Florida Studio Theatre paints a portrait of the artist as a young pie maker

“Waitress: The Musical” is now on the menu at Florida Studio Theatre. This sweet tale of love, pastry and self-actualization is a (mostly) faithful adaptation of the late Adrienne Shelly’s 2007 film.

Jenna (Kaitlyn Davidson) is the hero of the story. She’s a waitress and a pie maker at a diner in a small Southern town. Her marriage isn’t happy, but she shines at Joe’s Pie Diner. When it comes to baking pies, Jenna’s a true artist. She creates her tasty masterpieces at that diner. It’s her artist’s studio — with an oven. Jenna’s happy place. The only place she can be her best self.

Image courtesy of Sorcha Augustine

The show begins with a sunny ray of hope. A pie-baking contest is on the horizon, and the payoff is big. If Jenna wins, she might escape Earl (James Larson), her bullying husband. Jenna’s the Picasso of pies, how could she not win? It’s the perfect escape plan. 

But a surprise pregnancy darkens Jenna’s hope. If Earl finds out, he’ll never let her go. To make a clean getaway, she’s got to hide her ballooning belly for months. In another surprise, Jenna’s female gynecologist just retired. Dr. Pomatter (Quinn Corcoran) is her new doctor — and he’s a male. 

Jenna’s freaked out at first. But this sincere, nervous, apologetic Jimmy Stewart type ultimately charms the pants off her. For Jenna, it all adds up to two trimesters of pie-making, lovemaking and pregnancy camouflage. 

In the background, the diner’s subculture has a life of its own. Becky (Galyana Castillo) has an out-of-wedlock romp with Cal (Jason Pintar), the diner’s grumpy cook. (Not so easy, in a tiny diner filled with hot surfaces and sharp knives.) 

Dawn (Charity Farrell) overcomes her social anxiety disorder and falls for the geeky, goofy Ogie (Nick Cearley). These Revolutionary War reenactors are two nerds in love. Long story short? Jenna’s abdomen swells; the pie contest nears; her beer-swilling, unemployed husband suspects.

The snappy dialogue in Jessie Nelson’s book sticks close to Shelly’s screenplay. Grammy-winner Sara Bareilles cooks up some catchy new songs and lyrics, too. “Sugar, butter, flour” is one sweet motif. (They’re the elements of Jenna’s art. A female chorus chants them like a tasty mantra throughout the show.) 

Bareilles’ tunes range from heart-wrenching (“She Used to be Mine”) to hilarious (“It’s a Bad Idea.”) Jenna’s pie names are equally funny. (“What’s Inside,” “Bad Baby Pie,” etc.) They’re apt, inside jokes. Those who know her get it. Darren Server gets it, too. His music direction keeps your toes tapping.

Director/choreographer Ben Liebert serves up this singing/dancing adaptation with a screwball comedy vibe. In the funny scenes, he dials it up to 11 and doesn’t hold back. In the bittersweet moments, he doesn’t sugarcoat the sadness. Happy and sad. In Liebert’s hands, these two great tastes go great together.

Happily, the actors are all cooking. Davidson’s Jenna is fighting the odds and she knows it. Hope fiend that she is, her character always looks at the bright side of life. Life gives her lemons; Jenna makes pies. They’re darn good pies — but good enough to set her free? Jenna has her doubts, but she keeps on baking. 

Larson’s Earl peaked in high school. He played football, played in a band and played out his 15 minutes of fame. Earl’s now living in the past — in a ratty AC/DC shirt from his glory days. Earl’s the heavy of the piece. In Larson portrayal, he’s a character, not a caricature.

Scott Wakefield’s Joe owns the diner. Old Joe’s demands for breakfast are as specific as an Ikea diagram. Deep down, this cranky capitalist curmudgeon has a heart of gold. Castillo’s Becky tells it like it is, whether you like it or not. The truth hurts, but she’s not trying to be hurtful. Lying’s just not Becky’s style, OK? 

Cearley’s Ogie steals the show. The actor’s rubbery, physical comedy hits Jim Carrey’s contortionist heights. His character comedy is equally adept. His Ogie spouts improv poetry at the drop of a hat. 

His poetry stinks. Ogie’s no Kerouac, but he thinks it is, and nobody bursts his bubble. (Nerds like Ogie walk among us. I’ve seen them. With my own eyes.) Farrell’s Dawn is the blooming wallflower by Ogie’s side. Her role could be a cliché, but Ferrell sells it. (I’ve seen nerds like her, too.)

FST’s creative talents create the pocket universe where these unusual suspects reside. Isabel A. and Moriah Curley-Clay’s clever set doubles as a diner, Jenna’s house, a hospital, or whatever the show requires. As a result, the tiny stage is action packed and constantly changing.

It’s as realistic as a Marx Brothers movie — and ideal for the screwball comedy vibe. Ben Rawson’s lighting, Thom Beaulieu’s sound design, and Chelsea Allen and Jacob Denney’s costumes are equally dreamy. This musical’s sweet, mad world is larger-than-life. You want realism, watch the Discovery Channel.

You’re in for a good time at “Waitress: The Musical.” It’s a very funny show — sweet, but not too sweet. The hilarity is lightly spiced with sadness. Expect a few dark moments. But get ready to laugh the whole time. And get a sweet, happy ending for dessert!