Waitress – Grand Theatre, Wolverhampton

 Book: Jessie Nelson

 Music and Lyrics: Sara Bareilles

Director: Diane Paulus

First premiering on Broadway in 2016, Waitress has become a modern cult classic, with a passionate following and countless productions worldwide and is now out and about across the UK on its 10^th anniversary tour. Based on Adrienne Shelly’s 2007 sleeper hit film of the same name, it’s a heartfelt comedy-drama about love, friendship and finding the courage to start again, set to music penned by singer-songwriter Sara Bareilles.

Audiences are whisked away to an old-school American diner, where we meet Jenna (Carrie Hope Fletcher), a down-on-her luck waitress and gifted pie baker, trapped in an abusive relationship whose unplanned pregnancy kicks off a spiral of life-changing events, as she embarks on a messy affair with her new gynaecologist Dr. Pomatter (Dan Partridge), and considers leaving her good-for-nothing husband with the support of her friends and colleagues, whimsical but naïve Dawn (Evelyn Hoskins) and sarcastic sharp-shooting  Becky (Sandra Marvin).

Scott Pask’s set design is understated yet authentic, rooting you firmly in a small town in America, whilst also allowing for slick and unobtrusive set changes. Behind the action is a twisting rural highway with silhouetted telegraph poles, which shifts from glowing pink sunset colours to stark daylight as Ken Billington’s stunning lighting subtly underscores the ever-shifting moods of the show.

Diane Paulus’ direction ensures a tightly structured and fairly well-paced production. The on-stage band brings a lively, immediate quality to the music, and Lorin Latarro’s choreography injects energy and character into the large ensemble numbers. However, during some of the show’s more emotional moments, the choreography can feel somewhat stilted with certain elements overplayed in a way that edges uncomfortably close to being inappropriately cheesy, with Jenna’s labour scene proving perhaps the most noticeable instance. Overall, there are also some moments that dip into raunchiness, which feels unexpected and slightly off-kilter for a show with so much emotion at its heart.

There’s a really strong supporting cast who really rise to the occasion, with Mark Anderson’s Ogie proving a real highlight of the show with his quick comic timing and excellent physical comedy, making Never Ever Getting Rid of Me one of the best songs of the night. Mark Willshire gives an understated yet menacing performance as Earl, a looming presence in Jenna’s life. Meanwhile, Les Dennis is endearing as pie-shop owner and local businessman Joe. Reuniting with Carrie Hope Fletcher following their 2017 production of The Addams Family, their onstage rapport feels genuine and special, lending real heart to Dennis’ solo number Take It From An Old Man, which becomes a tearjerker moment in the show.

Dan Partridge is awkwardly endearing as Dr Pomatter, and he shares an easy chemistry with Fletcher. However, the production’s portrayal of their affair – and, more broadly, the show’s various infidelities – is handled with a disarming lightness that does not fully capture the gravity of the situation, resulting in a rather odd moral stance that affairs are acceptable.

The three female leads really are the heart of the show, and there is a warm and inviting chemistry between them. Evie Hoskins, back in a role she’s now played across several productions, is a breakout star of the show as she brings a lovely quirky energy to Dawn and her coming timing with Anderson is a delight. She also showcases phenomenal vocals in her solo number When He Sees Me. Sandra Marvin also returns as Becky with a pinch of sassy swagger and an easy charm. Her number I Didn’t Plan It, opening Act Two, is a great showcase for her well-renowned vocals. At this performance, though, her voice sounded a little hoarse, possibly from the demands of touring, which was especially noticeable in that number. Even so, both performers feel completely at home in roles they’ve really made their own, and they provide strong support to Fletcher’s Jenna.

Carrie Hope Fletcher makes the perfect Jenna. Her clear and emotive vocals are heartbreakingly beautiful bringing a vulnerable touch to her sweet and tender portrayal of Jenna. Fletcher particularly impresses with her powerful rendition of She Used to Be Mine, ending with a sustained, soaring note that results in lengthy applause from the audience. She moves effortlessly between light comedy and more painful moments, with both feeling equally convincing and the shift between the two is handled so smoothly that the performance feels entirely seamless. This role really gives Carrie Hope Fletcher the chance to shine, and she delivers a performance that’s beautifully judged, heartfelt, and baked to perfection.

Ultimately, Waitress succeeds most when it leans into its heart, and this production largely delivers on that promise. There are moments where Waitress doesn’t quite find the perfect balance between its humour and its heavier themes, but at its core, it remains a moving and life-affirming piece of theatre. This production captures much of that spirit, thanks to a strong cast and a truly poignant leading performance by Carrie Hope Fletcher. It may not be flawless, but it is heartfelt, comforting, and ultimately deeply satisfying – a show that’s been lovingly baked and served with care.

Runs until 6 June 2026 and on tour