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Pomatter with a Mermaid Marshmallow pie, which, despite the fact that he is off sugar, he eats and loves ("Pomatter Pie").Word of Jenna's pregnancy reaches Joe, the diner’s curmudgeonly owner, who suggests she enter a local pie-baking contest with a large reward which would allow her to leave her husband. She tells him about her unhappy marriage, and he compliments her pie and her resilience (“It Only Takes a Taste”). He berates her, and his anger almost turns physical until she confesses she is pregnant.Stage rights to the film were purchased in 2007, and the musical's creative team was assembled by 2013. In 2019, the musical opened at the Adelphi Theatre in London's West End.The original production of Waitress premiered at the American Repertory Theater in Cambridge, Massachusetts in August 2015, with direction by Diane Paulus and starring Jessie Mueller as Jenna. The film starred Keri Russell, and was written and directed by Adrienne Shelly.Donnelly taught the cast how to work and roll pie dough, as the role of Jenna required Mueller to crack eggs, sift flour and roll out dough on stage.
Dawn’s date Ogie visits the diner and insists he get to know Dawn better (“Never Ever Getting Rid Of Me”). Though both are married, they decide to escape their frustrating lives, and have sex in his office (“Bad Idea”).Dawn and Ogie realize they both enjoy American Revolution reenactments and how much they have in common. After her tryst, Jenna discovers Becky and Cal making out at the diner.The married Becky is unashamed of giving in to passion (“I Didn't Plan It”). Pomatter continue their affair, as do Becky and Cal, and Dawn and Ogie (“Bad Idea (Reprise)”). Several months pass and Dawn and Ogie marry (“I Love You Like a Table”).Speaking about the release of the album, Bareilles stated that her decision to record an album of the songs came because it "proved impossible for me to imagine handing over the songs to the show before selfishly finding a way to sing them myself." The show garnered generally mixed-to-positive reviews in both runs.Frank Rizzo, reviewing the Boston production for Variety, wrote: "...making Earl so relentlessly horrible makes Jenna's inability to leave him not just indecisive but something more worrisome... director Diane Paulus fills the production with clever touches – a scalloped pie-crust proscenium, a fluid and easygoing flow and a natural truthfulness in the performances." For the Broadway production, many critics found Bareilles' score and Mueller's performance to be the highlights of the show.