David Lindsay-Abaire’s new show, “Good People,” got some very positive reviews today, including mine. (And a pleasant surprise it was, too, since I’d deeply disliked the playwright’s previous outing, “Rabbit Hole” — a monument of middlebrow blandness.)

In any case, not everybody is gushing about “Good People,” in which Frances McDormand’s working-class Margie devotes her time and energy to looking for employment. I was sitting within earshot of a well-known scribe when I saw the show, and he sounded completely baffled. “She’s so bitter and twisted,” he said of Margie. “She’s insane. It’s impossible to care about her.” Hmmm, maybe she’s just, you know, poor?

“And why is she going on and on about a job?” he continued. “It’s all she can talk about.” Well, maybe you’d get a little single-minded too if you desperately needed a paycheck.

Meanwhile, the scribe’s companion couldn’t understand why the characters didn’t just chill: “There were compromises available to everyone,” she opined. But before being canned, Margie told her supervisor she was willing to take a pay cut. What else was she meant to compromise on?

Too often Broadway feels completely cut off from the very real financial difficulties encountered by millions of Americans, and personally I love the empathy and generosity Lindsay-Abaire has toward these “Good People.” (And relax everybody: the play isn’t “Norma Rae.”)