Review by Amelia
Tickets were gifted in return for an honest review.
Ten years on from its Broadway debut, Waitress returns to the UK with an anniversary tour that feels like a real love letter to the show. With music and lyrics by Sara Bareilles, this new production opens at New Wimbledon Theatre and is set to travel far and wide across the UK and Ireland. At its heart, we follow Jenna, a gifted pie-maker trapped in a loveless marriage, quietly searching for a way out and a better future, all while navigating the complications of an unexpected pregnancy. Leading the company at select venues is Carrie Hope Fletcher, who as a mother herself, leads the production to victory.
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| Sandra Marvin, Carrie Hope Fletcher and Evelyn Hoskins. Photo by Johan Persson. |
Sara Bareilles’ score continues to be one of the show’s greatest strengths, with each number flowing seamlessly into the next. There’s a real richness to the music, but it’s in the harmonies between the three female leads where it truly shines. These moments are effortlessly dreamy, their voices blending together in a way that feels almost weightless. Carrie Hope Fletcher is so clearly at home in the role of Jenna, and it’s obvious just how much it means to her. She brings a natural ease to both the comedy and the emotional beats, and her rendition of ‘She Used to Be Mine’ all but stops the show. It’s a stunning, fully realised moment.
Returning to their roles, Sandra Marvin and Evelyn Hoskins slot straight back into Becky and Dawn as if no time has passed. Their chemistry is undeniable, bouncing off one another with ease, while still carving out their own standout moments. Dan Partridge, however, is the one who steals the show here. His Dr Pomatter is wonderfully awkward in all the right ways, easily one of the funniest interpretations I’ve seen, but it’s paired with a vocal performance that is equally as impressive. It’s a tricky role to balance, particularly given the circumstances, but he manages to make you root for something you know you probably shouldn’t.
There’s a real sense that this company is settling into something special. The cast already feels comfortable with one another, and you can only imagine how that dynamic will continue to grow as the tour progresses into a well-oiled machine. Les Dennis brings a gentle sincerity to Joe, and while that relationship with Jenna can sometimes go underappreciated, it lands with real emotional weight by the end. Mark Anderson’s Ogie is a comic highlight, with ‘Never Ever Getting Rid of Me’ delivered with sharp wit and impeccable timing, plus his partnership with Dawn is a constant source of joy.
One of the real joys of this production is that it hasn’t lost any of its charm when it comes to the practical details. The onstage pie-making is still very much intact, adding that extra layer of authenticity. I’d genuinely love to know how much sugar, butter and flour they get through each night. It all feeds into a world that feels warm and lived-in, helped along by the subtle, contemporary choreography that remains as inviting as ever. It never overstates itself, instead sitting comfortably within the piece; quietly effective, but never pulling focus from the story.
This 10th anniversary tour remains such a gorgeous production, one that still feels as charming and inviting as ever. The set, while perhaps feeling a touch small on the New Wimbledon Theatre stage (most noticeably in Jenna’s house), does little to take away from its overall impact. It’s largely unchanged, and rightly so; there’s no need to fix what isn’t broken. The design, rooted in the original Broadway production, continues to stand the test of time, capturing that same quaint, endearing quality that makes the world of the show feel so comforting and familiar.
Waitress is not a show to be missed. You can catch it around the UK until Saturday 31 October 2026, with its final stop at The Lowry in Salford.
⭐⭐⭐⭐⭐
Waitress plays at New Wimbledon Theatre until Saturday 4th April. For full tour dates and venues visit https://waitressthemusical.co.uk/
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