By Lynn Venhaus

I’ll take a big ol’ slice of Live Your Life pie, please and thank you.

The winds of change were blowing at the Muny this week, a welcome force like the powerful fans cooling the audience. From my vantage point, “Waitress” was a breath of fresh air.

The musical equivalent of comfort food has delivered a tasty combination of love, hope and inspiration since its Broadway debut in 2016.

Blazing trails, the musical’s Muny and Midwest regional premiere opened as an intimate slice-of-life heart-tugger. Scores of young women filled seats, and it was refreshing to see this show’s next generations appeal.

They can be inspired by this show by women about women – and most importantly, believe in their dreams and their voice.

Patrons were greeted with a cozy, comfortable stop on the open road, where down-home folks gathered at picnic tables for eggs, coffee, and a slice of expert baker Jenna Hunterson’s delicious pies, an inviting rustic tableau – complete with cars parked on stage.

With its big heart baked into a buttery shell, the production moves with an appetizing naturalism.

As Jenna made magic out of flour, butter and sugar, so did the ceiling-breaking all-female creative team — Lili-Anne Brown directing her third show here after rattling the rafters with “The Color Purple” and “Rent”; first-time music director Andra Velis Simon; and choreographer Chloe O. Davis.

From left: Nicole Michelle Haskins, Lissa deGuzman and Jessica Vosk in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

A sturdy ensemble, representing a small-town milieu, was outfitted in work and casual attire by costume designer Raquel Adorno.

In an interesting twist, they moved in unison to “What’s Inside” and “Opening Up,” creating a rhythm that would reflect ultramodern sensibilities, thanks to Davis’ sleek choreography.

Some nifty touches include the chorus clapping like flamenco dancers to add beats to the robust duet “Bad Idea” that ends Act I. (And will be stuck in your head the rest of the night).

Taking a closer look, my fellow theatergoers, means “Waitress” is one of the two most recent contemporary hits produced at the Muny. In the pandemic-shortened 2021 season, “On Your Feet! The Story of Emilio & Gloria Estefan” played six years after it ran on Broadway in 2015, and “Waitress” arrives nine years after it opened.

Take note, those who complain about the lack of variety or too-few 21st century pieces. (2025 season survey now online (www.muny.org/showsurvey).

Talk about an auspicious Muny moment!

The biggest draw is pop star Sara Bareilles’ perceptive score, with its catchy hooks and poignant lyrics, but also the female empowerment story evokes warm feelings about family, friends, and the people who carry us through tough times.

Bareilles, a Gen X singer-songwriter and actress, has been a hit-record making machine since 2007, and her piano-based pop soul music has sold more than 3 million albums and 15 million singles.

Jessica Vosk and Clevant Derricks in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

Her fresh sounds flavor the lives of these ordinary people, and Simon’s conducting brings out the music’s luscious beats.

The joy for the material is substantial, led by a tactile and plucky tight trio of waitresses. In a rural Southern setting, sassy Becky (Nicole Michelle Haskins) and nerdy Dawn (Lissa deGuzman) plus silky-smooth Jessica Vosk as self-doubting Jenna — make Joe’s Diner their home away from home.

Each bona fide stars, they form an ‘all for one’ attitude like those rogue French musketeers, holding on to dreams and keep each other going, displaying beautiful harmonies in “A Soft Place to Land” and a spirited “The Negative.”

Jenna is surprised by an unplanned pregnancy, for she feels trapped in an unhappy marriage to the controlling, abusive Earl (Ben Crawford). Boss Joe (Tony winner Cleavant Derricks) tells her about a pie-baking contest with a hefty grand prize, and that gives her hope for a fresh start.

She also begins a startling affair with her doctor, Dr. James “Jim” Pomatter (Devin DeSantis). The show’s adulting is complicated, with Becky getting frisky at work with grouchy Cal (Jonah D. Winston) and Dawn finding true love online with eccentric soulmate Ogie (Troy Iwata).

Devin DeSantis and Jessica Vosk in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

These aren’t your typical romantic entanglements, and this isn’t your usual musical template. It’s for mature audiences, and this creative team hasn’t messed with the candid storytelling. (I’d rate it PG-13, suitable for teens but not youngsters).

Based on writer-director-actress Adrienne Shelly’s 2007 independent film starring Keri Russell, Nathan Fillion and Andy Griffith as Joe, it touches on a fierce sisterhood and their thorny problems.

(A tragic note: The creator Shelly was murdered in 2006 before the film was released. A construction worker who had been working in her office apartment building was convicted of first-degree manslaughter. Her husband gave writer Jessie Nelson some of his wife’s notes to use for the adaptation.)

The Muny’s fearless female force leans into the friendship bonds just as the original’s rare historic team did – besides Bareilles and Nelson, Diane Paulus was the director and Lorin Latarro choreographer. (First ever musical to have women in top four slots).

The feisty women characters, who are tangy in conversations and occasionally curse, are ones you root for, and even though Jenna’s life is a hot mess, they will eventually concoct their own recipes for success.

These are women who don’t think they deserve their dreams, but oh, as the comedy and drama unfold, we see the power of community lift them up.

Kaitlyn Louise Smith (left), Jessica Vosk and the company of the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

If there is one overarching theme this season it is “Community.” How fortunate we can celebrate the things that unite us, from the potent cries for mercy and freedom in “Les Miserables,” the aspirations to be somebody in “Dreamgirls,” the enchanting world of make-believe in “The Little Mermaid” where fairy tales come true, and the unwavering bonds of faith and family in “Fiddler on the Roof.”

And now, with “Waitress,” you detect that important sense of community that never goes out of style – and especially with fired-up women. As Eleanor Roosevelt so eloquently put it: “A woman is like a tea bag – you can’t tell how strong she is until you put her in hot water.”

Because of their bodies, women have their own specific viewpoints on pregnancy, and the female-centric jokes are amusing in “Club Knocked Up” and “The Contraction Ballet.”

Yes, the Muny goes there, honestly. The frank subject matter regarding relationships is a risk that reflects moving the needle forward, like “The Color Purple,” “Rent,” “Kinky Boots,” “Sweeney Todd,” “Chess,” and even “Young Frankenstein” did when they finally arrived on the Muny stage.

And kudos for the insight on how pregnant women walk, move and look that adds authenticity to the performances.

Vosk, so impressive last summer in “Chess” and two years ago as the Narrator in “Joseph and the Amazing Technicolor Dreamcoat,” is a powerful, emotional vocalist in the upper echelon of professional talent. As Jenna, she shows vulnerability and resolve.

When she lovingly tells her baby girl, “We’re going to be happy, little girl, and not just happy enough” – you believe in Jenna’s tremendous strength – and she does too.

Her soul-baring “She Used to Be Mine” is a stunner, the show’s knockout punch. And the motherhood anthem, “Everything Changes,” stands out too, with an uplifting company reprise.

From left: Lissa deGuzman, Jessica Vosk and Nicole Michelle Haskins in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

“Waitress” ran for four years on Broadway, from 2016 to 2020, with 33 previews and 1,544 performances. It was nominated for four Tony Awards, including Best Musical, but that was the year “Hamilton” was the runaway train, winning 11.

After seeing the 2007 movie, a national tour at the Fox Theatre in 2019 and the filmed version of its 2021 limited engagement return, which came out in December 2023 (and is available on digital platforms), I’ve increased my appreciation on subsequent viewings. I’ve always been captivated by the score and the performances, but still think the book has some problems, particularly the awful Earl character.

Lazy, selfish, and brutish, he’s such an insufferable jerk without any redeeming qualities that it can be difficult waiting for Jenna to act in her best interest. Ben Crawford, entirely sympathetic as The Beast last year in “Disney’s Beauty and the Beast,” accomplishes quite a reversal by going full junkyard dog mean.

Dr. Pomatter, the dreamy OB/gyn, is married to a perfectly fine woman who is working her residency at the hospital; therefore, the infidelity is a sticking point. The show glosses over the consequences of cheating, and trust. We’re not talking Disney princesses. (Although she did win him over with her Mermaid Marshmallow Pie).

“Waitress” isn’t the first musical to address married people fooling around. (Hello, “The Bridges of Madison County,” “A Little Night Music,” and “Into the Woods,” to name a few.) It’s those gray areas of life…real people problems, rooted in reality that creates endless plot variations. After all, misery loves company.

And then there is that very human spice that brings passion to the forefront when added to the mix.

Jessica Vosk and Devin DeSantis in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

DeSantis, whose velvety tenor pairs well with Vosk’s commanding range, delivers their misbehaving dilemma duet “Bad Idea” superbly and continues to display his conflicted heart in “You Matter to Me.” Their connection is palpable, sprinkled with heat, and reduced through conscience-wrangling.

The humor satisfies and sustains the show. Flaky Ogie’s numbers “Never Ever Getting Rid of Me” and “I Love You Like a Table” show off Troy Iwata’s impeccable comic timing. He’s a fun fireball on stage, stealing every scene he is in, and delightful when paired with DeGuzman. They embrace their peculiarities, endearing them to the audience.

Nicole Michelle Haskins, who won a St. Louis Theater Circle Award for her role as Sofia in “The Color Purple” in 2022, is forceful as the tart-tongued Becky. Her comedic timing is also flawless. And Winston, funny as all-bark-no-bite Cal, is a formidable foil for her.

The renowned Cleavant Derricks finds the sweet spot between the curmudgeonly crusty customer Joe and the compassionate boss Joe, delivering a moving “Take It from an Old Man.” Derricks won a Tony Award for originating the role of James Thunder Early in “Dreamgirls.”

The arrival of Lulu in the final scene is the full-circle cherry on top, with charming Torri Tripoli sparkling as the light of Jenna’s life.

Also noteworthy were Patricia Jewel, a real gem, as quippy Nurse Norma and dance captain Kaitlyn Louise Smith as Jenna’s mother (in flashback).

Troy Iwata, Lissa deGuzman and the company of the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

A marvel in motion, Wilson Chin’s ingenious set design, combining diner, doctor’s office, and the Hutcherson home is as eye-catching as it is functional. Smoothly turning for each transition, his interesting take on freeing up a diner’s interior added much to the atmosphere.

Chin’s making his Muny debut, but his stunning set for “Angel Street” at The Repertory Theatre in St. Louis in 2015 won a St. Louis Theater Circle Award.

Lighting designer Heather Gilbert enhanced the cordial feeling, with festive lights strung for a distinctive look.

Cravings for pie are inevitable, and video designer Mike Tutaj, new to the Muny, dispenses pie recipes on clever menu ticket graphics. Getting Out of the Mud Pie is just one of many innovative takes on the American classic dessert. Sure, she makes an apple version, but with cocoa chiffon and rose petals.

I believe, like Gary Johnson, Glen Powell’s character in the Netflix movie “Hit Man,” who says “All pie is good pie”  as his signature opening statement. Food always brings people together, and so does live theater – hence, the earthy alchemy of “Waitress.”

And dessert alert, as a special treat, the Muny has teamed up with Ted Drewes to offer Jenna’s Apple Pie Concrete only this week at the concession stands. Another St. Louis institution making its debut.

Ben Crawford and Jessica Vosk in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

A theater insider note: Another confectionary delight was added to the script when the musical returned to Broadway in 2021 for a limited engagement (filmed at this time to release as a movie musical) – “A Big Ol Slice of Live Your Life Pie.”

That is a tribute to the late actor Nick Cordero, who originated the role of Earl on Broadway. He died in July 2020 at the age of 41 after a brutal fatal battle with COVID-19. His song “Live Your Life” became an anthem, and that reference is now included for all companies.

A bountiful feast for the eyes and ears, “Waitress” is a pleasant pop experience with enough zip to sweeten a sweltering summer night. This production has effectively created common ground for an enduring theme of community, and what a delightful spritz it is..

The Muny presents “Waitress” July 30 – Aug. 5 at 8:15 p.m. nightly at the outdoor stage in Forest Park. For more information, visit www.muny.org.

The company of the 2024 Muny production of “Waitress.” Photo by Phillip Hamer

By Lynn Venhaus
Managing Editor
Flour, butter and sugar can create magic if other ingredients are at play.
“Waitress,” the musical equivalent of comfort food, shows us that if love, hope
and inspiration are in the mix, that is a dandy can’t miss combination.

Besides inducing cravings for pie – whatever expert
pie-baker Jenna Hunterson calls them (“Getting Out of the Mud Pie” is just one),
this stage adaptation of writer-director-actress Adrienne Shelly’s 2007 hit
independent film evokes warm feelings about family and friends.

Its charming workplace setting in a small-town Southern-fried diner is easily relatable because of a tight trio of spunky females who have made it their home away from home.

This delightful threesome – Christine Dwyer as dreamer Jenna, Ephie Aardema as geeky Dawn and Maiesha McQueen as sassy Becky, even with their thorny man-troubles, is all for one and one for all, just like those famous fictional friends.

The women shine because of their noticeable bond and harmonize beautifully in such numbers as “A Soft Place to Land” and “The Negative.”

The national tour, now playing at The Fox Theatre in St.
Louis for the first time since it began in 2017, has quickly won over audiences
with humor and heart – and the smell of baking pies wafting through the lobby.

The funny and uplifting show, nominated for three Tony Awards in 2016 – the year “Hamilton” was a runaway train — is still playing on Broadway, enticing audiences with its appealing female empowerment theme and catchy melodious pop songs. Jenna is a plucky sort trapped in an unhappy marriage who dreams of breaking free if she wins a nearby county’s baking contest prize money. She suffers a few setbacks, namely a surprise pregnancy with a controlling, abusive husband. She also falls for the new doctor in town –and he’s married, but they engage in a mad affair. So, it’s complicated. She’s in this unusual pickle, and how can she find her way to a better life? She must concoct her own recipe for success.

As Jenna, Dwyer projects vulnerability and resolve, finally taking courageous steps once she gives birth (“The Contraction Ballet” – yes, they go there). Her numbers “What Baking Can Do” and the rise-up motherhood anthem “Everything Changes” are among the highlights. The book by Jessie Nelson doesn’t skirt that Jenna’s life is a hot mess, nor do the candid songs. You gotta love a musical with a musical number “Club Knocked Up,” which is set in a doctor’s office.

The music and lyrics are by Grammy-nominated
singer-songwriter Sara Bareilles (“Love Song,” “Brave,” “King of Anything”),
who provides emotional soul-baring ballads, such as “She Used to be Mine,” in
this medium too.

However, the peppy cast really sells the big numbers with panache – making them crisp and snappy from the start, “Opening Up” and “Bad Idea” among them.

The Ogie-centered numbers, “Never Ever Getting Rid of Me” and “I Love You Like a Table” feature Lorin Latarro’s fast-paced choreography and the scene-stealer Jeremy Morse as the odd soulmate Dawn discovers on her blind date, who she met online. He and Aardema are terrific together.

Morse’s comic timing is superb, as is Ryan G. Dunkin as laid-back
but put-upon cook/manager Cal. The other sympathetic male is Richard Kline as cantankerous
customer Joe, who owns the diner. In the movie, the character was played by
Andy Griffith, in his last film role.

As for the husband and lover, these are one-note parts. Earl doesn’t have any redeeming quality whatsoever, and Matt DeAngelis plays him well as an insufferable jerk, but it’s a head-scratcher that Jenna has been married to him for as long as she has.

Then, Dr. Pomatter is the dreamy OB/gyn, but he’s married to a perfectly fine woman who is working her residency at the hospital. The infidelity is hard to get past. But Steven Good is fine in the role, pairing well with Dwyer in “It Only Takes a Taste” and conveying his conflicted heart in “You Matter to Me.”

DeAngelis and Good were in the Broadway cast, as was Morse.

Morse’s Ogie is such a lively goofball that he clearly steals the show. But giving him a run as audience favorite is Dawn Bless as Nurse Norma, whose impeccable comic flair is a hoot, especially when the pair-in-heat think they’re fooling her.

Another favorite moment is the arrival of young Lulu for the final scenes in the diner. In St. Louis, she is played by Penelope Garcia and Norah Morley, both 5 years old, who were selected in local competition for the cameo roles. The adorable and energetic Penelope played Jenna’s daughter on this night.

Of note would be that Jenna and Dr. Pomatter’s physical relationship in his office is more naughty than nice. Just in case you are bringing younger children. If there was a rating, it would likely be PG-13 (at least).

A nice touch is the band’s presence in the diner. The six musicians are a tight group – with Music Director Robert Cookman on keyboards, Conductor Lilli Wosk on piano, Jeff Roberts on drums, Lexi Bodick on base, Nick Anton as cello/guitar and Ed Hamilton as guitar. “Waitress” is a small, sweet show with enough tartness and zip to make it a pleasant pop experience, all the better with girlfriends in a female-heavy crowd.

“Waitress” is at The Fox Theatre March 26 – April 7. For tickets, contact Metro-Tix or the Fox Box Office, and for more information, visit www.fabulousfox.com

The Tony nominated musical “Waitress,” which opens March 26, has cast two young area actresses to take on the role of “Lulu” during the St. Louis engagement.

Penelope Garcia, 5, of St. Louis, and Norah Morley, 5, of St. Louis will alternate the role of “Lulu,” the daughter of the production’s main character, Jenna.

WAITRESS tells the story of “Jenna”, an expert pie baker working at a local diner and stuck in a loveless marriage.  Her salvation comes in the form of her daughter, “Lulu.”

Both girls were chosen via an audition process held at The Fabulous Fox Theatre on February 11. Over 40 girls participated in the auditions, which were presided over by members of the WAITRESS company. The character of “Lulu” is cast locally in each tour market and two girls are chosen to share the role.  Each five-year-old girl chosen will perform in 8 performances each during the engagement.

Penelope attends Hope Montessori preschool, is involved in gymnastics and has always loved to create and perform by singing, dancing and drawing! She loves playing with her big brother Charlie and little sister Ruby, and taking care of her dog, Piney and pet chickens. Her role in WAITRESS will be her very first experience with acting. Penelope dreams of being a ballerina when she grows up.

Norah is a preschooler at St. Lucas Preschool in Sunset Hills. She loves to draw, dance, sing, and play. She and her two sisters dance at the Charmette Academy of Dance & Acrobatics. She has performed in the Lindbergh All-District Musical for the past two years. Norah said about the audition process, “It was really fun. I tried my hardest and the people I auditioned for were funny and nice.”

Brought to life by a groundbreaking all-female creative team, WAITRESS is an irresistible new hit featuring original music and lyrics by 6-time Grammy nominee Sara Bareilles (“Brave,” “Love Song”), a book by acclaimed screenwriter Jessie Nelson (“I Am Sam”) and direction by Tony Award winner Diane Paulus (Finding Neverland, Pippin, Hair).

Inspired by Adrienne Shelley’s beloved film, the musical tells the story of Jenna – a waitress and expert pie maker, Jenna dreams of a way out of her small town and loveless marriage.  A baking contest in a nearby county and the town’s new doctor may offer her a chance at a fresh start, while her fellow waitresses offer their own recipes for happiness.  But Jenna must summon the strength and courage to rebuild her own life.

“It’s an empowering musical of the highest order!” raves the Chicago Tribune.  “WAITRESS is a little slice of heaven!” says Entertainment Weekly and “a monumental contribution to Broadway!” according to Marie Claire.  Don’t miss this uplifting musical celebrating friendship, motherhood, and the magic of a well-made pie.

Tickets for WAITRESS at the Fabulous Fox are on sale now at MetroTix.com, by calling 314-534-1111 or in person at the Fabulous Fox Box Office. Ticket prices start at $29. Prices are subject to change; please refer to FabulousFox.com for current pricing. WAITRESS is part of the U.S. Bank Broadway series.

Performances of WAITRESS at the Fabulous Fox run March 26-April 7. Show times are Tuesday through Saturday evenings at 7:30 p.m., Saturday afternoons at 2 p.m. and Sunday afternoons at 1p.m. There will also be a 6:30 p.m. evening performance on Sunday, March 31 and a matinee performance on Thursday, April 4 at 1 p.m.