Review: SUPERIOR DONUTS BY TRACY LETTS at Stagecraft Theatre

Superior Donuts, written by Pulitzer Prize-winning playwright Tracy Letts (best known for August: Osage County), is a sharp, heartfelt comedy-drama that premiered in Chicago in 2008 before moving to Broadway in 2009.

Set in a struggling donut shop in Chicago’s Uptown neighborhood, the play introduces us to Arthur Przybyszewski (Allan Burne), a weary former 1960s radical whose life has settled into quiet stagnation. His world is shaken when Franco Wicks (McKay Findlay), an ambitious young writer with big ideas—and a dangerous secret—bursts into the shop determined to breathe new life into it. What follows is a story of unlikely friendship, redemption, and the clash between old ideals and new dreams.

The production opens with the aftermath of a brick thrown through the shop window. From there, we meet a colorful cast—Max (Chris O’Grady), the blunt and racist (no offence) neighboring store owner; police officers James and Randy (Wiremu Tuhiwai and Sarah Dickson Johansen); Lady (Gitta Majumunder); Luther (Peter Moore); Kevin (Alex Fox) and a memorable cameo of Kiril (Nick Edwards). Once Franco arrives, the energy on stage becomes electric, and the narrative truly takes flight.

The intimate set design (Lucy Sinogeikas) draws the audience into the donut shop itself, with its sparse furnishings and authentic details(Jack Thompson). Even the constant doorbell chime, which could have been distracting, fades into the rhythm of the play as the story unfolds. Costuming (Wendy Howard) is simple yet effective, while lighting (Emma Bell) is good—especially during a gripping fight scene choreographed by Janet Noble.

Performances are strong amongst the leads. Burne’s Arthur and Findlay’s Franco are compelling in their contrasting styles, and the supporting cast adds humor and depth. Max’s unapologetic bluntness and the dynamic between the two officers provide moments of levity amid serious undertones.

The direction is confident, however, occasional upstage delivery made some lines hard to catch from the back rows—a minor flaw in an otherwise engaging production. This is a well-written, well-acted play that balances humor with poignancy. We left the theater entertained, moved, and thinking about the connections that shape our lives.

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