U.K. musical ‘Matilda’ is a dark delight

SCHOOL DAYS: The cast of ‘Matilda The Musical.’ Photo: Joan Marcus

By Scott Harrah

Not since the glory days of Andrew Lloyd Webber have the Brits redefined the musical theater on this side of the Atlantic. Broadway finally has a new U.K. import blockbuster, and her name is Matilda The Musical.

The late Roald Dahl was one of Britain’s most successful children’s book writers, but never delved into the sentimental, formulaic feel-good fare that is standard in American family entertainment. Mr. Dahl was the antithesis of Walt Disney. From Charlie and the Chocolate Factory to James and the Giant Peach, Dahl’s style often bordered on the macabre, with the action unfolding in a twisted, dark voice.  Some consider Matilda Dahl’s least accessible book, for the story centers on an unwanted child, born to lowlife parents, and how her precociousness, high IQ and telekinetic powers create trouble in her life.

However, book writer Dennis Kelly, Australian composer and lyricist Tim Minchin and director Matthew Warchus (God of Carnage) have done the impossible and turned a bizarre, disturbing tale into one of the most ambitious, energetic and technically mind-blowing stage musicals ever.  Everything here, from Peter Darling’s acrobatic choreography to Rob Howell’s unique set, and gimmicky but effective touches like letter tiles, lasers and confetti, all make it difficult to leave the theater without feeling, as the Brits say, “gobsmacked.”

Mr. Kelly’s book brilliantly captures Mr. Dahl’s themes of how smart children who read and pursue intellectual interests are often bullied for being “geeks,” and shows how the tale is still relevant in the 21st century. (The novel was published in 1988.) Matilda Wormwood (played by four alternating child actresses; Milly Shapiro was outstanding at the performance I saw), at age 5, devours Charles Dickens, the Bronte sisters and James Joyce, and recites multiplication tables with the rapid-fire accuracy of an Oxford math professor.

Meanwhile, her brother Michael (Taylor Trensch) is celebrated for being lame-brained, and her parents, Mr. and Mrs. Wormwood (Gabriel Ebert and Lesli Marghertia), are more into their own selfish pursuits than appreciating their daughter’s many gifts.  Both Mr. Ebert and Ms. Margherita camp it up like loopy stereotypes from a classic episode of the TV Britcom “Absolutely Fabulous.” Ms. Margherita, with her gaudy outfits and sexy posturing, seems like she’s sending up a cross between Peg Bundy from “Married with Children” and a garish gal from Strictly Ballroom. Mr. Ebert is equally entertaining as her husband, a smarmy car salesman.

British rockers, from Pink Floyd to Morrissey and The Smiths, have lampooned the sadistic cruelty of U.K. school headmasters and headmistresses in popular songs over the years. However, we will never see one portrayed anything like Bertie Carvel (in glorious full drag, resembling a cross between Hitler and Eva Braun on steroids) and his show-stopping take on headmistress Miss Trunchbull.  Mr. Carvel’s Miss Trunchbull is one scary bitch; she takes pleasure in bullying and tormenting everyone from Matilda to a boy who steals chocolate cake.

Luckily, Matilda has a noble and kindhearted adult on her side: her teacher Miss Honey (played with winning sincerity by Lauren Ward).  Miss Honey encourages Matilda to take pride in her intelligence, and helps the girl stand up to her various aggressors.

Matilda is ultimately a proverbial triumph-over-evil saga, but with many jagged, jarring, and cerebral twists.  There is an arsenal of hyperactive physical comedy here that makes the somber themes amusing. Matthew Warchus directs everyone with tight reins, getting solid, kinetic performances from the large cast, and that is no easy task in a musical featuring so many children. The kids here are never shrill, annoying or cloying. Everything is filtered through a distinctly British sensibility, but an original one.

The real gem of the show is the character of Matilda herself, a role model that young children need in an era of reality TV, video games and iPhones.  When was the last time we saw any form of entertainment that celebrated a child being different and enriching her mind by reading classic novels and finding math fun? Milly Shapiro’s multifaceted interpretation of Matilda keeps us rooting for her from the very first scene.  Miss Shapiro goes into the dark recesses of the character to show Matilda’s emotional struggles. Matilda has a much harder life than, say, the little heroine in Annie.  Yes, it’s a “hard-knock” life for Matilda, but unlike Annie, the sun is not coming out for her tomorrow or anytime soon in jolly old England.

Tim Minchin’s score is rich and textured on so many levels, and his lyrics, which may seem too highbrow and obtuse for young kids, are clever and propel the story nonetheless. From the opening number “Miracle” to Miss Trunchbull, Miss Honey and the kids singing “The Smell of Rebellion” and the Wormwoods’ “Telly” to the finale “Revolting Children,” nothing here is conventional, but it all works, making Matilda an instant classic.

CLASS ACT: The cast of ‘Matilda The Musical.’ Photo: Joan Marcus

HEADMISTRESS FROM HELL: Bertie Carvel (Miss Trunchbull) & Miss Honey (Lauren Ward) in ‘Matilda The Musical.’ Photo: Joan Marcus

BOYS & GIRLS KEEP SWINGING: The cast of ‘Matilda The Musical.’ Photo: Joan Marcus

MEET THE WORMWOODS (L-R) Taylor Trensch (Michael Wormwood), Lesli Margherita (Mrs. Wormwood) & Gabriel Ebert (Mr. Wormwood) in ‘Matilda The Musical.’ Photo: Joan Marcus

EXOTICA IN THE U.K.: The cast of ‘Matilda The Musical.’ Photo: Joan Marcus

BIRTHDAY BLAST: The cast of ‘Matilda The Musical.’ Photo: Joan Marcus

Edited by Scott Harrah
Published April 14, 2013
Reviewed at press performance on April 13, 2013