially detail-oriented manager.

The visual busyness offers a glimpse into the approach of the musical itself, which presents scenes from the life and career of Andrew Jackson — frontiersman, military hero, controversial politician — in the sort of mash-up that might be cooked up by a group of clever, giddy college roommates during a drug-fueled all-nighter after attending an afternoon history lecture.

Bloody Bloody Andrew Jackson, original Off-Broadway production

Bloody Bloody Andrew Jackson, original Off-Broadway production


“Bloody, Bloody Andrew Jackson” is part rock concert, part Fringe show, part shock jock riff, with gratuitous swipes at gay people and the disabled. It is a mock children’s story hour mixed with a Behind the Music episode of the rise and demise of a rock star. The characters speak like 21st century adolescents, and there are a range of anachronistic allusions — to modern-day political campaigns, Internet start-ups, the Bush administration’s policy in Iraq, totalitarian dictatorships.

There is even an odd kind of romance: When Jackson meets Rachel, his wife-to-be (Maria Elena Ramirez) they sing about Susan Sontag’s “Illness as Metaphor”, and bleed each other. “Sometimes when I’m out on the battlefield, and I’m covered in blood and I have terrible dysentery and diarrhea, I think of you,” Jackson says dreamily to Rachel at one point. “Here at the Hermitage, bleeding yourself.”

The musical, which lasts roughly 90 minutes without an intermission, takes us on a quick tour of some of the highlights – and low points – in this profoundly intriguing historical figure, with particular attention to his treatment of Native Americans, focusing on the forced relocation policy, which has gone down in history as the Trail of Tears. The history is unreliable, the tone teeters from silly and fey to offensive and in-your-face. The musical attempts at times also to be pointed and poignant with only intermittent success. Yet for all its flaws and wrong-headedness, the theatergoer in me found that “Bloody, Bloody Andrew Jackson” largely works, because of Michael Friedman’s 13 songs. Played by a three-member band on stage and sung by Walker and the rest of the large, capable cast, they are hard-charging, tuneful, inventive — and, unlike much of the rock on Broadway stages, theatrical. Friedman, who is most associated with the seriously engaged “investigative theater” company The Civilians, is making his Broadway debut…as a composer; he was a dramaturg for “A Raisin in the Sun.” He also reportedly has written the original music for this season’s revival of Tony Kushner’s “Angels in America” at the Signature Theater. Benjamin Walker and Alex Timbers (who is also directing “Pee-wee’s Playhouse” this season) have been getting the ink for “Bloody, Bloody Andrew Jackson.” Michael Friedman is the member of the team I’d vote for.


Bloody, Bloody Andrew Jackson

Bernard Jacobs Theater (242 West 45th Street) Written and directed by Alex Timbers Music and lyrics by Michael Friedman Choreography by Danny Mefford; sets by Donyale Werle; costumes by Emily Rebholz; lighting by Justin Townsend; sound by Bart Fasbender; musical director, Justin Levine; music coordinator, Seymour Red Press; fight director, Jacob Grigolia-Rosenbaum Cast: Benjamin Walker (Andrew Jackson), James Barry (Male Soloist/Citizen/Phil), Darren Goldstein (Andrew Sr./Calhoun), Greg Hildreth (Red Eagle/University President), Jeff Hiller (Cobbler/Messenger/John Quincy Adams/Tour Guide/Florida Man), Lucas Near-Verbrugghe (Keokuk/Van Buren), Cameron Ocasio (Lyncoya), Bryce Pinkham (Black Fox/Clay), Nadia Quinn (Toula/Female Ensemble), Maria-Elena Ramirez (Rachel/Florida Woman), Kate Cullen Roberts (Elizabeth/Erica), Ben Steinfeld (Monroe), Emily Young (Female Soloist/Announcer/Naomi), Kristine Neilsen (the Storyteller) and Justin Levine, Charlie Rosen and Kevin Garcia (Musicians) Running time: 90 minutes without intermission Ticket prices: $61.50 to $131.50. Premium tickets as high as $251.50. Lottery for first two rows of orchestra, $20

Superior Donuts Review: A Play Like a Sitcom

Below is my 2009 review of Superior Donuts, the play by Tracy Letts, which opened on Broadway on October 1, 2009, and closed on January 3, 2010. A new TV series of the same name, starring Judd Hirsch and Jermaine Fowler that is based on the play, is offering a “special preview” tonight before it takes up its regular sitcom slot Mondays at 9 p.m. on CBS — which, if you read my old review below, counts as irony.


What is most shocking about “Superior Donuts,” the new Broadway play by Tracy Letts about an aging hippie who hires a young African-American go-getter to help him run his rundown donut shop, is that it is not shocking at all. It resembles a TV show; “sitcom” has been used almost as frequently to describe it as “sweet.” The sweet has been meant as a pun; the sitcom has not been intended as a put-down. (That’s a shock too.)

Those who saw “August: Osage County” by the same playwright can understand some of the surprise– that much-praised winner of the 2008 Best Play Tony and Pulitzer Prize in Drama, while full of humor and pathos, offered one jolt after another as its tale unfolded of a family afflicted by suicide, addiction, child molestation, incest, adultery, betrayal, deep regrets and deeper unhappiness.

But you would have to go back further to get a fuller appreciation of how different “Superior Donuts” is from any Tracy Letts play previously produced in New York.

In “Killer Joe,” which was last produced in New York in 1998, a drug dealer in debt gives his virgin sister over to a police detective/hired hit man as payment to kill their mother for the insurance money. It does not go as planned. “Nothing’s worse than regrets, not cancer, not being eaten by a shark, nothing,” the brother says in the cheap trailer outside Dallas that is his father’s and his sister’s home. The play is such an over-the-top horror show about stereotypical trailer trash, extremely violent and intentionally ugly, that it comes off as a vicious parody of family life. By contrast, “August: Osage County” seems almost like a comedy of manners.

“Bug,” which I saw at the Barrow Street Theater in 2004, was an even more explicit horror show. Agnes is a drug abusing motel-dweller with an abusive ex-con for an ex-husband and a child who vanished years ago – “I just get sick of it, my lousy life. Laundromats and grocery stores, dumb marriages and lost kids.” She takes in an oddly hypnotic stranger named Peter, who was either a veteran of the Gulf War and the victim of a government conspiracy to implant him with insect eggs, or a delusional paranoid. In either case, Peter infects Agnes – either with his bugs, or with his paranoia. “Bug” later became a horror movie directed by William Friedkin, best known for “The Exorcist.”

As Tracy Letts’ own mother, a novelist named Billie Letts, reportedly once said of his work: “Everybody in Tracy’s stories gets naked or dead.”

A clue to the Letts approach may be in a scene from his far milder play, “Man from Nebraska,” which has not been done in New York*. It debuted in 2003 at the Steppenwolf Theater Company in Chicago, the company of which Letts is a member as an actor and director as well as a playwright. Ken Carpenter, a middle-aged God-fearing family man from Lincoln, Nebraska wakes up one day and breaks down, realizing that he has lost his faith; he no longer believes in God. Acting on advice from his pastor, he takes a break from his life, leaving his wife while he goes on vacation in London, where he eventually befriends a black woman bartender named Tamyra and her flat-mate Harry, a sculptor. He begins to take lessons from the sculptor, using the woman as his model.

Harry the sculptor looks at Ken’s work and tells him to “exaggerate” it. “There’s no point in producing Tamyra again: she already exists. I mean, yes, you want to have the ability to do that: that’s craft. But your belief, your expression of your belief: that’s art.”

And so we come to his latest play, getting laughs at the Music Box Theater.

Franco Wicks, 21 (Jon Michael Hill) walks into Superior Donuts in response to a Help Wanted sign. But the owner, Arthur Przybyszewksi (Michael McKean), whose shop has just been vandalized, and whose ex-wife recently died of cancer, doesn’t want to open for the day, much less hire anybody. Franco talks his way into the shop and into the job. Just after they shake hands on it, Arthur asks Franco where he’s from, and he tells him he has lived his whole life in the area, the Uptown neighborhood of Chicago.

Arthur: How come I’ve never seen you in here?

Franco: I don’t eat no nasty-ass donuts.

This got a big laugh in the performance I attended. I am assuming that some of this is based on the titillation that Broadway audiences consistently get from the utterance of even mildly naughty words; part of it is the surprising sassiness of this response.

But the young man, who we find out later is desperately in debt, had just barely managed through cleverness and persistence to get a job from this stranger. Would he then immediately tell his new boss how much he hated the product that the man sells?

It is hard to discern a realistic characterization here. It is an exaggeration. But unlike the Sam Shepard/Martin McDonagh-like violent exaggerations of Letts’ earlier works, this one has the rhythms of a television comedy.

There are moments in “Superior Donuts” where he does himself a disservice by establishing these rhythms. Among the nine characters in the play is one of the few regular customers of the donut shop, an alcoholic and probable street person whom everybody calls Lady (played by Jane Alderman). At one point Arthur, who has not seen his own daughter for five years, asks Lady whether she has any kids.

“Oh, sure. Two boys, two girls,” she answers. “One of em’s still alive.”

This too got a big laugh, as if it were a one-liner — a reaction that, judging by the dialogue that follows, in which she explains how her children died, was not what Letts was trying for.

The plot also follows a familiar and overly contrived television formula, the two men from very different worlds overcoming obstacles both external and internal, and changing one another for the better. And, to complete the TV picture, there is the rest of the cast of characters, who, if this were in fact on television, would be called wacky: The police officer (James Vincent Meredith) who likes to dress up like Captain Kirk and attend Star Trek conventions, and his lady cop partner (Kate Buddeke); the heavily-accented Russian Max (Yasen Peyankov)* who owns the DVD store next to the donut shop and wants to buy Arthur out so that he can expand, and Max’s recently-immigrated nephew Kiril (Michael Garvey) who is as big as a truck and as shy as a little girl; and two thugs who provide the catalyzing tension in the play, Luther (Robert Maffia) who drinks milk for his ulcer, and his henchman Kevin (Cliff Chamberlain.)

What saves “Superior Donuts” from standard small-screen mediocrity are the down-to-earth performances, especially by McKean (who, ironically or not, is probably best known for his role as Lenny in “Laverne & Shirley,” but who has been a regular in Christopher Guest’s satirical films, such as “A Mighty Wind” and “Best in Show”, and has a list of Broadway credits, including last year’s “The Homecoming” by Harold Pinter); credible details of character that TV writers don’t have time for; and, beneath the jokes and the heartfelt hopefulness, an undercurrent of sorrow, regret, isolation and even ugliness that would probably keep ratings too low for prime-time.

The bio for Tracy Letts in the play’s program includes the information that he has appeared as an actor in half a dozen television series. But it also mentions that he authored an adaptation of Anton Chekhov’s “Three Sisters.” Given the presence in “Superior Donuts” of Max the Russian, who bears a resemblance to the ambitious ex-peasant Lopakhin in “The Cherry Orchard,” I suspect that the effect that Letts hoped for was less Norman Lear and more Chekhov, who strove to find both the humor and the tragedy in the dreary lives of people forced to find their way through cataclysmic changes in the world around them. Or maybe Letts just wanted a break.

*”Man from Nebraska” directed by David Cromer and starring Reed Birney, will open at Second Stage on February 15.

In the sitcom, the business owner next door is now named Fawz (Maz Jobrani) and is Iraqi.

I’m not sure if this is a further irony, but Jon Michael Hill, who made his Broadway debut as Franco, was nominated for a Tony Award for his performance, but has not been on stage since,  becoming instead a regular on television, first in the police drama, Detroit 1-8-7,  and now as Detective Marcus Bell in the CBS series Elementary.  (Michael McKean, who’s been on Broadway twice more, is a series regular on Better Call Saul.)

The play:

The sitcom: