A recording of the original Broadway cast of “Waitress”, the musical based on the 2007 film, hit cinemas this week, giving audiences the chance to see writer Sara Bareilles take on the lead role of Jenna Hunterson, a waitress at an American diner who finds herself pregnant by her abusive husband (Joe Tippett as Earl).
Bareilles is perfect for the role, expertly taking the audience along for the ride as the downbeat Jenna finds a new lease of life thanks to the arrival of Dr Pomatter (Drew Gehling). Jenna uses new recipes for her famous pies as metaphors for her emotional states, and Bareilles’ superb character work helps to bring these complex emotions to life (such as “Betrayed-by-my-eggs Pie” and “A Little Wild, Wild Berry Pie”), so that these asides fit seamlessly with the action that we are seeing on stage.
Gehling is a lot of fun as the awkward doctor who begins an affair with Jenna, whilst still coming across as emotionally immature. Tippett portrays baddie Earl with enough realism that it is possible to see him as both scary and pathetic during his scenes alone with Jenna. Tippett pours just enough venom into the song “You will still be mine” that, despite lyrics which suggest a happy relationship, instils an incredible sense of foreboding and danger in the audience.
Along for the ride are fellow waitresses Becky (Charity Angél Dawson) and Dawn (Caitlin Houlahan). Dawson brings a great deal of comedy to the role of Becky, although it would have been nice to have seen a more serious side at times, as she mostly uses her husband’s disability to make quick gags. Even her song “I didn’t plan it” felt a little over-dramatic, with very little substance underneath.
Houlahan is a delight as geeky Dawn, although I still find her relationship with Ogie (Christopher Fitzgerald) a little off. Despite asking him to not contact her again, Ogie turns up at Dawn’s place of work, and then sings a song which includes the lyrics “I will never let you let me leave, I promise I’m not lying”. The point is that Dawn is scared of change and is resistant to Ogie’s advances, despite it being obvious to everyone that Ogie is the perfect man for her. But in a show that is predominantly about domestic abuse and coercive control, the situation feels odd and uncomfortable. It should be said, though, that Fitzgerald does a good job at playing the role with such innocence that it helps to make the scenario more amusing.
The recording is clearly a mix of live performance, and pick-ups done later, which allows the cameras to get closer to the actors, pick up more subtle reactions and explore more intimate moments. This is largely fine, although the choice the use a real baby during these pick-ups at the end of act two causes some continuity issues with the footage from the live performance, which can be distracting.
The standout moment of the show is the song “I used to be mine” – one of my favourite musical numbers and a highlight from when I saw the live version. Bareilles performs the number with such sincerity and emotion that the song is incredibly moving. Whereas camera work for other songs had featured various cutaways from the singers to focus on chorus members, “I used to be mine” is just Bareilles on her own, and the camera never leaves her face throughout, drawing you in and leaving you stunned.
“Waitress” remains one of my favourite shows, and whilst a recording can never live up to a live performance, this chance to see the original Broadway cast is one that shouldn’t be missed.
Tom Morley, June 2024
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