The A.R.T. Serves Up A Broadway-Bound World Premiere of "Waitress" - A Must See Through September 27th Only

She has done it again!  A.R.T. Artistic Director Diane Paulus has brought to the A.R.T. stage another Broadway-bound gem that has audiences licking their chops for more of the savory treat that is "Waitress."  The World Premiere musical is based on a 2007 Adrienne Shelly film by the same name.  Ms. Paulus has collaborated with acclaimed singer/songwriter Sara Bareilles to add music and poetry to the story of a young waitress who struggles to escape an abusive marriage and to find a recipe for a successful and safe life.  The book for this musical has been written by Jessie Nelson, with Chase Brock as Choreographer, Lighting by Kenneth Posner, Sound by Jonathan Deans, Costumes by Suttirat Larlarb and Set by Scott Pask.  The result of this creative collaboration is a show that should run on Broadway for along while.  It is a total delight from the opening litany of "Sugar, butter, flour  . . . " to the final poignant scene between mother and daughter baking pies.

Jessie Mueller as Jenna
"Waitress"
American Repertory Theater
Through September 27
Photo by Evgenia Eliseeva

I am not sure if the shelves of my language larder contain enough linguistic ingredients to adequately praise this production. The story is at its heart a feminist tale of escape from an abusive and loveless marriage into something more fulfilling, yet this story is not just for women to savor.  This man was moved by the characters that have been created for the telling of this tale. One of the things I most appreciate about the writing of this musical is that each character is three-dimensional, with shades of good and evil, smart and dumb, confident and awkward.  It is in the movement along these spectra that the real stories are told of Jenna and her fellow waitresses, Becky and Dawn.  This trio are the emotional core of the story, with marriages, romances and dalliances added into the mix for these hard-working ladies.

The three roles are well cast.  Jessie Mueller as Jenna shows why she received a Tony Award for her portrayal of Carol King in "Beautiful."  She creates a Jenna who vacillates between hopeless helplessness and whimsical wondering if she has what it takes to win the pie-baking contest down in Springfield that will give her the money she needs to leave Earl and his smothering insecurities. Her vocal range fits nicely into the pie shell of Ms. Bareilles' songs, especially the soaring "She Used To Be Mine." As she ruminates about her life and marinates over what she should do about her affair with Dr. Pomatter, she takes a look at herself and where she has come from:

"I was never attention's sweet center,
But I still remember that girl.
She's imperfect, but she tries;
She is good, but she lies.
She is hard on herself.
She is broken, and won't ask for help.
She is messy, but she's kind;
She is lonely most of the time.
She is all of this mixed up 
And baked in a beautiful pie.
She is gone, but she used to be mine."

The feel of this number reminded me of Celie in "The Color Purple": "I may be ugly, but I'm here!" Like Celie before her, Jenna finds strength in sisterhood to escape from the stultifying grip of a misogynist Neanderthal of a husband.

Keela Settle as Becky
Jessie Mueller as Jenna
Jeanna De Waal as Dawn
"Waitress"
American Repertory Theater
Through September 27
Photo by Evgenia Eliseeva

She is supported in her work and in her life by fellow tray-carriers Becky (Keala Settle) and Dawn (Jeanna De Waal).  Ms. Settle plays Becky as an earth-mother who bemoans the fact that her well-developed bosom is not bi-laterally balanced.  She is married to an older man whose diapers she has to change, so her little side of bacon with short-order cook, Cal, is no surprise.  When Jenna confronts Becky about the relationship with Cal, Ms. Settle sends up a very moving rendition of "I Didn't Plan It."  Dawn is nerdy and pathologically insecure, taking seven months to perfect her on-line profile before putting herself out there on dating sites.  Her "When He Sees Me" speaks eloquently to her insecurities and inhibitions.  I am convinced that Ms. De Waal can plan any role she chooses.  In the past year I have seen her not only as Dawn in this production, but as Mary Barrie in the A.R.T. production of "Finding Neverland," and as Lauren in the Broadway production of "Kinky Boots."  She is a true chameleon on stage. When she came onto the set at the beginning of "Waitress," I whispered to my guest: "She does not look anything like that in real life."  When we greeted her after the show, my friend's jaw dropped when he saw Jeanna, confirming my description of her.

Supporting these three women is a wonderful assortment of actors portraying colorful characters:

• As Cal, Eric Anderson is appropriately crusty, tough and tender, taking what life dishes out.  When Jenna asks him, in a quiet moment, if he is happy, he growls out a terse and laconic reply: "Happy enough."
• Joe Tippet has the difficult task of making abusive husband Earl both believable and somewhat sympathetic.  As written, the character is clueless, possessive, insecure and pathetic when he demands that Jenna promise him that she will not love their expected baby more than she loves him. Mr. Tippett does a good job expressing those emotions in the song, "You Will Still Be Mine."
• Dakin Matthews is Joe, the curmudgeonly owner of Joe's Pie Diner - and many other businesses in town.  He presents himself as a high maintenance regular customer, with very particular peccadillos about what food he wants and when and how he wants it served. On the inside, he has a deep appreciation for Jenna as a superb baker of pies and as a human being with great potential. Mr. Matthews is perfect in this role, dispensing customized daily horoscope readings into which he adds his own special sauce and saucy comments that let Jenna know that he is aware of her secret pregnancy and her affair with Dr. Pomatter.  She describes him as her best tipper, and as things turn out in the end, that proves to be a wonderful understatement  His tender song, "Take It From An Old Man," sung into Jenna's ear as they dance at Dawn's wedding, is a gentle and moving moment in this otherwise fast-paced show. He portrays Joe as crusty on the outside but as soft on the inside as Clarence in "It's A Wonderful Life."

Dakin Matthews as Joe

Jessie Mueller as Jenna

"Waitress"
American Repertory Theater
Through September 27
Photo by Evgenia Eliseeva

• Drew Gehling portrays Dr. Pomatter.  From his initial entrance, he projects an awkward innocence and vulnerability that is endearing. His wife is an anesthesiology resident, and he has become numbed to her charms, so is easily won over by Jenna's simplicity and neediness.  The gestation of their brief and torrid affair is coterminous with Jenna's unwanted pregnancy, and ends when her maternal instincts kick in after the delivery of her daughter, Lulu. Mr. Gehling brings to the role a deep sincerity (for an adulterer) and a beautiful singing voice that he shows off to good advantage in "It Only Takes A Taste."  Once Jenna's heart has been fully dilated, she senses that it is time for her to push - to push him out of her life and back to his wife.

Drew Gehling as Dr. Pomatter

Jessie Mueller as Jenna

"Waitress"
American Repertory Theater
Through September 27
Photo by Evgenia Eliseeva

• Jeremy Morse is a delight as the quirky Ogie, whose persistence in courting Dawn beyond their disastrous first date is expressed in his patter song "Never Getting Rid of Me."  His awkwardness is highlighted in the silly Second Act number "I Love You Like A Table."  He finally win's Dawn's heart when they discover a mutual geeky love for Revolutionary War reenactments.

The fine ensemble, which adds very nice vocals and well choreographed movement to several key scenes include: Charity Angel Dawson, David Jennings, Corey Mach, Ragan Pharris, Cullen R. Titmas and Stephanie Torns.  he role of Lulu is shared by Giana Ribeiro and Addison Oken.

This musical stands on the shoulders of Rogers and Hammerstein's "Carousel," which was the first Broadway musical to explicitly address the issue of domestic abuse.  The story has a strong feminist message without being strident or preachy.  Despite some steamy sexual scenes - including a wonderful triptych montage with three couples occupying three sections of the stage - there is a sweetness and warmth to this musical that feels like - well, a pie just out of the oven.

The clever staging, the brilliant set, the superb cast are all blended together in a way that gives meaning to the metaphor of the opening number "What's Inside."  As an audience, we want to know what is inside Jenna's cleverly named original pies, and we want to know what is inside of her, as well.

Nadia DiGialonardo conducts from the piano a zesty seven-piece band. They occupy a space in what looks like an auxiliary dining room of the diner, making them appear as if they are playing for their supper.  

Like Dr. Pomatter, it only took a taste of this show to make me want to go back for seconds.  Join me in tasting what happens when Jenna lovingly combines . . ."sugar, butter, flour . . ."

Through September 27.  Get your tickets early.

A.R.T. Website

Enjoy!

Al