Got yourself a case of the sweet tooth? Treat yourself to a slice of happiness with the hit Broadway musical, Waitress, where there’s a bun in the oven… and certainly a pie.
Picture entering Her Majesty’s Theatre and the room being filled with the intoxicating scent of fresh apple pie. And no, it’s not artificial; real mini-sized pies are being slung from the bars scattered through the theatre, setting the tone on arrival and getting you excited for a taste of what the musical has to offer. Sweet and stylish yet full of heart, the story is set in a small-town diner following Jenna, a waitress and pie chef striving to break out of the shackles of her marriage and into the pie contest that could be her big escape.
This musical is a brilliant example of what you can create when all the right ingredients come together. I need to begin with the cast, because the fun and lively energy of this production starts with the on-stage personalities. There’s not a single role in here that feels miscast; everyone has been placed into a role that brings out their strengths or challenges them to showcase their range.
Natalie Bassingthwaighte (Jenna) and Rob Mills (Dr. Pomatter) are powerhouses that shine across every on-stage moment. It’s not just their vocal performances that hit, but their chemistry, lively personalities and acting range too. Their stage presence is immense, with Mills’ charisma leaping off the stage and Bassingthwaighte’s emotional range ensuring every deep character moment resonates through the audience. Speaking of range, Mackenzie Dunn is an absolute showstopper as Dawn, disappearing into the role and stealing the spotlight every time she’s on stage. She was exceptional as the loud, boisterous Rizzo in Grease the Musical, and now plays completely against type with a role more akin to Frenchie. She brings out the chaotic personality of her character and never fails to get a laugh out of the audience.
Touching on the rest of the cast; Gabriyel Thomas’s (Becky) vocals are beyond impressive and almost operatic, Keanu Gonzalez (Earl) is so good at portraying a complete douchebag that you’d almost believe he really is, and Gareth Isaac’s (Ogie) zany personality shines in a role that complements Dunn’s performance. John Waters‘ (Joe) presence is limited but impactful, doing the most with his few scenes and contributing to the heart as well as the humour; putting his class and experience on full display.
As far as the narrative is concerned, this is Jenna’s story, but the focus placed on some of the other supporting characters is admirable. Characters like Dawn, Becky and even Cal could feel like they’re here purely to deliver some quick laughs throughout the night, but they’re all given some sort of arc (however brief) to make them feel like they’re real people. This flows into the emotional balance of the story; while more heavily emotional in the second act, it ebbed and flowed between comedic and sombre when it needed to. It’s easy to follow, if not a little confronting at times, but overall it’s a positive and empowering narrative that benefits from the use of song.
Musically this production is a delight. From the slower, more emotion-heavy ballads to the lively and upbeat romps, Sarah Bareilles’ music and lyrics are astounding. There are a number of tracks in here, such as “Never Ever Getting Rid of Me” and “She Used to Be Mine” that are as memorable as the production and can shine outside of the context of the musical. The impact of the music is seen in the reaction of the audience, which was wonderfully reactive; silent for the dramatic moments yet full of laughter and applause with every comedic beat.
Typically it’s the grandest of sets and the most experimental and elaborate of lighting that gets praise in this space. Waitress doesn’t have either of those, but what it does have is set design that is as simple, charming and quaint as its setting, and lighting that’s soft and used to convey certain narrative elements. For example; Jenna will regularly retreat into her mind and daydream her ideal future. These moments are beautifully executed and indicated by a spotlight and muffled background audio. They’re small shifts, but they make a big impact.
I specifically want to mention the above and beyond approach when it comes to using real props for the various ingredients throughout the production. There’s something so wonderful about seeing sugar poured from a cup or flour puffing out of a bowl or real pies being eaten by the cast during their scenes. It’s true that they don’t need to use real props, especially with the risk of causing an on-stage mess and the ability for an audience to use their imaginations, but it adds authenticity and tangibility to what’s happening on stage.
Take a seat at Joe’s Pie Diner, order yourself a slice of Jenna’s daily special and indulge in a night of sweet, sweet joy. Energise your evening with a stunning musical production that’s a treat for all your senses; equipped with a stellar cast, touching narrative and music you’ll want to play on the car ride home. While Waitress doesn’t have the longest history, with this being its Australian debut, it’s poised to become a long-running musical with a healthy dose of heart and humour.
FOUR AND A HALF STARS (OUT OF FIVE)
Waitress the Musical is now playing at Her Majesty’s Theatre in Melbourne through to July 9th, 2026, before heading to Sydney. For more information and to purchase tickets, head HERE.
Reviewer attended on Thursday May 7th, 2026
Photo credit: Jeff Busby
