Waitress – Theatre Royal Brighton and National Tour

There are few theatrical productions as quietly uplifting as Waitress, and the current 10th anniversary national tour proves exactly why this show continues to resonate so deeply with audiences a decade on. Warm, heartfelt, and laced with gentle humour, it serves up an evening of theatre that feels both intimate and satisfying, like a perfectly baked pie shared among friends.

At the centre of it all is Carrie Hope Fletcher, whose portrayal of Jenna is nothing short of captivating. She brings a natural sincerity to the role, embodying a woman caught between hardship and hope so beautifully with her performance balancing vulnerability and strength in a way that feels totally authentic. She makes Jenna not simply a dreamer, but a survivor with a rich inner life. Her voice, as expected, is sensational. Clear, emotive, and effortlessly expressive, elevating each musical moment into something genuinely moving. Her performance of She Used to be Mine in act two is one of the show’s many highlights.

Jenna’s husband Earl is played by Mark Willshire who, from the outset, shows that his insecurity leads him to totally manipulate Jenna’s life. Luckily Jenna has her friends and customers at the pie shop to provide a distarction fron the horrors of her home life. Becky (Sandra Marvin) and Dawn (Evie Hoskins) are the kind of friends that everyone in the audience can recognise. Quirky, but with hearts of gold, they offer advice and friendship in equal doses, whether Jenna wants it or not!

Cal (Dan O’Brien), the manager of the pie shop and Joe (Les Dennis), who as well as being a regular customer is also the owner of the establishment, are the kind of characters who change personality as the show progresses. Initially quite unpleasant individuals. they change as the story unfolds, and both of them end up showing a completely different side to their character by the end of act two.

Once Jenna discovers that she is pregnant we get to meet Dr Parmeter (Dan Partridge), who ends up playing a major role in the unfolding story, and his assistant Nurse Norma (Ellie Ruiz Rodriguez) who gets to deliver some fantastically sarcastic one-liners when she realises that the doctor/patient relationship has developed.  Special mention also goes to Mark Anderson who steals the show at times as the weird but wonderful Ogie. His delivery of Never Ever Getting Rid of Me is awesome in it’s simplicity, and a comedy highlight.

Visually, the production strikes a great balance between simplicity and creativity. The set design, by Scott Pask, captures the cosy familiarity of the diner whilst also allowing for easy transitions between scenes. There are also moments in the show that bring Jenna’s pie-making to life, which adds a layer of fun without ever overshadowing the emotional core of the story. The choreography is similarly understated yet effective, enhancing rather than distracting from the unfolding events.

While Waitress deals with serious themes, including personal struggle and difficult relationships, it never feels heavy-handed. Instead, it approaches these topics with sensitivity and compassion, allowing moments of humour and joy to shine through. The result is a piece, with music and lyrics by Sara Bareilles, that has a distinctive charm, blending contemporary sounds with classic storytelling.

Perhaps the most striking aspect of this show is its ability to leave a lasting impression without resorting to grand spectacle. It doesn’t rely on elaborate effects or dramatic twists. Instead, it finds its power in small, human moments. A glance, a gesture, a quiet realisation—these are the elements that linger long after the curtain falls. In a theatrical landscape often dominated by high-tech productions, Waitress stands out as a reminder of the enduring appeal of heartfelt storytelling. This is a well crafted piece that is, put simply, a treat worth savouring.

****     Four Stars