It’s difficult not to think of the obvious comparison – this musical is as sweet as the copious amounts of sugar that sprinkle the stage by the final bow...
Based on the 2007 film by Adrienne Shelly, Waitress was born of an incredible female-led creative team including a book by Jessie Nelson, direction by Tony-award winner Diane Paulus and choreography by Lorin Latarro, all wrapped up in music and lyrics by Grammy award-winning Sara Bareilles which perfectly capture every moment of this messy love story.
Jenna (Aimée Fisher) is a kind and brilliant but down-trodden pie maker at a highway diner, trapped in an unhappy marriage. She dreams of leaving her “snake of a husband” for a happier life, but things get more complicated when she discovers that she’s pregnant with an unwanted baby - and even more so when she meets her new gynaecologist, Dr Pomatter (David Hunter).
Supported by her fellow waitresses and best friends, Dawn (Evelyn Hoskins) and Becky (Wendy Mae Brown), Jenna tries to navigate her pregnancy while planning her escape from husband, Earl (Tamlyn Henderson).
Fisher as Jenna (a last-minute swap from Chelsea Halfpenny, who is unexpectedly indisposed) quickly has the opportunity to show off the sweet side of her voice in What’s Inside, which builds beautifully into the ensemble song Opening Up – you blink, and suddenly the previously simple staging has been transformed into a pie diner. Perfectly choreographed, the main cast and ensemble move smoothly together whether they’re dancing across the stage, passing ingredients between each other or sliding pies across the counter.
While Becky provides fantastic moments of comic relief, sharp reminders of her reality are mixed in to make her feel real
It’s absolutely no wonder that Evelyn Hoskins has reprised her role as Dawn from the West End production of Waitress. As the anxious history-fanatic, Hoskins gets every movement and facial expression spot on. And then for her solo, When He Sees Me, she absolutely stuns, the tiny pie waitress suddenly filling the stage. Her blossoming relationship with the eager poet Ogie (George Crawford) is just as captivating as that of Jenna and Dr Pomatter.
Wendy Mae Brown gets her chance to show off not only her voice but the complexities of her character in I Didn’t Plan It – there are no background characters in this show. While Becky provides fantastic moments of comic relief, sharp reminders of her reality are mixed in to make her feel real.
David Hunter, another alumni from the original West End production, is the perfect dork as Dr Pomatter. Funny and sweet, Hunter’s slightly slapstick doctor delights every time he’s on stage - especially during the frantic energy of his duet with Jenna in Bad Idea. It’s not hard to see how Jenna would see him as an escape from her monotonous life and unhappy home
Packed with moments of joy and melancholy, Waitress is a masterpiece of story, music and movement
The contrast between different musical numbers also perfectly illustrates the relationships between the characters – the harmonies of Jenna, Dawn and Becky as they lean in together and move in sync during A Soft Place to Land, compared to the mostly-solo effort of Earl’s You Will Still Be Mine with Jenna’s accompaniment a forced, reluctant addition. And then we have It Only Takes a Taste between Jenna and Dr Pomatter, with all the awkward chemistry and unexpected giddiness of discovering something new and unexpected.
Fisher’s rendition of the emotional She Used to Be Mine is performed to few dry eyes; just as powerful in the quieter moments as the impressive theatre-filling notes. And with Everything Changes, the culmination of Jenna’s story could be likened to one of her more unusual pies – somewhat bittersweet, but absolutely satisfying.
Packed with moments of such high joy (Bad Idea (Reprise), I Love You Like a Table) and melancholy (Take It From an Old Man, Dear Baby), Waitress is a masterpiece of story, music and movement that’s equal parts fun, emotional and an all-around crowd-pleaser.
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