This summer, Broadway Rose Theatre Company dazzles audiences with two standout musicals, launching into the fun and frolic of Cole Porter’s classic, Anything Goes, next month.
However, the spotlight is currently on the contemporary production of Waitress, which runs through July 20.
Under the direction of Lyn Cramer, Waitress is a female-centric musical that challenges conventional expectations while intertwining real-world issues with magical storytelling.
The performance kicks off with the catchy refrain of ‘Sugar – butter – flour’ as the curtain rises to reveal Joe’s Diner, a charming establishment located off Highway 27 in the American South.
At the center of the story is Jenna, played by Leah Yorkston, a talented pie-maker whose unique creations are deeply intertwined with her life’s circumstances.
With whimsical names like ‘I Don’t Want Earl’s Baby Pie’ and ‘Deep (Shit) Dish Blueberry Pie,’ Jenna navigates the challenges of being both a waitress and a victim of her abusive husband, Earl, portrayed by Mitchell Bray.
Earl’s tyrannical nature is fully depicted, as he not only takes her hard-earned tips but also instills fear with his emotional and physical abuse, making it clear that he is not someone Jenna would want to have a child with.
As Jenna awaits the results of a pregnancy test, she remarks humorously to her friends, ‘I do stupid things when I drink – like sleep with my husband,’ indicating her internal struggle.
Those familiar with Adrienne Shelly’s 2007 film, also titled Waitress, will find that Earl’s character remains as troubling and intense on stage as he was on screen.
The tension escalates when he raises his hand, yet he also reveals vulnerability in conversations that add depth to his abusive persona.
This production masterfully strikes a balance, keeping audiences both entertained and uncomfortable as Jenna finds herself entwined in an affair with her OB-GYN, Dr. Pomatter, played by Benjamin Tissell.
Although this situation might suggest comedic relief, it also presents complex ethical dilemmas for the characters involved.
Tissell’s portrayal of Dr. Pomatter serves as a stark contrast to Earl, showcasing kindness that allows Jenna some much-deserved joy amidst her struggles.
The moral ambiguity doesn’t stop at Jenna and Dr. Pomatter’s relationship, as even Jenna’s judgment of her friend Becky, played by Chloe Evans, reflects realistic human flaws.
When Jenna chastises Becky for her infidelity, the audience is reminded that human relationships are rarely black and white.
Created by a team of female artists, the show eschews the myth of unconditional support in female friendships, adding another layer of authenticity to the narrative.
The visual elements of the production further enhance this realism.
Choreographed by Jeremy Duvall, the movement within the diner is fluid and engaging, with actors deftly mimicking the motion of stirring pie ingredients or rolling on carts to symbolize their dancer-like synchronization.
Kristeen Willis’s lighting design also contributes to the production’s dreamlike quality.
As the musical number ‘I Didn’t Plan It’ unfolds, the backdrop shifts from a serene sky blue to a vibrant tangerine, accentuating the emotional weight of the moment.
Dr. Pomatter’s exam rooms transform from pale green to a lush, cloudy pink during intimate scenes with Jenna, further emphasizing the magical realism at play.
Every performance in this production highlights exceptional talent, with each cast member displaying impressive vocal and comedic prowess.
Whether it’s Yorkston and Tissell sharing a heartfelt duet on a bus-stop bench or Dan Murphy, the founding managing director of Broadway Rose, performing a poignant ballad as Joe, the diner owner, audiences are treated to a showcase of skilled artistry.
Murphy’s character transforms an introspective moment into a breathtaking scene that resonates with the show’s central themes.
The musical score, although it may not be instantly memorable for all, still features standout performances that leave an impact.
With the Deb Fennell Auditorium as the venue, audiences benefit from superior acoustics, excellent stage visibility, and comfortable seating, enhancing the overall theater experience.
While some might wish to experience the more intimate performance settings of the company’s New Stage, where detail and nuance could be appreciated up close, the larger stage allows for broad comedic moments to be well received.
As the lights rose for intermission, an amusing comment echoed through the theater when a patron observed, ‘Grandma would love this!’
This remark highlights the universal appeal of the show, blending humor with moments of serious reflection on women’s experiences.
Moments like Jenna and Dr. Pomatter’s antics or Dawn’s whimsical Betsy Ross costume during a playful scene with Ogie create laughter, yet the depth of Jenna’s character ensures that audiences leave with a profound sense of connection and admiration for her resilience.
In conclusion, Waitress at the Broadway Rose Theatre Company is not just a celebratory musical filled with charm; it is a multilayered exploration of personal struggles, relationships, and the pursuit of happiness through creativity and culinary dreams.
image source from：orartswatch
