Celebrating the tenth anniversary of its Broadway debut, Waitress continues to prove why it remains such a popular audience favourite. At The Lowry, Salford, this hugely enjoyable production serves up a tempting mix of laugh-out-loud comedy, heartfelt storytelling and sensational musical performances, while carrying a serious message about finding the courage to change your life.
Waitress follows Jenna Hunterson, a gifted pie maker trapped in an unhappy and abusive marriage. Working in a small-town diner, she dreams of a better future while navigating friendship, motherhood, an unexpected romance and the possibility of rediscovering herself.
At the centre of this production is Lucie Jones as Jenna, and what a magnificent performance she delivers. No stranger to the role, having previously played Jenna, Jones slips back into the character with remarkable ease. However, returning to the part after becoming a mother herself adds a new dimension to her portrayal. She captures Jenna’s vulnerability, quiet determination and yearning for something more with an emotional honesty that makes her journey especially affecting.
Jones’s vocals are simply stunning, but it is her ability to connect with the audience that truly sets her apart. During “She Used to Be Mine”, the auditorium fell almost completely silent, every person captivated by the emotion pouring from the stage. The song’s powerful reflection on lost dreams, identity and the woman Jenna hopes to become was followed by huge applause. It was an exceptional moment and a reminder of just how devastatingly beautiful musical theatre can be.
Les Dennis is equally impressive as Joe, the diner’s owner. Having seen Dennis in other productions, this is undoubtedly one of my favourite roles of his. He brings a wonderfully naturalistic quality to the character, combining a hard exterior with glimpses of tenderness, vulnerability and warmth. His performance feels effortless, creating a character who is both believable and quietly endearing.
Bernadette Bangura as Becky and Evelyn Hoskins as Dawn are an absolute delight. Both bring tremendous personality, impeccable comic timing, wonderful vocals and strong stage presence to their roles. Their friendship with Jenna provides some of the show’s most enjoyable moments and underlines one of the musical’s greatest strengths: its celebration of women supporting one another through life’s messier moments. Their chemistry is infectious, and together they inject the production with energy and plenty of laughter.
Dan Partridge brings warmth and charm to Dr Pomatter, developing engaging stage chemistry with Jones. Their scenes capture the excitement, awkwardness and complications of an unexpected connection, adding another layer to Jenna’s journey towards a different future.
One of the most enjoyable discoveries is just how funny Waitress is. Amid the serious subject matter, it is easy to forget the sheer amount of comedy woven throughout the show. The humour never feels out of place; instead, it provides welcome relief while allowing the more difficult moments to land with greater emotional force. The production handles its themes of domestic abuse and coercive control sensitively, never allowing the darker elements to overwhelm the warmth and optimism at its heart.
Visually, the production is everything you would expect from a high-quality touring musical. The staging is inventive and pleasing to the eye, transforming the space into the diner, Jenna’s home and the doctor’s surgery with impressive efficiency. The set establishes a convincing small-town world, while the lighting, sound and costumes work seamlessly to support the storytelling. Credit is due to the entire production team for creating such a polished and cohesive theatrical experience.
A particularly lovely touch is the presence of six talented musicians on stage throughout the performance. Under the musical direction of Francesca Warren, they become part of the diner’s world, mingling among the customers and adding a wonderfully organic quality to the musical numbers.
Directed by Diane Paulus, Waitress is far more than a feel-good musical about pies and romance. Beneath its humour and catchy songs lies a powerful message about recognising your own worth and finding the strength to break free from an unhealthy relationship.
The only slight disappointment was the revised ending, which left me questioning the timeline of events. We see Jenna with her newborn baby in a car seat, while Dawn is visibly heavily pregnant. Although the image is undoubtedly sweet, it creates a mismatch in the passage of time. By this point, Jenna has given birth, inherited the café and begun a new chapter of her life, yet the presence of a newborn suggests that very little time has passed despite the significant changes that have taken place. Previously, seeing Jenna’s daughter, Lulu, as an older child helped convey a more believable sense of the years moving forward. The current staging slightly undermines that progression, particularly alongside Dawn’s pregnancy. It is a minor criticism in an otherwise excellent production, but one that momentarily distracts from the emotional satisfaction of the finale.
Ten years on, Waitress remains a crowd-pleaser with substance. With Lucie Jones commanding the stage, a terrific supporting cast and a production that combines laughter with genuine emotional depth, this is a thoroughly satisfying theatrical treat. You may arrive hungry for a great musical, but you leave with something far more nourishing: a reminder that everyone deserves the chance to write a happier ending.
The show runs at The Lowry until the 31st of October 2026, tickets are available from Lowry.
Reviewer: Grace Leicester
Reviewed: 27th October 2026
North West End UK Rating: