Review by Liam Stretch

Now, I’ve been in this review game for some time, and even before I took my fingers to the keyboard to begin critiquing people’s lives and art, I had seen countless musicals.

I can, hand on heart, say that I have never seen anything quite like Matilda the Musical. I laughed, I gawked, I danced in my seat, and I (maybe) almost cried.

From the slightly twisted mind of Tim Minchin and Roald Dahl, for that matter, comes this absurdist dramedy musical, full of acrobatics, slapstick, and Python-esque crudity. It is camp to the core. Two hours of, quite simply, not knowing what was around the corner. You may think you have a firm grasp on the tale of Matilda, her ‘unconventional’ parents, Miss Honey, and the unmistakable Miss Trunchbull – but, when it comes to this rendition, trust me, you don’t. And that couldn’t make me happier.

Opening to a sell-out crowd at our premiere creative arts venue, the Isaac Theatre Royal, ‘Team Roald’, took to the stage. Led by the remarkable Millie Hutchinson as Matilda (one of three young performers to play the lead role), this group of eight exceptionally talented young humans performed to an exceptionally high level. Millie was a star. She conceptualised her character very well and didn’t miss a beat. The crowd was hers. Beyond Millie, all the other child actors were great. But I must pay special mention to Bruce, played by Erik Misnyovski. You just need to see him in action – a true star in the making. Lavender (Poppy Washington), you have a future as a host. Well done: Barnaby, Brooke, Jesse, Eden, Ben, Poppy, Erik, Juliet, Millie!

Now we come to the not-so-young performers on stage.

We must start with the character that traumatised many of us when we were children, Agatha Trunchbull, played by Tom Hart. Despite a couple of minor microphone issues, Tom Hart delivered a flawless performance. He’ll make you love her, hate her, and be damn right disgusted. I was left particularly in awe of Tom’s athletic prowess. Despite considerable prosthesis, she bounded across the stage – back flips and all – and captured the essence of the character beyond amazingly.

Miss Honey (Nicky Hughes) was an exceptional talent too. Delivering a more emotionally complex portrayal of Miss Honey than I had previously seen. A highlight for me was Mrs Phelps (Sophie Ricketts). Mrs Phelps was the ever-attentive librarian, doting on Matilda’s every word. I happen to know Sophie isn’t at all Scottish, but she had me convinced otherwise!

We head down the road to Matilda’s dysfunctional family. Mr and Mrs Wormwood, and their rather simple son, Michael Wormwood. Chris Goodyear played Mr (Harry) Wormwood disgustingly yet perfectly. He was dislikeable and charming, grotesque and classy, all at the same time. His little aside to the audience following intermission was a real treat. And you’ll be singing ‘tele’ for the next week.

Hillary Moulder as Mrs Wormwood – what hilarity! I don’t know how, but the characters in this performance seemed even more developed than in the film. Maybe it was the extra year the performers had to get ready, thanks to covid. But Hillary was positively transformed into a ‘bimbo’ and was frankly hilarious.

And now, Michael. There is not much one can say about Michael. Because, well, he didn’t say much. But his silence spoke volumes and made perfect sense.

All the leading roles were well supported by the chorus and supporting actors. Of note was Jack Shatford as Rudolpho. Jack can move.

Now that we’ve covered the characters, I’ll give the crew a little love. I’m always impressed with Showbiz’s stage work. I have noticed a real world-class progression over the years – post their last performance of Phantom. It was technically incredible. There is a certain scene involving swings that might leave you a little stressed, though. Just warning.

So, yeah, I am still beaming. You’ll be blown away, Ōtautahi. I implore you to see it. Go on, have a little fun. Tickets here.

Pure joy - Matilda the Musical