Review: MATILDA THE MUSICAL by Capital Theatre Trust And G&T Productions

Matilda began life as Roald Dahl's beloved children's book, published in 1988, before being adapted into the charming 1996 film that I absolutely adored. More recently, it found vibrant new life as a stage musical, premiering in 2010 with music and lyrics by Tim Minchin and a book by Dennis Kelly.

The story follows a brilliant young girl with a love of books and a gift for telekinesis. Neglected by her family and sent to a school ruled by the fearsome Miss Trunchbull, Matilda finds strength in her imagination and the support of kind-hearted adults, including Miss Honey and Mrs Phelps, the town librarian.

Before I begin, a disclaimer: I am married to the Chair of Capital Theatre Trust. However, the opinions expressed here are entirely my own and have not been influenced in any way.

The set was colourful, imaginative, and highly functional. Seamless scene changes ensured there was never any dead space, keeping the narrative moving at an excellent pace. The costumes were thoughtfully designed and added greatly to the show's charm. This touring consortium set has travelled the country and still looks as fresh today as it did when I first saw it at the beginning of its journey in Christchurch.

The band, expertly led by Musical Director Michael Nicholas-Williams, was tight, polished, and never missed a beat. The sound design by Glen Ruske achieved an excellent balance between the orchestra and performers. 

Hamish Mouat directed the production with confidence and flair. Scene transitions were slick, there were several unexpected laughs, and a number of delightful touches throughout. I particularly enjoyed the curtain call, though I won't spoil that moment for future audiences. At times, however, some of the children's movements felt a little overly choreographed, making certain numbers appear less natural than they might have otherwise.

The true highlight of the production was undoubtedly the cast. What an extraordinarily talented group of performers. From the principal cast to the ensemble, everyone worked tirelessly and thoroughly deserved the enthusiastic applause they received.

On opening night, the titular role was performed by Hannah Ellis, who brought remarkable poise, confidence, and sass to the character. You would be forgiven for thinking she was a seasoned professional. There are three Matildas who rotate throughout the season, and I am reliably informed that Elena Power and Jina Yoon are equally talented. Whichever Matilda you see, you are in for a treat.

Glenn Horsfall was wonderfully menacing as Agatha Trunchbull, delivering a strong performance both vocally and dramatically. Unsurprisingly, he became a crowd favourite. Isn't it funny how often audiences love the villain? Gemma Hoskins was superb as Miss Honey, bringing warmth, sincerity, and vulnerability to the role. Her vocal performance alone is worth the price of admission.

My personal standouts of the evening were Kevin Orlando and Natasha McAllister as Mr and Mrs Wormwood. Having seen this show several times around the country, I can confidently say these were the finest portrayals of the characters I have encountered. Both performers relished every moment on stage and created characters that were hilariously over-the-top while remaining wonderfully believable. A special mention must also go to Séamus Leathley as the gloriously challenged Michael Wormwood. He was consistently hilarious. Corey Moir provided another highlight as Rudolpho, showcasing some truly impressive dance skills. Anyone who can effortlessly perform the splits deserves recognition!

Amy Tarelton brought warmth and charm to her role as Mrs Phelps, while Jackson Stone as the Doctor and Kuda Paradza as the Escapologist delivered their musical moments beautifully.

Opening night belonged to the Maggots, whose contribution was vital to the success of the production. Max Chevallier-Boutell as Bruce and Eira Medcalf as Lavender were excellent, supported by Toby Hunter, Aggie McLeod, Felipe Chevallier-Boutell, Lily Collins, Hunter Jones, and Klara Neill. Together they were a delightful group of Maggots, full of energy and enthusiasm. I am looking forward to seeing the Worms cast later in the season.

This musical contains several iconic moments: the famous Matilda stance, the swings, and the unforgettable Trunchbull vault, to name just a few. All were executed with aplomb. Of these, the swing sequence during When I Grow Up stood out the most for me. It perfectly captures the joy, freedom, and innocence of childhood. For a few moments, I was transported back to my own childhood, remembering afternoons spent soaring on swings at the local park. It was a beautifully staged and genuinely moving moment.

I would also like to acknowledge Sandy Brewer, Chair of Capital Theatre Trust. Through her hard work, dedication, and perseverance, Wellington audiences are once again able to enjoy large-scale local productions after a decade-long hiatus. This production exemplifies the high standards we have come to expect from Capital Theatre Trust in collaboration with G&T Productions.

Ultimately, this is a show with something for everyone. Children will be thrilled to see performers their own age on stage, laugh at Miss Trunchbull's outrageous antics, and perhaps even recognise parts of themselves in the characters. Adults, meanwhile, will appreciate the wit, humour, and clever storytelling woven throughout the production.

The very best musicals are those that appeal across multiple generations, and Matilda achieves that balance beautifully. It is, quite simply, a musical delight the whole family will enjoy. I certainly did, and judging by the standing ovation at curtain call, I was far from alone in that opinion.

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