Embedded Files
Joe’s Diner reopens its doors as Waitress embarks on a UK tour to celebrate the musical’s 10th anniversary, and we were thrilled to head to Wimbledon for its first stop. Featuring music and lyrics by Sara Bareilles, the show follows Jenna, a talented baker and waitress stuck in an abusive relationship. When she unexpectedly becomes pregnant and meets Dr Pomatter, Jenna is faced with life-changing decisions—can she find a way out of her situation and take control of her future?
Jenna is played by the immensely talented Carrie Hope Fletcher, stepping into one of her dream roles at selected venues. Returning faces to the production include the sensational Sandra Marvin and Evelyn Hoskins.
From the moment theatregoers caught sight of the posters, there was a palpable buzz of excitement in the air, heightened further by the iconic cherry pie curtain concealing the set. This leads me to my first point: the design by Scott Pask. What stood out most were the seamless transitions between locations and Jenna’s home, which powerfully conveyed just how confined her world had become. When a set evokes that level of empathy, you know it’s truly effective.
The cast, meanwhile, were exceptional from start to finish. Dan Partridge and Mark Anderson, as Jim Pomatter and Ogie respectively, brought a delightful mix of warmth and awkward charm to their roles. Partridge imbued his doctor with such sincerity that it was impossible not to root for him, while Anderson had the entire audience laughing with his endearingly clumsy attempts to win over Dawn.
Dan O’Brien’s portrayal of diner chef Cal, alongside Marvin, created a dynamic duo who constantly kept each other on their toes. Mark Willshire took on the role of the show’s antagonist, Earl, Jenna’s abusive husband. With such a sensitive storyline, it’s vital that the performance provokes a genuine reaction, and Willshire certainly delivered—his presence was chilling, a testament to his professionalism.
Les Dennis brought a gruff yet endearing warmth to Old Joe, embodying that familiar grandfatherly figure. Meanwhile, Sandra Marvin and Evelyn Hoskins, as Becky and Dawn, proved to be far more than supporting characters to Jenna—they were her foundation. In every shared moment on stage, their bond felt authentic, echoing the strength and familiarity of real-life friendships.
Which brings me to Jenna, played by Carrie Hope Fletcher. It’s long been known that Waitress was a dream role for her, and that passion was evident in every monologue, every lyric, and every carefully delivered note. Jenna is an emotionally demanding character, and Fletcher was, in a word, sensational.
The rapturous, extended applause that followed “She Used to Be Mine” spoke volumes about the audience’s response to her performance, as did their reaction to the musical’s conclusion. It felt as though Fletcher drew on her own experiences of parenthood to add an extra layer of authenticity to the role. Her interpretation was deeply affecting, and I can only hope this won’t be the last time I hear her perform “She Used to Be Mine” — a UK cast recording, perhaps? I can hope.
I was asked during the interval which adjectives I’d use to describe this musical, and the honest answer is that I could list them endlessly. This 2026 touring production of Waitress is utterly charming, brimming with heart and—pardon the baking reference—sweet as cherry pie. While it doesn’t shy away from the darker realities of domestic abuse, it ultimately tells a powerful story of resilience: a woman finding the strength to reclaim her future, rediscover her voice, and choose a life on her own terms.
Overall, Waitress is a perfectly baked production — rich in heart and impossible to resist.
⭐⭐⭐⭐⭐
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