WAITRESS

Sandra Marvin (Becky), Carrie Hope Fletcher (Jenna), Evelyn Hoskins (Dawn). Photo: Johan Persson

A second time seeing this much loved show and for several reasons I warmed to it. Not that I had disliked it first time around, far from it. The story has genuine heart, a fine balance of sadness and humour, of tension and lightness, and an ending that has a realness that works. It has a resolve based on a morality that hits home and the whole avoids any trite and cheesy answers.

Musically the score is engaging, not packed with memorable numbers, except that one that we all sit there until almost the end to hear, but each number offers great opportunity for all of the principals to show off their vocal prowess, even Joe!

So what is it that makes this show so damned likeable? Well let’s start with staging, a good set that has an easy fluidity, and beautiful lighting, the pouring of sugar in cool blue light, flurries of flour in the air, all add so much atmosphere and charm.

The ensemble and the band all deliver with so much precision, such delicacy and a sense that these are ordinary people in an ordinary world.

Lorin Lattaro’s choreography plays a starring role in this 10th anniversary production. There is a restraint to the whole and yet a joyous exuberance, the tiniest gesture, the slowest move of a limb all adding up to a show that is packed with both energy and elegance. Scott Pask’s set has an unfussy reality and a real sense of both time and place and the same can be said of Suttirat Anne Larlarb’s keenly observed costumes.

Diane Paulus has directed what is a musical with the sensitivity of a conventional drama, the songs are there of course but the emotions play out through the quality of the acting, not one member of the company simply belts out a number, they are all charged with acting the song and in that lies the success of this show.

Waitress is really the story of three women, but the male roles are given credence by some fine performances. Mark Willshire’s Earl is convincingly unpleasant in a kind of sexy way, you can sense why there was an initial attraction and equally know why it has gone. Dan O’Brien’s Cal is full of macho bluster, the kind you know is a front and he brings out some of the best comic moments in the whole. Les Dennis once again shows that he is an excellent performer and his one number as Joe is delivered with a shaky charm that is rather moving.

The comic performance of the evening has to go to Mark Anderson who, as the geeky and nervous Ogie, has the audience in fits of laughter as he navigates his budding romance with Dawn. His facial ticks and lolloping physicality are a joy to watch.

Of course much of that comedy also falls to the talents of Evelyn Hoskins as the romantic centre of his attentions. Dawn is such a well devised character, shy, lacking in confidence and yet craving a loving relationship. Hoskins nails it, shifting from fragile virgin to libidinous lover so delightfully.

Sandra Marvin is equally impressive as the worldly wise Becky, the voice of reason and my, what a voice! This actor can truly deliver a song whilst never losing sight of her character – in a world of seasoned “belters” this is a talent to be applauded. Add to this exemplary comic timing and physical presence and she is the real deal.

Dan Partridge is Dr Pomatter and having seen him recently as Charlie Price in Kinky Boots I was fully aware that the guy can sing and act. But this time around we get to see his delicate comedic charm too. It’s an essential role as the story unfolds and rather heartbreaking at the end and he plays it so so well.

Finally to the central character of Jenna, a young woman trapped in an abusive marriage to a brutish and selfish drunk. There’s nothing new in any kind of fiction about women in failed relationships but there is a harsh reality here, a sense of defeat and resignation that the star of the show Carrie Hope Fletcher delivers so brilliantly. The voice is superb without question, this lady can sing, but what she brings to the part is a genuine sadness that is peppered with moments of joy and delight, some through the baking of those fantastical pies, some through a re-awakened sexuality as she falls for her doctor. She is undoubtedly the star of this production but she is a star in an evening filled with starry performances.

My only quibble with the whole evening would be that, at times, the sound was so loud that there was a tangible disconnect between the players on the stage and the voices coming from the PA and as such a loss of lyric clarity. But that is a tiny technical criticism for what is a very fine evening of musical theatre.

Andrew Kay

7 April

Theatre Royal Brighton

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