by Miryam Gordon - SGN A&E Writer

SUPERIOR DONUTS
SEATTLE PUBLIC THEATER
Through October 21

A sweet gem is running at Seattle Public Theater. Superior Donuts is by playwright Tracy Letts, who got great notice for the sprawling work he wrote the year before this (2007), August: Osage County. In contrast, this play is a quiet piece, almost contemplative - wistful and wry, with heartfelt struggle but also hope.

The look of the play is rundown, so initially it kind of looks and feels like a 'small' play concept, an intimate but unprepossessing evening. Slowly, you realize that the set of a small rundown donut shop, designed by Craig Wollam, has to be exactly that way - with the automatic coffee machine that looks like it shouldn't work due to being so banged up, the first looks of the shop which has just been damaged in a looting spree, and the feeling that it's been sitting in the theater neglected for years.

As the door to the shop opens, the whistling cold sounds of snowy Chicago push in (courtesy Jay Weinland), and the play begins to pick up life. We learn that Max (Alexander Samuels), the shop's neighbor, covets the space to enlarge his own business. The neighborhood is run down, full of empty pockets. The proprietor, Arthur (a world-weary, battered Kevin McKeon), sometimes doesn't even bother to open up shop.

The local cops (Jena Cane, Troy Allen Johnson) know their beat and even get coffee at the shop. Cane's character has a bit of a crush on Arthur, who barely registers anyone's concern.

Then, Franco bursts in and wakes the joint up with verbal patter and a joy that is palpable. Charles Norris endears himself to the audience as well, energizing the play and putting the story in motion. He's looking to get hired, apparently by putting down the whole concept of a donut shop, but there is something that causes Arthur to give him a try. Their relationship - first rocky, then bonding - drives the rest of the evening, as they get to know one another and Franco teases Arthur out of his self-absorbed funk.

NOT ALL SWEETNESS AND LIGHT There is a subplot of danger, with Franco, a part-time hustler, having gotten into deep water with a local loan shark (Gordon Carpenter). So, the play is not all fun and teasing zingers. We know there is little likelihood that Franco will be able to pay him, and we are not sure how it will resolve. This creates some tension in the play. The subplot's resolution is unique and quirky.

Russ Banham, who directs this tight ensemble, helps everyone hit the right notes here. This is a well-directed production.

McKeon and Norris play beautifully off one another, McKeon's burdens and Vietnam-vet memories revealed in outside-of-time monologues to the audience - giving us some insight into him that Franco is not privy to. The fact that his wife had recently died also grounds this character in grief and submission. Norris's energy as the fast-talking, I-have-a-dream Franco is a marked contrast and a lot of fun to watch.

This is a great play for the intimate Bathhouse, and Seattle Public should be proud of its presentation. It'll stick to your ribs for quite a while as you digest its meaning. Give in to your sweet tooth with Superior Donuts.

For more information, go to www.seattlepublictheater.org or call (206) 524-1300.

Discuss your opinions with sgncritic@gmail.com, or go to www.facebook.com/SeattleTheaterWriters.

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