★★★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.

VINCENT IN BRIXTON

Orange Tree Theatre

★★★★★

“an exceptionally polished production, beautifully staged, superbly written and flawlessly performed”

Even one hundred and thirty years after his death, we still haven’t got the pronunciation of Vincent Van Gogh’s name quite right (the Americans are even further off the mark). Which is why Vincent initially introduces himself as ‘Mr Vincent’ in Nicholas Wright’s subtly evocative and brilliantly crafted play “Vincent in Brixton”. Vincent’s frustration is matched by his bewilderment at the English way of life, coupled with a desire to fit in. “I’m learning diplomatic English” he proudly proclaims. But there are other barriers too, most notably his innocent directness and tactlessness – a raw naivety that exposes secrets. This often starts him off on the wrong foot, but Dutch actor Jeroen Frank Kales paints a profoundly endearing picture of the post-impressionist painter in all his eccentricity and candour.

We are in Brixton in the 1870s, where the young Vincent has arrived to work as an art dealer for his family’s business. His heart isn’t in it (we soon learn that his heart is elsewhere) and his own latent artistic talent is still yet to be realised. He moves into the home of widowed teacher Ursula Loyer (Niamh Cusack) and her daughter, Eugenie (Ayesha Ostler). Unaware that Eugenie is secretly and romantically entangled with fellow lodger Sam Plowman (Rawaed Asde), Vincent immediately falls for her with brash inappropriateness, only to rapidly transfer his affections to her mother. It all sounds a touch callous and furtive, but the writing and the acting is so faultlessly accomplished and convincing that what unfolds is a touching story of the transforming power of love. Cusack, dressed in black and still mourning her late husband after fifteen years, shifts from melancholy to pure radiance that has our hearts beating with joy (temporarily… there are twists and reveals in the script that you need to go and find out for yourself).

The attention to detail is extraordinary. Designer Charlotte Henery’s nineteenth century lodging house is beautifully created. Take note – dine well before seeing this show; the aromas of melting butter and roasting lamb will have you salivating while a meal is prepared in real time. References to Van Gogh’s future works are ingeniously and discreetly slotted into the dialogue and the blocking (look out for the pair of boots). Wright has created an artwork in itself, which director Georgia Green has framed with an artist’s eye for perfection.

The story may or may not be true. The events are historically accurate, but the affairs are speculative, yet in this company’s hands they are convincingly real and heartfelt. Kales’ merciless honesty is lovable and hilarious in equal measure. It never takes long for him to smooth the bristles he invariably triggers in others. Ostler’s Eugenie demonstrates the right mix of disdain and affection, while Sam is unfazed by the intrusion and potential rivalry. Asde plays him with a cheeky grin and a sparkling glint in his eye, self-assured in himself but hesitant in his ambitions. The arrival of Vincent’s sister, Anna, is like a brisk wind that has crossed the North Sea. A masterstroke of casting, Amber Van Der Brugge bears a striking resemblance to Kales, along with the same unfiltered, bull-in-a-china-shop way with words, albeit more extreme and officious. Righteous and evangelistic, she drops bombshells as though cracking eggs for a light breakfast. The humour is reinforced by some of Wright’s glorious one-liners, yet we are never detracted from the heart of the story.

This heart belongs to Cusack and Kales. The dynamics seemingly unfeigned and the incongruous passion believably touching. “A woman does not grow old as long as she loves and is loved”, wrote the real Vincent in a letter to his brother. The sentiment is a leitmotif that runs through the play, but it never becomes a sentimental platitude. We are left unsure as to whether the love lasts – a symbolic, candle-snuffing cue to blackout hints at an ending – yet the feeling of joy remains long after curtain call. “Vincent in Brixton” is an exceptionally polished production, beautifully staged, superbly written and flawlessly performed. Chaotic and intimate, complex but quotidianly accessible. Biographical dramas often fail to convince in an effort to cover too much epic ground. By focusing on a snapshot, whether true to life or not, we are rewarded with a vibrant portrait of life, love and art. What more can you ask for? An unmissable show – although I regret to say that, unless you have bought your ticket already, you may have missed your chance.

Tag Archives: Johan Persson

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

VINCENT IN BRIXTON

★★★★★

Orange Tree Theatre

VINCENT IN BRIXTON

Orange Tree Theatre

★★★★★

“an exceptionally polished production, beautifully staged, superbly written and flawlessly performed”