Yes, she’s mastered the singing-while-sifting-flour drill. Yes, she still has many of the lines memorized. Yes, this is her fourth time starring in the show on Broadway. Here are five of her favorite versions: Adrian MatthewĪdrian Matthew, the 14-year-old ninth grader from Blairsville, Pa., was working on the song with his voice teacher, when his mother pulled out her phone and started taping she put the video on Facebook, and it caught fire - it has now been viewed more than 3 million times.Sara Bareilles is not finding her return to “Waitress” as easy as pie. “I think of my songs as my little children, and I want them to have big lives,” she said. Bareilles, who just finished her third stint leading the “ Waitress” cast, clearly pays attention to the way the song has traveled since the musical opened nearly three years ago. “You get breathy confessional head-voice moments building to a belty chest-voice climax,” he added. Its emotional content, he said: “It has a classic arc from sadness and self-criticism to acceptance and triumph.” And the music offers singers a chance to show off their voices. I asked my colleague, Jesse Green, the co-chief theater critic for The Times, what makes the song so coverable. Heather Headley, a Tony winner for “Aida,” put her version on a new album alongside standards like “Over the Rainbow.” Just last week, Kathryn Gallagher, an actress in the cast of the Broadway-bound “ Jagged Little Pill,” performed her own take, accompanied by a cello, at a Midtown bar, encouraged to do so, she said, by fans online.
Then I started to notice it popping up on set lists. “The chasm between who we are, and who we thought we would be, is always something we’re negotiating.”Ĭovers of the song caught my attention when a video of a gut-punching version by a 14-year-old boy from western Pennsylvania went viral in the fall. “The range of who this song speaks to is much broader than I could have anticipated,” Ms. The song, written for a pregnant, abused waitress, reflecting back on the dreams she did not achieve, has been claimed, unexpectedly, by men, by children, by singers of all sorts. Sara Bareilles says that when she wrote “She Used to Be Mine,” the 11 o’clock number from her Broadway musical “Waitress,” it seemed so insanely specific (“she is all of this mixed up and baked in a beautiful pie”) that she felt self-conscious performing it in concert.īut audiences have a way of making decisions for themselves. Sometimes, a song takes on a life of its own.
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