This week, the North American tour of Tony-nominated “Waitress” stopped at the Prairie Home Alliance Theater in Peoria.
It’s hard to imagine it going any better.
The critically acclaimed music and story make this production a must-see no matter who’s performing it. But this troupe makes the absolute most of it.
Samantha Lane Scruggs is absolutely transcendent as Jenna. On stage for almost every scene, her performance is endlessly dynamic without ever feeling unmotivated. She never sacrifices depth for theatricality, creating a character that is immensely flawed but intensely likeable.
Her co-leads don’t miss a beat either.
Hannah-Kathryn Wall is bound to be a fan favorite, playing the confident and quippy Becky with a gravitas that commands every moment she’s on stage. Becky Alex’s Dawn is the perfect foil, unconfident and reticent at the beginning, before slowly leaving her shell across the show.
The three have immaculate chemistry, and from the opening number to the closing bow, it’s clear that not only the characters, but the actresses, are great friends.
The supporting characters make the most of their time and then some. Connor Lewis is immediately endearing as Dr. Pomatter, developing a believable relationship with Scruggs’s Jenna that could’ve felt rushed in the hands of lesser performers.
Jason Whitton and Patrick Cogan are scene-stealers in their own right as Cal and Joe, respectively. Each starts off seeming like they’ll stay one-dimensional side characters within the context of the story, but each gets their time in the spotlight. It’s a brilliant writing flourish, and Whitton and Cogan both take full advantage of that opportunity.
Anthony Cataldo walks a very fine line as Earl. His physicality is frightening enough to make you buy him as an antagonist immediately. On the flip side, he times the glimpses into the person we assume Jenna fell in love with perfectly. There are moments where Earl is genuinely pathetic in a way that truly illuminates how despicable the character is. It’s an extremely difficult task, but Cataldo executes it seemingly effortlessly.
But if we’re talking show-stoppers, Davey Fried’s Ogie is the ultimate breath of fresh air in an already squeaky clean atmosphere.
He combines physicality and tonality in a way that seems scientifically engineered to extract the most possible humor out of every scene he’s in. The show probably runs an extra five minutes just because the actors have to pause for the laughs he generates.
The ensemble fills out the stage, making every scene feel populated and realistic. The background band is in lockstep with the performers, each getting their own time to shine.
But while the performers are impeccable, I think there’s one aspect of this production that’s even more impressive: the blocking.
Props, backgrounds and sets seamlessly move on and off stage. Each performer effortlessly moves through a minefield of obstructions. Every moment is intricately choreographed, from the leads to the ensemble. You can look anywhere on stage and something impressive is happening.
More than anything, this performance feels like a truly lived-in world. The performers imply a rich history of their characters through simple mannerisms, and the stage never feels empty unless it’s deliberate.
Take a stop at Joe’s Pie Diner for “Waitress” before it leaves town, or catch it on one of its next stops.
You can buy tickets to the Peoria show on Wednesday, Oct. 7 here.
