To give it its full title ‘Roald Dahl’s Matilda the Musical’ is enjoying a second UK tour which effectively marks the 15th anniversary of its 2010 opening in Stratford-upon-Avon. Happily, this visit to Liverpool over the Christmas period also helps to bring the Empire Theatre’s 100th birthday year to a close, celebrating 100 years of Christmas at the Empire.
The spirit of Roald Dahl, of course, runs through this fantastical and heartwarming story as it does in most of his books, and the Royal Shakespeare Company (whose production this is) have a great track record of assembling a creative team who can translate literary classics to the musical stage with flair and, most importantly, with respect for the heart and soul of the author’s intent. Matthew Warchus who developed and directed the show and the company’s resident director on tour Matthew Rowland have done an extraordinary job in shaping such a complex staging and large cast, including a great many child performers.
Matilda Wormwood is an archetypal Dahl protagonist – in this case a little girl whose parents are so indifferent to her that she may as well be an orphan. Bright and intelligent, Matilda is a mystery to her parents, while for the child-phobic head-teacher Miss Trunchbull she is like a red rag to a bull. Luckily Matilda finds allies in her teacher Miss Honey and librarian Miss Phelps, and along with her school chums, and in particular Lavender and Bruce, she gives Trunchbull her come-uppance and rights some long-standing wrongs for Miss Honey.
The cast has a very large contingent of children, and each role is, naturally, equally shared by a number of performers. The role of Matilda herself is taken by Madison Davis, Mollie Hutton, Olivia Ironmonger and Sanna Kurihara, with Mollie Hutton onstage for this Wednesday evening.
Hutton, along with all the other child principals, is a triumph, and it is extraordinay to see those scenes where she performs entirely solo and with such assurance on the vastness of the Empire’s stage.
Casting for the other key roles is exemplary. Tessa Kadler and Esther Niles as Miss Honey and Miss Phelps have warmth and charm to match their vocal performances, while Rebecca Thornhill and Adam Stafford as Mr and Mrs Wormwood bring lively comedy to their roles which lift the atmosphere even in the darker moments of the plot. Stafford in particular has a great opener to Act II in ‘Telly’which succeeds in getting the energy going while the audience are still filtering back to their seats after the interval.
Richard Hurst, meanwhile, is a tremendous choice for the redoubtable Miss Trunchbull. He makes the very successful choice of playing the role in poker faced mode as a terrifying battleaxe, avoiding the merest sniff of pantomime damery tainting the part. This is a character that has swiftly become one of the great villains of children’s literature, and Hurst embodies it with relish and style.
Alongside the human stars of the show comes Rob Howell’s towering set, which alternates between stacks of alphabet blocks and shelves of books. It is a visual treat and a riot of colour for sure, but it hides some hugely impressive technical achievements. The stage movement and automation is so slick that it would be easy to miss the myriad of transitions that take place in full view without the action ever having to pause for a scene change.
Equally impressive is the tremendous lighting script from Hugh Vanstone, which brings so much light and colour to the set. It blurs the division between the stage and the auditorium, making us feel immersed in the action.
A fine pit band under the direction of Andrew Corcoran bring Tim Minchin’s music to life, whilst Simon Baker’s sound design maintains everything at a comfortable level for family audiences and rarely overpowers the voices with the band. The only caveat here is that some of the child principals naturally have a lighter timbre to their vocals than the adult cast and, as their sung text carries much of the weight of the storytelling, they could occasionally use a little more help in maintaining clarity.
Matilda is an absolute winner of a show that will delight children and adults alike, and as an alternative to Panto for the Empire’s Christmas show it ticks all the boxes as being great family entertainment, presented with the highest standards of stagecraft, with a story that carries all the morals of love, understanding and goodwill that the season demands.
Matilda is at Liverpool Empire until 4th January, and it is worth noting that relaxed, captioned, signed and audio described performances are included in the schedule, making it accessible for all. Age guidance is 6+, and it is helpful for those looking at family travel that the show lasts for approximately 2hrs 40min including one interval. Tickets are available here.
The show continues its tour from the New Year, with venues booking right through to next Christmas. Tour dates can be found here.
It seems proper to say particular thanks to the staff of the Empire, both front and back of house, for all that they do to welcome audiences to this truly unique and iconic venue. It has been a fabulous centenary year for the theatre, and long may it continue – Merry Christmas to you all!
Star rating: 4½ stars
Production Photography by Manuel Harlan
This review was originally written for publication by Good News Liverpool
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