Pittsburgh Musical Theater's 'Waitress' is a sweet treat for audiences

Creating a good musical is a lot like baking a pie. There are some crucial ingredients — a strong cast, plenty of great numbers, a little bit of humor (and maybe a hint of spice) and a lot of heart. Then, it all gets mixed together and put out under the hot stage lights. That’s where the magic happens.

Pittsburgh Musical Theater’s “Waitress” is a delicious slice of fun. The show is directed by Tim Seib, with music direction by Dr. Francesca Tortorello, and will run through May 25 at the Gargaro Theater on Pittsburgh’s West End.

The show is based on the 2007 film of the same name, and it’s one of the most faithful screen-to-stage adaptations I can think of. The score is pretty poppy, which makes sense since the music and lyrics were written by pop star Sara Bareilles. “Waitress” debuted on Broadway in 2015 and was nominated for four Tony Awards, including Best Musical. Frankly, the show can’t be blamed for not winning any; it had the misfortune of premiering the same season as the awards juggernaut that was “Hamilton.”

The titular waitress in “Waitress” is Jenna (Zanny Laird), a woman gifted with an almost supernatural ability to invent and bake pies and saddled with an abusive husband, Earl (Corey Rieger). She works at a pie diner with her close friends Dawn (Catherine Baird) and Becky (La’Nette Wallace), dodging grumpy shouts from her boss, Cal (Ben Sheedy) and serving the curmudgeonly diner owner, Joe (Danny Herman). When Jenna realizes she’s pregnant, she’s anything but happy.

Then she meets her new gynecologist, Dr. Pomatter (Brett Goodnack) and things change — the pair find an unsuppressable spark in one another. Jenna decides that she’s going to enter a pie baking contest with a five-figure cash prize that would allow her to get out of her marriage and her town to start over.

The book of the musical, which was written by Jessie Nelson, is its weak point. Part of the problem is that the music is so introspective and emotionally weighted that the more shallow dialogue doesn’t seem to keep up. Especially with a cast so capable of rising to the acting occasion, it would’ve been nice to see a little more character development for them to work with.

While there are several settings in the show, the lives of the characters mostly revolve around the warmly lit and cozily familiar diner. Scenic desiger Tucker Topel and lighting designer Todd Nonn were able to set the mood for the show’s rising and falling action while making each scene feels lived in. Watching the cast filling ketchup and mustard bottles and wipe down tables while discussing the challenges of their lives is so relatable that they start to feel like your own friends.

Jenna, Dawn and Becky each have their own worries: Jenna, with an unwanted pregnancy and a horrible husband; Dawn, who’s never had a boyfriend and forces herself out of her shell (don’t worry, she gets an adorably happy ending); and Becky, who’s caretaker to a very sick husband who she loves. Baird and Wallace both shine in their solo songs. While they get some of the best comedy lines, they both also bring three dimensions to their characters and have the audience rooting for them.

If one modern showtune standard has emerged from “Waitress,” it’s the second act heartbreaker “She Used To Be Mine.” Laird did a commendable job of baring Jenna’s soul throughout the show, but she really opened up and brought the audience in for that particular song, to great effect.

Goodnack’s Dr. Pomatter is neurotic and jumpy, getting big crowd reactions for his physical comedy. But he’s also got a sweetness and vulnerability that makes the character believably charming. He and Laird share a chemistry that’s both heated and companionable, and you really do root for them, despite the transgressiveness of their dalliance.

I want to give a little extra praise to Jeyni Ortiz-Valentin who played Norma, Dr. Pomatter’s nurse. She stole almost every scene she was in with a dry wit that got the audience cackling.

Bareilles’s score is a highlight, and Tortorello’s music direction brought a lot of texture and depth to every song. From the boppy “Never Ever Getting Rid of Me” (sung by the endearing Quinn Patrick Shannon as Dawn’s eventual beau Ogie) to the soft and sweet “You Matter To Me,” a few verses of calm amongst the storm for Jenna and Dr. Pomatter, each tune opens up new layers in the show. And choreographer Larry Lozier-Woods added the extra oomph of movement that felt especially impactful at the show’s joyous conclusion.

This is a musical that feels especailly appropos to see with female family and friends. Make sure to bring tissues to the theater and make sure you get some pie — trust me, the show will have delicious baked goods on your mind.

Pittsburgh Musical Theater’s “Waitress” will run through May 25 at the Gargaro Theater on Pittsburgh’s West End. For tickets, visit pittsburghmusicals.com.