WAITRESS

Theatre Royal Brighton

★★★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.

WAITRESS

Theatre Royal Brighton then UK Tour continues

Reviewed on 7th April 2026

by Ellen Cheshire

Photography by Johan Persson

WAITRESS

★★★

“has the potential to keep its head above water”

It’s hard to deny that The Spongebob Musical at the Tyne Theatre and Opera House has the makings of a fun-loving spectacle, with all the heart the show should be filled with. Perhaps the essence of this production is best summarised through the valiant effort of an ensemble actor in the show’s last number, smiling and waving whilst fighting the cruel wrath of an uncooperative confetti cannon.

As a fangirling pirate with a smart phone is tackled by security and the curtain on Spongebob rises, it is easy to feel a little underwhelmed by the production’s tightly packed set which lacks dressing above its decking or much dynamic creativity. However, the audience is immediately assured that our lead, Ben Stoddart has the physicality and conviction of a powerhouse lead. Stoddart plays the naïveity and optimism of the cartoon protagonist with great strength, and his energy keeps up the pace with the high demands of the show. Finn Younger (Plankton) also plays a refreshingly villainous antithesis to Stoddart’s excitable persona and is costumed excellently.

It is a shame that the clear enthusiasm and passion of performers is drowned consistently out by the poor blocking of ensemble and supporting cast, who fill the stage so much that director, Sonia Hernandez, has no choice but to flood the audience with people at most given moments. Don’t get me wrong, the puppet jellyfish light up the audience with a magical childlike charm but after a while the constant entrances and exits through the aisles become more predictable and distracting than exciting and interactive. Often it feels that SpongeBob’s ensemble cast lack clear blocking, and any good line delivery is undersold by poor microphone management which is slow off the mark. The cast’s impressive vocals and engaging ensemble numbers are frequently too quiet to be clearly heard or appreciated. I can imagine that this might be difficult for younger audience members to understand and stay focused on.

The production does have it’s dazzling moments. Squidward, played by Corey Clarke, is a highly talented actor who is supported by a brilliant team of tap-dancing sea anemones for ‘I’m Not a Loser’. The sparse staging and tight choreography make for the best part of the show. Squidward’s costuming and vocal ability is standout, as well as Kate Walker’s stellar choreography for this song.

Jenn Wagstaff’s musical direction of the pit band keep the production moving and provide toe-tapping highs through the show. Overall, many actors show shining vocal promise – Devon Dolman as Pearl and Carol-Ann McConnellogue as Sandy Cheeks are both particularly enjoyable in solo choruses and verses. The overall main cast and ensemble do however struggle to maintain consistently high-quality harmonies and mixing, despite lovely moments of cohesion in songs like ‘Finale’ and ‘Bikini Bottom Day’.

Overall, kids seem most engaged when this production pushes the boat out creatively with props and special effects like bubbles and inflatables, and the show shines best where movement and comedy are supported well with controlled sound operation and direction. With a bit more rehearsal and attention to detail with regards to technical aspects and blocking, The Spongebob Musical at the Tyne Theatre and Opera House has the potential to keep its head above water just that little bit more.

Tag Archives: Sara Bareilles

WAITRESS

★★★½

UK Tour

WAITRESS

Theatre Royal Brighton

★★★½

“Funny, moving and musically rich”

WAITRESS