Waitress has arrived at Melbourne’s Her Majesty’s Theatre with the kind of sugary charm that explains why the musical has remained a favourite since its Broadway premiere in 2016.
Delayed from its planned Australian opening in 2020, this long-awaited production proves worth the wait, balancing humour and emotional sincerity without overplaying any of them.
Based on Adrienne Shelly’s 2007 film, Waitress features music and lyrics by Sara Bareilles, a book by Jessie Nelson, choreography by Lorin Latarro, and direction by Diane Paulus. Notably, it became the first Broadway musical to feature women in its four major creative leadership roles.
The musical follows Jenna, a talented pie-maker and waitress in a struggling marriage who begins to imagine a different future for herself after an unexpected pregnancy. While the narrative occasionally leans into familiar romantic-comedy territory, the writing keeps the characters grounded enough for the story to remain engaging.
At the centre of the production is Natalie Bassingthwaighte as Jenna, delivering a warm and understated performance that suits the material well. Rather than pushing the character into melodrama, Bassingthwaighte gives Jenna a quiet resilience, particularly effective in the musical’s more reflective moments. Her rendition of She Used to Be Mine is understandably one of the evening’s highlights, performed with restraint rather than theatrical excess.
The supporting cast contributes strongly across the board. Gabriyel Thomas and Mackenzie Dunn bring sharp comic timing and energy as Becky and Dawn, creating believable friendships that give the show much of its warmth. Rob Mills is suitably awkward and charming as Dr Pomatter, while Gareth Isaac nearly steals the show with an enthusiastic and very funny turn as Ogie.
Keanu Gonzalez gives Earl an appropriately volatile edge, veteran performer John Waters adds gravitas and dry humour as Joe, while John Xintavelonis as the no-nonsense diner manager Cal, brings strong comic instincts to the role. On opening night, young performer Stevie Denton makes a brief but memorable appearance as Jenna’s daughter, Lulu.
Musically, the production is in strong hands under musical director Geoffrey Castles, whose on-stage band gives Bareilles’ pop-infused score warmth and immediacy. Songs flow naturally from the dialogue, and while not every number is memorable, the score consistently supports the emotional rhythm of the piece.
Visually, the production is appealing without becoming overly elaborate. Scott Pask’s set design effectively captures the feel of a small-town American diner, while lighting by Ken Billington and sound design by Jonathan Deans help maintain the show’s intimate atmosphere. While the staging occasionally feels a little static in the second act, the production’s sincerity and strong performances largely compensate.
Rather than relying on spectacle or large-scale theatrical effects, Waitress works best in its quieter, more character-driven moments. Its complementary mix of humour and sincerity, blended with contemporary music, gives it a distinctly different feel from more traditional Broadway musicals. Drawing on those strengths, this production of Waitress will likely resonate with audiences.
WAITRESS
Her Majesty’s Theatre, Exhibition Street, Melbourne
Performance: Thursday 7 May 2026
Season continues to 12 July 2026
Bookings: www.ticketek.com.au
Following the Melbourne season, WAITRESS will play the Sydney Lyric Theatre from 1 August 2026. For more information, visit: www.waitressthemusical.com.au for details.
Images: The Cast of Waitress – photo by Jeff Busby | Natalie Bassingthwaighte as Jenna in Waitress – photo by Jeff Busby | Mackenzie Dunn and Gareth Isaac in Waitress – photo by Jeff Busby | Rob Mills and Natalie Bassingthwaighte in Waitress – photo by Jeff Busby
Review: Rohan Shearn