Waitress, which features an all-original score of music and lyrics by singer/songwriter/actress Sara Bareilles is now on stage at the Beck Center for the Arts, in a production by Baldwin Wallace’s Music Theatre program. Waitress is unique in that, when it opened on Broadway in January, 2010, it featured an all-female production team.
Also distinctive was that in order to immerse audiences, real cinnamon-loaded pies were warming in special ovens creating the aroma of a pastry shop. Slices of pie were sold before the curtain rose and at intermission.
The musical opened to mixed reviews, with much praise for Bareilles score and some questions about Jessie Nelson’s book. It ran 1,544 performances, was closed by COVID, and reopened for a short run when Broadway went live again.
Based on the 2007 film of the same name, it tells the story of Jenna Hunterson, a baker and waitress, who is in an abusive marriage. She works with a group of supportive and delightful waitresses and waits on some eccentric customers.
After Jenna unexpectedly becomes pregnant, she finds that her former doctor has retired and has been replaced by a young and attractive man. A relationship develops between Jenna and Dr. Pomatter, unraveling further her already trauma-filled life.
Looking for ways out of her troubles, Jenna learns of a pie baking contest with a large grand prize that could give her the financial means to get out of her marriage. She is stopped from participating when her daughter is born early and her sleezy husband finds her stash of funds that she has been hiding to finance her trip to the contest.
A surprise knight in shining-armor gives her the needed funds, allowing Jenna, much to the delight of the audience, to kick her husband to the curb, open her own pie shop, and, in tradition of the American musical, live happily ever after. (Or so we hope.)
The production, under the focused direction of Victoria Bussert, has right balance between pathos, humor and angst. And, as should be expected from students in BW’s much-praised program, the vocals were well sung and the farce nicely keyed.
In spite of the excellent musical sounds, the audience is not going out of the theater singing any of the individual songs. Though it plays well on stage, this is not a catchy score — no top ten songs here! And the rom-com script, as the Broadway reviews clarified, is not epic. This is definitely this is not the tales of Dear Evan Hanson, Next to Normal, Hamilton or West Side Story.
Weaknesses in the material aside, the production is an audience pleaser. They cheer for the good lady, boo the scum-bag abuser, delight at the farce and are entranced by the Shirley Temple cutie (Emilia Menotti) who appears briefly as Jenna’s daughter.
The show is double cast. I saw the Apple Pie Cast so these comments concern only those performances.
Sophia Edwards, a BW junior, has a strong singing voice and develops a believable put-upon Jenna who doesn’t have the wiles to get out of a dangerous and degrading relationship. Her “She Used to be Mine” was well conceived.
Jacob Anderson was appealing as Dr. Pomatter. The Jenna-Pomatter duet “Bad Idea” was well sung and showcased a nice emotional bond between the performers. Matthew Wright nicely honed the role of a cantankerous old guy. His “Take It from an Old Man” was a show highlight.
Aamar-Malik Culbreth as the ADHD tightly wound Ogie, the love interest of Dawn (Kat Magocsi), the shy waitress, quickly emerged as the audience favorite. His “Never Getting Rid of Me” stopped the show. He has a wonderful feel for farce and is Broadway-ready to play any nerdy part. “I Love You Like a Table,” sung with the Magocsi was delightful. She too is ready for casting. Anyone doing Hairspray should immediately cast her as Penny.
Kechanté as Becky, the third of the trio of waitresses, has a strong singing voice and uses her sassy personality, “attitude” and flashing eyes well. Her scenes with the cook Marc Dalmau (Cal) were sensually filled delights.
Matthew Webb’s orchestra nicely underplayed the score, supporting, not drowning out the singers.
Jeff Herrmann’s scenic design generally worked well, but the constant dragging of the pie and ingredient racks on and off stage became tedious after a while.
Those concerned that Bussert and her staff moving from BW to Oberlin might signal a break of her talented students appearing at Beck need not fear. According to the Beck, “When asked if Beck Center would join them on this journey, we couldn’t help but say yes.”
CAPSULE JUDGMENT: Waitress is the kind of production that audiences love. Though the script is shallow, the plot obvious, and there are no memorable songs, it matters little. In the hands of the talented and well-directed cast, the standing ovation was well-deserved. Go, see emerging young talent which will soon be featured in Broadway shows, and enjoy yourself.
For tickets to Waitress, which runs through March 9, call 216-521-2540 or go to beckcenter.org.
[Written by Roy Berko: member: Cleveland Critics Circle, American Theatre Critics Association]
