Susan Granger’s review of “Waitress” (Brooks Atkinson Theater: April, 2016)
The intoxicating aroma of a freshly baked pie envelops you the moment you enter the Brooks Atkinson Theater – and that cinnamon/nutmeg scent is as irresistible as this new musical.
When the cherry pie-crust-adorned curtain goes up, it reveals a small-town diner where Jenna (Jessie Mueller) discovers to her dismay she’s pregnant and realizes that, perhaps, her astonishing pie-baking skill can finance an escape from her menacing, abusive husband, Earl (Nick Cordero).
As this unexpectedly romantic feminist fable unfolds, spirited Jenna dallies with her married gynecologist (Drew Gehling) while her friends/fellow waitresses (Keala Settle, Kimiko Glenn) concoct their own recipes for happiness while serving up slices of creatively named “Blueberry Bacon,” “Betrayed By My Eggs,” and “My Husband is a Jerk Chicken Pot Pie.”
Based on Adrienne Shelly’s quirky 2007 movie, starring Keri Russell, it’s been adapted by Jessie Nelson with an original score by singer/songwriter Sara Bareilles. Director Diane Paulus (“Pippin”) developed this sweet-and-savory project at Harvard University’s American Repertory Theater, which also spawned “Once” and “Finding Neverland.”
Vibrant, Tony Award-winning Jessie Mueller, who played Carole King in “Beautiful,” surpasses herself, aided and abetted by a strong supporting cast that also includes outrageously comedic Christopher Fitzgerald and curmudgeonly Dakin Matthews in the avuncular Andy Griffith role.
To complete the soulful confection, toss in the talents of choreographer Lorin Latarro, set designer Scott Pask, costumer Suttirat Anne Larlab, sound by Jonathan Deans and lighting by Christopher Akerlind. And the band that’s discreetly visible on-stage.
As for the delicious, deep-dish pies-in-jars sold by hawkers in the aisles and lobby – they’re created by Stacy Donnelly, who runs Cute as Cake bakery in nearby Hell’s Kitchen.
Bottom line: Never say ‘no’ to a freshly baked pie – or underestimate the earthy, empowering poignancy of Jessie Mueller’s warbling “She Used to be Mine.”