Waitress – Alhambra Theatre, Bradford

Book: Jessie Nelson

Music and Lyrics: Sara Bareilles

Director: Diane Paulus

Waitress is a compelling musical featuring music and lyrics by Sara Bareilles, with the book written by Jessie Nelson. It is an adaptation of the 2007 indie film of the same name, originally written and directed by Adrienne Shelly. The narrative centres on Jenna Hunterson (Carrie Hope Fletcher), a waitress and gifted baker trapped in an abusive marriage. Upon discovering she is unexpectedly pregnant with her husband Earl’s child, Jenna embarks on an affair with her obstetrician, Jim Pomatter (Dan Partridge). Seeking an escape from her hardships and encouraged by friends, she enters a pie-baking contest, viewing its grand prize as her opportunity for freedom.

Set against the backdrop of Joe’s Pie Diner where Jenna works alongside her boss Cal and fellow waitresses Becky and Dawn, Waitress combines moments of humour and heartache while exploring complex themes such as domestic abuse through powerful storytelling underscored by evocative melodies.

Bradford Alhambra’s staging offers audiences an opportunity to experience this stirring tale that emphasises resilience amidst adversity, reminding us all of hope found even within life’s most difficult chapters.

The diamond in the ring of this performance is undoubtedly Carrie Hope Fletcher, who delivers a stellar portrayal of Jenna. Full of heart, humour, heartbreak and love, her vocals excel throughout, and she carries the show with a gracefulness and ease that many others would struggle to manage. Fletcher’s command of the role imbues the production with a depth and authenticity that resonates profoundly with the audience.

In contrast, many of the other characters appear to have been crafted primarily for comic effect. The subplot involving Dawn, played by Evelyn Hoskins, and Ogie, portrayed on the evening of review by understudy David Mairs-McKenzie, unfolds somewhat awkwardly. Their brief five-minute online date leads quickly from disdain to affection; Ogie’s persistent presence at Dawn’s workplace borders on stalking before their sudden romance feels established. This storyline seems to lack tender moments that might have lent it greater credibility.

Furthermore, an additional affair is introduced in a manner that feels somewhat shoehorned into the narrative, seemingly serving little purpose beyond comic relief. While these elements provide levity at times, they occasionally detract from the otherwise heartfelt tone set by Fletcher’s compelling performance as Jenna.

Likewise, the strange character of Nurse Norma (Ellie Ruiz Rodriguez), who frequently walks in on her boss’ illicit moments in the workplace with Jenna and then lingers to eat cake, feels unnecessary and serves no meaningful plot purpose beyond comic effect. Les Dennis, portraying Old Joe, delivers a steady performance but unfortunately lacks the vocal ability required to carry the role fully. His character remains unexplored and exists primarily to resolve the narrative at its conclusion. Notably, Joe’s death passes unmarked and ungrieved, with only a celebration of Jenna’s inheritance taking centre stage.

The main thrust of the narrative centres on Jenna’s unhappy marriage to Earl (Mark Willshire). While there is a suggestion of domestic abuse, this theme remains underdeveloped and never reaches a climax that might have added genuine dramatic stakes. Although it is delightful to see a live band on stage, there is an odd moment when the guitarist steps forward as if serenading the scene; this goes unacknowledged by other characters before they return to their position with the band. Rather than enhancing the scene, this proves distracting.

Overall, Waitress presents as a rather fluffy production that skirts around serious themes through comedy alone without meaningful exploration. It lacks emotional depth and tension, opting instead for an idealised world in which everything resolves positively. Had it been more daring in its approach, addressing themes such as domestic abuse, ambivalent pregnancy, personal grief and loss, it might have offered powerful theatre. Instead, it delivers two-dimensional characters within a barely-there narrative framework; however, this is supported admirably by an exceptional cast, crew and company of musicians capable of elevating even modest material into something more compelling.

Runs until Saturday 18th April 2026, before continuing on tour