Superior Donuts

Superior Donuts arrives at the Gryphon Theatre with warmth, wit, and a surprising emotional punch. Tracy Letts’ script centres on the unlikely friendship between Arthur (Allan Burne), the weary owner of a rundown Chicago donut shop, and Franco (McKay Findlay), the young, energetic employee who storms into Arthur’s stagnant world with ideas, ambition, and a stubborn refusal to let the shop, or Arthur, stay stuck in the past. Their evolving connection is punctuated by Arthur’s quiet monologues, in which he slowly, hesitantly reveals the regrets and wounds that still haunt him.

The production design cleverly supports this dynamic. The donut shop set (design by Lucy Sinogeikas) is pulled forward on the Gryphon stage, creating an inviting, almost nostalgic intimacy while leaving enough space to glimpse the Chicago street beyond through the shop window. It feels lived-in, warm, and grounded. The small bell that chimes whenever someone enters or exits proves an unexpectedly charming detail, subtly reinforcing the rhythm of daily life in the shop.

There’s an easy humour throughout, particularly in the miscommunications between characters from different backgrounds. The play’s cultural collisions are handled with lightness, allowing the comedy to emerge naturally.

The cast inhabit their roles with infectious delight. Findlay’s Franco is all authenticity and vibrancy, an immediately compelling presence who lights up the stage and makes it impossible not to root for him. Opposite him, Arthur’s tentative, awkward courtship with local policewoman Randy (Sarah Dickson Johansen) provides some of the production’s sweetest moments, with the actors’ clumsy, halting exchanges creating tenderness.

At times, accents and some mumbled delivery cause key lines to blur, and occasionally actors seem to play moments inward rather than responding fully to each other. I am certain that throughout the season, the connection will grow and help the emotional beats land with greater impact.

The climax of the plot is an excellently executed fight scene. Sharply choreographed (fight direction by Janet Noble) and enhanced by bold, clipped lighting blackouts (lighting design by Emma Bell), the tension and believability of the blows is the best I have seen on stage.

This Stagecraft Theatre production captures the heart of Superior Donuts with warmth and humour, offering a charming, hopeful, bittersweet night at the theatre.