Once upon a time in a donut shop

Morgan Gould’s’ “Jennifer, Who is Leaving" finds humor in a lonely Massachusetts donut shop. Her comedy’s now on stage at Urbanite Theatre. According to director Céline Rosenthal, it’s a character study of three stressed-out, unappreciated, overworked women. Paid or not, they’re all caregivers. The society around them takes their work for granted but doesn’t care for them. They’re all stuck — but they just might find a way out. Rosenthal doesn’t want to spoil the play’s surprise. She’s happy to share why it matters.

What’s the plot and premise of this play?

We meet Jennifer in a donut shop on a dark, snowy night in New England. Our heroine is at her breaking point. Over the course of the evening, she’ll make a huge life change.

And that change is a secret?

Yes, we don't want to give away what happens. But Jennifer’s facing a big life crisis. But through her interactions with the people in the donut shop, she figures out what to do next. The characters all have these quirky, beautiful idiosyncrasies — the women especially.

Image courtesy of Sorcha Augustine

As I understand it, the female characters are all caretakers.

That’s right. Caretaking jobs and responsibilities disproportionately fall on women and people from marginalized communities. Caring for a loved one, children or someone who is sick — these roles are crucial, but often devalued. Morgan gives a voice and humanity to those people we often overlook.

And these women are the invisible women. The play makes you see them.

Exactly. Nobody really thinks about the person serving you coffee at 2 a.m. at a donut shop or the person taking care of your loved one in a nursing home. Morgan’s play takes a powerful look at their invisible labor. It’s a lovely intergenerational story, too. You see three women at different stages of life. One is contemplating retirement; one is having a midlife crisis; and one is about to take her SATs. The older women help the younger woman consider her own future. They’re all at the crossroads. There’s a lot at stake for all three.

How does the playwright find humor in such a serious situation?

Morgan is a great observer of human behavior. And this is definitely a character-based comedy — not set-up and punchline humor. She pulls out the quirks in each of these characters. You laugh because you see yourself in these characters or recognize their situations. So, one character jokes about how every wife wants to kill her husband sometimes.

That’s definitely relatable — on both sides of the equation. 

It’s something you might think, but wouldn’t say out loud. But (the character) Nan does.

That’s universal. 

Yes. But Morgan expresses the universal in a specific time and place.

New England, obviously.

Yes. To me, Morgan Gould is like the poet laureate of southern New England. She grew up in southern New England, where the play is set. I also spent part of my childhood there. She’s really captured that sense of home and community. Even if you're not from New England, you’ll recognize the flavor of the culture. And the feel of a donut shop!

I actually know how that feels. I worked the graveyard shift at a donut shop once. It ruined me for donuts for years.

Oh, I can imagine!

3 a.m. is the “Hour of the Wolf.” It’s a weird time to be awake.

Yes, it is. But there’s something special about those hours, though. I used to work nights as a paramedic in New York, and there’s a rhythm to it. It feels like stolen time — almost otherworldly. For Jennifer, those quiet hours are the only time she can truly reflect on her life.

What’s it been like bringing this time and place to life on stage?

We’ve had fun creating the environment of a New England donut shop late at night. We want the audience to feel like they’re right there. Along with Jeff Weber’s amazing set, the actors deliver very specific performances. They’ve worked to give their characters the size, intensity and humor they need — while keeping them grounded in reality.

What’s it like working with Summer Wallace in the lead role?

It’s been a joy. It can be intimidating — as she’s the artistic director of the theater, too. But she’s impressive, both on-stage and off. She also did the props design, so every donut on stage is a Summer Wallace creation!

Image courtesy of Sorcha Augustine

That’s impressive. What about the other actors?

Suzanne Grodner is a powerhouse in her role. Trezure Coles, a recent Asolo Conservatory graduate, is stepping into the professional world with such grace. And Ned Snell, the only man in the cast, is taking it all in stride.

I figure two back-to-back hurricanes must’ve been challenging. The show still went on — but it must’ve been tough,

It was tough. We lost three days of rehearsal to Hurricane Helene and another three days to Milton. In an already tight schedule, that’s a lot of time to lose. But the cast and crew have been amazing. Everyone rallied and did their best to catch up. It felt like running a marathon with a weighted vest, but we did it. I’m incredibly grateful for the team’s resilience.

Your audience is, too. Final question — will there be donuts?

Yes. There shall be donuts!