Review: Waitress the Musical
A Delicious Dose of Hope Opens at Her Majesty’s Theatre
The word “joyous” is an apt choice to describe Waitress, the musical that opened this week at Her Majesty’s Theatre. Vibrant performances, standout comedy, and deeply human storytelling brought the opening-night audience to its feet in a standing ovation that felt thoroughly deserved.
Even as patrons left their plush red velvet seats, there was a noticeable energy in the air — people talking, smiling, and carrying the story with them out into the night. That sense of exuberance wasn’t just from the humour or the music, but from something underlying: a reminder that life can, unexpectedly, shift direction — tables can turn, and we can make a better life for ourselves.
Despite dealing with serious material, Waitress never becomes heavy for long. It moves easily between laughter and something more fragile, without ever losing its warmth.
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What is Waitress about?
Originally a 2007 film directed by Adrienne Shelly, Waitress became a Broadway musical success and a four-time Tony Award nominee.
It follows Jenna (Natalie Bassingthwaighte), a waitress at a small American diner, who is living in an unhappy, controlling marriage to Earl (Keanu Gonzalez). Her world is limited, predictable, and increasingly suffocating — except for one thing: she bakes extraordinary pies.
These pies are not just food, but a private emotional language. Jenna names them after whatever she is feeling or struggling to say out loud. There is the bitter honesty of “My Husband Pie” (bittersweet chocolate/caramel), the chaotic frustration of “Deep (Shit) Dish Blueberry Bacon Pie”, and the quietly hopeful “The Key (Lime) to Happiness Pie”, hinting at the life she longs for.
At work, she has her friends, fellow waitresses Becky (Gabriyel Thomas) and Dawn (Mackenzie Dunn). Their conversations, chaos and shared survival in a dull workplace bring much of the humour and warmth to the story. Their love interests also become integral to the production’s comedy.
When Jenna unexpectedly becomes pregnant, she doesn’t just see a doctor; she has an affair with one: Dr Pomatter (Rob Mills). The show never fully resolves the ethical discomfort surrounding the relationship. Because most of the relationship is cast with such tenderness and humour, it still focuses on Jenna’s growing awareness that she wants more from life.
Her Majesty’s Theatre: a perfect setting
There is something especially fitting about Waitress playing at Her Majesty’s Theatre in Melbourne. The theatre’s old-world elegance contrasts beautifully with the simple diner set on stage.
Despite its size, the space manages to feel intimate. You are close enough to notice small reactions, pauses and glances — the kinds of details that matter in a story like this.
From the moment audiences step into the elegant foyer and settle into the plush seating, there’s a sense of occasion.
Performances
Natalie Bassingthwaighte anchors the production as Jenna. Her performance of She Used to Be Mine becomes the emotional touchstone of the evening — no decoration, no excess, just raw feeling and control.
Rob Mills plays Dr Pomatter with an awkwardness that makes him strangely likable, even when the audience knows the relationship crosses ethical lines. His chemistry with Bassingthwaighte is carefully handled rather than overstated.
John Waters, as cafe owner Joe, brings something especially valuable to this production. When he breaks into song with Take It From an Old Man, there is a quiet shift in the room. For senior audiences especially, there is something deeply pleasing about seeing an older character given the opportunity to reflect, advise and sing in a contemporary musical. Too often, these emotional moments are reserved for younger characters.
Keanu Gonzalez avoids turning Earl (Jenna’s husband) into a one-note villain. Instead, there is an emotional immaturity to him that makes him frustrating, needy and believable all at once. But pity the woman who had to feed his huge ego. He’s like a spoiled child.
The comedy that carries it
Some of the biggest laughs of the night come from the supporting cast.
Gabriyel Thomas gives Becky confidence, humour and warmth, while Mackenzie Dunn’s Dawn is quirky, sassy and completely endearing.
John Xintavelonis balances Cal’s gruffness with genuine warmth, giving this character far more depth than we first expected.
Gareth Isaac earns some of the loudest audience reactions as Ogie, Dawn’s persistent and eccentric admirer. His performance of Never Ever Getting Rid of Me is genuinely hilarious, bringing a burst of exuberance to Act One. From that point onward, audiences eagerly anticipate each of his entrances.
Elandrah Tavares, despite limited stage time as Nurse Norma, wrings every possible laugh from her scenes through impeccable timing and deadpan delivery.
Music and songs
Sara Bareilles’ score is one of the production’s strongest ingredients. Moving between upbeat pop influences and slower emotional ballads, the music gives the production energy and sincerity.
The songs connect to the characters’ emotional lives rather than existing as standalone showpieces. Opening Up, Never Ever Getting Rid of Me, and She Used to Be Mine are likely to stay with audiences long after they leave the theatre.
The six-piece onstage band, led by musical director Geoffrey Castles, performs beautifully throughout. Seeing them on stage, tucked into the corner rather than hidden away in a pit, was a stroke of genius.
Design and technical work
Waitress is carefully crafted behind the scenes.
Scott Pask’s scenic design captures the comforting retro diner with inviting details, such as checkerboard flooring, neon signs, and sweeping, ever-changing window views of Midwest skies. In contrast, Jenna and Earl’s home feels claustrophobic.
Suttirat Anne Larlarb’s costume design lends personality to each character while maintaining the production’s grounded realism.
Ken Billington’s lighting design gently shifts mood throughout the show, while Jonathan Deans’ sound design ensures every lyric and joke lands as intended.
Themes: friendship, resilience and starting again
Strip away the pies and the jokes, and Waitress is really about finding the courage to reclaim your life.
Friendship is central to that fulfilment, as is the slow recognition that change, while difficult, is possible.
One question that sits in the background for modern Australian audiences is why Jenna does not seriously consider abortion when faced with an unwanted pregnancy. But the story is set in small-town America, where conservative values strongly shape personal decisions, and women’s choices are not always straightforward and increasingly restrictive.
The story occasionally glosses over how messy real life can be. In reality, abusive husbands do not simply disappear with a dusting of sugar, and complicated relationships such as affairs have lasting consequences, and there are no magic wands to solve money issues.
Yet perhaps that is part of the musical’s appeal. It holds onto the comforting idea that all is possible, that we can begin again. If you can bake it, you can make it.
Overall experience
Waitress runs for approximately two and a half hours, including an interval.
The opening-night audience responded strongly throughout — loud laughter in the comic scenes and attentiveness when the story turned inward. The standing ovation was a genuine appreciation for the play’s message and the talented performers who brought it to life.
Final verdict
Waitress is a warm, emotionally intelligent piece of musical theatre layered with humour, humanity and heart. Its themes of friendship, resilience and renewal resonate strongly.
What lingers afterwards is not a theatrical spectacle, but recognisable moments of a human story. A story wrapped in the warmth of comfort food — where pies become symbols of resilience, longing and second helpings.
Melbourne, you are in for a delicious treat.
Waitress plays at Her Majesty’s Theatre. For tickets, click here.
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Nadine attended opening night as a guest of WAITRESS the Musical. All opinions are the writer’s own.
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