Review: WAITRESS Whips Up Warmth and Wit at Arvada Center

I have long been a Sara Bareilles stan. My love for she and her music stems from my high school days, extends to my college years when I saw her twice in concert, and leads to where we are now: Bareilles making her way from concert venues to theatrical stages, earning three Tony nominations along the way for her work on the latest show to make its way to the Arvada Center, Waitress.

Under the direction of Arvada's Artistic Director, Lynne Collins, the cast and crew of Waitress have crafted a wonderful production for their season opener. The show is something of a blend of the light-hearted and deeply personal, perfectly captured in the creative elements. As they often are, the scenic design by Brian Mallgrave and costume design by Nicole Watts are of great complement to each other. Mallgrave especially does a great job of setting a primary location in great detail - Joe's Diner - and then using smaller set pieces and props to depict the place and time in other scenes. I also almost always enjoy an on-stage pit orchestra and this time is no different with Music Director Susan Draus at the proverbial podium.

From ensemble to leading role, this cast is stacked with fully harnessed talent. As diner staples, Rudy Martinez as Cal the cook and Colin Alexander as Joe the owner are both locked-in as the "big softie" types that try to hide behind a stern exterior. The icon Megan Van de Hey as Nurse Norma was also a special treat, showcasing the subtleties to comedic timing. As the only identifiable antagonist in the show, Nick Rigg as Jenna's husband Earl really gives the role what I like to call the "Dolores Umbridge" treatment. He was so good you hated him.

Denver local Marco Alberto Robinson has become a personal favorite actor across the metro area. In the role of Dr. Pomatter, his physical acting is showcased in a way that brings what is honestly a rather white-bread character to life with comedy and charisma. Equally impressive were his vocals, especially the harmonizations with leading lady Anne Terze-Schwarz. Perhaps the standout across all performers, though, is Bryce Baxter as Ogie. Baxter was, in a word, legendary. Showcasing true commitment to an outrageous character, Baxter captured the hearts of every single patron.

Our trio of ladies at the top of the bill are certainly something of a force. But when things are overall very tight, it becomes much easier to spot the loose ends. Jenna Moll Reyes as Dawn does a nice job crafting a comedic character, but timing and tempo lacked in her Act One solo "When He Sees Me" that at times seemed like it was about to go off the rails. I'm not sure who is at fault, Reyes or Music Director Susan Draus, but it showcased a need to run the number. Arielle Crosby is indefatigable in the role of Becky, fit with a powerhouse voice and demenor. But although she stands strong in her character, Crosby struggles to blend musically with Reyes and Terze-Schwarz. There were a few different times where it felt like the harmonies did not lock-in; the more dissonant the harmonies, the more it stood out for the wrong reasons.

As our leading lady, Jenna, Anne Terze-Schwarz is out-and-out simply lovely. Terze-Schwarz seemed to settle in more and more as the show progressed, but perhaps that is an active - or even subliminal - choice. I also easily swoon over women with unique voices. Terze-Schwarz lives in that musical space of sounding reminiscent of Joan Jett or Stevie Nicks without losing that musical theater foundation. Her chemistry with Robinson's Dr. Pomatter was something worth rooting for even while knowing it was the product of infidelity.

I had sort of forgotten how Waitress ends, given it's pre-dated source material in pop culture. I had rewritten the story in my mind to be one where Jenna and Dr. P both agree to leave their spouses only for Jenna to be the one who makes the move, subsequently leaving Jenna alone with a newborn on the way. The actual ending better serves Jenna: she both makes the choice to leave her rotted husband and also to end her extramarital affair in hopes of saving herself, Dr. Pomatter, and Dr. P's wife from even more pain and suffering down the road. Thus, she devotes her life to her newborn daughter and promises to provide her with a better slice of life. That sounds way better than deep s*** blueberry pie - I mean deep dish!

Waitress runs at the Arvada Center through October 13, 2024.

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