Waitress - just as sweet at ten

★★★★

As Waitress celebrates its tenth anniversary as a musical, it seems entirely fitting to reflect.

Photo by Matt Crockett

The musical by Sara Bareilles touches on and has experienced a lot of love and a lot of grief. Based on an original story by Adrienne Shelly, who was tragically killed before she could see the finished film, the story centres on Jenna, a pie-baking waitress trapped in an abusive relationship, pregnant, and falling in love with the idea of her doctor.

Throughout the ten years, the Waitress family has been through a lot, including the passing of the late, great Gavin Creel, who appeared on stage with Bareilles. Meanwhile, Bareilles found love with original cast member Joe Tippett and married him.

As a new mother herself, Carrie Hope Fletcher wears the blue apron on this tour, delicately submitting herself to vulnerability, driving forward with that full, rich voice she’s so known for. She’s propped up on stage charmingly by UK Waitress veterans Evelyn Hoskins as the dorky but adorable Dawn and Sandra Marvin as the strong-headed secret romantic Becky. Both characters are so delightful you can’t blame either performer for returning to the roles. They are the comedic filling to this pie show.

As Jenna grieves for the “girl she once knew,” it’s a full-throttle rip of a Band-Aid as Fletcher performs the 11 o’clock number with all her might. Under Christopher Akerlind's cotton-candy lighting, the ensemble floats around our heroine (Lorin Latarro's movement and contemporary choreography brim with love), a support ready for her to just let go. The same can be said for the onstage band, who add a little small-town American charm. In contrast, Jessie Nelson's book’s handling of domestic violence is unflinching and visceral - given the time, attention and detail needed by director Diane Paulus.

As Dr Pomatter, Dan Partridge is right back at home on Curve’s stage playing yet another awkward but dashing love interest, after his year-long stint as Charlie in Kinky Boots. Mark Anderson's Ogie, as expected, brought the house down with his “Never Getting Rid of Me” (it was true for a past Ogie, Joel Montague, who by some invisible string is now married to Fletcher). One small, but significant change to this tour comes at the very end when little Lulu usually makes an appearance, demonstrating time passing for all characters. But here, she’s a young doll, which puts a bump in the road for a more obvious development with another major character.

The point of this show is connection. It’s why so many company and audience members keep finding their way back to Joes. It can all so often feel like there aren’t many safe spaces in the world, but for the last ten years, we’ve had one in Waitress.