Reviewing Theatre For Over 40 Years
“Matilda” Delights: Roald Dahl-based musical proves it’s a hit
Every once in a very great while a show turns up which absolutely transcends the usual enthusiasms for a work of theater. Such a production is the Royal Shakespeare Company’s outrageous, impressive blast of fresh air, “Matilda: The Musical”, Dennis Kelly and Tim Minchin’s glorious take on the Roald Dahl novel. Very British, very edgy as only Dahl could be edgy, very raucously alive, the show is as theatrical as you can get. At the end its audience doesn’t applaud, they roar – cheering performance, message and musical all at once. No wonder it ran away with the British Olivier Awards, then picked up four Tonys.
Now, at the Ahmanson, this show’s first national tour begins. Don’t miss it, as this is quite simply a show you truly do want to be able to say that you saw.
The story isn’t simple. What Dahl story is? Still, the basics surround a brilliant young girl who, despite having the most ferociously plebeian parents, develops an absolute passion for reading, and for that innate sense of right and wrong she learns from books and her own inner voice. As she enters a very British school, she battles her proudly ignorant parents, as well as a child-hating headmistress, all the while enthralling the local librarian with her stories and her timid teacher with her unselfconscious brilliance.
Mabel Tyler – who rotates with two other girls, Gabby Gutierrez and Mia Sinclair Jenness, in the part – makes a delightful Matilda: quick, tuneful and filled with directed energy which powers the rest of the production. Cassie Silva and Quinn Mattfeld have an absolutely wonderful time as Matilda’s comically, yet recognizably loathsome parents. Ora Jones creates peaceful safe space as the appreciative, enthusiastic librarian. Jennifer Blood has an innate sweetness as the earnest young teacher.
The children, most particularly Luke Kolbe Mannikus as the somewhat heroic Bruce and Serena Quadrato as the spoiled but friendly Lavender, are absolutely amazing. Filled with energy, vocal expertise and dance skills which would power an adult chorus (and adult “older versions of themselves” do occasionally join), they bring to life some of the show’s best songs and most telling lyrics, and are generally so engaging one must step back to realize how young some of them are. Also worthy of note, Danny Tieger has fun as Matilda’s monosyllabic older brother, and Jaquez Andre Sims has a ball playing the mother’s ballroom dance partner.
Yet, most central to the story itself is Bryce Ryness’s evil headmistress, Miss Trunchbull. In keeping with the tradition of English panto – and this production was born out of that tradition, as an RSC holiday treat – this dominating figure is played by a man. Ryness uses his height to tower over the children, and becomes a kind of live cartoon in the best eerie sense of the word. It is a performance which must be seen to be fully processed.
The consistent quality of the main performers, and that of the impressive ensemble surrounding them, are accomplished on Rob Howell’s fantastical, yet recognizable set. He has also designed the costumes, making the more disgusting adult characters just enough outlandish to be seen through a child’s eyes at the same time the sympathetic characters have a special brand of shine. The illusions of Paul Kieve add to this even further. The polish is everywhere, and the sense of a unified whole helps the story charge along.
Indeed, that energy, that unity, that sense of empathy and of being on the edge of your seat even at the most outrageous moments comes in large part thanks to the vision of director Matthew Warchus and choreographer Peter Darling. Between them they have created Dahl’s comprehensive world and brought it in all its gleaming newness to the public. It simply never stops moving, and that’s a good thing.
One caution, and it is an important one. The Ahmanson has some spaces, particularly along the edges of the orchestra where one ends up under overhangs, which can make it hard to hear clearly. This is unfortunate, as the lyrics are clever and propel parts of the story. Overcome that, and you will have the time of your life. Please note that this is appropriate for children (after all, that’s who Dahl wrote it for in the first place), although very young ones may not catch on all that well.
All in all, what “Matilda: The Musical” does is show off the qualities which keep live theater important. By bringing in a younger audience they are also training the audience of the future, and perhaps inspiring the performers of the future as well. As with all Dahl works, the show has things to say, this time about love and sacrifice, and quite a bit about parenting. Many an adult could afford to listen. Kudos to RSC for deciding to keep the show and its material singularly English. If the Harry Potter series taught us all nothing else, it taught us that American kids can translate all that better than adults think they can.
What: “Matilda: The Musical” When: Through July 12, 8 p.m. Tuesdays through Fridays, 2 p.m. and 8 p.m. Saturdays, 1 p.m. and 6:30 p.m. on Sundays Where: The Ahmanson Theatre, 135 N. Grand Ave in downtown Los Angeles How Much: $25 – $175 Info: (213) 972-4400 or http://www.centertheatregroup.org