Review: Waitress (UK Tour)

Review by Daz Gale

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It’s hard to believe that it has been a decade since Waitress first wowed audiences on Broadway, melting the hearts of theatre lovers on both sides of the Atlantic like a particularly gooey pie. To celebrate that milestone, the show is returning to British shores, opening up at theatres all over the UK, with a musical theatre superstar donning Jenna’s apron. Would this latest production have all the ingredients to continue the love the show has received over the last ten years, or would it leave a bad taste in my mouth?

Based on the 2007 movie, the musical adaptation of Waitress was first seen in 2015, with this year marking the tenth anniversary of its Broadway transfer. It tells the story of Jenna, a waitress and expert pie-maker at Joe’s pie diner, whose life hasn’t turned out the way she had hoped. Stuck in a loveless marriage with her abusive husband, Earl, she dreams of some happiness in her life. When she falls pregnant, she meets Doctor Pomatter and begins to imagine a new life for herself. With help from her workmates Becky and Dawn, who each have obstacles in their own love lives, would she be able to find the perfect recipe for the pursuit of happiness?

I may have posted a review for another of my favourite musicals, Kinky Boots, today, but Waitress is as good as it gets for me - a strong contender for my number one (though I can never decide from my top four musicals). I fell in love with the show the first time I saw it on Broadway in 2018, and was a regular punter at the Adelphi diner during its West End run. While other shows try to reinvent the wheel and mix it up a bit when reviving musicals like this, the touring production of Waitress is the one audiences know and love, with only the smallest of tweaks. The result is something that feels satisfyingly familiar, and as comforting as a home-made pie. Much has changed in my own life since I was first immersed in Jenna’s world of Waitress. I even relate to certain aspects of the story and lyrics that didn’t quite resonate before, but there is a reassuring nature of being able to watch one of your favourite musicals knowing it is in pretty safe hands.

That all comes down to the show having the right base ingredients, courtesy of writers Jessie Nelson and Sara Bareilles. Nelson’s book takes the elements from the movie and elevates it for the stage adaptation, adding a richness to the world and a relatability to these characters that audiences are effortlessly able to connect to. Jenna’s story may not be the cheeriest all the way through, but it is one many watching can connect to, no matter how closely their own histories align with Jenna’s story. The show stretches beyond that, offering no shortage of flavours that create a feast for your emotions. With some truly hilarious moments (‘Bad Idea’ (Reprise) taking the cake, or pie, I guess), heartwarming aspects such as Dawn and Ogie’s relationship, a sprinkle of horniness with the Jenna and Pomatter situation, and an abundance of heart, Nelson’s book combines all of these elements in perfect taste to create a show bursting with essence. It is in the meatier aspects of Waitress that the brilliance of the writing of both Nelson, and original film writer Adrienne Shelly is felt. The abuse and violence Jenna faces in her marriage is a very real issue and one that is handled with sensitivity and care, never making light of the severity of it, and offering hope for anyone who is in a similar situation.

The real beauty in Waitress is in how Nelson’s writing blends so beautifully with Sara Bareilles’ music and lyrics. Each song adds to the narrative, feeling like a natural extension to the story, rather than being shoe-horned in. Bareilles is a truly gifted songwriter, and her talents lend themselves well to the theatre, with a rich mix of styles resulting in a collection of songs that have gone on to become musical theatre classics in the last ten years. From addictive opening number ‘Opening Up’ to the comedy brilliance of ‘Never Ever Getting Rid Of Me’ and the perfection of Act One closer ‘Bad Idea’, there is no shortage of incredible songs in what may be my personal favourite and most listened to cast recording ever. The stripped back emotion is allowed to soar in ‘A Soft Place To Land’ to rousing effect, while ‘Everything Changes’ wraps things up beautifully in a song any mother can relate to (so I’ve been told). Waitress has one of the most consistently strong collections of songs of any musical, with ‘You Matter To Me’ and ‘What Baking Can Do’ two other standouts. However, there is one song that still needs to be mentioned, but for that, I need to talk about the star of the show.

Stepping into Jenna’s apron is the always wonderful Carrie Hope Fletcher, in a role it feels like she was born to play. Having spoken to Carrie about the show on my podcast, she has a long history with Waitress, and her love for the show is part of what makes her performance so intoxicating. I have seen wildly different interpretations of Jenna over the years, with some offering a more restrained and almost defeatist approach, while others opt for a jollier take. Carrie’s Jenna is somewhere in the middle of that, showcasing a light in her eyes that constantly battles the hope, even if it seems unlikely. This contradiction is expertly handled by Fletcher, offering an incredibly fleshed-out and believable take on the role that ranks as one of the greatest I have seen (and I've seen a fair few Jennas in my time). The warmth and authenticity in Fletcher’s performance is furthered by her ability to inject a bit of herself into the character, with her own journey into motherhood allowing for Jenna’s pregnancy storyline to feel all the more real, resulting in the most emotional and natural ‘Everything Changes’ I’ve ever seen.

Needless to say, Carrie Hope Fletcher also brings the house down with her incredible vocals, with ‘What Baking Can Do’ and ‘A Soft Place To Land’ showcasing the versatility and power in her voice. Never putting a foot wrong throughout, it is the show’s signature song that showcases Carrie at her best. ‘She Used To Be Mine’ has become a classic in itself, becoming one of those songs that exists on its own outside the musical, often performed in concerts and television shows. I cite ‘She Used To Be Mine’ as not only my personal favourite musical theatre song, but possibly the greatest musical theatre song there is. There is such a richness and cleverness to the lyrics that I have managed to take different things from over the years. How does Carrie Hope Fletcher tackle a song as daunting as this? The answer is flawlessly. The attention to detail and care given to every note and every word is second to none, with Carrie taking her time in telling the story before the explosive climax, and offering an interpretation that feels both unique to her, while sitting within the realms of the song so as not to rock the boat and deliver the moment as effectively as necessary. Dare I say this may be the best version of ‘She Used To Be Mine’ I have ever witnessed? What I can say is her performance of this number may well be the single best four minutes you will experience in a theatre this year.

The diner also features two returnees, with Sandra Marvin and Evelyn Hoskins reprising the roles of Becky and Dawn. Having starred in the show some years ago, there is a sense of safety and security in their hands, but their characterisations this time around are better than ever before. Marvin nails the comedy timing in her Becky, raising the roof on ‘I Didn’t Plan It’ and demonstrating a fun and thrilling dynamic with Cal (Dan O’Brien). Meanwhile, Evelyn Hoskins has got the essence of Dawn nailed, wonderfully capturing her sweet, naive and initially frightened nature, paving the way for the growth the character goes through. Every beat Hoskins hits is faultless, with even more exaggerated mannerisms for the character, bringing a new meaning to the term “New Dawn Rising”.

The most drastic change in this production of Waitress is the character of Nurse Norma, with a new accent this time around. She still retains all of the sass she already had, but this new twist accentuates some of the more comedic moments, with Ellie Ruiz Rodriguez wowing in the role. Dan Partridge gives a sweet and solid turn as Dr Pomatter, brilliantly playing up to the goofy and clumsy nature of the character in a wonderfully lovable performance. Mark Anderson is an undoubted standout as Ogie, ensuring every joke lands and finding his own take on the character with some fantastic additions. It is impossible not to smile whenever Ogie is on stage, and Anderson feels like the perfect performer to take this on. Elsewhere, Mark Willshire delivers a strong turn as Earl, while Les Dennis brings something new to the role of Old Joe, though admittedly he did struggle with some of his lines at this performance.

Though there are a few minor changes in Waitress, this is a fairly safe revival of the original production, with Diane Paulus’ direction still hitting the sweet spot every time, with Abbey O’Brien’s restaging ensuring the show still hits the mark on touring stages around the country. To quote Old Joe, Lorin Latarro’s choreography is “a thing of beauty”, while Scott Pask’s set design is familiar in how it immerses you into the world of the diner, elevated by a great use of lighting from Ken Billington. A beautiful touch is in how dear Waitress holds its family of performers who have immortalised roles, with the list of pies on display in the diner now featuring tributes to Nick Cordero and Gavin Creel. It is the inclusion of small but meaningful touches such as these that set Waitress apart, allowing it to connect and elicit an emotional response in ways few shows manage.

Waitress is a very special show to me, and this production has changed none of that. Anyone who was a fan of the West End or Broadway production should love this touring version just as much, if not more, with some great new additions, while never rocking the boat and retaining the essence of what has made Waitress so loved over the last ten years. Where this production truly shines, however, is in its incredible cast. Returning favourites who are better than ever before and brand new additions who are just as strong, it is Carrie Hope Fletcher's turn as Jenna that proves to be the cherry on top in a faultless and phenomenal performance that ranks among the best Waitress has ever seen. This performance was as good as I have ever seen the show before, with all of the ingredients leading to a delicious recipe, bursting with flavour. One thing’s for sure - I’ll definitely be coming back for another slice.

Waitress plays at New Wimbledon Theatre until 4th April, with the tour continuing all over the UK until 31st October. (Carrie plays all venues apart from Sunderland until 22nd August)

Dates and tickets here

Photo by Johan Persson