Musical theatre is known for showcasing the extraordinary. From GYPSY to MOULIN ROUGE to an ogre named SHREK, the most unusual protagonists imaginable are what are on display. Phantoms, witches, cats and even puppets (AVENUE Q) are what audiences have come to expect. Musicals are built for “transportation.” Fantastical characters require fantastical settings; hence audiences are transported to worlds far from their own-1800’s French opera houses, the Pride Lands of Africa, or the wonderful world of Oz. As Dr. Seuss might say (SEUSSICAL), “Oh the places you’ll go!” So, when a musical about a blue-collar worker set in a diner in non-descript city in the South opened on Broadway in 2016, it was all, in a word well, “extra-ordinary.” Who would think to make a musical about a server whose biggest dream in life is to win a pie-baking contest to leave her abusive marriage? Saving yourself from working at a pie shop doesn’t quite rise to the level of being saved from literal hell (HADESTOWN), yet this piece works surprisingly well. Perhaps it’s because it’s just so relatable.
Opening last weekend at Playhouse on the Square, WAITRESS, under the direction of Claire D. Kolheim (YOUR ARMS TOO SHORT TO BOX WITH GOD) pulls a reverse “bait and switch” in that the show has none of the trappings of a traditional Broadway musical yet packs a powerful and emotional punch. This extra ordinary production is “extraordinary” in all the best ways possible and is the very definition of a bona fide hit!
Based on the 2007 film starring Keri Russell (which was a modest success at best), it’s an unusual choice to turn this story into a musical. On its surface, it’s a depressing tale. Jenna is a waitress trapped in a loveless marriage with her teenage sweetheart who can be physically abusive. She’s stuck in every imaginable way possible-stuck in a town, in a marriage, in a job and even with an unexpected pregnancy. Finding music to underscore this “pedestrian” tale falls to an unlikely 2000’s pop artist, Sara Bareilles. Best known for her 2007 song, “Love Song,” Bareilles has never before written music for the stage, but her self-described “piano-based pop soul” style is the perfect sound for this no-frills story laid bare for the world to see. The story (and the music) is raw and honest without pretense which allows the audience to stop looking for the spectacle and start looking within. Director Kolheim’s production is stacked with easily recognizable people, places and situations which gives the show a relatability that taps into our comfortably uncomfortable and sometimes fleeting, sometimes lingering moments of quiet desperation.
Technically, this show is solid. Kiah Kayser’s sets nicely transition between Pie Shops, doctor’s offices, and modest abodes while Rachel Lauren’s lighting design supports the tone of the story (and music) in subtle, but enriching ways. The costumes by Lindsay Schmeling bring a believable naturalism to a cast of characters who have no reason to stand out (except for one character whose final costume arrives in one heartbreakingly beautiful fashion). Joshua Crawford has stepped it up from POTS’ most recent production of CATCH ME IF YOU CAN and provides a crisp, clear sound design which allows all the words (spoken and sung) to be easily heard AND understood. Thank you, Jesus!
Patti House’s music direction and orchestra is divine as the instrumentation of guitars, cellos, drums, and keyboards seem to inexplicably fit right in onstage inside the pie shop. Don’t ask why it works, but somehow you’ll just know it makes perfect sense.
As good as all the technical elements are, director Kolheim clearly has an eye for talented performers. Proving the cliche, “It takes one to know one,” Kolheim, a dynamic performer in her own right, has darn near cast this production to perfection. Beginning with the “waitress” herself, it’s hard to imagine a better Memphian to step into the role of the downtrodden Jenna than Lynden Lewis (recently seen as Mary in MARY POPPINS at Theatre Memphis). Lewis looks and acts the part of a blue-collar waitress in a loveless marriage devastated to discover that, in a moment of weakness, did something “stupid” and had sex with her husband (causing pregnancy). She is so quickly and easily identifiable as an “every woman” trying to find daily joy by inventing a new pie (with a new name and new ingredients) every morning. It’s a sad existence if one dares to reflect too long, but Jenna’s struggle is real, and Lewis conveys it in painfully profound ways with a singing voice that simultaneously rips the roof off the building and your heart from your chest. In perhaps the shows most famous song, “She Used to Be Mine,” which laments the contrast between our dreams and our realties, Lewis dares us to choose between cheering for her voice or weeping in the pathos. Unfortunately, we can’t do both.
Discovering her unattended pregnancy, just as she’s trying to escape, leads Jenna to stumble upon a new gynecologist who, unbeknownst to her, replaced her recently retired doctor. Stephen Garrett as Dr. Pottamer is wonderfully understated and awkward as a man trying to balance his professionalism with his “smittenism” (wish this was a real word) with his new client, Jenna. Like Lewis, Garrett grounds his character in incredible realism only to reveal a magnificent voice which divulges a talent which he can manipulate at will. Their love story only works as well as it does due to an incredible chemistry between the two actors that melts your heart like a big fat scoop of ice cream on warm apple pie.
As Jenna’s abusive and selfish husband Earl, Atam Woodruff is appropriately off-putting enough to make you feel sorry for Jenna’s predicament. He vacillates between manhandling his wife “romantically” and violently, but never appropriately. Realizing that safety of actors is always paramount, there still seems to be some room for Woodruff to go in demonstrating the physical volatility he poses to his Jenna. At times it looked like Lewis could have (and should have) kicked Woodruff’s ass if she wanted to (which, unfortunately, diminishes the stakes at hand).
Jenna’s best friends (also waitresses) at the diner are Keegan Etheridge as Dawn and Wyndie (Oh!) Oliver as Becky. For those old enough to remember the 70’s sitcom “Alice,” Ethridge’s Dawn is the “Vera equivalent”-a super hyper and anxious waitress played by Broadway’s own Beth Howland (COMPANY) and Oliver portrays Becky as the wise cracking “Flo equivalent” in a way you just know the phrase, “Kiss my grits!” is coming out any second. Although both ladies border on characterizations, they each have their moments to shine comedically and through song.
Sticking with the “Alice” theme, Trey Oliver as Cal, the boss/cook at Joe’s Pie Diner (just like Vic Tayback was at Mel’s Diner) plays it as a lovable curmudgeon who secretly likes working with the waitresses much more than he’s willing to let on. Oliver’s character doesn’t have a lot to do here which doesn’t allow Oliver’s emerging talents to shine as brightly as they have with other recent productions.
Lending his talents mostly to Mississippi theatres, it’s nice to see Joe Ranager on a Memphis stage and his turn as the grumpy diner owner who only pops in for breakfast and comments on the staff’s personal lives in ways that are none of his business. Ranager’s Joe means well and sometimes can’t help but let his kindness slip out, especially with his rendition of “Take It From an Old Man,”-a song exuding the importance of believing in yourself, even when no one else does.
The term “scene stealing performance” is often used far more than it should be and demonstrated far less than it ever is. It’s a lazy way for people to recognize a performer who stands out, but those performances rarely meet the standard or deserve the accolade. Until now. Although he doesn’t enter the stage until midway through Act I, Daniel Stuart Nelson’s portrayal of Dawn’s new love interest (Ogie) brings a performance that stops, steals, and stupefies in glorious ways. As a country bumpkin obsessed with Revolutionary War reenactments, Nelson’s comedic timing (physically and vocally) is sheer perfection. Nelson’s background as a dancer/choreographer affords him the ability to manipulate his body in hilariously joyful ways. His rendition of “Never Getting Rid of Me” is a master class on how to perform a song utilizing everything you’ve got. This one song is worth the price of admission alone.
Kicking off Playhouse on the Square’s 2024-2025, WAITRESS is fantastic. Director Claire D. Kolheim is quickly proving herself to be a director with the eye, ear, and talent to produce highly entertaining musicals and POTS would do itself well to sign her up quickly and often for future shows. POTS bills itself as Memphis’ only professional theatre in town and recent productions haven’t always felt that way, but this one feels, looks and sounds like a professional production should. Memphis audiences need to support Memphis theatre and this a show that deserves your support. Like the butter, sugar and flour that goes into a tasty pie, WAITRESS has all the right ingredients to make it simply delicious.
Photos by Sean Moore
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