With Waitress celebrating its 10th anniversary, this production at Manchester’s Palace Theatre felt like the perfect excuse to revisit a show that has quietly become a comfort musical for so many people – myself included. I first saw it on Broadway years ago with Tony-nominated Betsy Wolfe as Jenna, so there was always going to be a layer of nostalgia attached to this performance.
I’d somehow managed to miss Carrie Hope Fletcher in both Les Misérables on the West End and the recent Calamity Jane UK tour, so there was definitely an extra layer of anticipation surrounding this performance.
Showcasing her professionalism and poise as both an actor and performer, Carrie Hope Fletcher plays Jenna with a softness that feels incredibly natural. Her performance never becomes overly theatrical, instead allowing the story’s themes of heartbreak, resilience, and strength to shine through both her elegant vocals and understated acting.
She portrays Jenna in such a believable, grounded way that the emotional moments land even harder later in the show. She Used To Be Mine was a true crowd-pleasing moment. The entire theatre seemed to stop as Fletcher effortlessly delivered each lyric with such control and emotion that it became difficult not to get swept up in it. By the end, there were tears in my eyes, and judging by the reaction around the Palace Theatre, I definitely wasn’t alone.
The applause afterwards continued for quite some time, with the audience clearly moved not only by the power of her voice, but by the way she had carried Jenna’s story throughout the production. It felt like one of those rare theatre moments where nobody quite wants to break the atmosphere once the final note lands.
A cast that understands the balance of the show
What Waitress has always done so well is balance genuinely difficult subject matter with warmth and humour, and this cast handles that balance beautifully.
Evelyn Hoskins is absolutely hilarious as Dawn, bringing awkward charm and brilliant comedic timing to every scene she’s in. Her performance of When He Sees Me is one of the standout moments of the evening – full of nervous energy, clumsy joy, and a genuinely gorgeous vocal performance.
Hoskins’ chemistry with Mark Anderson as Ogie is another major highlight. Anderson fully commits to the role’s eccentricity and quickly becomes an audience favourite, commanding attention every time he walks on stage. Together, they deliver some of the loudest laughs of the night without ever making the relationship feel forced or gimmicky.
Dan Partridge gives Dr Pomatter a warmth and gentle humour that works perfectly within the production. His comedic timing feels effortless, and his scenes with Fletcher carry a genuine sense of comfort and ease that makes their relationship feel believable throughout.
Meanwhile, Sandra Marvin is brilliant as Becky – sharp, hilarious, warm, and vocally incredible throughout, particularly during I Didn’t Plan It. Becky often delivers some of the show’s funniest moments, and Marvin gives the role huge personality without ever pulling focus from the emotional core of the story.
Les Dennis also brings a lovely paternal warmth to Joe. Take It From an Old Man becomes one of the quieter emotional highlights of the evening, performed with a sincerity that makes the character instantly likeable.
Staging, music, and the emotional core of the show
The staging design remains relatively simple throughout, but it works completely in the show’s favour. The transitions feel smooth and unobtrusive, never pulling attention away from the story itself, while the lighting is used cleverly to break between emotional moments and different stages of Jenna’s journey. The recurring ‘Sugar’ leitmotif ties those transitions together nicely and gives the whole production a comforting sense of familiarity.
More than anything, this production succeeds because it understands what makes Waitress resonate with audiences in the first place. Beneath the humour and charm is a story about survival, motherhood, loneliness, love, and finding strength in situations that feel impossible to escape.
It would be easy for a show tackling those themes to become overly heavy, but Waitress never loses its warmth. Even during its more tense moments, there’s still humour, comfort, and genuine heart running through the production.
Final thoughts
Revisiting Waitress after so many years felt strangely comforting. This production reminded me exactly why the musical connected with audiences so strongly in the first place. The casting is excellent, the emotional moments feel earned rather than forced, and Carrie Hope Fletcher delivers a Jenna that feels both vulnerable and quietly resilient throughout.
Most importantly, it left the audience feeling exactly the way Waitress should: emotional, comforted, and completely wrapped up in the warmth of the story.
Waitress is running at Manchester’s Palace Theatre until 30 May. Book your tickets now.
*Gifted tickets in exchange for an honest review.
Kelsey Haslam is the founding editor of Magenta Adventures Travel Publication and a freelance travel writer with a focus on community-based travel, culture-led experiences, and theatre tourism. She is passionate about spotlighting lesser-known destinations and connecting travellers with meaningful, human-centred stories.
Her published work includes destination features and luxury hotel reviews for leading travel outlets such as A Luxury Travel Blog, Beau Monde Traveler, and Luxury Lifestyle Magazine.
Explore more about Kelsey’s background on the About Page.
