Washington Post - Somewhat Recommended
"...The budding relationship between Arthur and Franco is "Superior Donuts' " bungee cord. Ramey's exuberant performance proves an entertaining counterpoint to Cotovsky's stoicism. By degree, Cotovsky allows you to see what still throbs in Arthur's soul, that he yearns for a second chance. If only the playwright hadn't felt it necessary to spell everything out, in intrusive disgorgings of Arthur's memories."
Washington Examiner - Highly Recommended
"...But it isn't just the brilliant, perceptive writing that makes us believe in the weight of "Superior Donuts." Under Serge Seiden's skillful direction, there are marvelous touches imbued throughout Letts' work, a solid production that features adept acting with nuanced interpretations by his cast. Johnny Ramey has an ineffable, infectious charm as Franco, in a lightning bolt performance that shines alongside Richard Cotovsky as the draft-dodging, doughnut-crafting Arthur. And while Barbara Broughton lends a very human face to the rituals of addiction in her much smaller role as Lady Boyle, it is ultimately Cotovsky's fabulous old hippie, torn between his conscience and his cash flow, that makes "Superior Donuts" a delicious, substantial piece of theater."
MetroWeekly - Highly Recommended
"...Cotovsky and Ramey are fantastic together, playing off one another with a brilliant generosity and spirit of collaboration. They are fantastically matched and, through their talents, manage to smooth over some of those areas where Letts's material seems strained a bit thin. Nothing completely jolting or utterly undoing, but spots where the audience is either able to anticipate where we are headed too quickly, or left questioning why we went down this particular road to begin with. This is to say nothing of the Deus ex Russian."
WeLoveDC - Highly Recommended
"...What makes this show so great is more than the hilarious bits, more than well acted performances from Arthur and Franco, more than a supporting cast that truly compliments the show. Director Serge Seiden brings out the word of playwright Tracey Letts to explore immigration, friendship, and American entrepreneurship all in the world of coffee and donuts. The show embodies and explores so many themes, ideas, and tensions within America’s immigration story, but the end makes one thing clear: the true answer to our current problems does not lie in borders or assimilation but in acceptance and the realization that no matter what background, skin color, or occupation we all have to work together if we want to build a great society and create amazing things."
Washington City Paper - Recommended
"...Though the mood and method of the play are sitcom-ish, with subsidiary characters stopping by for no better reason than to let the author make Star Trek and Dolph Lundgren jokes, violence will eventually erupt—ear-biting, palm-scalding, finger-breaking violence on stage, and something more off it—though the playwright’s point is that physical violence is ultimately less scarring than the emotional kind. Serge Seiden’s staging doesn’t mine as much comic gold as it might along the way, and the second-act slugfest is too clearly being faked in Studio’s intimate quarters, but the central relationship plays persuasively thanks to a fine, understated performance by Cotovsky, and a downright charismatic turn by Ramey. What the two of them do with a bit of cultural one-upmanship—Arthur bristling when Franco challenges his knowledge of black poets—is worth all the sentimental stickiness you have to wade through to get to it."
Washingtonian - Recommended
"...But Letts’s play—directed with thoughtfulness and frequent visual jokes by Serge Selden—is strongest when it delivers heartbreaking glimpses of humanity, such as a scene in which Arthur helps Franco piece his life back together after a tragedy and another in which a Russian thug (Aaron Tone) gently guides a confused old lady (Barbara Broughton) back to her chair. Chicago theater institution Richard Cotovsky delivers an understated, compelling performance as Arthur, and he deserves credit along with Chris Genebach for taking part in one of the best fight scenes in recent memory. Johnny Ramey, who reportedly stepped in at the last minute to play Franco, delivers a mesmerizing performance. Russell Metheny’s appropriately cluttered set shows the back view of the doughnut shop rather than the front, forcing the audience to see things from Arthur’s unglamorous perspective. "
Washington Blade - Recommended
"...Gay director Serge Seiden draws terrific performances from Cotovsky and Ramey as well as the remainder of the talented cast who bring sensitivity to what could be stock portrayals. Standouts include Gregor Paslawsky as Max, the ruthless-but-somehow-likable Russian; Julie-Ann Elliott as Randy, a tough but shyly lovelorn lady cop; Chris Genebach as the local bad guy bookie; and Barbara Broughton’s Lady, an eccentric old woman who shows up each morning for free donuts and coffee before heading off to an AA meeting or a day of drinking at a local dive (depending on whatever the way the wind blows her)."
DCTheatreScene - Highly Recommended
To quote Chicago’s erstwhile poet laureate, the late, great Harry Carey – Holy cow! What a play!
It opens with an act of petty crime, borne of passion – someone has broken into Arthur’s store and vandalized it – and climaxes with a much larger criminal act, also borne of passion. You will flinch at the first one, and cheer on the second with all your might.
