Theatre Raleigh's Sold-Out Aug. 6-24 Production of Waitress Is Officially My Favorite Musical Ever
This article was published by Triangle Review on 7 August 2025.
I've loved Sara Bareilles -- who wrote the breakthrough hit single "Love Song" -- since I first saw her perform on PBS last New Year's Eve. So, when I learned she had written the music and lyrics for Waitress, a musical co-created with Jessie Nelson (book) and based on the 2007 Indie film Waitress, written and directed by Adrienne Shelly, I immediately put it on my bucket list.
I was so excited when I got tickets to see Waitress: The Musical, directed by Eric Woodall, at Theatre Raleigh, right here in the Triangle, that I thought I couldn't help but be disappointed. Well, let me assure you: Theatre Raleigh did not disappoint. In fact, Theatre Raleigh's opening performance of Waitress last night is one of the most affecting and impressively directed theater productions that I've ever seen.
For those unfamiliar with the story, Waitress centers on Jenna Hunterson, a gifted pie baker and waitress stuck in an abusive marriage. When Jenna discovers that she's pregnant, she begins an affair with her married OB-GYN, Dr. Jim Pomatter, and dreams of escaping her circumstances by winning a pie contest with a life-changing cash prize. Although the musical embellishes moments with song and stagecraft, the emotional truth of the original film not only remains intact, it's amplified.
What truly sets Waitress apart is Sara Bareilles' music: the score blends folk-pop hooks with raw, intimate lyrics. These aren't your typical show tunes -- they're the kind of songs that you could hear on the radio and cry to in your car.
Theatre Raleigh's production delivers all this with a level of professionalism and heart that rivals Broadway. It's actually surreal to see this kind of show in an ∼300-seat black box theater, which offers just 10% of the capacity of a venue such as the Durham Performing Arts Center. It's a Broadway-caliber performance up close, without a bad seat in the house.
Leading the cast as Jenna is Alyssa Fox, who recently played Elphaba in Wicked on Broadway for the show's 20th anniversary. Fox has a voice that, combined with Sara Bareilles' troubadour lyrics, is honest, wise, and well-meaning; clear as a bell in every respect; and infused with feeling that never seems contrived. In numbers such as "She Used to Be Mine," you could hear sniffles throughout the audience, including my own.
Ella Frederickson, a recent graduate of UNC Greensboro, is a revelation as Dawn. Her natural Southern twang and bluegrass-tinged vocal style are ear candy, and her comedic timing is impeccable. Broadway gold feels like no exaggeration.
Billy Harrigan Tighe brings just the right mix of awkward charm, honest vulnerability, and handsome sexiness to Dr. Pomatter. Tighe has performed in multiple Broadway and Off-Broadway productions; and his singing voice shows it, particularly when he harmonizes with Fox. Meanwhile, N.C. native Tara Lashan Clinkscales is absolutely delightful and not one bit over-dramatic, as Dr. Pomatter's sharp-witted and sharp-tongued Nurse Norma.
Raleigh theater legend Ira David Wood III brings both gravitas and grit to the role of Joe, the diner's crusty but kindhearted regular. His performance is rooted in the kind of old-school Southern masculinity that I grew up with in Martinsville, VA -- and his solo was delivered with such raw authenticity and vocal control that it brought the house down.
Nick Cearley is wonderfully comedic in his role as Ogie Anhorn, delivering a physical, almost Shakespearean comic performance that somehow never feels over-the-top. He's a whirlwind of energy and hilarity, and yet somehow makes Ogie feel real and lovable.
As Becky, Anne Fraser Thomas channels the sass and soul of characters such as Polly Holliday's Flo from Alice. Her accent and timing are impeccable, and her voice borders on Southern gospel, though her vocals were a nanometer flat to my ears (not so to my companion).
Bradford B. Frost is convincingly unsettling as Jenna's controlling husband, Earl. His vocal performance didn't quite reach the country-rock style that I craved, but his acting nailed the character's chilling complexity, conjuring many young Southern men I've known through the years.
The ensemble, which performed as well as any Off-Broadway, included three rising juniors and a sophomore at UNC Greensboro (Jayson Altieri, Brandon Criswell, Preston Smith, and Kaleb Bell) and recent graduates of East Carolina University (Keagan Kermode and Casey Wortham), Elon University (dance captain Emily Stober), and UNC Greensboro (Erin Lambertson). Witnessing local theater graduates performing alongside actors who are at the top of their game is icing on the cake, thanks to choreographer Eamon Foley, who transformed these young dancers into powerful manifestations of the characters' feelings throughout the performance.
The unsung heroes of this production, however, are the technical crew. Bill Webb's lighting, which was dynamic and required perfect timing, was spot on. Sound designer Eric Alexander Collins achieves crystal-clear, rock-concert-quality audio in a space only 3.5% the size of most theaters featuring Off-Broadway productions. And the set changes, which were substantial, were so seamless they felt like part of the choreography -- furniture literally flew across the stage during "Bad Idea" -- a testament to stage manager Allison Hopfer and her remarkable team.
If you haven't gotten tickets, unfortunately, you're out of luck for now -- all performances through Sunday, August 24th, are sold out. But with the buzz and demand, there's hope for another extension. If this happens, don't walk -- RUN -- to grab a seat. Thanks to the fabulous team at Theatre Raleigh, Waitress is officially my favorite musical ever.
