Theater review: GCP’s ‘Waitress’ serves up a delicious, if not nutritious, good time

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Ingredients:

1 cup of a small-town diner, filled with warmth and sass

2 cups of a talented pie maker with big dreams

1 unhappy marriage, stirred with frustration

A dash of unexpected pregnancy

½ cup of a baking contest, offering a taste of hope

3 tablespoons of quirky coworkers for humor and heart

Preparation:

Preheat a life with uncertainty and longing.

Mix together an unexpected twist and a desire for something more.

Fold in some risky sweetness and a melody of emotions.

Let harmonies rise as dreams begin to take shape.

Bake with the heat of conflict and mistakes until golden and ready for a fresh start.

Enjoy warm, with a side of heartache and hope.

Great Flavor Profile

Here are five things to enjoy about this treat of a show:

Bareilles’ score: I’m admittedly a fan of Bareilles, so the pop-radio numbers really hit with me. They catch on quickly and keep things light. “Waitress” also highlights Bareilles’ skill with the bittersweet Broadway ballad, especially with “She Used to Be Mine.” 

The waitresses: Meg Clark slides seamlessly into the role of Jenna, the waitress at the center of the drama. Coming straight off of playing Carole King in “Beautiful,” Clark does an admirable job downshifting into a less glamorous and less active character. Her Jenna is hesitant to make choices to shape her life, preferring to escape into her baking. Clark portrays Jenna as sympathetic and vulnerable, despite her questionable choices, and her vocals are impeccable, even sustaining those iconic Bareilles long, high notes while navigating prop malfunctions. Clark continues her run of strong showings on the Roger Rocka’s stage.

As Jenna’s waitress besties, Janet Glaudé (Becky) and Kaitlyn Wheeler (Dawn) bring a lot to the table (no pun intended) to fill out Jenna’s world. They build her up, call her out, and do everything possible to keep her moving forward. Glaudé and Wheeler also take every opportunity to portray the fullness of their characters as they navigate their own lives and choices in love. Glaudé is exceptional in “I Didn’t Plan It,” and Wheeler matches her vocal prowess with wonderful comedic skills in “When He Sees Me.”

The scene stealers: While some folks might relegate “Waitress” into the “heartfelt women’s stories” genre, it’s male characters who provide those bits of salt to balance out the sweet. From the moment they step on stage, Brian Rhea (Cal), Michael Fidalgo (Ogie), and Patrick Allan Tromborg (Joe) bring a crackle to their scenes. Rhea’s diner manager is a tall drink of water with an impressive moustache and a no-nonsense manner. He sardonically bats away the verbal barbs slung in his direction while languidly moving to the next beat. Tromborg has perfected the “grumpy old man with a heart of gold” stock character so well that the tenderness of “Take It From an Old Man” is a happy surprise. And at this point, no one but Fidalgo could have delivered the geeky, manic devotion of “Never Getting Rid of Me” with as much commitment and as little creepiness as he was able. All three were utterly charming.

The staging: Director Elizabeth Fiester and set designer David Pierce make the most of Roger Rocka’s small corner-oriented stage for the diner. It is the faded pink of any number of diners dotted through the small-town South, and the stage appears much bigger than it is. This is advantageous for Malinda Asbury’s lyrical choreography, with its woman-centered gestures and dreamlike movement.

The ensemble: The production features a tight ensemble whose presence in and out of the diner is smooth and fills out each scene with a sense of small-town familiarity, but without causing distractions. They strike the perfect balance of providing the character of the diner while not overwhelming the focus. On opening night, their vocals were beginning to blend together into a cohesive whole, something I expect will continue as the production settles in. 

While some aspects of the production seem too broadly delivered or too dependent on a stereotype, the whole thing makes for a delightfully sweet experience. 

Beware the Underbaked Center

The one aspect of “Waitress” that seems underdone is rooted in the source material. Both the film and the musical suffer from predictability and a lack of emotional depth. In the words of another musical, “[Title of Show],” it feels a little “donuts for dinner”—something enjoyable in the moment, but an hour later you need something more substantial. 

While its themes are relatable and the main character is well-drawn, it lacks a compelling question and doesn’t fully look at the choices Jenna makes and why she makes them. The resolution lacks a clear exploration of personal revelations, and, as a result, the ending seems rushed. Some songs, while enjoyable, also seem superfluous. The melodies and lyrics are beautiful but don’t always push the story forward in a way that feels deeply dramatic.

A Blend of Charm, Humor, and Heartfelt Performances

On the whole, though, Good Company Players’ “Waitress” is a heartfelt production that blends humor, emotion, and many delightful performances. Ultimately, it is a story about finding strength, choosing happiness, and embracing new beginnings—making it a feel-good experience for audiences who love a light story with a touch of humor.

“Waitress” continues at Roger Rocka’s Dinner Theatre through May 18, 2025.