Adair Gilliam, Erin Capello, and Julia Diaz Photo by Alyssa Christine

Waitress is set in the American South where Jenna is one of three waitresses who work at Joe's Pie Diner. That is, one of the three we see on the job; in Broadway shows, as on television sitcoms it seems the same few servers are always on duty, no matter when the audience "drops in" on them. But we accept this kind of fantasy workplace as part of the deal we make in exchange for being entertained, and this production breezily holds up its end of that bargain. At any rate, Jenna is not only one of Joe's servers, but she also bakes all of the pies for which the establishment is a local legend. She has a genius for coming up with unique and unerringly delicious combinations and gives each new variation an inventive name, often one that reflects her state of mind at the time she conceived it.

Speaking of things being conceived, early in the show, Jenna learns that she is pregnant, owing to her slipping up and having sex with her abusive husband Earl. Jenna wants to keep the news from Earl, though she knows that sooner or later he will find out. It's just that she doesn't feel any joy about bringing a child into the world with Earl as their father. Her two fellow waitresses, who are also her best friends–Becky (big, brassy, and Black) and Dawn (a first class, idiosyncratic ditz)–encourage her to leave Earl, but she says she can't. This is in part because she doesn't think she can make it financially on her own, but also out of fear of what Earl will do to her and the baby if she tries to leave.

Other denizens of Joe's Pie Diner who figure in the show are the grill cook, Cal, who puts on the act of being a hard-ass, but it is clear that his bark is a lot worse than his bite; Joe, the elderly owner of the diner and several other local businesses, is the diner's most demanding customer, but is a keen observer of human nature, with an uncanny ability to see through Jenna's defenses; and, later on, Ogie, a fellow Dawn meets through her first try on an online dating site, who turns out be every bit as eccentric as Dawn, down to their shared love of Revolutionary War reenactments–and is smitten head-over-heels with her.

Not a denizen of Joe's Pie Diner, but a critical catalyst to the plot, is Dr. Pomatter, a doctor who has recently arrived at Jenna's clinic from Connecticut to replace her longtime doctor who has retired. Dr. Pomatter is as much of a gentleman as Earl is a brute. Also, he is good-looking, has a charming sense of humor, is empathetic, and, oh yes, married. There are hints that his marriage is not a blissful state of affairs, but nothing like the hell in which Jenna suffers. Is there any way for Jenna and her doctor not to be drawn to one another? With a song called "Bad Idea" listed in the program, at the end of the first act, the audience is almost challenged to take their best guess.

Without revealing more, I can share news that by the end, Jenna finds the path to independence and empowerment, and it does not require her to be propped up in the arms of Dr. Pomatter or any other man. She does receive a major boost from an unexpected source, but her good and open heart and her determination leave the impression that she has, after all, earned a break. Waitress is a feel-good musical with a simple but appealing story, a book that softens its comedy with swirls of tenderness, and a winning score that will let those previously unfamiliar with her work know why Sara Bareilles has had such a large following as a singer-songwriter.

If Bareilles and Nelson's uplifting take on the material hadn't done the job, Erin Capello's performance as Jenna sees to it that we leave the theater feeling elated by the sheer force of her talent. In the past couple of seasons, Capella was heat-stopping in the lead role of Diana in Theater Latté Da's Next to Normal and brought Marjorie Childs, creator of the mythical Betty Crocker, to vibrant life in History Theatre's I Am Betty. She is giving another powerhouse performance s Jenna, with a beautiful and emotive voice–just wait for her sublime delivery of "She Used to Be Mine–and dramatic chops that do not negate a flair for comedy. That Capella doesn't steal the show is only due to the strength of her castmates.

Those castmates include Adair Gilliam, who, as Becky slips right into the "take no stuff from nobody" mold, is tempered with crafty wit. Gilliam cracks her laugh lines with authority and unleashes a torrent of power in her big solo, "I Didn't Plan It." Julia Diaz is delightful as Dawn, expressing her fears of going unloved with a winsome delivery of "When He Sees Me." Chris Paulson, as Dr. Pomatter, is sincere, charming, and good-looking enough to make Jenna's obvious mistake of falling for her doctor seem plausible–and make the doctor's lapse in restraint and judgment feel like a marked departure from his regular deportment. This feeling is affirmed as Paulson and Capello express their feelings in the beautiful "You Matter to Me."

Armando Harlow Ronconi steals the show whenever he is center stage as Ogie, making this oddball character unexpectedly endearing, and putting remarkable song and dance talent to work in the unlikely courtship song, "Never Getting Rid of Me." As Earl, Eric Morris, who has been a superb leading man in Artistry's Pajama Game and The Bridges of Madison County, pulls off a bad guy role with aplomb, showing the abuser to be a bully with an infantile ego, and puts his leading man's voice to good use in the rocking "You Will Still Be Mine." JoeNathan Thomas is totally on point as exacting and crotchety old Joe; then, when it comes time for him to offer heartfelt sage advice to Jenna, this musical theatre veteran offers a deeply moving "Take It from an Old Man." Ryan Lee delivers the goods as Cal, the gruff grill cook who comes in like a lion and goes out like a lamb, and Lisa Vogel fields some choice one-liners as Dr. Pomatter's nurse.

The rest of the ensemble do top notch work, appearing completely natural as customers at the diner doing their own thing at different tables. They also move with grace and zip delivering Gabrielle Dominique's inventive choreography, which always feels just lively enough for the setting, without going overboard. The entire show is staged with class by director Amanda White, who shows utter respect for the well-tooled material and talented performers, while drawing out attention to every detail that might enhance our understanding of the narrative and our enjoyment of its delivery.

Set designer Sarah Bahr has created a diner that feels like the real thing, with the six-member orchestra, expertly conducted by music director Bradley Beahen, in view on a raised platform cleverly designed to look like the diner's auxiliary seating area. All other design and technical elements serve the production with finesse.

Waitress is a show that aims to please with its unique flavor, like Jenna's pies. Sara Bareilles' songs don't sound like the songs in any other musical, and feel perfectly suited for this one. The theme of a woman finding her strength and, ultimately, making the choices that work for her, is not new, but is presented with a couple of new twists. It is notable that, before the final curtain call when the leading lady–in this case, the superb Erin Capello–takes her bow, the previous two performers to take bows are, not a leading man, but Gilliam and Diaz, who play Jenna's female comrades, Becky and Dawn. Artistry's Waitress is a tasty meal of music, comedy, heart and talent that will leave you with a satisfied smile.

Waitress runs through May 11, 2025, in Artistry's Schneider Theater, Bloomington Center for the Arts, 1800 West Old Shakopee Road, Bloomington MN. For tickets and information, please visit artistrymn.org or call 952-563-8375.

Book: Jessie Nelson, based upon the motion picture written by Adrienne Shelly; Music and Lyrics: Sara Bareilles; Director: Amanda White; Music Director and Conductor: Bradley Beahen; Choreographer: Gabrielle Dominique; Assistant Choreographer: Saysha Ramsey; Scenic Design: Sarah Bahr; Props Design: Katie Phillips; Costume Design: Meghan Kent; Lighting Design: Karin Olson; Sound Design: Jamie Salvador Lupercio; Hair and Makeup Design: Britt Hilton; Intimacy Coordinator: Elena glass; Production Manager: Katie Phillips; Technical Director: Will Rafferty; Stage Manager: Jessica Goldade; Assistant Stage Manager: Maya Vagle.

Cast: Erin Capello (Jenna), Daisy Cousins * (Lulu), Stephanie Cousins (ensemble), Julia Diaz (Dawn), Gabrielle Dominique (Francine/ensemble), Adair Gilliam (Becky), Ryan Lee (Cal), Jordan Leggett (ensemble), Sydney Lin (ensemble), Quinn Forrest Masterson (ensemble), Eric Morris (Earl), Chris Paulson (Dr. Pomatter), Armando Harlow Ronconi (Ogie), JoeNathan Thomas (Joe), Lisa Vogel (Nurse Norma/ensemble), Ingrid Ooley Wolter * (Lulu).

* alternating performances