What can New York theater learn from Chicago theater?
Kate: Collaboration. Chicago works like a hurricane: the director is the eye. New York is like a hierarchy: the actors are at the bottom. We’re the last to know anything. We’re the last to find out who we’re working with. We’re the last to know what we’re wearing. We meet at the first day of rehearsal. Collaboration. Michael McKean, playing Arthur Przybyszewski So here you are, back on Broadway in a new play. I am — I played the part in Chicago with Steppenwolf. It’s also my first experience with Steppenwolf and it’s a great gig — Chicago’s a great theater town. I get the feeling very few people go to the theater just because it’s the thing to do. They go to see a play, and they don’t suffer crap, as none of us should. Superior Donuts is a play about Chicago to a certain extent, but as there’s great loneliness in the middle of every crowd, there’s great loneliness in the center of every city. I think that’s partly what Arthur Przybyszewski is. Kudos on pronouncing that consonant-rich s
