The great musicals that return again and again to the West End – shows like Wicked or Mamma Mia!, and even newer successes like Hamilton or Matilda The Musical – tend to share one defining trait: genuinely good music.
Every so often, I go to see newer musicals trying to measure up to these giants, and they often fall short for one simple reason — the songs just aren’t memorable. Many are adaptations of beloved films, drawing in audiences through familiarity, but once the novelty fades, they rarely achieve the same staying power.
I’d never seen Waitress before – I’d heard of it, but that was about it. Yet, sitting in New Wimbledon Theatre, a venue I’ve been to countless times, I realised I already knew some of the songs. That, to me, was an immediate tick.
To be honest, the plot itself isn’t anything extraordinary. A waitress who bakes pies navigates a difficult personal life before eventually finding a sense of resolution. It’s not the story that will stay with you – and I’m not particularly compelled to watch the original film – but the music, written for the stage by Sara Bareilles, is where the show truly comes alive. Songs like “When He Sees Me,” “Never Ever Getting Rid of Me,” and “She Used to Be Mine” stand out in particular. In fact, I’d urge you to look them up – there’s a good chance you already know them. You can tell they’ve landed when you find yourself searching for them the moment the show ends.
Of course, strong songs need strong voices, and this production doesn’t falter there. Carrie Hope Fletcher is outstanding – and that’s not something I say lightly. Her voice is exceptional, and during “She Used to Be Mine,” the entire audience seemed to hold its breath. It was one of those rare moments where a theatre falls completely still. The applause that followed was long and entirely deserved. She also pairs well with Dan Partridge as Dr Pomatter, their chemistry feeling natural and unforced. Sandra Marvin as Becky is another standout, delivering a performance that is just as vocally impressive and impossible to overlook.
The comedy is another strength. The casting feels spot-on across the board – from the sweetly awkward Dawn (Evelyn Hoskins) and the eccentric Ogie (Mark Anderson) to the unsettling presence of Earl (Mark Willshire). The humour genuinely lands, and the relationships – romantic or otherwise – feel believable.
What surprised me most is how well the show balances its tone. Beneath the lightness of pie-making and humour are much heavier themes, including abuse, and the contrast works more effectively than you might expect.
Overall, this is a very good production: a talented cast, genuinely catchy songs, and a musical that understands exactly where its strengths lie. It’s easy to see why Waitress has built such a loyal following.