Anna Laycock reviews Matilda the Musical

Matilda The Musical

Cambridge Theatre, London
12^th November 2011
Directed by Matthew Warchus
Booking until October 2012

Matilda the Musical is definitely the best British musical in the West End, if not the best musical currently playing in the UK, or even the world. It is that good. I laughed, I cried, I play the soundtrack all the time and I have recommended it to everyone I know.  I may be obsessed, but I’m not the only one. I have not known anyone to come out from a production of Matilda and not love it. The Royal Shakespeare Company has created a work of genius that is sure to be viewed as a masterpiece of British theatre for many years to come.

After seeing the production twice at the Courtyard Theatre in Stratford last year I fell in love with the show and I could not wait to experience Matilda on a West End stage. Yet, I have to admit I was slightly apprehensive about the transfer from the rather intimate thrust stage at the Courtyard to the large proscenium-arch at the Cambridge.  There was a danger that the set would eclipse the performances and the story would lose some of its heart. However this did not happen at all. Rob Howell’s set design is magnificent, with colourful letters of the alphabet branching out from the stage allowing for the proscenium-arch to have a thrust like feel. Rather than overshadowing the performers and the plot, the set enhanced them, serving as a constant reminder of the underlining theme of the musical, the power of story-telling.

Dennis Kelly’s book is remarkably clever; it is, on one level, a simple retelling of Dahl’s tale of a young girl with extraordinary powers overcoming unloving parents and a cruel headmistress. However, on deeper level (one Lit students like me greatly appreciate!) the story is a metanarrative, a story about the process of storytelling and the power of the teller to “change their story”.  Therefore, the musical ingeniously appeals to children, adults and literature geeks alike.

The musical does advocate the importance of reading books, with our young heroine, Matilda, and the lovely Miss Honey being proud bookworms whereas the stupid Mr Wormwood and the villainous Miss Trunchbull are firmly against reading. The musical accentuates the role the library plays in Matilda’s life and the inspirational librarian, Mrs Phelps’ role as a friend and a mentor to Matilda.  The celebration of books and libraries can be seen as having an underlying political message in a country that is closing libraries left, right and centre.

 Tim Minchin’s music and lyrics are brilliant. Lyrics such as “My mummy says I’m a miracle” are simple enough for children to understand, yet Minchin always appeals to adult humour, my mum vouches that Mrs Wormwood in her “Hospital cotton with a smarting front-bottom” definitely appeals to any woman who has given birth! Minchin was born to write this musical, his comic wit guarantees it to be one of the most entertaining and funny musicals in the West End.

It is the talented cast that is the backbone of this production. Both the adults and children are outstandingly talented. When the cast come together as an ensemble for numbers such as “Miracle”, “School Song” and “When I Grow Up” the creative synchronized chorography coupled with the beautiful harmonies the effect is enchanting. Yet, individually the cast are also superb. Bertie Carvel creates a comical yet chillingly sinister Miss Trunchbull, his characterisation of the headmistress from hell is tremendous, allowing her to develop from Dahl’s archetypal villain to a psychologically complex character with an intriguing past history.

Lauren Ward is charming as Miss Honey, who is also expanded from being a simply “good” character to a complex character who is haunted by her past. We can really emphasise with Miss Honey’s lack of self confidence when confronting her boss and bully of an aunt in “Knock on the Door”. Her vulnerability is also depicted at the end of “When I grow up” where she wishes “to be brave enough to fight the creatures that you have beneath the bed each night to be a grown-up” highlighting that the musical is as much the bildungsroman (coming of age story) of Miss Honey as it is the story of Matilda.

Yet, it is Matilda’s musical and Kerry Ingram (one of four young actresses who share the role) proves that. Age is no barrier in this musical, Kerry Ingram danced, sung and acted just as hard and as well (if not even slightly better!) than the professionally trained adult ensemble. She highlighted both Matilda’s vulnerability and her strong determination to do stand up for what is right and to change her story.  Her solos “Naughty” and “Quiet” were outstanding, whenever Kerry was on stage all eyes were encapsulated onto her. I predict a future leading lady or even perhaps a world-class film star or singer, Kerry is so talented the world is her oyster.

Matilda the Musical is a work of genius, surpassing Danny DeVito’s 1996 film and even Dahl’s original novel.  The plot is simple, yet embedded within it is so many layers of meaning; you can watch it again and again without ever getting bored. Anyone who has not yet seen Matilda must go and see it. Above all, it is a first-rate night of entertainment that will leave you feeling full of joy.

Review by Anna Laycock

Liberty Jackson reviews Matilda, A Musical

Directed by Matthew Warchus

Royal Shakespeare Company, The Courtyard Theatre, Stratford-upon-Avon

I remember when I first found out that the RSC were staging a musical production of Roald Dahl’s Matilda. I had just sat down to watch their 2009 production of Arabian Nights. I opened the programme and was flicking through when I suddenly saw an A4 poster advert for Matilda. I was 16 at the time, (I’m 17 now) and my dad turned to me and said, ‘Won’t you be too old then?’ I looked at him like he was mad – my favourite book, my favourite film, being put on stage, and as a musical... I was so excited! I enjoyed Arabian Nights immensely, but throughout I couldn’t quite get over the fact that Matilda was being made into a musical – in my hometown!

Fast forward to November 2010 when Matilda, A Musical opened.  With the book and indeed, film adaptation as iconic works in the arts industry, I was intrigued to find out how Dennis Kelly and Tim Minchin would make their mark on the RSC’s new production.

I feel privileged in two ways; not only was I lucky enough to see Matilda five times, I was also fortunate to see each team perform! My first visit to the Courtyard to see Matilda, I saw the team headed by Kerry Ingram as Matilda. Even as I was walking to take my seat, I was in awe of the set, and couldn’t help looking up until I spotted the swings. I had already seen the RSC’s promotional video, so I knew what the swings were used for – but I couldn’t wait to see it live! From the opening bars of the band, until the concluding cartwheel, I was covered from head to toe in goose bumps and was taken away, encapsulated in this wonderful story.

Kerry’s portrayal of Matilda was a completely unique take of the character. Her vulnerability instantaneously won the hearts of the audience, whilst still maintaining Matilda’s feisty character, as demonstrated particularly well in Matilda’s first solo song, Naughty. Joining Kerry was an unbelievably talented bunch of children, or should I say actors, who had every ounce of professionalism held by their older colleagues; namely, James Beesley, who played Bruce. His character could be that of a ‘disgusting criminal’ as supposed by Bertie Carvel’s fabulous, show stealing portrayal of Miss Trunchbull. However, his cheeky smile and sensational voice won me over in an instant. Tim Minchin’s lyrics for Revolting Children suited his personality perfectly, and as we had previously fallen in love with Kerry, we fell for James.

About a week later, I came to the courtyard again, this time to see Josie Griffiths as Matilda. Her confidence was second to none, and despite a few slip ups she had the audience as putty in her hands. Again, her supporting cast was faultless and Rebecca Stoll’s performance as Lavender, Matilda’s feisty best friend, was exceptional. Lauren Ward’s portrayal of Miss Honey was enchanting, and at the end of her solo number, My House, I had tears rolling down my cheeks. Once again, Mr and Mrs Wormwood were real life caricatures, played to perfection by Paul Kaye and Josie Walker. Their comedic value echoed that of Matilda’s parents in the film adaptation, played by Danny DeVito and Rhea Pearlman.

Adrianna Bertola’s interpretation of Matilda was enchanting; she had complete command of the stage right from her opening song, Miracle. Her confidence convinced the audience the RSC had made the right decision in letting children take on the lead roles, where before they would’ve been given to adults. Matthew Malthouse’s character Rudolpho was becoming more hilarious with each visit. (Two words: Energy – Flow!) The stunning setting, which on the surface seemed simple, was incredibly versatile, transforming seamlessly from the Wormwoods house to Mrs Phelps library and beyond. Melanie La Barrie’s Mrs Phelps was exceedingly good, winning over every single audience, and I’m sure, cast member, acting as our internal monologue on stage. The carefully crafted storyline, the ideal casting and delightful songs left every person I know stunned. Male friends of mine cringed with embarrassment telling me that, actually, they really enjoyed the performance.

Matilda is a production that will leave an impression on everyone who has the opportunity to see it, and I’m sure will be entertaining audiences for years to come. It has something for everyone, and in the opening number of Act Two, When I Grow Up, these seem to blend together. Adults and children alike are left, not only in awe at the skill of the swingers, but reminiscing and realising ambitions. It is an example of why we should never doubt theatre’s ability to amaze, as confirmed with the Amanda Thripp scene. The choreography, stunts and voices are something that I thought previously could only be achieved in films after months of editing. Well done RSC!

Liberty Jackson, age 17

Matilda Review by Jude Evans

Matilda, A Musical

Directed by Matthew Warchus

Royal Shakespeare Company, The Courtyard Theatre, Stratford-upon-Avon
Friday 19th November 2010

With the recent success of the new work Morte D’Arthur, the RSC seems to be on track for another winner with its new musical adaptation of Matilda, and it is just that: a winner. Directed by Matthew Warchus, with book by Dennis Kelly and music and lyrics by Tim Minchin,Matilda, a Musical is a delight for children and adults alike.

Roald Dahl’s Matilda is a classic, capturing the joys and the hardships of childhood. Matilda lives with her foolish, ignorant parents, and at school encounters her cruel headteacher. But with her miraculous mind, her many books, and the lovely Miss Honey at her side, Matilda succeeds in defeating the intimidating adults around her.

The wonders of childhood and its darker side successfully translate from Dahl’s novel to Kelly’s book. The addition of Miss Honey’s back-story is initially a little confusing, but it becomes a kind of doubling of Matilda’s own childhood and serves to strengthen the bond between child and teacher. Minchin’s lyrics and music work beautifully alongside Kelly’s text. The songs capture the nature of each character; ‘Naughty’ reveals Matilda’s vivaciousness and her wisdom. All are entertaining, with many thought provoking and moving.

Rob Howell’s set design is in the style of Quentin Blake’s original drawings. Letters and books adorn the stage reminding us of the wonders of literature. (It is a lovely touch having letters and blackboards displayed throughout the theatre entrance and foyer). Lighting is used to great effect, especially as it portrays the nightmare of choking.

Blake’s drawings are brought to life by wonderful costumes, hair and make-up. Trunchbull’s appearance is just what we might imagine, blotchy red eyes and thick, chunky belt, and so is that of the Wormwoods in their gaudy, loud outfits.

At the heart of the show is Adrianna Bertola’s Matilda (also played by Josie Griffiths and Kerry Ingram). She brilliantly portrays both Matilda’s innocence and insightfulness as we see in her early bedroom scene. We are all drawn to Bertola’s Matilda; she holds her own on stage when performing alone and when performing with the adults, quite remarkable for one so young. She is well supported by a delightful cast of children who all give good performances. Together they exude the energy and vibrancy of childhood.

Lauren Ward is the caring, patient Miss Honey, who forms a strong relationship with Bertola’s Matilda. This relationship is beautifully portrayed in the scene at Miss Honey’s house. Ward’s Miss Honey and her pupil contrast significantly to the Wormwoods, played by Josie Walker and Paul Kaye who capture the parents’ foolish and grotesque nature. Bertie Carvel’s man-in-drag Miss Trunchbull is both monstrous and funny, drawing many laughs from the audience. This casting emphasises the masculine nature of Trunchbull, whilst Carvel also reveals a slight vulnerability to the character.

With the production still previewing there are a few timing and technical glitches here and there – a clash of swings, props hitting the stage set and rebounding onto the stage, a few missed out words – but this is to take very little from an already excellent production which can only grow from here. Warchus, Kelly and Minchin present us with a heart-warming and laughter-filled show, reminding us of the Dahl story we all know and love. We are absorbed into that little girl’s world of stories, magic and wonder.Matilda, A Musical is a lively, moving – yes, there may be a few tears – and thoroughly enjoyable Christmas show for everyone.

Matilda, A Musical runs at The Courtyard Theatre in Stratford-upon-Avon until 30th January 2011

Jude Evans, Age 22