Dan Partridge and Carrie Hope Fletcher in Waitress at the Milton Keynes Theatre and Touring. Picture: Johan Persson
Waitress was reviewed at the Milton Keynes Theatre where it continues until 26 September 2026. The tour continues until 31 October 2026.
Star rating: four stars ★ ★ ★ ★ ✩
Carrie Hope Fletcher’s hugely likeable presence on social media might put more bums on seats for the stage productions she appears in, but that’s not why musical theatre fans remain so loyal to her. It’s because she’s an authentic performer who brings heart, humanity and a real emotional honesty to every character she inhabits – not to mention some killer vocals.
These qualities make Fletcher perfect casting for the central role of Jenna, a waitress trapped in an abusive relationship, but still spreading kindness and joy through the pies she bakes at the diner where she works. The names of her bakes even reflect her journey, as we witness her progression from the ‘Betrayed By My Eggs Pie’ to the ‘Pursuit Of Happiness Pie’.
This tour, a welcome return to these shores for Sara Bareilles and Jessie Nelson’s delicious, moving and inspirational musical (inspired by Adrienne Shelley’s 2007 film), has been travelling the UK and Ireland since March – and its months on the road are evident in the very best way. There’s a wonderful synchronicity between the members of this all-round excellent cast, giving the production a confidence and cohesion that makes you feel like you’re in safe hands.
Granted, there are elements of Nelson’s book that don’t sit quite as well with me now as they did when I first fell in love with the show back in 2019, particularly the believability of Jenna’s passionate affair with her gynaecologist, Dr Pomatter. There’s also an element of cartoonish mayhem to the romance between Dawn and Ogie. However, the combination of Bareilles’ enchanting score and such strong performances means these reservations often fade away.
At the heart of the piece is, of course, the friendship between the three waitresses at the diner – Jenna, Becky and Dawn – and Fletcher, Bernadette Bangura and Evelyn Hoskins strike just the right chord. There’s a genuine warmth to their relationship, their love for each other always present even when they question the decisions each has made.
Reprising the role she previously played both in the West End and on the UK tour, Hoskins is a delight as Dawn, with her rendition of ‘When He Sees Me’ a highlight of Act I. Alongside some nifty vocals, she demonstrates great comic timing and a real flair for physical comedy, as does her partner in crime (and military reenactments), Ogie (Mark Anderson).
Bangura is a real powerhouse presence onstage, delivering Nelson’s witty one-liners with aplomb, but also displaying a tenderness and generosity towards those she loves. Her Act II ‘I Didn’t Plan It’ is a vocal-riffing rollercoaster that is hard to resist.
Dan Partridge is probably the most nervous and awkward Dr Pomatter I have come across, but that makes the comedic elements of his early exchanges with Jenna particularly effective. It also means that when he finally demonstrates his feelings for Jenna, those scenes have even greater impact. Best of all are his duets with Fletcher, particularly ‘You Matter to Me’.
Fletcher makes a deep emotional investment in Jenna and, as a result, gives a nuanced performance that brings out her kindness, love for others, insecurities, sadness and courage. When all those emotions come together in ‘She Used to Be Mine’, the result is powerful.
Sometimes the male roles in Waitress are criticised for being rather one-dimensional, but that seems rather harsh. Will Arundell clearly has fun as the shouty diner manager Cal, who tries – and often fails – to boss around the feisty women he finds himself surrounded by. Dan O’Brien also does a fine job as the impatient diner customer Old Joe (normally played by Les Dennis), who spots the spark in Jenna and delivers a touching version of ‘Take It From An Old Man’.
There isn’t much depth to Jenna’s abusive husband Earl, but Mark Willshire is able to offer a convincing portrayal of a character with few redeeming qualities.
Perhaps some compromises have been made in the staging – Abbey O’Brien offers her own take on Diane Paulus’ original – and production values, but in its 10th anniversary year, Waitress still makes its mark. Occasionally, a little less pace in the flow of the narrative might be welcome, but Lorin Latarro’s choreography remains beautiful, particularly when the onstage musicians become integral to the storytelling. Credit to all the band, led by musical director Francesca Warren.
Scott Pask’s set, complemented by Ken Billington’s lighting design, looks a little flimsy at times, but provides the perfect setting and atmosphere.
Just a few more stops, then, to catch this charming musical, which holds up well a decade after its Broadway debut and provides a much-needed reminder that, in our lives, there is very little more important than love and kindness.
Lisa Martland
- Lucie Jones will perform as Jenna throughout October 2026 in Glasgow, Sheffield and Salford. Check local listings for confirmation.
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