Waitress is a musical comedy playing at the Grand Theatre in London, Ontario, from March 25 to April 12, 2025. The story follows Jenna, a waitress in a small Southern town who finds herself trapped in an abusive marriage after discovering she’s pregnant. Determined to create a better future, she sets her sights on a pie-making contest with a $20,000 prize—her chance at freedom. With the unwavering support of her two closest friends, she navigates love, resilience, and self-discovery. And if her exceptional baking skills aren’t enough to win the competition, the clever and quirky names of her pies just might be.
I could start with the acting. I could talk about the singing. I’d proceed to mention the choreography, but for me, a lot of what makes Waitress great is the set design. I loved, loved, loved, the set design.
I love the tiers and tiers of baking paraphernalia. I loved the diner. I even loved the sparse ‘trailer park’ setting of Jenna & Earl’s home. The set was designed by Scott Penner, a Canadian-born set and costume designer who splits his time between Brooklyn and Hamilton. When presented with the opportunity to interview Penner, I took it. My opening line was “I am a fan.”
I looked back at my reviews for Elf, The Musical, Charlie and the Chocolate Factory, and (my personal favourite) The Phantom of the Opera and realized that I have admired Penner’s work for a while now. He has a signature style—grand sets with intricate moving parts and vibrant montages that bring productions to life.
When asked about his approach to creating such elaborate sets, Penner explained that it depends on the script’s demands and the director’s vision. He described Waitress director Rachel Peake as a “very generous collaborator” and noted that his original concept evolved throughout the process. While what we saw on stage wasn’t exactly his initial vision, Peake gave him carte blanche, and he was ultimately pleased with the final result.
Movement is a key element of this set, enhancing the storytelling in dynamic ways. Different locations—a doctor’s office, a sparse home, even a toilet stall—are seamlessly wheeled in and out, keeping the audience engaged and providing fresh visual perspectives. This constant transformation is what makes the set design extraordinary. One particularly impressive moment was when the diner counter shifted to create a new perspective, while the addition of red booths or the pie-making station maintained continuity and familiarity from scene to scene. Visually striking, thoughtfully designed, and integral to the narrative, both the costume and set design were exceptional—kudos to Scott Penner!
Another standout was Tyler Pearse (Ogie), the awkward, lovesick poet (giving only-child energy) who relentlessly pursues Elysia Cruz (Dawn). His comical, show-stopping number, Never Ever Getting Rid of Me, was a highlight that will stay with me for a long time. Sung in the first act and followed up later with I Love You Like a Table in the second, Pearse’s comedic timing—paired with Cruz’s delightful performance—left me wanting more of their dynamic on stage.
Julia McLellan (Jenna), Stacey Kay (Becky), and Elysia Cruz (Dawn) were perfectly matched, complementing each other’s vocal styles beautifully. Stacey Kay (a Canada’s Got Talent Golden Buzzer winner and finalist) was particularly engaging—her comedic timing was impeccable, and her powerhouse vocals made it impossible not to take notice.
You could have heard a pin drop when Julia McLellan delivered She Used to Be Mine in the second act. If mid-show standing ovations were a thing, the audience surely would have given her one. It was beautiful, deeply moving, and mesmerizing—one of those performances that lingers with you long after the curtain falls.
The men in this story of love, betrayal, and friendship weren’t merely supporting characters; they brought depth and contrast to the strong female bonds at the heart of the show. Gregarious and bossy, Lee Siegel (Cal) played well opposite sassy and bossier Becky. Peter Millard (Joe) struck the perfect balance of gruffness and warmth, making his character endearing. Kamyar Pazandeh (Dr. Pomatter) brought charming physical comedy to the role, making it easier to overlook the fact that he was having an affair with his patient. And Lawrence Libor was chillingly effective as Earl, Jenna’s abusive, controlling husband—easily the most despised man on stage.
This production marked the Grand Theatre debut for McLellan, Kay, and Cruz, but I certainly hope to see them return next season—perhaps in Come From Away?
I’d like to conclude this review by highlighting the work of director Rachel Peake. She did a remarkable job bringing this 2016 Broadway hit to life—a show that earned four Tony Award nominations, including Best Musical and Best Original Score. With music and lyrics by Sara Bareilles, Waitress is filled with fun, catchy tunes, and Peake’s direction ensured they were not only beautifully performed but also seamlessly woven into the storytelling.
Her thoughtful staging and dynamic direction kept the show engaging and full of energy, even as it navigated some darker moments. She struck the perfect balance between humor, heart, and hardship, making for a truly compelling production. After seeing the opening-night performance, I was thrilled to congratulate her on what I believe is the standout production of the 2024-2025 season.
Once Waitress concludes at the Grand Theatre, it travels to Theatre Aquarius in Hamilton from April 30th to May 17, 2025. I may have to drive down and take my daughter to see it since she lives in Hamilton and is a big theatre fan!
Pay-What-You-Can
Every review, I encourage you to take advantage of Canada Life Sponsored Pay-What-You-Can performance on Sunday, March 30 at 2:00 p.m. (Pay-What-you-Can tickets become available online at midnight on the day of the performance, with a selection of tickets held for in-person purchase one hour prior to the performance at the Grand Theatre Box Office).
The Indigenous Community Ticket Program is available to those individuals who identify as Indigenous. For only $20, you can experience one, or any of the remaining 2024/25 Grand Theatre productions.
Overall Recommendation: Do not miss Waitress at the Grand Theatre in London, Ontario. It was a wonderful show, and I highly recommend it.
Margarita Ibbott is a travel and lifestyle blogger. She blogs about travel in Canada, the United States and Europe giving practical advice through restaurant, hotel and attraction reviews. She writes for DownshiftingPRO.com and other online media outlets.