Waitress
Book by Jessie Nelson, Music and Lyrics by Sara Bareilles
Directed by Lili-Anne Brown
Choreographed by Chloe O. Davis
The Muny
July 31, 2024
Nicole Michelle Haskins, Lissa deGuzman, Jessica Vosk
Photo by Phillip Hamer
The Muny
Who doesn’t like pie? Well, maybe a few people don’t, but if you do, the latest production from the Muny will probably have you wanting to bake, or at least buy, one (or several). Waitress, with a score by singer-songwriter Sara Bareilles, is on stage now in Forest Park with a unique look and atmosphere compared to the Broadway production, and the national tour that I saw at the Fox five years ago. With impressive production values that make the most of the Muny’s outdoor venue and huge stage, and a first-rate cast led by a remarkable lead performance, this Waitress is serving up an entertaining, engaging musical treat.
The story of Jenna (Jessica Vosk) is a bit messy, to say the least. She’s a talented pie-baker who works as a waitress at Joe’s Pie Diner, while also making the pies and inventing the recipes, giving them quirky names and often reciting the recipes as she thinks them up. These are the parts that’s going to make many in the audience want to visit the nearest bakery after the show. In addition to the pies, though, Jenna has a rough life–finding out she’s pregnant and not knowing what to feel. She’s living with a selfish, abusive husband, Earl (Ben Crawford) and wondering if she will be stuck in a similar existence as her mother (Kaitlyn Louise Smith, seen in flashback sequences), who taught Jenna to bake and endured a violent relationship with Jenna’s father. Meanwhile, Jenna’s friends and co-workers at the diner, the tough-talking Becky (Nicole Michelle Haskins) and the socially anxious Dawn (Lissa deGuzman) have their own difficulties, with Becky caring for an ailing husband and hiding a personal secret of her own, while Dawn tries to work up the nerve to start dating, and then deals with the attentions of a persistent suitor, Ogie (Troy Iwata), to whom she is attracted but who also initially makes her nervous. There’s also Cal (Jonah D. Winston), the crusty cook and manager of the diner, and Joe (Cleavant Derricks), the diner’s owner, who acts rough around the edges and tells stories of his earlier amorous exploits, and who also forms a friendship with Jenna. Jenna’s story continues as Joe makes her aware of an upcoming pie contest, in which she could win money to help her start a new life, while she also meets her new OB/Gyn, Dr. Pomatter (Devin DeSantis), with whom she develops an attraction that’s hard to resist.
It’s a complex story, as Jenna navigates her life and considers various choices, as do her friends and co-workers. Like real life, things can get messy, and there are difficulties and regrets along the way, and some of the characters are more likable than others–sorry, show, but I’m still not much of a Dr. Pomatter fan, even though I like him more this time than I did in the touring show, owing to the strong performance from DeSantis, who has believable chemistry with the excellent Vosk. Vosk, for her park, is fantastic, with a powerful voice and relatable stage presence. She works well with her fellow waitresses, especially–the also excellent Haskins and deGuzman, who both have their moments to shine. There are also standout performances from Iwata as the enthusiastic and quirky Ogie, Derricks as the cranky but kind Joe, Winston as the gruff Cal, and Patricia A. Jewel as Dr. Pomatter’s nurse, Norma. Crawford is also memorable in a villainous turn as the controlling, possessive Earl. There’s also a strong ensemble, including adults and teens, to back up the leads and add to the overall atmosphere of this vibrant production.
Another area in which this production especially shines is in its overall look and atmosphere, which departs quite a bit from the Broadway and touring shows. The setting, described as “The American South” in most synopses I’ve seen, has been defined as Texas here, judging by the flag flying on the diner’s roof and the overall layout of the diner itself, which reminds me a lot of places I’ve seen and visited on trips to the Lone Star State. Wilson Chin’s set is simply stunning, filling the stage with an authentic looking diner with outdoor seating, a real camper trailer, and real cars parked on the stage with appropriate Muny flair. The costumes by Raquel Aderno are superb, as well, veering away from the distinctive look of the Broadway production and adopting a vibrant, eye-catching color palette that works especially well in the large Muny space. There’s also excellent video design by Mike Tutaj, lighting by Heather Gilbert, and sound by John Shivers and David Patridge. Bareilles’s wonderful score is brought to life memorably as well by the lush-sounding Muny Orchestra led by music director Andra Velis Simon.
This show is a new one for the Muny, and it’s a truly impressive production. With moments of humor, drama, poignancy, and hope, this is a production that helps viewers take a new look at the material even if they’ve seen the show before. It’s a bit of a complicated story with occasionally crass moments, but the ultimate message is finding hope in the midst of life’s imperfections. Waitress is a fairly popular show, which has developed a following over the past few years, and this production directed by Lili-Anne Brown has gone its own way and achieved sweet success.
Cast and Set of Waitress
Photo by Phillip Hamer
The Muny
The Muny is presenting Waitress in Forest Park until August 5, 2024
