The plot is nothing groundbreaking, however it does get into problems with how writer Jessie Nelson handles its more sensitive themes. The domestic violence between Jenna and her husband Earl is uncomfortably light, and an affair with an obstetrician should be seen as immoral rather than romantic. Threads are introduced but never fully developed, most notably the pie competition, which builds expectation but doesn’t lead to any meaningful consequence. As a result, the narrative momentum can be uneven, even when the surface of the show is engaging.
It is Sara Bareilles’ music that gives Waitress its pulsing heart and drive. The score is consistently enjoyable, combining warmth, levity, and earnestness, and it carries a strong sense of character and feeling throughout. Several standout songs elevate the material beyond the script itself, giving key scenes real lift and helping to smooth over some of the story’s unevenness.
Direction by Diane Paulus is clear, controlled and strongly character-focused. She keeps the storytelling intimate and naturalistic, allowing emotional beats to land without unnecessary staging clutter. Choreographer Lorin Latarro presents playful and well-integrated movements and brings a liveliness to the stage that adds fun and flow to the diner world.
Natalie Bassingthwaighte offers a vulnerable maturity to Jenna, in a performance that is grounded and sincere. She illustrates the character’s quiet resilience well, balancing humour and wistfulness. Her vocal execution delivers the show’s biggest musical moments with impact, particularly in "She Used To Be Mine". Her interpretation of Jenna is lived-in and honest, making it possible for the audience to connect with Jenna's frustration, hope and longing in a natural way.
Rob Mills is a highlight as Dr Pomatter, bringing affection, charm and an effortless presence to the role. Physically expressive, he uses nervous energy, gestures, and well-timed facial expressions to capture Pomatter’s awkwardness and sincerity. Vocally, he is in fine form with numbers like "You Matter To Me", with a tone that suits the music beautifully, while his chemistry with Bassingthwaighte helps anchor the show’s emotional core.
Gabriyel Thomas's Becky has a no-nonsense persona with sharp comic timing, and a kindness that makes her friendship with Jenna authentic. Mackenzie Dunn’s Dawn is bright, quirky and endearingly awkward, with a slightly off-kilter spark that works well against the more conventional personalities. Gareth Isaac is a scene stealer as Ogie, completely leaning into his eccentric optimism with fearless physical comedy and an enthusiastic, larger-than-life portrayal that easily lands laughs.
Waitress is a well-performed musical that emphasises character and emotion over narrative complexity. While the book doesn’t have a great deal of dramatic weight, the strength of the score, direction, and attention-grabbing cast, ensure the show remains entertaining and resonant. It’s a production that succeeds when it trusts its performances and music to carry the story.
SHOW DETAILS
Venue: Her Majesty's Theatre, 219 Exhibition St, Melbourne
Season: Until 12 July | Tues - Wed 7pm, Fri 7:30pm, Sat 2pm and 7:30pm, Sun 1pm and 6pm
Duration: 150 mins (including 20 minute interval)
Tickets: $69 - $169
Bookings:Ticketek
Image credit: Jeff Busby
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