Waitress review: Carrie Hope Fletcher new staging is served to perfection

by

A star rating of 5 out of 5.

I saw Waitress in London back in 2020, and it was incredible! Sara Bareilles, who wrote all the beautiful music and lyrics, was performing, along with the wonderful Gavin Creel. It was such a fantastic show, and sadly, we lost Gavin earlier this year. I’ve been hoping it would come back ever since, but I honestly didn’t think they could find a cast to match that original brilliance.

I’m pleased to report that this UK tour, which began in Wimbledon for its 10th anniversary, is just as enchanting as the original production, thanks to Abbey O’Brien’s skillful direction. Carrier Hope Fletcher shines as Jenna, the talented pie-maker and waitress at Joe’s Pie Diner, and Dan Partridge is hilariously funny as the anxious but kind Dr. Pomatter.

The musical is based on the 2007 film by Adrienne Shelly. It tells the story of Jenna, who is trapped in an abusive marriage with Earl (played with believable crudeness by Mark Willshire). When she discovers she’s pregnant, her desire to escape feels impossible. However, a $20,000 pie-making contest offers a potential solution. While her husband dismisses her baking skills, Dr. Pomatter recognizes Jenna’s talent and believes her pies are award-worthy.

Although the story has some sad moments, it’s also really funny – even funnier than before, I think, with some new jokes that hit the mark. The characters, written by Jessie Nelson, feel incredibly real because they’re all flawed and honest about who they are.

Mark Anderson is fantastic as Ogie, Dawn’s quirky and devoted admirer, and consistently steals the show. Les Dennis shines as Joe, the diner owner – a grumpy but lovable character who has faith in Jenna. Dan O’Brien effectively portrays Cal, the diner manager, switching between a tough exterior and a surprisingly gentle side.

What truly stands out in this story are the strong bonds between the women. The connection between Jenna and her coworkers, Dawn (played with delightful quirkiness by Evelyn Hoskins) and Becky (a wonderfully funny Sandra Marvin), is a joy to watch unfold. Though the plot includes infidelity, it’s refreshing to see women so confidently exploring their sexuality.

The set design, by Scott Pask, centers around a vibrant diner and the cozy home of Jenna and Earl. The pies look incredibly delicious, and the actors interact with a large number of props – even real baking ingredients like sugar, butter, and flour – creating a warm, homemade atmosphere.

The show avoids being overly sentimental thanks to some well-placed choreography, and Sara Bareilles’ songs are both funny and touching. Highlights include powerful numbers like Becky’s “I Didn’t Plan It,” Ogie’s charmingly sweet “I Love You Like a Table,” and the moving duet between Jenna and Dr. Pomatter, “You Matter to Me.” However, the most memorable song is definitely “She Used to Be Mine,” where Jenna powerfully expresses her complicated feelings about motherhood and finding herself.

Fletcher’s performance is truly captivating and moving. She brilliantly plays a character who is resilient but weary, strong yet lacking self-belief. She radiates a comforting warmth – think of the inviting smell of a freshly baked pie – and that connection with the audience is everything. Past productions of this show haven’t always found the right person for the role of Jenna, but Fletcher clearly possesses all the qualities of a leading stage performer. The chemistry between Jenna and Dr. Pommater hasn’t always felt genuine, but in this production, their scenes together are wonderfully sweet and engaging.

Waitress is more than just enjoyable – it’s a genuinely uplifting musical filled with endearing characters, heartfelt songs, and a positive message. It’s beautifully crafted and brimming with charm.

How to get tickets to see Waitress

  • 28 Mar 2026 – 4 Apr 2026 – Wimbledon, New Wimbledon Theatre
  • 6 Apr 2026 – 11 Apr 2026 – Brighton, Theatre Royal
  • 13 Apr 2026 – 18 Apr 2026 – Bradford, Alhambra Theatre
  • 20 Apr 2026 – 25 Apr 2026 – Woking, New Victoria Theatre
  • 28 Apr 2026 – 2 May 2026 – Birmingham, Hippodrome
  • 4 May 2026 – 9 May 2026 – Sunderland, Empire
  • 12 May 2026 – 16 May 2026 – Edinburgh, Playhouse Theatre
  • 19 May 2026 – 23 May 2026 – Dublin, Bord Gáis Energy Theatre
  • 26 May 2026 – 30 May 2026 – Manchester, Palace Theatre
  • 1 Jun 2026 – 6 Jun 2026 – Wolverhampton, Grand Theatre
  • 8 Jun 2026 – 13 Jun 2026 – Cardiff, Wales Millennium Centre
  • 17 Jun 2026 – 20 Jun 2026 – Southend, Cliffs Pavilion
  • 29 Jun 2026 – 4 Jul 2026 – Oxford, New Theatre
  • 6 Jul 2026 – 11 Jul 2026 – Stoke-on-Trent, Regent Theatre
  • 13 Jul 2026 – 18 Jul 2026 – Blackpool, Opera House
  • 20 Jul 2026 – 25 Jul 2026 – Leicester, Leicester Curve
  • 28 Jul 2026 – 1 Aug 2026 – Belfast, Grand Opera House
  • 4 Aug 2026 – 8 Aug 2026 – Bristol, Hippodrome
  • 10 Aug 2026 – 15 Aug 2026 – Nottingham, Royal Concert Hall
  • 17 Aug 2026 – 22 Aug 2026 – Llandudno, Venue Cymru
  • 24 Aug 2026 – 29 Aug 2026 – Bournemouth, Pavilion Theatre
  • 1 Sep 2026 – 5 Sep 2026 – Hull, New Theatre
  • 7 Sep 2026 – 12 Sep 2026 – Liverpool, Empire
  • 14 Sep 2026 – 19 Sep 2026 – Eastbourne, Congress Theatre
  • 22 Sep 2026 – 26 Sep 2026 – Milton Keynes, Theatre
  • 6 Oct 2026 – 10 Oct 2026 – Glasgow, King’s Theatre
  • 13 Oct 2026 – 17 Oct 2026 – Sheffield, Lyceum Theatre
  • 27 Oct 2026 – 31 Oct 2026 – Salford, The Lowry

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Authors

Laura RutkowskiCommissioning Editor

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2026-04-01 18:40