Roald Dahl’s Classic Comes to Life

Matilda – Drury Lane Theatre

One of Roald Dahl’s most popular children’s books is about a little English girl who endures emotional abuse from both her family and the wicked headmistress of her school. Published in 1988, the novel was shaped for the silver screen in 1996. Eventually adapted for the stage by Dennis Kelley, with an impressive score by Tim Minchin, the theatrical musical initially sprang to life in Stratford-upon-Avon. After it was lauded by both local critics and theatergoers, the musical transferred to London’s West End in 2011. There, the musical went on to win the Olivier for Best Musical, as well as six other Awards, the most ever earned, at that point, by a single production. When the show transferred to Broadway in 2013 it became a huge hit all over again, taking home five Tonys, along with several other awards. 

This extraordinary musical, now enjoying its Regional Premiere in Oakbrook, is an eye-popping, beautifully performed production. Mitch Sebastian has directed and choreographed his production with sass and spirit, staging the musical as if it sprang directly from a child’s imagination. The show leaps right off the page, onto the stage and into the lap of theatergoers. A wildly imaginative and energetic play, this story is both dark and frightening, while still very funny and fanciful. Mr. Sebastian’s version of the show, while visually different from the original Broadway production, is creative and inventive, while always staying true to Roald Dahl’s grim, yet magical novel for kids. 

The story is a bit involved, yet accessible to young audiences, as well as their accompanying adults. Matilda’s callous, self-centered and dishonest parents ignore her most of the time, except when they’re ridiculing her for reading. They hate books but adore the telly. Her father even thinks that Matilda’s a boy. The precocious little girl eventually finds a welcome niche at the local library, where she not only teaches herself to read, while devouring some of the world’s greatest literature, but also creates intricate stories herself. With these, she entertains Mrs. Phelps, the kindly librarian, who delights in Matilda’s frequent visits.

When Matilda begins school she finds another adult friend in her teacher, Miss Honey. The little girl’s intelligence, creativity and melancholy is recognized by her pretty, soft-spoken instructor, an educator who dearly loves her students. She tries to teach them important life skills while protecting them (and herself) from the harsh punishments doled out by the school’s maniacal headmistress, Miss Trunchbull. This sour disciplinarian only loves herself, her prowess at throwing the hammer at Olympic competitions and bragging about how clever and powerful she’s become. She hates children, however, and enjoys bullying and terrorizing them, unfairly punishing them by stuffing them in her notorious, Iron Maiden-like torture chamber that she calls the Chokey.

Eventually, Matilda finds that she also possesses telekinetic powers. She uses this talent to torment both her parents and her headmistress, when everyday, naughty childish tricks aren’t enough. In addition, Matilda also discovers that the story she’s been making up and sharing with Mrs. Phelps actually really happened. Her psychic powers have enabled the little girl to unravel the tragic events from Miss Honey’s past, enabling her to solve a hidden mystery. It involves a secret murder, an evil aunt and a stolen family inheritance. As the story progresses, Matilda becomes stronger and more self-reliant and, together with Miss Honey, she conquers the evil and ignorance surrounding her and eventually lives happily ever after.

Many elements in this production work wonderfully, with the exception of some of Mr. Sebastian’s staging. There are times when, working against scenic designer Jeffrey D. Kmiec’s mobile units, actors are blocked from view. I couldn’t see Matilda’s first entrance, for example, because she was masked by several adult actors directed to be downstage of her. The ensemble acting out Matilda’s stories are sequestered upstage and, for most of the audience, almost behind the roving scenery. Any theatergoer not seated directly in the center section of the audience will have trouble seeing everyone. The shadowy lighting design from Driscoll Otto, while creatively moody, also sometimes tends to conceal some of the ensemble.

The challenging role of Matilda is shared, at various performances, by young actresses Audrey Edwards and Natalie Galla. Both children are excellent, although some of Ms. Galla’s dialogue and lyrics get lost in her thick English accent. But these two little ladies carry the entire show and deserve the thunderous applause each receives during the curtain call. This production is fortunate to have the lovely, gifted Ms. Eben K. Logan playing Miss Honey. As Matilda’s sweet, caring primary teacher, she provides the perfect balance between loving calm and reserved indignation. Ms. Logan’s crystal clear soprano cradles every song, particularly the lovely “This Little Girl” and the sincere and affecting “My House.”

As Agatha Trumbull, the story’s villainous headmistress of Crunchem Hall, Chicago favorite Sean Fortunato is formidable and deliciously evil. Ever since Bertie Carvel created this disciplinarian drag role in London, many other actors have made the Trunchbull their own. Mr. Fortunato brings his own personal dry delivery, his piercing glare and a certain overgrown athleticism that make this witchy woman the most frightening blackguard to be in charge of children since Annie’s Miss Hannigan. Costumed precisely as illustrator Quentin Blake drew her in Roald Dahl’s book, Fortunato’s Miss Trunchbull is properly frumpy, fustian and fastidious. In short, he makes every scene a devilish delight. 

The talented, hardworking ensemble, many of whom are also children, alternate in key student roles. The young actors consist of the very commanding and dynamic Ryan Joshua Zingerman, as Bruce; Anna Fox, as Matilda’s self-professed best friend, Lavender; Patrick Scott McDermott, as Nigel; Liliana Rene Renteria, as innocent, pigtailed Amanda; Nathaniel Buescher, as little Eric; Ava Tommasone, as Alice; Andrea Crisp, as Hortensia; and Nolan Maddox, as Tommy. 

At the performance I attended, Lydia Burke stepped into the role of Matilda’s mannerly and maternal librarian friend, Mrs. Phelps (although the role is usually played by Linda Bright Clay). The wonderfully comic actors Stephanie Gibson and Jackson Evans make a delightfully over-the-top Mr. and Mrs. Wormwood, Matilda’s obnoxious parents. Evan C. Dolan is hilarious as Michael Wormwood, Matilda’s dimwitted older brother, and Alex Benoit makes a sultry, rubber-limbed dance instructor, named Rudolpho.

Mitch Sebastian has guided his cast with sharp direction, combined with energetic, floor-pounding, angst-ridden choreography. Theresa Ham’s designed an array of appropriately academic British uniforms, as well as many other outlandishly colorful costumes, all of which say a lot about each character, like the Wormwoods and the Acrobat and Escape Artist (superbly played by Lexis Danca and Paul-Jordan Jansen). Dennis Kelley’s delightfully wrought libretto, combined with Tim Minchin’s unique melodies and peppery lyrics (particularly his catchy anthem to childhood dreams, “When I Grow Up”) succinctly capture the wit and satire of Roald Dahl’s dark novel. This deservedly-awarded musical is a great family show that brings to life one of the author’s best-loved stories and, certainly, his greatest feminist heroine.

Recommended

Reviewed by Colin Douglas

Presented April 26-June 23 by Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, IL.

Tickets are available in person at the box office, by calling  630-530-0111 or Ticketmaster at 800-745-3000, or by going to www.DruryLaneTheatre.com.

Additional information about this and other area productions may be found by visiting www.theatreinchicago.com.