Waitress, at Her Majesty’s Theatre

The desire to break free of an abusive relationship is at the heart of Waitress, which is based on a 2007 independent film of that name, which starred Kerri Russell.

Jenna Hunterson works as a waitress and prolific baker at Joe's Pie Diner in a small town in America’s South.

Photos by Jeff Busby

She is trapped in an unhappy marriage to Earl, who treats her shamefully and expects her to hand over all her earnings, when she falls pregnant to him.

Jenna goes to the doctor, anticipating she will see the obstetrician who gave birth to her, only to find that she has retired.

In her place is a new medico, Dr. James "Jim" Pomatter, who moved to town from Connecticut only a fortnight ago. 

There is an immediate spark between the pair and, in quick time, they start a hot and heavy affair.

A regular diner, old timer Joe, who is outwardly irascible, but cares for Jenna, is not afraid to present her with a few home truths.

Meanwhile, Jenna learns about a local pie-baking contest that carries a US$20,000 prize purse.

She determines that winning it would provide her with the means to leave Earl. 

In fact, Joe’s Pie Diner is a hotbed of discontent.

It is not only Jenna who dreams of a better life, but fellow waitresses Becky, who is also married, and perennially single Dawn.

The anxious Dawn takes a step off the deep end by entering her profile on a dating platform.

There, she connects with the dorky Ogie, only to discover they have much in common. 

As for Becky, she is accustomed to receiving grief from their boss, Cal, but has a secret up her sleeve.

So, it is that Waitress is about dealing with the cards that Jenna et al have been dealt.

Although the musical involves some heavy themes, it is also humorous and upbeat.

So, you have that mix of cold and hot, which is played up in the book by Jessie Nelson and the music and lyrics by Sara Bareilles.

The latter includes several, melodic, whimsical, ear-catching numbers, performed by a six-piece band that appears stage right, under musical director Geoffrey Castles.

Natalie Bassingthwaighte makes Jenna her own in a splendid display of acting and vocalisation. Put simply, she figuratively soars in the lead role.

Rob Mills’ vocal strength, too, is on display as the heart-on-sleeve doctor.

Feistiness and pragmatism are the calling cards for Gabriyel Thomas as no nonsense Becky. 

There is a delightful ditziness about Mackenzie Dunn as the awkward Dawn.

John Xintavelonis’ bark is worse than his bite as diner manager Cal.

Keanu Gonzalez brings contemptuous disregard to his depiction of the self-absorbed Earl.

As Joe, John Waters presents as a wise-old head who sees all. 

In a noteworthy turn, Gareth Isaac is a scene stealer and comic revelation as Ogie.

Backed by a strong ensemble, Waitress, which is well choreographed by Lorin Latarro, resonates.

Sets, representing the behind-the-scenes bakery, the diner, the doctor’s office and Jenna and Earl’s home, are readily wheeled in and out. The scenic design is by Scott Pask.

Suttirat Anne Larlarb has some fun with the costuming, while there is also strength in the lighting design by Ken Billington and sound design by Jonathan Deans. 

Commendably, director Diane Paulus breathes life into the distress and joy inherent in the bittersweet script.

Waitress is a most enjoyable, if at times uncomfortable (as is its want), watch.

Two and a half hours, including interval, it is on at Her Majesty’s Theatre in Melbourne until 9^th July, 2026.