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I don’t know if I’ve ever cheered so hard for cheating. But I wasn’t alone on the June 18 opening night of Waitress at the Stanley: a full house of Vancouverites whooped and hollered as Jenna (Rachel Drance) and Dr. Pomatter (Kamyar Pazandeh) finally kissed at the end of act one. Did it matter that both characters were married to other people, or that HIPAA standards were likely violated? Not a bit. 

The affair is a main plot point of Waitress, the 2016 musical based on the 2007 movie (that’s why I’ve chosen to forgo spoiler alerts—“spoiling” this would be cinematically equal to spoiling Transformers in 2025). But one can’t credit the Vancouver audience’s reaction to the script alone. The Arts Club’s cast brought a larger-than-life energy and irresistible charm to the stage, one that had the crowd absolutely sold on the idea of getting it on… on an OBGYN exam table.

Waitress follows Jenna, a talented baker and server at a small-town pie shop, as she works up the courage (and money) to escape her abusive husband Earl (Jacob Woike). Woike’s performance is part of what sells the audience on the gray-area cheating with the doctor—the gross characterization of a drunk, violent, manipulative manchild is straight out of a Sabrina Carpenter song. I felt myself physically recoiling every time he sloshed on to stage, and on several occasions had to remind myself that he was just acting. He was truly hateable (a compliment, if you can believe it) with a gorgeous voice (an important reminder that talented singers can be, and often are, the worst people on the planet). 

Drance has the audience in the palm of her lightly floured hands in the titular role, with complex expressions readable from the back of the house and pipes perfectly suited to her upbeat but deeply troubled character. Her solo belts were a highlight—as were those of fellow waitresses Ashanti J’Aria (Becky) and Sarah Cantuba (Dawn)—but my favourite vocal moments featured all three in harmony. In the spirit of the musical’s overcooked baking metaphors, this trio really was delicious. Speaking of the heavy metaphors, here’s a few more of my favourite moments to watch out for when you catch this show: 

1. The seamless transition from the pie shop to the bathroom (set designer Cory Sincennes, you’re a wizard).
2. Sarah Cantuba’s infectious bubbliness and quirky, loveable voice.
3. A deeply suggestive sequence involving eating a pie from between someone’s legs.
4. Josh Epstein’s somehow both slimy and sweet portrayal of the character Ogie.
5. The very real ingredients used throughout the show (front row, you’re in the flour zone).
6. Ashanti J’Aria’s undeniable stage presence and sharp comedic timing.
7. The dreamlike prop work that’s achievable only in live theatre.
8. Kamyar Pazandeh’s attractive, bumbling awkwardness.
9. Someone’s bare ass (I won’t spoil who).

One critique-worthy element: during select dramatic moments, our plucky main character faced the person she was talking to rather than the audience. While realistic, it deprived the crowd a chance to see some key reactions. I think of my high school drama teacher yelling “cheat out!”—yes, the cheating was present, but there were moments when the cheating out could have been stronger. 

While I’m at it, here’s what I’m sure is an ice-cold take: I don’t like it when kids are cast in shows where their presence isn’t integral to the plot. I love a precocious Matilda or ragtag School of Rock ensemble, but when kids play smaller roles I find myself wondering how essential the part is. 

And yet, when the tiny, smiley little actress skipped out for the final song of Waitress, I did cry. OK, fleeting joy of childlike wonder. You win this time.

Despite all the goofiness and sugary singing, Waitress deals with some pretty tough themes (read: the aforementioned adultery, unwanted pregnancy, domestic and financial abuse, motherhood, bad close-up magic).

It takes a talented creative team to pull it off without coming across as insensitive or offensive—like Transformers, some things should stay in 2007. But the Arts Club does it well, and that’s a testament to the entire production.

Guilty pleasure may be the beating heart of this show, but personally, I laughed and cried guilt-free. 

Waitress is on at the Stanley Industrial Alliance Theatre until August 3, 2025. Find tickets here.