Music & Lyrics: Sara Bareilles
Book: Jessie Nelson
There is a specific kind of magic in Sara Bareilles’ Waitress—a “sugar, butter, flour” blend of heart, humour, and female resilience that has made it a modern musical theatre staple. Returning to the Edinburgh Playhouse, the production remains a high-quality, delicious night out, even if the vastness of the venue occasionally dampened the show’s intimacy.
For those who have seen the production in smaller houses, the immediate hurdle is the scale. The Edinburgh Playhouse is a beautiful giant, but its acoustics can be unforgiving. On this occasion, the sound felt somewhat swallowed by the room, occasionally muffling the witty, fast-paced lyrics and distancing the audience from the quieter, more tender moments on stage.
As a result, the emotional depth of the first act struggled to land with the weight one might expect. However, the production truly finds its pace in Act Two. As Jenna begins to take charge of her circumstances and the reality of her future comes into focus, the momentum shifts from breezy comedy to something far more grounded and urgent.
The highlight of the evening, and the moment the production truly reclaimed its power, was Carrie Hope Fletcher’s rendition of She Used to Be Mine. It was a powerhouse performance that quite literally brought the house down. Fletcher navigates the song’s raw vulnerability and soaring vocal demands with a precision that reminds the audience exactly why this show is so beloved. It was the turning point of the night; Fletcher doesn’t just sing the notes, she makes you feel every bit of Jenna’s regret and resolve. The distance between the stage and the back of the gallery vanished, and the audience was finally right there with her.
The surrounding cast provides a necessary lightness to the show’s heavier moments. Sandra Marvin (Becky) and Evelyn Hoskins (Dawn) are the perfect duo with sharp timing and powerhouse vocals. Dan Partridge is a charming, slightly eccentric Dr Pomatter, while Les Dennis offers a surprisingly touching turn as Old Joe. Together, they make the ‘diner family’ feel genuinely authentic.
While this touring iteration might miss some of the emotional marks of previous encounters, it remains a fantastic, polished piece of theatre. Even with the acoustic hurdles, the vibrancy of the ensemble and the heart of the story ensure that Waitress still serves up a deeply satisfying experience.
Runs until 16 May 2026 | Image: Matt Crockett
