Last night, Melbourne audiences arrived at Her Majesty’s Theatre for the Australian premiere of Waitress, greeted not merely by a stage show but a delectable sensory experience. Following a long-standing international tradition, the sweet aroma of freshly baked apple-cinnamon pie drifted through the aisles and into the foyer, whetting appetites for the evening ahead.
Tempering heartbreak with sugary wit, the musical is a scrumptious blend of humour and bittersweet emotion, whisking together quaint Southern hospitality, dreamlike fantasies, and an undercurrent of domestic tension.
Waitress originated as an independent film by Adrienne Shelly, who wrote, directed, co-starred in, and even designed the costumes. On November 1, 2006, Shelly was tragically murdered, just months before the film's debut at the Sundance Film Festival in 2007. The film, starring Keri Russell and Nathan Fillion, premiered posthumously and was recognised for its whimsical charm and distinctively stylised portrayal of small-town life.
Years later, the show was adapted for the stage, opening on Broadway in 2016. Waitress made history as the first Broadway production to have an all-female principal creative team, including screenwriter Jessie Nelson, Grammy winner Sara Bareilles, director Diane Paulus, and choreographer Lorin Latarro. It also picked up four Tony nominations.
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The story follows Jenna, a waitress and gifted pie-maker working at Joe’s Pie Diner in the American South. Trapped in an unhappy marriage to Earl, Jenna’s life takes a turn when she discovers she has a bun in the oven (pun very much intended).
Longing for a way out, she finds solace in baking, inventing pies that reflect her inner life, and in the friendship of fellow waitresses Becky and Dawn. When Joe, the diner's kind-hearted owner, encourages her to enter a pie-making contest with a cash prize, Jenna sees a possibility to escape. Meanwhile, she begins an unexpected affair with her obstetrician, Dr Pomatter, further complicating the situation.
Balancing humour with darker themes, the musical charts Jenna’s journey through pregnancy, independence, and self-worth, as she ultimately discovers that the recipe for happiness lies in reclaiming her own future.
When Natalie Bassingthwaighte and Rob Mills were first announced as the leads in Waitress, two words circulated within Australia’s theatrical community: “stunt casting.” Both are undeniably high-profile names, Bassingthwaighte through her pop career with the Rogue Traders and as a television personality, and Mills as the affable “Millsy” who rose to fame on Australian Idol.
Yet such scepticism proved, in large part, misplaced. Bassingthwaighte began her career in musical theatre years before finding mainstream success and has sustained a steady stage presence, with credits including Chicago, Jagged Little Pill, and, most recently, Shirley Valentine. Meanwhile, Mills has built a substantial résumé across numerous major productions, including Wicked, Hairspray and & Juliet.
The backlash also focused on Bassingthwaighte’s age, as Jenna is typically written as a woman in her late twenties or early thirties. While it’s worth questioning why such scrutiny so often lands on women in the industry, the question of age here proved difficult to dismiss entirely. In this production, Jenna feels less defined by youthful vulnerability and more shaped by experience and is somewhat jaded by the journey. Whether this deepens or dilutes the role ultimately depends on perspective.
With all this in mind, it’s no wonder Bassingthwaighte performed like she had a point to prove. At times, she brought more bite than the role perhaps requires, but there was no denying her command of the role and dramatic instincts in the tender, emotionally grounded moments.
Interestingly, Bassingthwaighte finds stronger chemistry with Keanu Gonzalez as Earl than with Mills. However, there’s no denying that Mills is irresistibly charming and perfectly cast as Dr Pomatter.
The principal cast also included the sassy Gabriyel Thomas as Becky, the delightful Mackenzie Dunn as Dawn, who steals every scene, and Australian entertainment legend John Waters as Joe, the diner's cranky yet lovable owner, each bringing their own unique seasoning to the production. Gareth Isaac as Ogie was perfectly goofy, with Never Ever Getting Rid of Me emerging as an unexpected Act I highlight and earning some of the night’s longest applause. Another standout was Elandrah Tavares as Nurse Norma, who was consistently hilarious.
Written by the illustrious Bareilles, the music is warm and comforting, with a dash of country flavour and a rustic charm. When He Sees Me is one of the show's tastiest delights, transforming Dawn’s neurotic inner monologue into a delightfully frantic tango-like number. The dreamy A Soft Place to Land showcases the show at its strongest, with a sincere, lived-in rapport between Bassingthwaighte, Thomas, and Dunn, placing female friendship at the production's emotional core.
Then comes She Used to Be Mine, the show’s towering 11 o’clock number, with Bassingthwaighte serving a gut-wrenching performance so devastating it surely silenced any naysayers. It remains not only the finest song in Waitress, but one of the greatest contemporary musical theatre songs ever written.
Capturing the same whimsy as the film, Scott Pask’s sets include a welcoming, retro diner complete with checkboard flooring and a neon sign. In comparison, Earl and Jenna’s home is drab and dark, echoing the harsh reality of their marriage. Acclaimed lighting designer Ken Billington complements these contrasting spaces with ever-changing pastel skies that stretch on, and sharp lighting cues that pull Jenna in and out of her pie-making daydreams.
Ultimately, Waitress arrives as an expertly layered confection and, arguably, the best-smelling musical ever staged, served with a generous helping of heart, humour, and sincerity.
