★★★½

“Funny, moving and musically rich”

A small-town diner, a troubled marriage and a gift for baking pies might not sound like the ingredients for a hit musical, but Waitress proves otherwise. Jessie Nelson adapts the 2007 film by Adrienne Shelly for the stage, with music and lyrics by Sara Bareilles. The result blends sharp humour, broad comedy and a richly melodic score into something contemporary and emotionally engaging, even if it occasionally struggles to reconcile its shifting tones.

At its centre is Jenna, played by Carrie Hope Fletcher, a waitress whose talent for pie-making becomes a form of expression, escape and ultimately self-determination. Fletcher delivers a performance of real assurance, her vocals soaring with clarity and control while keeping Jenna grounded and recognisable. There is steel beneath the warmth, giving weight to the character’s choices without losing the show’s lighter touch.

Jenna is trapped in an unhappy marriage to Earl while working at a local diner alongside her friends Becky and Dawn. When she discovers she is pregnant, her sense of being stuck deepens, until the arrival of Dr Pomatter complicates matters further. As their relationship develops, Jenna begins to imagine a different future for herself, one shaped as much by friendship and small acts of courage as by romance.

Around her, the supporting cast adds texture and energy. Sandra Marvin’s Becky is wry, warm and sharply observed, while Evelyn Hoskins brings offbeat charm to Dawn; both shine in their solos, When He Sees Me and I Didn’t Plan It, showcasing vocal range and character depth. Dan O’Brien’s Cal, the diner’s brusque but caring manager, provides a steady comic presence. Dan Partridge’s Dr Pomatter is likeable and easy-going, his scenes with Fletcher carrying a gentle if somewhat idealised chemistry within what is ultimately a more troubling dynamic than the musical fully interrogates. Alongside him, Ellie Ruiz Rodriguez steals scenes as Nurse Norma, leaning fully into the role’s comic potential. Mark Anderson impresses as Ogie, Dawn’s boyfriend, his Never Getting Rid of Me bursting with invention even if its premise – his refusal to take no for an answer – feels slightly uneasy. Les Dennis brings quiet poignancy to Old Joe, his solo Take It From an Old Man delivered with warmth and lived-in humanity, while Mark Wilshire ensures Earl feels uncomfortably real rather than simply villainous.

It is this darker undercurrent that gives the show its bite, though it occasionally feels uneven. Beneath the sugary surface lie serious themes – domestic abuse, coercive control, dementia, infidelity, financial insecurity, generational trauma, stalking and sexual misconduct. Some are central to Jenna’s journey, while others are lightly brushed aside or played for humour, creating an imbalance that prevents the piece from fully landing.

Bareilles’ score is the beating heart of the show, effortlessly moving between ensemble numbers and introspective solos. The songs feel fully integrated into the storytelling. Choreography by Lorin Latarro complements the storytelling with organic, character-driven movement, and the on-stage band under musical direction Stephen Hill adds immediacy and warmth.

Direction by Diane Paulus keeps the production fluid and engaging, allowing humour and pathos to sit side by side, even if the tonal balance occasionally wobbles. Design by Scott Pask captures the lived-in familiarity of the diner, with a flexible set that shifts smoothly between locations. Lighting by Ken Billington subtly shapes mood and focus, while costumes by Suttirat Anne Larlarb ground the characters in a recognisable world. Waitress is a feel-good musical at its heart, following Jenna’s journey with warmth and humour, yet it carries enough complexity to give the story depth. Funny, moving and musically rich, it balances sweetness with just enough bite, even if it does not always explore its darker themes fully.

THE TIME TRAVELLER’S WIFE at the Apollo Theatre

★★★

“the show is a feast for the eyes with plenty of jaw-dropping, ‘how-do-they-do-that’ moments”

As a species, the ability to conquer the fourth dimension has always fascinated us. Which is why it is so prevalent in literature and popular culture. Particularly as this year comes to an end with the highly anticipated 60th anniversary of Dr Who on the horizon. It is argued that Sophocles wrote the first time travel story over 2,500 years ago. The popularity of the concept has almost convinced us that time travel could, in fact, be possible. Most fantasies revolve around our ability to control our passage through time – from the past or to the future and back again. Audrey Niffenegger’s novel, “The Time Traveller’s Wife”, turned that around to tell the story of a man who has no control. It is not a gift but a curse, and questions of free will, fatalism or predeterminism give the novel a philosophical sheen. The success of the story, however, stemmed from the fact that it was perceived as a love story.

It is this aspect that informs the new musical, which premiered at Storyhouse, Chester last year before its West End run. Lauren Gunderson’s book, with Dave Stewart and Joss Stone’s music and lyrics, is a sugar-coated treat. More saccharin than the real deal raw stuff, there is a synthetic quality to the way it pulls at our heart strings. But once we get used to it, we allow ourselves to be drawn into the narrative. What undoubtedly helps is Bill Buckhurst’s magnificent staging. A collaborative effort, drawing on the skills of illusionist Chris Fisher, the show is a feast for the eyes with plenty of jaw-dropping, ‘how-do-they-do-that’ moments.

“Despite the captivating themes, the episodic nature of the piece leaves them dangling”

At the heart of the story are Henry and Clare – the time traveller and his wife (David Hunter and Joanna Woodward). Henry is a man with a genetic disorder that causes him to time travel unpredictably while his wife, Clare, is left behind to cope with his frequent absences. It is fitting that Woodward opens the show, introducing herself directly to the audience. After all; it’s in the title. Refreshingly told from the wife’s perspective, Woodward empowers her character in a finely balanced performance, practically stealing the show with the highlight musical number, ‘I’m In Control’. It is a rare moment when the emotional temperature lifts a few degrees. Elsewhere, however, the score laps around us in lukewarm waves of predictability.

The narrative is surprisingly easy to follow, given the complex nature of the storyline. Especially when put on paper. Henry and Clare first meet in the library where Henry works part time. Clare has already met Henry several times throughout her life when Henry was older and travelling back in time to visit her. But because Henry is younger than that now, he hasn’t yet built the memories of this, so he has no idea who Clare is. See what I mean? Henry has unwritten ‘rules’ of time travel that he can’t break. But of course, he does – particularly when it is in order to save his marriage. Woodward and Hunter both give polished performances that clearly pinpoint where, and when, we are in their romance. Fantastic support comes from Tim Mahendran and Hiba Elchikhe, as Gomez and Charisse, their best friends and conventional couple who mirror the ups and downs of matrimony without the added complications. Special mention must be made of Holly-Jade Roberts, who plays the young Clare with a fascinating, quirky and natural assuredness beyond her years.

Despite the captivating themes, the episodic nature of the piece leaves them dangling. Yet we also appreciate that this may be an essential part of it, as normal life is continually being torn apart by these uncontrolled fissures in time. And the numerous scene transitions are almost another character in itself. But the questions never dig too deep, hindered as they are by lyrical platitudes such as ‘time is nothing’. Perhaps there is too much to explore and, despite running at just over two and a half hours, there isn’t the time. We leave with a sense of being slightly underwhelmed, but thoroughly entertained, nonetheless. The question remains; will it stand the test of time? Well, there’s only one answer. Only time will tell.

Tag Archives: Daniel George-Wright

WAITRESS

★★★½

UK Tour

WAITRESS

Theatre Royal Brighton

★★★½

“Funny, moving and musically rich”

WAITRESS

Theatre Royal Brighton then UK Tour continues

Reviewed on 7th April 2026

by Ellen Cheshire

Photography by Johan Persson

WAITRESS

WAITRESS

WAITRESS

The Time Traveller’s Wife

★★★

Apollo Theatre

THE TIME TRAVELLER’S WIFE at the Apollo Theatre

★★★

“the show is a feast for the eyes with plenty of jaw-dropping, ‘how-do-they-do-that’ moments”

“Despite the captivating themes, the episodic nature of the piece leaves them dangling”