Boasting a superb cast, hit Broadway musical Waitress makes its overdue Australian premiere in terrific form. 

2016 Broadway musical Waitress received four Tony Awards nominations and ran for just under four years on Broadway, also playing London’s West End from 2019 until the 2020 lockdowns.

Based on writer / director Adrienne Shelly’s 2007 independent film, Waitress has the distinction of being the first Broadway musical to have an all-female creative team. Popular singer / songwriter Sara Bareilles wrote the music and lyrics, book writer Jessie Nelson adapted Shelly’s screenplay, Diane Paulus directed the musical, with choreography from Lorin Latarro.

Titular waitress Jenna not only serves pie at Joe’s Pie Diner but also bakes the pies, channeling her inner feelings into creatively conceived flavours and names, such as “Aren’t You Sweet Potato Pie.” Jenna suffers in a loveless marriage to her ne’er do well husband Earl, who threatens physical violence and insidiously asserts coercive control. Jenna’s only joy is her friendships with fellow waitresses, worldweary Becky and guileless Dawn. Finding herself pregnant, Jenna sees a chance of escape in the prize money of a local pie-baking contest. 

While the majority of the story’s focus on female empowerment and friendship is perfectly inspiring, act one retains an icky aspect of the film’s plot in Jenna’s burgeoning romance with her married gynaecologist, Dr Pomatter. Much as it as a relief to see Jenna meet the type of positive, supportive man she deserves, it hard to get past the concepts of adultery and inappropriate doctor / patient relations. Thankfully, Jenna goes on to quell the relationship, fulfilling her life goals on her own terms. 

Paulus’ direction strikes a deft balance between domestic drama and fanciful comedy, the latter rounded out by some wonderfully quirky supporting characters. 

Having premiered ten years ago, the design for Waitress is blessedly free of LCD screens. Set designer Scott Pask centres the staging around the diner, with the band in plain sight on stage. Scenic elements cleanly fly in and out, allowing smooth cinematic transitions between the diner, Jenna’s home, and the doctor’s office. 

Lighting designer Ken Billington draws the eye from full stage action to more intimate scenes, working closely with Pask to help conjure Jenna’s moments of inner imagination when she retreats to her thoughts of exotic new pies. 

Costume designer Suttirat Anne Larlarb neatly creates a comfortable real world wardrobe with well considered snatches of theatricality. 

Music director Geoffrey Castles conducts a very tight band of five supremely talented musicians on stage. Bareilles’ warm and inviting score is readily accessible at first listen, much as it tends more towards folksy pop than pure musical theatre. On opening night, most vocals initially seemed overpowered by the band but this generally improved as the performance progressed. 

Leading lady Natalie Bassingthwaighte shines as Jenna, striking the ideal balance of sweetness and vulnerability underpinned by a simmering core of inner strength. Jenna is a massive role and Bassingthwaighte calibrates her performance carefully to last throughout the show. Bassingthwaighte’s vocals are solid, with soulful 11 o’clock number “She Used To Be Mine” a true highlight. 

American actress Gabriel Thomas adds to her list of terrific local performances as sassy sweetheart Becky. Mackenzie Dunn expands her range yet again as delightfully daffy Dawn. 

Thomas and Dunn are impeccably partnered, with John Xintavelonis a worthy sparring partner for Becky as cook Cal and Gareth Isaac hilarious as Dawn’s fellow history buff (not to mention magician and clog dancer) Ogie. Mention must be made of Isaac’s sensational performance of “Never Ever Getting Rid of Me,” which quite literally stops the show late in act one. 

Rob Mills successfully leans into his nice guy persona as Dr Pomatter, who is largely portrayed as a somewhat goofy, enthusiastic man who also has a tender, caring heart. Mills delivers crisp physical comedy that distracts from the awkward aspects of the love story. 

The triple threat talents of Keanu Gonzalez are squandered on the relatively minor supporting role bad boy Earl. Given the shared history of husband and wife Earl and Jenna, it must be mentioned that the age gap between Gonzalez and Bassingthwaighte is quite jarring. 

Living legend John Waters provides sterling support as crotchety long term customer Joe. Special mention of Elandrah Tavares, who wrings every bit of delicious humour from the featured role of Nurse Norma. 

A boon for fans of Bareilles’ music, Waitress is a welcome addition to Australian stages and is sure to reach and be enjoyed by its target female-friendly audience. 

Waitress plays at Her Majesty’s Theatre, Melbourne. For tickets, click here.

Waitress plays at Sydney Lyric Theatre from 1 August 2026. For tickets, click here.

Photos: Jeff Busby