Fresh outta the oven and served up hot to an adoring audience at Her Majesty’s Theatre (complete with the mouth-watering aroma of a fresh-baked pie wafting through the air), Waitress the Musical arrives in Melbourne as a sugary slice of wholesome musical theatre – but will you want to go back for a second helping?
Adapted from the 2007 cult indie flick by Adrienne Shelly, Waitress made its New York debut in 2016 with a female-led creative team (a first in the history of Broadway). That line-up included direction by Diane Paulus, a book by Jessie Nelson, choreography by Lorin Latarro and songs by Grammy Award-winning singer-songwriter Sara Bareilles (whose knack for writing catchy, melodic pop hits are on full display here).
Sprinkle in a tale of female friendship, dreaming big and finding courage – with some sugar, butter and flour, of course – and it’s no surprise Waitress ran for four successful years, with a stint on London’s West End, too.
What is Waitress the Musical about?
Set in the American South, Waitress follows the story of Jenna (Natalie Bassingthwaighte), a small-town waitress and baker who works at Joe’s Pie Diner, alongside her friends Becky (Gabriyel Thomas) and Dawn (Mackenzie Dunn). She’s unhappily married to the ghastly Earl (a truly brutish man played with a villainous sneer by Keanu Gonzalez), but upon discovering she’s pregnant, ends up in an (increasingly awkward) affair with her obstetrician, Dr Pomatter (Rob Mills). Mix in a looming pie-making...
If 2015 was the Australian Ballet’s ‘year of beauty’, then 2016 delves into darker (yet no less ambitious) territory, with classic and contemporary works depicting turbulent romances, supernatural forces and a tortured genius. “Ballet has the ability to transform,” says McAllister. “This is a richly dynamic and diverse season which I am proud to present.”
An anticipated highlight of the season will be the Australian premiere of Nijinsky (Sep 7-17) an emotional tribute to the Ballets Russes prodigy, lauded as one of the greatest dancers and choreographers of the 20th century. Created by master choreographer John Neumeier and first performed by the Hamburg Ballet in 2000, Nijinsky tells the story of the dancer’s meteoric rise to fame, the controversy around his sensual choreography, and his battle with mental illness that eventually saw him pass away in a mental institution in 1950.
Following the huge success and critical acclaim of 2015’s 20:21, contemporary ballet will again come to the fore with Vitesse (Mar 11-21), which will featuring new works by three world-famous choreographers: Christopher Wheeldon, Jiří Kylián and William Forsythe.
On the other end of the spectrum are lavish productions of ballet classics. Stephen Baynes’ traditional staging of Tchaikovsky’s Swan Lake (Jun 7-18), created by the resident choreographer for the Australian Ballet’s 50th anniversary in 2012, will return for an encore run, complete with Edwardian set design by the masterful Hugh Coleman.
The talented Stanton Welch, who is both a resident choreographer with the Australian Ballet and artistic director of Houston Ballet, will bring his much-loved production of Romeo and Juliet (Jun 30-Jul 9) exclusively to Melbourne. Rounding out the season will be the family favourite fairytale Coppélia (Sep 23-Oct 1).
