Waitress

★★★★☆     Big-hearted

Playhouse: Tue 12 – Sat 16 May 2026
Review by Hugh Simpson

The musical Waitress, touring to the Playhouse, is an appealing production that (despite its ostensibly dark subject matter) is resolutely optimistic.

Based on Adrienne Shelly’s 2007 movie, the musical (music and lyrics by Sara Bareilles, book by Jessie Nelson) first appeared on Broadway ten years ago and has clearly built up a huge following.

Carrie Hope Fletcher and Les Dennis. Pic Matt Crockett.

The title character is Jenna Hunterson, who works at a roadside diner in the American South, where she makes delicious if bizarrely-named pies. Jenna is shocked to discover she is pregnant, which appears to tie her more closely to her abusive husband Earl. But a forthcoming pie-making contest seems to give her hope – as does her new gynaecologist, Dr Pomatter.

It’s an undemonstrative and rather sweet story of female friendship, motherhood and empowerment, that admittedly goes to some dark places in its narrative but is decidedly feel-good and frothy throughout.

small but highly potent

The show’s ‘11 o’clock number’, She Used To Be Mine, is the one people who haven’t seen it will be most likely to know, but it it is unrepresentative of the score in its more traditional musical theatre, ‘build to a climax and then belt it out some more’ nature.

The rest of the songs are much more low-key; generally they are reflective, folky, often country-tinged pop, played by a small but highly potent onstage band under musical director Francesca Warren. The musical numbers often comment on the action rather than drive it but are no less successful as a result.

Carrie Hope Fletcher. Pic Matt Crockett

A large ensemble is used cleverly in the songs, providing onstage movement that enhances the drama rather than dominating it. Restaged by Abbey O’Brien for the tour, the direction of Diane Paulus and choreography of Lorin Latarro have a lightness of touch and elegance throughout that is extremely effective.

Carrie Hope Fletcher’s Jenna is immensely likeable, remaining onstage through most of the production, clear-voiced and performed with skill and an unfussy charm.

Strong support

Strong support comes from Sandra Marvin and Evie Hoskins as her co-workers, the straight-talking Becky and the awkward Dawn. Both are adept at the more comedic elements of the roles, something which is also true of Mark Anderson (Dawn’s suitor Ogie) and Ellie Ruiz Rodriguez (Nurse Norma).

Dan Partridge is a genial Dr Pomatter, and his duets with Fletcher are thoroughly engaging. Dan O’Brien, as diner manager Cal, and Mark Willshire, as the frightful Earl, are both successful portrayals of rather one-note characters.

Ellie Ruiz Rodriguez, Carrie Hope Fletcher and Dan Partridge. Pic Johan Persson.

Les Dennis is the diner’s curmudgeonly owner Old Joe, and finally seems to be getting the respect some of us have always maintained he deserves. His featured number Take It From An Old Man is one of the most emotionally resonant parts of the entire production. Once again, the ‘crusty old man who obviously really has a heart of gold’ could be nothing but a cliché, but is actually very touching.

Technically, the production is extremely impressive, with Scott Pask’s set design clever and evocative, Ken Billington’s lighting design atmospheric and Rob Bettle’s sound design notably clear.

highly enjoyable

There are certainly things about this that could irritate. Even by the standards of musicals, the plot is thin and the characterisations often peculiar. Anywhere other than in a romantic comedy, the behaviour of some of the characters would get them locked up; Dr Pomatter would be struck off at the very least.

A seeming determination to provide an upbeat message of solidarity means that many of the narrative’s more potentially troubling moments are skirted over or simply ignored, but there can be no denying that the result connects with the audience. While this is undoubtedly not perfect, it is highly enjoyable.

Running time: Two hours and 35 minutes (including one interval)
Edinburgh Playhouse, 18-22 Greenside Place, EH1 3AA
Tuesday 12 – Saturday 16 May 2026
Tues – Sat at 7.30 pm; Matinee Wed & Sat at 2.30 pm
Tickets and details: Book here.

Glasgow King’s Theatre, 297 Bath St, Glasgow G2 4JN
Tue 6 – Sat 10 Oct 2026
Tue – Sat: 7.30pm; Thur, Sat mats: 2.30pm.
Tickets and details: Book here.

Carrie Hope Fletcher, Sandra Marvin and Evie Hoskins. Pic Matt Crockett

ENDS

Tags: Abbey O’Brien, Adrienne Shelly, Carrie Hope Fletcher, Dan O’Brien, Dan Partridge, Diane Paulus, Ellie Ruiz Rodriguez, Evie Hoskins, Francesca Warren, Hugh Simpson, Jessie Nelson, Ken Billington, Les Dennis, Lorin Latarro, Mark Anderson, Mark Willshire, Musicals, Playhouse, Review, Rob Bettle, Sandra Marvin, Sara Bareilles, Scott Pask, Waitress