Theatre Raleigh's "Waitress" is a Sweet Slice-of-Life Musical

The Cast of Theatre Raleigh's Waitress. Photo by Jennifer Robertson Photography.

Right now (and through August 24), the De Ann S. Jones Theatre at Theatre Raleigh has checkered floors, a sleek counter, and the smell of fresh-baked pie wafting through the air. That’s because it’s been transformed into Joe’s Pie Diner, the main setting for Waitress. This delightful musical, directed by Eric Woodall, features a book by Jessie Nelson and music and lyrics by Sara Bareilles and is based on Adrienne Shelly’s 2007 film of the same name.

Alyssa Fox stars as Jenna, a talented waitress with a gift for dreaming up delicious pies. Unfortunately, Jenna is stuck in a dead-end marriage with her abusive husband Earl (Bradford B. Frost), and, even worse, she’s just found out she’s pregnant. But, when Jenna meets her friendly, bumbling new doctor, Dr. Pomatter (Billy Harrigan Tighe), sparks fly, and her world begins to change in unexpected ways. Jenna even concocts a plan to win a big baking contest and start a new life with the prize money. However, there are quite a few twists and turns along the way in this delicious, surprising, and inspiring slice-of-life story.

Throughout the production, all of Jenna’s thoughts and feelings are laid bare for the audience through Bareilles’ beautiful, lilting songs. Fox’s haunting, strong voice is the ideal fit for the simple, honest, and heartfelt lyrics that pervade throughout, and Eamon Foley’s perfectly-paced choreography matches and mirrors each moment and emotion. Ranging from soft flowing dances to frantic, tortured steps, the dancing serves as a window into the characters’ inner lives and provides consistent visual appeal that keeps the story moving forward. Despite the sometimes heavy themes, this production never feels sluggish or stilted. Instead, there is always something to watch, something to contemplate, and a moment to lose yourself in.

Photo by Jennifer Robertson Photography.

Like the choreography, the witty humor also aids in pacing and appeal. Ira David Wood III is both charming and appropriately grouchy in his role as Joe, the owner of the diner. He gives the character a slow southern accent, a demanding nature, and watchful, all-seeing eyes with just the right air of kindness underneath. Then, there’s the hilarious, quirky Dawn (Ella Frederickson), one of Jenna’s fellow waitresses. Sweet, silly, and with a giggle that stops time, Frederickson’s Dawn is arguably the funniest character in the cast, at least until Ogie (Nick Cearley), her newfound love interest, comes onto the scene.

Cearley is an immediate show stealer, one who flings flowers and fabric in the air and perfectly executes Foley’s bouncy choreography and Woodall’s pull-out-all-the-stops, larger-than-life direction. Greg Laux adds to the fun in his role as rough-around-the-edges Cal, who painstakingly tries to manage his bossy waitstaff, and Frost even manages to garner a few laughs, despite his character’s villainous nature. Of course, they mostly come from burps and idiocy, but that’s on par for Earl.

Other performance highlights include Anne Fraser Thomas’ sometimes soft, sometimes domineering portrayal of waitress Becky and Tara Lashan Clinkscales’ turn as the eye-rolling Nurse Norma. Additionally, Fox and Tighe share a cute, natural chemistry that fizzles with possibility. Where Fox’s Jenna is serious, thoughtful, and subdued, Tighe is all scattered energy and easy charm. Together, they create two very real, very likeable, and very imperfect characters.

Alyssa Fox and Billy Harrigan Tighe star in Theatre Raleigh's Waitress. Photo by Jennifer Robertson Photography.

This aforementioned imperfection, which is carefully baked into Nelson’s smart script, makes their story all the more believable and engaging. Each line of dialogue and song reveals so much about who these characters, both lead and supporting, are and exactly why we should care about them so much. And, it works. Viewers will spend the entire show feeling drawn into their world and being deeply affected by their stories.

Perfect live music, expert lighting effects that draw the eyes to the tenderest moments, and careful directorial choices also aid in lulling viewers into this world of dreaming characters. For example, Woodall chooses a bare stage when Jenna sings the aching “She Used to Be Mine,” a song about losing oneself along the way. This choice makes the lyrics all the more raw and perfectly encapsulates the sense of loss and emptiness that Jenna feels.

While that may sound bleak and while there aren’t any pat or easy endings here, the show does wrap up in a way that feels true to life. And, despite some sad undertones, there’s still an undeniable message of hope and an unfolding, heartfelt story of chosen family and the possibility of new beginnings. Like Jenna, viewers will get lost—and then found again—in this immersive production that’s as sweet and pleasurable as the first  bite of warm pie.

At the time of publication, very limited tickets remain. Ticket availability can be checked here.

-Susie Potter