Ruby Day and Zeke Edmonds, with supporting cast Photo by Jessica Palopoli

Life isn't all bad for Jenna (a magnificent Ruby Day), though. Despite working long hours making the signature pies for Joe's Pie Diner and serving them to an army of customers, only to have her ne'er-do-well husband Earl (Ben Euphrat) take her tips to fund his lazy-ass, beer-guzzling lifestyle, she has good friends and allies in her co-workers Dawn (an adorable Sharon Shao) and Becky (a powerhouse Tanika Baptiste). And though the manager/cook Cal (a delightfully bossy Dorian Lockett) puts on a front of bluster and officiousness, under his prickly demeanor is a heart of gold. Then there's the owner of the diner, Joe (the perfectly crusty Louis Parnell), whose orders seem designed to be intricate enough to test the skills of his wait staff: "Well-done frenchie fries. On their own plate ... Bring the water first. Bring the O.J. with the meal."

Things take a turn for the worse when Jenna discovers she's pregnant, blaming it all on alcohol. She does stupid things when she's drunk, Jenna says, "like having sex with my husband." Not prepared for a baby and in an abusive, manipulative relationship, but not interested in terminating the pregnancy, Jenna heads off to her gynecologist only to discover the doctor who delivered her and has treated her since she was a girl has retired. In her place is the handsome young Dr. Pomatter (a very appealing Zeke Edmonds). Sparks fly and soon the doctor and patient are in a compromising and unethical relationship.

But there's hope on the horizon: a big pie-baking contest with a $20,000 cash prize is coming to a nearby town, and Joe and Jenna's co-workers encourage her to enter, certain her skills are sufficient to give her the nest egg she needs to leave her jerk of a husband. Meanwhile, Dawn is reluctant to post a profile on a dating site, but ultimately gets a first date with the gloriously geeky Ogie (Michael Parrott), who turns out to be more perfect for Dawn than either of them could have imagined. (After this, you will never hear the phrase "The British are coming" in the same way.) Cal and Becky have a relatively combative relationship, with Cal frequently threatening to fire Becky, who always has a snappy retort to his threats. "You're really pushing my buttons today," Cal says, to which Becky instantly replies "Which one is mute?"

In addition to a terrific book by Jessie Nelson that gives us sharply drawn, fully dimensional characters, clever, naturalistic dialogue, and compelling sub-plots, the music and lyrics by Northern California's own Sara Bareilles are terrific: sweet at times, angry at others, hopeful and pleading, adding depth to the characters and bringing more than one audience member to tears.

All members of the cast give tremendously skilled performances. There's not a weak voice in the bunch, their harmonies are tight, their comic timing is spot-on, and each brings truly heartfelt emotions to the stage.

As skilled as this cast is, it's director Susie Damilano who has pulled off a true tour-de-force effort. The pace is perfection, and (assisted by choreographer Nicole Helfer, who shows some of her best work ever here) everything on stage moves smoothly and elegantly, even when large set elements are being placed into position. Speaking of which, scenic designer Jacquelyn Scott has designed one of the best sets I've ever seen at the Playhouse. It's gorgeously adaptable and functionally elegant, with a diner counter, rotating elements and a narrow bandstand at upstage center where Dave Dobrusky leads a band that does great credit to Bareilles's tunes and orchestrations.

In short, the decision to get yourself to the Playhouse to see Waitress? Now that's easy as pie!

Waitress runs through January 18, 2025 at San Francisco Playhouse, 450 Post Street, San Francisco CA. Performances are Tuesdays-Thursdays at 7:00pm, Wednesdays at 2:00pm and 7:00pm, Fridays at 8:00pm, Saturdays at 3:00pm and 8:00pm, and Sundays at 2:00pm. Tickets are $35-$135. For tickets and information, please visit www.sfplayhouse.org or call the box office at 415-677-9596.