Review: WAITRESS at Beck Center For The Arts

WAITRESS, which features an all-original score of music and lyrics by singer-songwriter-actress Sara Bareilles, which is now on stage at the Beck Center for the arts, in a production by Baldwin Wallace’s Musical Theatre program, 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 once again went live.
 
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After Jenna unexpectedly becomes pregnant, she finds that her former female doctor has retired and has been replaced by a young and attractive man.  A relationship develops between Jenna and Dr. Pomatter, her new doctor, 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 the 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 the 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 theatre singing any of the 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 not the tales of DEAR EVAN HANSEN, NEXT TO NORMAL, HAMILTON or WEST SIDE STORY.
 
In spite of those weaknesses, 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 Jeanna’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 the Big Apple.  Anyone who is going to reprise HAIRSPRAY should immediately cast her as Penny.
 
Kechanté, as Becky, the third of the trio of waitresses, has a strong singing voice and well uses her sassy personality, “attitude” and flashing eyes.  Her scenes with Marc Dalmau (Cal), the cook, 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, but the constant dragging of the pie and ingredient racks on and off-stage became tedious after a while.  
 
For those concerned that Bussert and her staff moving from BWU to Oberlin might signal a break of her talented students appearing at Beck, need not fear.  According to Beck’s Artistic Director, “When asked if Beck Center would join them on this journey, we couldn’t help but say yes.”
 
Capsule judgement:  WAITRESS is the kind of production that audience’s 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!

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