By Jason and Alisha Hagey
Sweeping hearts along with the soaring melodies, Waitress at Pioneer Theatre Company takes us on a sweet journey. Based on Adrienne Shelly’s bittersweet 2007 film, Waitress follows Jenna Hunterson, a pie-making virtuoso stuck in the molasses of a small Southern town and a marriage that bruises more than it embraces. At Joe’s Pie Diner, alongside her spirited friends Becky and Dawn, Jenna kneads her heartbreak into confections with names like “Marshmallow Mermaid Pie,” “Couch Potato Pie,” and “Sweet Victory Pie” – desserts as diary entries; happiness or sorrow disguised in sugar. When an unplanned pregnancy by her abusive husband, Earl, derails her quiet dreams of escape, hope flickers in the form of a pie contest with a cash prize. Enter Dr. Jim Pomatter, a kind-eyed, awkward man bound by marital malaise. Even though it complicates Jenna’s life, their messy yet sweet affair gives her a sense of independence. The rest is a scrumptious plate of resilience, friendship, and moving forward.
Jenna’s experience is skillfully interwoven with Sara Bareilles‘ (Music and Lyrics) soulful and lively score, while Jessie Nelson‘s (Book) story develops with delicate wit and emotional depth. Every note of Bareilles’ songs captures Jenna’s dreams and challenges with genuine honesty. Together, Nelson and Bareilles weave a musical in which every phrase and melody blends seamlessly to portray strength and self-determination.
Under Melinda Pfundstein’s (Director) tender stewardship, Waitress breathes. Her direction doesn’t shout; it listens and coaxes. It punctuates the touching and hilarious equally. Meanwhile, Natalie Malotke’s (Choreographer) choreography speaks in a dialect of strength and fluidity where every pivot or pause becomes character subtext made flesh. Together, they sculpt a stage where movement is emotion’s echo. From diner chaos to Jenna’s aching reveries, the physical world bends toward feeling.
There is an electrifying, erratic, and delectable emotional tension in the attraction between Claire Saunders (Jenna) and Ben Jacoby (Dr. Pomatter). They light up the stage together as a dynamic force of rapport and nuance. Saunders performs with genuineness; her charisma shines through every second she is on stage, her emotional transparency is stunning, and her vulnerability is bone-deep. In contrast, Jacoby creates a Jim Pomatter who is awkward and alluring, combining social inelegance with an endearing, completely genuine warmth. Together, they provide a compelling, incredibly real image of an unforeseen connection.
Whether or not the original creators intended it, Dawn and Ogie steal the show. Lexi Rabadi (Dawn) and Daniel Plimpton (Ogie) are fantastic. They have a strong presence and wonderful comedic timing, and they give dimension to their characters in a way that is unexpected in the best way. Every instant they’re on stage feels electrifying—Rabadi’s quirky, tightly strung Dawn complements Plimpton’s lovably eccentric Ogie, and together they produce something unquestionably extraordinary.
Their synergy brightens the stage, especially during their major musical moments, which are not only humorous but unexpectedly emotional. Plimpton’s physical comedy is wonderfully timed and never feels forced, and Rabadi gives Dawn an emotional depth that makes the viewer cheer for her. What could have been simple comic relief evolves into a meaningful subplot that adds warmth and complexity to the show’s emotional charcuterie.
Candice Marie Woods (Becky) and Aaron Arnell Harrington (Cal) have excellent chemistry. They brilliantly immerse the audience in their developing connection through scenes that are tense, sensitive, and humorous. In a way that feels incredibly human, Woods blends power and uncertainty to depict Becky with a multi-layered frailty. Harrington portrays Cal with exuding confidence that is never intrusive. They build a relationship that feels lived-in and genuine, making their emotional journey all the more captivating.
Brent Thiessen (Earl) brings remarkable depth to his role. In lesser hands, the role might collapse into cliché: the brute. Thiessen resists the temptation to play Earl as a stock villain. As it simmers with a barely contained desperation, his portrayal shows a man ripped apart by fear and a fragile ego rather than a monster. In those crevices lies the real horror. Thiessen’s portrayal lends the drama suspense while grounding Jenna’s struggle in a real and emotionally charged reality.
It’s always a delight to watch a show and suddenly realize you’ve been listening to one of the actors for years on your favorite Broadway cast albums. William Parry (Joe) is one of those wonderful surprises—his portrayal of Joe is irascible and endearing, cantankerous yet kind.
Kyle Brand, Marjorie Failoni, Vincent Ortega, Jordan Cruz, Zeth Dixon, Luke Foti, Kamaluonalani Matthias, and Courtney McMullin (Ensemble) are outstanding. With their dynamic dancing, vibrant character work, and stunning harmonies, they deliver a performance that honestly couldn’t be better. Hazel Wilde Pearce (Lulu) is adorable and endearing.
Yoon Bae (Scenic Designer) brings warmth, charm, and a careful eye to detail. There’s a worn-in comfort to every corner, a tactile nostalgia that conjures small-town America without tipping into sentimentality.
With a painter’s eye and a poet’s instinct, Paul Miller (Lighting Designer) bathes Waitress in hues that ache and heal. Amber warmth cradles the diner’s daily rhythm; cool blues swell around Jenna’s solitude. Each shift in light becomes an emotional sleight of hand, guiding us gently through heartbreak, hope, and everything in between.
Patrick Holt (Costume Designer) brings the world of Waitress to life with thoughtful, character-driven, authentic, expressive design. From Jenna’s practical work uniform, which hints at her routine and quiet fortitude, to Becky and Dawn’s contrasting styles, which showcase their distinctiveness and camaraderie, Holt’s outfits find the ideal blend between realism and theatricality.
Natalia Castilla (Hair & Makeup Designer) deserves recognition for their brilliance that hides in plain sight. Each character’s appearance seems true to the universe of the play. Each hairdo whispers who these women are before they ever speak. In a show where transformation begins at the soul, Castilla ensures the mirror reflects it, faithfully and gracefully.
Creating a sonic landscape that is both diegetic and deeply organic, Tom Griffin (Musical Director/Conductor) and Aaron Hubbard (Sound Designer) rise brilliantly to the monumental challenge of balancing live performance with recorded elements. They craft an auditory world that feels as immediate and alive as the characters.
Sarah Shippobotham’s (Intimacy Director) undertaking is essential and beautiful. The show’s amorous and emotionally vulnerable scenes are handled with care and respect to appear truly human rather than contrived. Shippobotham guarantees that physical, emotional, or both supports the tale and illuminates character while never becoming uncomfortable or distracting.
Waitress is about learning to start over – like baking the next pie and learning from what you did (and didn’t do) before. With aching honesty and luminous craft, it reminds us that healing rarely arrives in grand gestures, but in the smallest acts of defiance: a pie baked in secret, a truth spoken aloud, or a step taken alone. The show’s heart beats in the spaces between fear and hope, where Jenna – and so many like her – dare to imagine more. Ultimately, the recipe for happiness begins not with perfection but with one trembling, defiant choice that tastes of fear and freedom in equal measure. Stir gently. Serve warm. Let courage rise.
Runtime: 2 hours 30 minutes (including one 15-minute intermission)
Pioneer Theatre Company Presents Waitress
Book by Jessie Nelson
Music and Lyrics by Sara Bareilles
Based upon the motion picture written by Adrienne Shelly
DATES:
May 2-17, 2025
TIMES:
Monday – Thursday, 7:00 PM
Friday and Saturday, 7:30 PM
Saturday, 2:00 PM
Waitress will be performed at PTC’s Simmons Pioneer Memorial Theatre
300 South 1400 East, Salt Lake City
TICKETS:
$57 – $83 in advance; $5 more when purchased on day of show
Students K – 12 or ages 5-18 are half-price Monday – Thursday
Curtain Call for All (“pay what you can”) performance: Monday, December 9 at 7:00 PM
Discounts are available for University of Utah students, staff, and faculty.
MORE INFO:
Box Office: 801-581-6961
Open 10:00 AM – 6:00 PM, Monday – Friday
PTC Show Listing – Waitress
Pioneer Theatre Company Instagram
Pioneer Theatre Company Facebook
Curtain Call for All “Pay What You Can” Performance: Monday, May 12th @ 7:00 PM
ASL-Interpreted Performance: Monday, May 12th @ 7:00 PM
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