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Lindsey Corey (center) and the cast of Waitress at Actors’ Playhouse at the Miracle Theatre. Photo by Alberto Romeu
By Mariah Reed
Waitress follows the story of Jenna, a talented pie maker working in a small-town diner who is trapped in an unhappy marriage. Haunted by her mother’s legacy of hardship, she finds refuge in baking, pouring her emotions into imaginative, mouthwatering creations.
Jenna gives her pies clever names such as “I Hate My Husband Pie” and “A Big O’ Slice of Live Your Life Pie” to reflect her emotional state. When an unexpected pregnancy complicates her circumstances, things get interesting.
Kareema Khouri, Lindsey Corey and Becca Suskauer in Waitress at Actors’ Playhouse at the Miracle Theatre. Photo by Alberto Romeu
Actors’ Playhouse at the Miracle Mile presents this delightful musical with all the warmth and sweetness of Jenna’s famous pies. Lindsey Corey shines in the title role, her vocals effortlessly blending delicate vulnerability with powerhouse belting that does full justice to Sara Bareilles’ remarkable score (one of my personal favorites, I must confess). Her Jenna is all small-town folksy, with a touch of dissatisfaction due to her controlling and violent husband. Though urged to leave him by her friends, she feels stuck and helpless to do so.
Lindsey Corey and Peter McClung in Waitress at Actors’ Playhouse at the Miracle Theatre. Photo by Alberto Romeu
Peter McClung plays crusty Joe, the owner of the diner in which Jenna works, a rough-on-the outside senior with a heart of gold, with tremendous humor and sensitivity. With impeccable timing and nuanced subtext, he brings this character to life in a way that uplifts every scene of which he is a part. Along with Jenna’s co-workers, Becky and Dawn, he tries his darndest to inspire Jenna to recognize her potential and strive for more. We are pulling for her as well, but she inexplicably resigns herself to a live of mediocrity with a man “who can’t love.”
Chris Stevens and Lindsey Corey in Waitress at Actors’ Playhouse at the Miracle Theatre. Photo by Alberto Romeu.
Chris Stevens delivers a convincingly brutish Earl, Jenna’s selfish and volatile husband, who only displays vulnerability when he fears losing his wife’s attention to their unborn child. While Stevens effectively embodies Earl’s physical menace, his portrayal lacks the depth of emotional insecurity that could add layers to his villainy, making him feel somewhat one-dimensional.
Dawn, the endearingly quirky and irresistibly awkward waitress, is one of Jenna’s most loyal champions, yet she’s waging her own war against social anxiety. Her search for love leads her to a dating app, setting the stage for an uproarious and delightfully unpredictable romance. As Dawn, Becca Suskauer masterfully crafts a performance rich with specificity, seamlessly weaving together wide-eyed desperation, jittery anticipation, and hopeful exhilaration. Each note she sings and every line she delivers is laced with exquisite detail, making her emotional journey an absolute joy to behold.
Enter Ogie, played with riotous brilliance by Nick Cearley. His grandiose yet completely misguided attempts at spontaneous poetry and his hilariously exaggerated interpretations of the score stop the show in its tracks. Together, Suskauer and Cearley are a comedic dream team, their chemistry fizzling with charming awkwardness and undeniable magnetism. When they take the stage, all eyes are on the most adorably eccentric lovebirds to ever stumble into romance.
Lindsey Corey and Ryan Everett Wood in Waitress at Actors’ Playhouse at the Miracle Theatre. Photo by Alberto Romeu
As the man who steals Jenna’s heart, Ryan Everett Wood’s Dr. Pomatter is a curious blend of awkward flamboyance and grounded earnestness. Director David Arisco has leaned into broad physical comedy for this production, and Wood’s quirky interpretation fits seamlessly into the heightened style. Contrasted with Corey’s down to earth and more naturalistic Jenna, romantic chemistry between the two feels a bit off initially, yet when Wood sings You Matter to Me with his gorgeous, lyrical tenor, rife with complex feeling and inner conflict, a deep connection between the Doctor and Jenna becomes evident.
Adding to the show’s rich flavor is the ever-marvelous Kareema Khouri as Becky, Jenna’s fiercely independent co-worker. Khouri’s vocals are a powerhouse of raw, aching emotion, her delivery imbued with soulful intensity that makes every lyric feel deeply personal. Matthew Michael Janisse is a solid presence as Cal, the diner’s affable but exasperated cook, while the energetic ensemble—including Jessica Sanford, Catie Pires-Fernandes, Don Seward, Nia Bourne, Joel Hunt, Alessandro J. Lopez, Cindy Pearce, Paul Tuaty, Lauren Maria Abraham, and Frida Kiglies—bring the small-town world to vibrant life.
A slight drawback to the production is occasional scene-stealing from background performers. In one instance, an ensemble member wildly waves from a booth, unintentionally distracting from the main action. At times, the stage feels overly busy with background movement, making it difficult to focus on the central characters. However, these minor issues are quickly forgotten, thanks to the production’s brisk, engaging pace.
The set, designed by Brandon M. Newton, is an ingenious collection of walls, counters, booths, and furniture that whirl about on a turntable or on wheels, smoothly and efficiently transforming the space within seconds. All of this is choreographed during the final moments of songs so that at their conclusion all the moving parts have landed beautifully to set the following scene just as lights rise upon it. Jodi Dellaventura’s set dressing and properties deliver authenticity and charm to the scenic elements.
And the lighting! There’s no question we are watching a musical, as vibrant, saturated color illuminates each environment infusing the action with corresponding feeling. Jenna’s depressing home environment is awash with grey, as the diner (Jenna’s true sanctuary) is resplendent in violet and green. Kudos to Eric Nelson, the production’s lighting designer, for fully understanding the world of the play and depicting it in all its glory while supporting the story unfolding before us.
At risk of inspiring more than a few eye rolls, the Actor’s Playhouse production of Waitress is a home-baked, satisfying slice of sweet and savory pleasure that everyone should be egged on to witness! And if you are anything like this reviewer and her partner, you may well find yourself inspired to visit a diner post-show for a delicious slice of pie!
Mariah Reed is an Equity actress, produced playwright and tenured theatre professor.
Waitress runs through April 20 at Actors’ Playhouse at the Miracle Theatre, 280 Miracle Mile, Coral Gables. Ticket prices are from $50-$100 (10 percent discount for seniors on weekdays and $15 student rush tickets available 15 minutes prior to curtain). Performances are Wednesdays through Saturdays at 8 p.m. and Sundays at 3 p.m. A special weekday matinee will take place on Wednesday, April 2, at 2 p.m. For guests with accessibility needs, Actors’ Playhouse provides accessible seating and complimentary assistive listening devices for all performances. Sign language interpretation and audio description will be available at the performance on Sunday, April 13. at 3 p.m. For more information, call 305-444-9293 or visit www.ActorsPlayhouse.org. Group discounted rates are offered for 10 patrons or more through the group sales department at 305-444-9293, ext. 2.
