What’s inside? Everyone wants to know! It’s musical theatre at its finest; simple things like sugar, butter, flour now on stage in the form of the critically-acclaimed, award-winning production of Waitress. With book by Jessie Nelson (based upon the motion picture written by Adrienne Shelly) and music & lyrics by Sara Bareilles, this ‘slice of life’ musical chronicles the story of Jenna, a small-town diner waitress in a miserable marriage with an unexpected surprise on the way. With Tour Direction recreated by Susana Wolk (based on the original direction of Diane Paulus), and tour choreography by Abbey O’Brien (based on the original choreography of Lorin Latarro) this touching, heartfelt, and ultimately enjoyable musical is as delightful as a slice of “Welcome Back to Live Theatre Pie.”

“Marvels of Sunrise To Sunset Painted on Backdrop Screen Pie.” Take Set Designer Scott Pask, add Lighting Designer Ken Billington, and whisky briskly from city to city, touring all over so that the great theatergoers of this country can appreciate their stunning visual work. Pask and Billington do achieve wonders with simple tricks of the eye. Joe’s Pie Diner, which is the predominate set for Waitress is a few sliding pieces and a series of miraculous colors, compliments of Billington’s illuminating light design, draped across a painted backdrop which gives the gorgeous illusions of dawn, dusk, twilight, night, and more. There’s something homey and familiar about the way the light dances across the background, stretching on against that painted highway scene, making ‘interior fixtures’ of the diner a homing beacon of sorts. Pask also incorporates the live, on-stage musicians into the set (the top of the grand piano becomes a pie-display shelf as if it were part of the diner’s natural interior.) Billington has the two rotating chilled pie-display cases well lit and gives them a series of brilliant rainbow specials when the scene calls for it.

“Sugar Sweet Voluminous Vocal Pie.” Add one part live, on-stage band (The Waitress Band— Alyssa Kay Thompson- Conductor/Piano, Daniel Gittler- Associate Conductor/Keyboard, Noah Hadland- Drums, Mohan Ritsema- Bass, Hannah Burke- Cello/Guitar, Jason T. Gray- Guitar), fold in talented ensemble (Stephanie Feeback, Brett Hennessey Jones, Olivia London, Vanessa Magula, José Monge, Zoë Brooke Reed, Woody White) and stir with on-tour choreographer Lorin Latarro to get a fabulously engaging, vocally extraordinary theatrical experience. While there aren’t any traditional dance numbers that involve the entire company coming together for epic kick-lines (this isn’t that sort of show), Latarro works the show’s choreography into this nuanced rhythm of movement. Often there are gesticulated dances that involve members of the ensemble moving through the motions of diner life, with the occasional normative dance routine thrown in; all the dancing and movement in the production is enjoyable. And when the on stage band swells with the voices of the ensemble for numbers like “What’s Inside”, “Opening Up”, and “I Love You Like a Table” it’s audio-visual bliss.

“Downright Disgusting Dirt Pie.” Take one revolting antagonist by the name of Earl (Shawn W. Smith) and just watch him explode all over the stage to the point that the audience would prefer to defenestrate him straight out the back of the diner window. Simply put. Smith does the exceptional job of being the heinous character that the plot requires to propel protagonist Jenna forward. With an unruly, uncouth grit that is inexcusable, unacceptable, and utterly horrid, Smith brings to life this vile, abusive character that will, unfortunately for so many, be far too relatable. It is always a difficult task to portray these types of characters with believable accuracy and not play to the over-the-top theatrics that can accompany such an archetype. Smith doesn’t shy away from being manipulative with the character and really earning the audiences’ ire and loathing.

“Blastin’ Berry Beauty Pie.” Base with stellar, strong performer— Kennedy Salters in the role of Becky— add extraordinary solo song— “I Didn’t Plan It”— and devour at top of the second act. Salters wears the crown of sassy responses in this production. Part of the ‘waitress trio’ inside Joe’s Pie Diner, the Becky character is both vocally vivacious and extremely outspoken. Salters has an exceptional understanding of how to deliver deadpan, sassy humor, knows how to belt her way around the song (see recipe note from the solo song at the top of the second act), and blends her voice to perfection when in tri-part harmony with Jenna and Dawn during numbers like “The Negative” and “A Soft Place to Land.” Salters’ interactions with the Cal (Jake Mills) character are hysterical beyond compare. Mills and Salters have a volatile chemistry between them, which really spices things up come the second act.

“Dippy Dewey Delight Pie.” One part simpering, silly, sidekick character Dawn (Gabriella Marzetta) spun together with a whole lot of oddball comedy and served with a glass of the giggles. Marzetta is a bit like a sugar-fix; too sweet for words in the peculiar and plucky sort of way. When she bounces and bubbles her way all through “When He Sees Me” it’s just the most adorable and simultaneously laughable thing you’ve ever laid eyes on and what’s more is she has a real knack for physical comedy. Whether it’s with the ketchup & mustard pumps or the cleaning squirt bottle, Marzetta finds her happy place delivering laugh after laugh to the audience.

“Over-the-top Ovaltine Cream Double Nutty Nut Pie.” Find a show-stopping, scene-stealing actor— Brian Lundy— plop him into the ridiculous role of Ogie, and shake until hilarity ensues. Words are never going to do Lundy’s performance even a tenth of the amount of justice he deserves. His scene-stealing, show-stopping antics has the audience gasping for breath between laughs, particularly when it comes to his bonkers style of dancing. “Never Ever Getting Rid of Me” is so outrageously hysterical it defies description. His physicality, vocal affectation, and consistency with bringing both of these traits into his moments in song are truly remarkable. It goes without saying that during some of the hilarious, and ‘mature-themed’ shenanigans between the three sets of couples, Lundy and Marzetta take the cake (or in this case, the pie— and it is well worth noting and praising that when they soar off stage with what should be the ‘Betsy Ross American Flag’ the couple now proudly display an American flag whose stripes represent and include the LGBTIA+ community in their colors.) Brian Lundy is just too much for words in the best way possible.

“Too Good To Be True Tarty Poison Pie.” Slip one part dreamy character— Dr. Pomatter (David Socolar)— into a desperate situation, add romance, comedy, and musical numbers, and serve over the course of two and a half hours on stage live. David Socolar is a truly gifted triple threat. Not only has he mastered the art of being athletically acrobatic on stage— seriously, some of those flinging, flying leaps over the exam table? Unbelievable!— but he brings the most balanced level of humor, quirkiness, and sincerity to the Dr. Pomatter character. Given the way the story plays out, it is difficult to dislike a character that inherently you should be against, but Socolar finds these charming and earnest moments, particularly in scenes with Jenna where their storytelling and candid honesty comes directly to the front of the scene, making him this intricately complex character that is almost impossible to do anything but enjoy. Socolar is also graced with a sublimely sweet voice that has a beautiful stretching tenor range, which is perfect for “It Only Takes a Taste” and “You Matter To Me”, both being sublimely sincere duets shared with Jenna. His overall stage presence and ability to flip from comedy to emotional gravity are as impressive as his character thinks Jenna’s pies taste.

“Heaven On Stage Honey Pie.” Take the character shell of Jenna, fill to overflowing with the talented and sensational Jisel Soleil Ayon, and deliver one extraordinary, phenomenal titular role that earns the ovations she receives during the burning 11-o’clock number, “She Used To Be Mine.” There are so many fantastical moments where Ayon draws the audience in rapt attention into her world, many of which being the subtle asides in the form of her letters, always starting with “Dear Baby…” Ayon becomes more than just a performer on stage wearing a character so close to the skin she could be the story; she makes Jenna the most relatable human in the production. There are moments in this show, which addresses domestic violence and abuse, where we’d all like to think that we’d handle things differently if it were use, but Ayon’s performance in those moments— and truly in every moment on stage— is so powerful that you find yourself on the edge of your seat, feeling for her, feeling with her. With stunning vocals that really resonate through duets and trios and group numbers, like “The Negative”, “Bad Idea”, and “Everything Changes”, its easy to fall head over heals with Ayon’s performance as Jenna. “What Baking Can Do” is such a powerful moment to set up the character’s much-needed strength early in the performance and Ayon does not disappoint. Every interaction, whether it’s trying to awkwardly hold her tongue with Nurse Norma (Vanessa Magula) or really embracing the tenderness and sagely advice of Joe (Michael R. Douglass, whose song “Take It From an Old Man” is a true bittersweet symphony), Ayon lives fully and presently in every moment as Jenna. Jisel Soleil Ayon is Waitress; she is the perfect piece of pie in this smorgasbord of delicious talent.

“Get Your Fix Quick Disappearing Pie.” The show is breezing through Baltimore for just three performances. Put your order in ASAP to grab up some delicious tickets and experience the joy for yourself!   

Running Time: 2 hours and 45 minutes with one intermission

Waitress plays through November 7, 2021 Baltimore’s Hippodrome Theatre in the France-Merrick Performing Arts Center— 12 N. Eutaw Street in the Bromo Seltzer Arts District of Baltimore, MD. For tickets call the box office at (410) 752-7444 or purchase them purchase them online.