Carrie Hope Fletcher in Waitress at Curve Leicester and Touring. Picture: Matt Crockett
Waitress was reviewed at Curve Leicester where it continues until 25 July 2026. The tour continues until 31 October 2026.
Star rating: four stars ★ ★ ★ ★ ✩
Few recent musicals have established themselves as quickly or as deservedly as Waitress. Originally adapted from Adrienne Shelly’s 2007 independent film, the musical premiered on Broadway in 2016 with music and lyrics by Grammy Award-winning singer-songwriter Sara Bareilles and a book by Jessie Nelson.
It was notable not only for its heartfelt storytelling but also for assembling Broadway’s first all-female principal creative team. Following acclaimed runs in New York, the West End and previous UK tours, Waitress has become a modern musical theatre favourite, combining warmth, humour and emotional honesty in equal measure. Playing at Leicester’s Curve this week as part of the latest UK tour to mark the musical’s 10th anniversary, the production (restaged by Abbey O’Brien) offers audiences another generous slice of a show that continues to resonate.
The story centres on Jenna (Carrie Hope Fletcher), a gifted pie-maker working in a small-town diner while trapped in an unhappy marriage to the abusive Earl (Mark Willshire). Discovering she is unexpectedly pregnant, Jenna is forced to confront the life she has accepted at the expense of her own happiness, and question the future she truly wants. Alongside her loyal colleagues Becky (Sandra Marvin) and Dawn (Evelyn Hoskins), Jenna is navigating friendship, self-discovery and the possibility of new beginnings when the charming Dr Pomatter (Dan Partridge) enters her life.
Nelson’s book carefully balances comedy with more serious subject matter, never allowing the darker themes to overwhelm the optimism at the show’s heart but not shying away from them either. While the narrative occasionally leans into familiar romantic comedy conventions, it remains grounded thanks to believable characters whose hopes and vulnerabilities feel authentic and believable, avoiding easy sentimentality.
There are plenty of laughs throughout, particularly in the wonderfully eccentric romance between Dawn and Ogie, but beneath the humour lies a thoughtful exploration of abusive relationships, personal agency and female friendship. The dialogue feels natural and often genuinely funny, allowing the comedy to arise from character rather than exaggerated situations. Pacing does slow slightly during Act II as several storylines reach their conclusions, and the show’s flippant glamorisation of adultery from various characters leaves a bad taste at times, reducing some of the empathy earned.
Bareilles’ score remains one of the strongest written for a contemporary musical in recent years. Rather than chasing obvious showstoppers, the songs emerge naturally from the characters and their emotional journeys, creating a rich musical landscape that feels intimate without sacrificing theatricality. The score effortlessly moves between infectious comic numbers and moments of genuine emotional depth, with melodies that linger.
Throughout, Bareilles’ songwriting captures the complexities of love, regret and hope with remarkable sensitivity, making every number feel purposeful rather than simply decorative. ‘She Used to Be Mine’ has become something of a modern anthem in musical theatre, and deservedly so, understandably receiving the evening’s biggest ovation.
Scott Pask’s diner set transitions smoothly between locations but doesn’t fully fill Curve’s stage with the sides brought in which is a shame, giving the feeling of watching the show through a letterbox. This feeling of reduced space results in the ensemble numbers often looking overcrowded with the band being onstage alongside them. Lorin Latarro’s choreography is used effectively though and brings some theatrical movement to the very ‘everyday’ setting.
Fletcher has been one of this generation’s leading names for nearly two decades now and she absolutely shines as Jenna, possibly giving a career-best performance. Beautifully nuanced and balancing quiet vulnerability with growing confidence, Fletcher’s timing and reactions are first-rate. Her vocals are, unsurprisingly, exceptional, but it is the emotional honesty she brings to the role that truly captivates.
Marvin is wonderfully charismatic as Becky, combining razor-sharp comic timing with a commanding stage presence, while Hoskins gives Dawn an endearing awkwardness that blossoms delightfully as her storyline develops.
Partridge is fine as Dr Pomatter, though arguably a tad too awkward and lacking the required chemistry with Fletcher to sell their attraction. Mark Anderson nearly steals the evening outright with an irresistibly hilarious turn as Ogie, earning some of the night’s biggest laughs, and Les Dennis provides touching dignity as Joe, offering understated wisdom that quietly anchors several of the production’s most heartfelt moments.
While there are certainly productions with greater spectacle or more elaborate staging, few contemporary musicals deliver such warmth and emotional resonance as Waitress. It speaks powerfully to women while hopefully making men think at the same time, is funny without becoming frivolous and heartfelt without tipping into melodrama.
The show has become a beloved modern classic, and demonstrates why here, supported by an excellent cast and a score that remains among the finest of the past decade. Like one of Jenna’s lovingly crafted pies, Waitress is comforting, satisfying and certain to make you want to go back for more.
Rob Bartley
- Cast note – the role of Jenna is shared across the tour between Carrie Hope Fletcher (through to September 2026 excluding Bournemouth and Hull, where Emma Lucia covers), and Lucie Jones who will perform throughout October 2026 in Glasgow, Sheffield and Salford. Check local listings for confirmation.
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