Tuesday, 21 April 2026
A Slice of Comfort: Why Waitress on Tour Still Feels Like Coming Home
A Sweet, Emotional and Vocally Stunning ReturnWaitress (Tour) | Woking Theatre | ★★★★
A Sweet, Emotional and Vocally Stunning Return
Ten years after first opening up, Waitress remains one of the most quietly revolutionary musicals of the modern era. Celebrating its 10th anniversary, the current UK tour (currently playing at Working Theatre before continuing across the country) proves that this show hasn’t simply endured; it has deepened, matured, and somehow become even more nourishing.
Seeing Waitress again feels less like revisiting a hit musical and more like returning to a favourite café where the staff remember your order and the pie is always warm.
Based on the film of the same name, Waitress tells the story of Jenna Hunterson, a gifted pie maker trapped in an unhappy marriage and an unexpected pregnancy. Dreaming of escape, she pours her emotions into baking, crafting pies that become emotional diary entries disguised as desserts.
The musical, featuring music and lyrics by Sara Bareilles, walks a delicate line between romantic comedy, small-town drama, and personal awakening. Yes, there are questionable ethical choices along the way- particularly Jenna’s complicated relationship with her doctor- but and the show never pretends that decisions are simple or entirely admirable. That moral messiness is part of what makes Waitress resonate. Life isn’t tidy. Healing rarely arrives wrapped in perfect decisions. Beneath the imperfect choices lies a deeply human story about reclaiming agency, rediscovering self-worth, and learning that kindness, especially toward yourself, can be revolutionary. Ultimately, it’s a heartwarming tale. One that earns its emotional payoff honestly.
At the centre of the production is Carrie Hope Fletcher as Jenna, delivering a performance that beautifully balances personality, humour, and raw vulnerability. Jenna lives in contradiction, moving between warmth and emotional detachment and Fletcher leans fully into those complexities. One of the most exciting aspects of Waitress is seeing how different performers interpret Jenna, and Fletcher’s portrayal stands out for the way she approaches Jenna’s pregnancy. Rather than playing immediate maternal sentimentality, her Jenna begins from a place of emotional indifference, even quiet resentment. It’s a bold and refreshingly honest choice that makes the character’s journey feel incredibly impactful. As Jenna slowly reconnects with hope and agency, the emotional shift lands with genuine weight. Fletcher allows us to watch a woman rediscover herself in real time, and the result is deeply moving without ever becoming overly sentimental.
Returning to the role of Dawn, Evelyn Hoskins is sheer delight. Her performance is packed with charm, precision comedy, and heartfelt awkwardness. Dawn’s social anxieties and earnest optimism are played with affectionate detail, never reducing her to caricature. Opposite her, Mark Anderson as Ogie proves comedic gold. Together, the pair achieve impeccable timing; their scenes erupt with laughter while remaining irresistibly sincere. Their relationship becomes one of the musical’s purest sources of joy. Eccentric, wholesome, and utterly lovable.
As Becky, Sandra Marvin delivers powerhouse presence. She grounds the show with warmth, wit, and emotional honesty, bringing both humour and lived experience to the role. Becky’s resilience and no-nonsense compassion shine through every interaction, making her both hilarious and quietly profound.
Dan Partridge captures Dr Pomatter’s sincerity and endearing bumbliness perfectly. His portrayal avoids cliché, instead presenting a man who is awkward, emotionally open, and entirely believable. Crucially, Partridge shares an effortless, natural chemistry with Fletcher’s Jenna. Their scenes feel spontaneous and human, which helps the show navigate its ethically complicated romance with empathy rather than judgement.
On the darker end of Jenna’s world, Mark Willshire gives a chilling performance as Earl. Rather than leaning into overt villainy, Willshire builds the character through unsettling subtleties- small physical movements, twitchy gestures, and shifts in tone that reveal Earl’s manipulative nature. His portrayal captures the reality of emotional abuse with uncomfortable accuracy, making Jenna’s longing for escape all the more urgent.
Meanwhile, Dan O'Brien shines as Cal, bringing surprising depth to a role that could easily become one-note. His gruff exterior slowly gives way to warmth and humour, adding another layer of humanity to the diner’s ecosystem.
The diner trio -Jenna, Becky, and Dawn- provide some of the evening’s most grounding emotional moments. Their camaraderie embodies the show’s wholesome core: women supporting one another not through grand speeches or theatrical declarations, but through everyday loyalty, teasing humour, and shared survival.
There is an ease between Fletcher, Marvin, and Hoskins that makes their friendship feel entirely authentic. You believe these women have worked side by side for years, carrying each other through heartbreaks, bad shifts, and small victories. Their scenes offer comfort as much as comedy, reminding us that sometimes community is the real love story.
Even beyond the central characters, the production excels in its attention to ensemble storytelling. Every secondary role feels thoughtfully realised, from fleeting diner customers to background interactions that quietly enrich the world of the show. No performer feels incidental; each contributes to a town that feels specific, affectionate, and recognisably human.
It’s this collective commitment that makes the touring production so effective. Rather than relying solely on star power, the company builds a living, breathing community; one that audiences are invited into from the moment the lights rise.
Every time I see Waitress, I’m struck anew by how Jenna’s emotional world is physically expressed onstage. Through clever stagecraft, her environment subtly grows larger or smaller depending on who she’s with. Moments of confinement tighten the space around her, while scenes of possibility quite literally open the world up. The attention to detail extends everywhere: the comforting glow of the diner, the tactile realism of the kitchen, and the seamless transitions that keep the story moving like a perfectly timed recipe. The staging never overwhelms the narrative; instead, it quietly mirrors Jenna’s inner life.
Bareilles’ score remains one of contemporary musical theatre’s finest achievements. Songs unfold like conversations rather than showstoppers, allowing audiences to slip into Jenna’s thoughts rather than watch them from afar. Numbers arrive exactly when emotions can no longer stay unspoken.
The 10th anniversary tour reminds us why Waitress became such a beloved phenomenon in the first place. It’s funny without cruelty, romantic without fantasy, hopeful without denying hardship and as sweet as pie in all the best ways.
Yes, the story contains morally complicated relationships. Yes, its characters make imperfect choices. But beneath everything lies a message that continues to resonate: people deserve second chances, especially the chance to choose themselves.
In an era of spectacle-driven musicals, Waitress remains disarmingly sincere. It doesn’t shout for attention; it invites you in, offers you something warm, and leaves you feeling just a little more hopeful than when you arrived.
Tuesday, 5 November 2024
Cast Announced for Stiles + Drewe’s Best New Song Prize Concert 2024: A Star-Studded Celebration of New Musical Theatre Talent
- 'The Temptation of Me' from Proud by Mark Anderson & Lee Freeman
- 'I’m Going to Stay With You' from The Tale of the Gifted Prince by Lezlie Wade & Dan Green
- 'It Starts Small' from Unfolding by Emma Vieceli
- 'Ideal Robot Assistant' from A.I. Will Solve All Your Problems by Leo Mercer
- 'Someday My Prince Will Come' from Queering the Canon by Cheeyang Ng & Eric Sorrels
- 'Viareggio' from Lifeboats by Gus Gowland
- 'Die Like Trees' from Girl Goes to the Underworld by Sam Norman & Bela Kawalec
- 'Hero' from Man Vs Snake the Epic Musical by Stuart Matthew Price & Daniel Fletcher
- 'Spread a Little Joy Around the Place' from Retail Therapy by Hilmi Jaidin
- 'Locked Away' from The Queen is Mad by Amy Clare Tasker & Tom McGrath
- 'Drek!' from Otto's Weidt's Brush and Broom Workshop for the Blind by Amir Shoenfeld & Caitlyn Burt
- 'Invisible' from Hatched! by Lydia Shaw & Edward Court
Tuesday, 3 October 2017
The Toxic Avenger, Arts Theatre | Review
Wednesday, 9 February 2022
Mamma Mia! The Party Extends Booking to October 2022
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