Waitress @ Winspear Opera House/ATTPAC
—Chris Sanders
Loved it. That’s the review.
But in all seriousness, my theater companion and I had such a good time that other audience members told us our enjoyment made them enjoy the show even more.
Why did we all have such a smashing good time? Well, let us start with the music. The tunes and lyrics were composed by Grammy-winner Sara Bareilles, and with every note one can understand why she’s carried home so many awards. The songs of Waitress have the power to move people to tears, laughter, and dancing in their seats.
Bareilles has such an interesting sound, in that there are a lot of folk elements (a la Jewel and Fleetwood Mac), and yet there is a cadence to her songs that is all her own. You hear a certain run or chord progression and think: “This is a Sara Bareilles song.”
And her sound works so well with the storytelling of this particular show. The harmonies and orchestrations put together by Bareilles and The Waitress Band are absolutely divine. Many of the three-part harmonies sung by Jisel Soleil Ayon, Dominique Kent, and Gabriella Marzetta (as the trio of waitress friends Jenna, Becky, and Dawn) moved me to tears. “Everything Changes” literally feels like a lullaby soothing you to sleep, or at least soothing the anxiety of Jenna’s interactions with her toxic husband, Earl. And the orchestration that accompanied Jenna’s song reminiscing about her mother left behind a lovely feeling of nostalgia and childlike hope.
Next, major kudos must be given to the original and tour choreographers, Lorin Latarro and Abbey O’Brien. The dance riot that was “Never Ever Getting Rid of Me” was a joy to behold. I often found myself impressed with the literal leaps and bounds achieved by members of the cast, particularly Brian Lundy as Ogie and David Socolar as Dr. Pomatter. The box choreography during “I Love You Like a Table” was also a delight.
Scott Pask’s set design and Ken Billington’s lighting design are noteworthy as well. The cyclorama (an upstage backdrop lit from behind) was especially breathtaking. There is a lovely moment as Jenna sings “She Used to Be Mine,” in which the cloud-filled cyclorama is lit to show the sun setting and rising over the course of the song. And the change from a Drowsy Day Break to “WE’RE UP” is quite a sight as the lights shift with Jenna’s birth contractions.
The entire cast did a stellar job, and the band’s double duty as both actors and musicians was enriching. As for standout performances, I have to note the work of Shawn W. Smith as Earl, Lundy’s Ogie, and the main trio of Ayon, Kent, and Marzetta, who play waitresses at a diner. Smith does good work with the role of Earl; he doesn’t shy away from the more repugnant elements of the character. His charm and vulnerability help the viewer understand why it’s difficult for Jenna to leave Earl, and makes the performance that much more realistic and terrifying.
Brian Lundy gave a show-stopping song-and-dance performance during Ogie’s “Never Ever Getting Rid of Me”--literally. The show paused for a minute or two, the audience cheering Lundy’s final leap into a chair, a culmination of all the energy he gave that number from start to finish. And once the cheering subsided, there was still a bit of chorus left!
Gabriella Marzetta was absolutely charming as Dawn. This is a character who toes the line between sweet and saccharine, but Marzetta’s performance makes you love her. I want to be Dominique Kent’s rendition of Becky when I grow up. She’s funny, sexy, charismatic, and heartfelt. Kent could easily bring the house down with her powerful sound—and her ability to move us.
But the vocals that moved me most were those of Jisel Soleil Ayon, whose pie-making genius Jenna was the most human and relatable character of the show. It wasn’t simply Jisel’s use of the dialogue, but her command of each verse she sang into the air. The way she would change her vocal quality from note to note, to best convey Jenna’s emotional state, was masterful. Each change of tone would pierce the soul in the best way, and as someone who enjoys singing a song or two, Ayon’s performance was a pleasure to witness.
A lot of this tale has to do with the company one keeps, and the emotional and moral struggles that follow. We watch Jenna contemplate what to do with a baby she’s not sure she wants, with a man she knows she no longer loves. Some of her trepidation seems to come from not knowing if she can be as good a mother as her own was for her.
Both Jenna and Dawn struggle with self-esteem, and have trouble believing in their worth even when multiple people offer them a kind or loving word. I love how human the characters are—flawed and fearful, yet they strive for better, seek to love more. Some lie or cheat, but do so for survival, to find some sense of peace after struggling with life’s many trials.
With melodic tunes, stunning visuals, stellar performances, and meaningful themes, Waitress will stick with you—just like a good slice of pie.
WHEN: Through May 15
WHERE: Winspear Opera House, Dallas
WEB: attpac.org
