Matilda - musical review

As one of Roald Dahl's family favourites - likely known most for its stage presence in comparison to its fellow tales - Matilda may be little, but she certainly is mighty. This quirky story of an extraordinary girl and her 'revolting' classmates is running riot across the UK, taking its tour by storm. Featuring a cast that embodies the characters with such immense depth, you feel as if they have jumped straight from the page of Dennis Kelly's book; this is paired with music and lyrics by the genius that is Tim Minchin, and a creative team exploding with talent. It is no surprise that this is such a critically acclaimed piece.

Swirling with imagination and seeking a vivid escape from the unsettling reality that surrounds young Matilda, she must take control of her own fate. Sanna Kurihara displays impeccable talent, taking on the leading role (for this performance), offering a sense of security and confidence that proves she means business. Her characterisation beautifully merges an air of innocence with a fiery undertone that blends to reveal the authenticity of a child navigating a turbulent upbringing. Matilda's drive to learn, particularly through reading, is reflected well in the articulation and enunciation she presents through the script, while allowing the cheekiness of childhood to shine through in her personality when given the opportunity.

This contrast is explored with an intensity that allows you to choose to take as much away from the story as you so desire. Framed largely as a musical comedy, you may see the lighthearted appeal, especially for all the children in attendance - it is a gloriously silly bit of fun. Beneath the surface, however, Matilda is laced with deeper themes, providing dynamic layers of exploration. The fictionality can be briefly swept aside with these. Highlighting the isolation of having a curious mind and the emotional abuse at home that may go unrealised outside, this portrays an alternative childhood perspective to be valued, even if just an underlying reflection. Even in moments where Matilda is masking the troubles and trauma she faces, small nuances of influence from her parents cleverly weave their way into her tone. The suppression of struggles is represented through storytelling - often emotionally charged, striking and actually a little unsettling - all from the mind of a child, buried amongst an abundance of amusement in the general nature of the production.

Much of this satire is sourced from Richard Hurst playing Miss Trunchbull, flaunting her despicable ways in a bizarrely captivating way. Tessa Kadler's role as Miss Honey acts conversely, bringing a kindhearted spirit into the picture and providing a much-needed alternative perspective for Matilda. Similarly, Mrs Phelps from the library is a gentle and encouraging character, played well by Esther Niles. Despite everything, our little heroine still knows how to deeply care about those around her with remarkable force. Notable mentions also go to Brodie Robson as Bruce and Dottie Jones as Lavender for their excellent professional debuts, nailing the enactments of their respective parts with natural expertise.

Adam Stafford and Rebecca Thornhill become Mr and Mrs Wormwood, as the eclectic parents that add fuel to Matilda's difficulties when her identity and love for knowledge are repeatedly disregarded. In a rather fleeting role, Ryan Lay makes a swift but lasting impression as Rudolpho the dancer, mostly during the track 'Loud'. Others on the score include 'Revolting Children' and 'Naughty', the latter of which is about making mischief and a better life for yourself in equal measure: even if you're little, you can do a lot to make things work out ok. 'The Hammer' and 'Telly' embrace the comedic tone of the piece, whereas 'When I Grow Up' beautifully ignites the spark of being a child again, tapping into the feeling of nostalgia and wonder. Both this and the 'School Song' have incredibly designed staging, but no spoilers here! 'Quiet' is a hugely underrated track, encapsulating the desperation of freedom from the overwhelm, in a way that speaks this powerfully and distinctly.

Rob Howell recreates the gorgeous set, renowned for adorning the Cambridge Theatre stage in London, in all its intricacies, immediately drawing the audience into the unfolding narrative. The props and moving elements aren't totally transformative, but there are plenty of creative choices including Peter Darling's choreography and directional efforts by Matthew Warchus to keep you engaged. While the tricks and illusions don't feel quite like magic, the concepts are enough to satisfy the aesthetics, especially for a younger audience. It can be said that the ending goes a bit rogue after a very strong Act 1 and a mixed Act 2, feeling a bit strange, particularly with an odd confetti placement (and lots of it!). However, cutting it short would need a few alterations to maintain the closure of the piece, and after 15 years of success, it may just be a minor matter of opinion.

In all, Matilda is a timeless musical that can be appreciated on many levels, whatever you're looking for. Whether it be fantastic original music, some family-friendly fun, or a meaningful tale with a dash of inspiration, this show never loses its flair at the core.