FRIDAY & SATURDAY @ 8 PM
WEDNESDAY & SATURDAY @ 2 PM
SUNDAY @ 3 PM
Upcoming Scheduled Events
Show DescriptionThis new American musical celebrates friendship, motherhood, and the magic of a well-made pie.
Waitress tells the story of Jenna (Betsy Wolfe), an expert pie maker in a small town, who dreams of a way out of her loveless marriage. A baking contest in a nearby county and the town’s new doctor may offer her a chance at a new life, while her fellow waitresses offer their own recipes to happiness. But Jenna must find the courage and strength within herself to rebuild her life.
Wheelchair seating and assistive listening devices are always available.
Phone: (212) 307-4100
Sorry, there are no scheduled accommodations for this production at this time. Please check back later.
Brooks Atkinson Theatre
256 W 47th St
New York, NY 10036
By Bus: Take the M104, M10, M27/M50, M6, M7, or M42 bus.
By Subway: N, R, W to 49th St or the 1, 9 to 50th St, walk south to 47th St and west to the theatre Take the C, E to 50th St, walk south to 47th St and east to the theatre.
Additional Accessibility Details
Wheelchairs: Wheelchair seating available in the rear of the Orchestra section.
Seating: Orchestra on ground level. Mezzanine and balcony reached only by stairs.
Elevator\Escalator: There are no elevators or escalators at this theatre.
Parking: A parking lot is located directly across the street.
Curb Ramps: SW corner of 47th St. & Broadway; SE corner of 47th St. & 8th Ave.
Entrance: No stairs at entrance. Double doors in series: 1st set (each 28.5", heavy) into outer lobby; 2nd set (each 28.5") into inner lobby.
Box Office: Outer lobby. Counter 43". Floor on slight incline.
Restroom: Unisex: Orchestra level.
Water Fountain: Mezzanine level (up nineteen steps)
Telephone: A pay phone is available on the mezzanine level (up nineteen steps)
Assisted Listening System: Headsets for sound augmentation are available at the theatre, free of charge. Photo identification is required as a deposit.
Visual Assistance: Low vision seats available in the front of the orchestra for purchase in person or on the phone
Folding Armrests: Six (6) mobility seats with folding armrests in the orchestra, Two (2) mobility seats with folding armrests in the mezzanine, which is up 19 stairs
Translation: Certain performances have captions.
First came Cyndi Lauper and “Kinky Boots.” Now Sara Bareilles and “Waitress” look ready to double down. Women dismissed for writing fluffy pop hits — “Love Song” in Bareilles’ case — have succeeded where the “serious” likes of U2, Paul Simon, Randy Newman and Sting failed: They’re rocking Broadway. Excuse us while we savor the irony, which is as sweet as the freshly baked pies on sale in the “Waitress” lobby.
“She is gone, but she used to be mine.” I don’t think anyone, hearing that lyric from Waitress, could escape feeling a rush of sadness and exhilaration. Sadness at the line’s multiple meanings; exhilaration in the velvet, heartfelt beauty Jessie Mueller imbues “She Used To Be Mine” with, in the breath-bating 11 o’clock number from this gem of a show. Waitress, which opened tonight at the Brooks Atkinson Theatre, is the rare musical adaptation that’s as much of a sweetheart as its source, Adrienne Shelly’s 2007 independent film.
“Waitress” does a swell job illustrating the shades of gray in human relationships. There are people here holding out for pie in the sky: Gehling’s Dr. Pomatter wants Jenna, but there is the matter of his wife. Becky and Cal are each doing things we could consider morally ambiguous, but their deeds somehow feel forgivable. Jessie Nelson’s book is sharp: “The fuller the condiments, the fuller the experience,” Dawn reminds her boss, in one of her sassier moments. “Waitress” is more than capably directed by Diane Paulus, who started the production cooking last year at the American Repertory Theater, outside Boston. The pie is ready. Leave room for second helpings.