The Bushnell, Hartford, CT
through May 1, 2016
by Tim O’Brien
Looking for a top-shelf, high-energy music that is wildly
entertaining and also truly appropriate for the whole family? Look no further
than Matilda – The Musical.
Beloved children’s author Roald Dahl’s Matilda character
(Lily Brooks O’Briant) is an uber-brainy 5 year old girl regarded as an
annoyance and embarrassment by her shallow, self-absorbed parents. School is
another nightmare, ruled by the monstrous Agatha Trunchbull (David Abeles).
Brave little Matilda’s only refuge is the local library, where she devours
weighty classics with ease while mesmerizing the librarian (Ora Jones) with a
serialized tall tale she appears to be making up as she goes along. When
compassionate teacher Miss Honey (Jennifer Blood) recognizes Matilda as a
prodigy, conflict arises and the little girl must find strength she’s never
known herself to possess.
Such is the plot. This production is so well-staged, so
energetically -sung, so kinetically-danced and filled with clever production
moments (nifty lighting and sound effects) that had it been performed in an
obscure Nepalese sub-dialect this reviewer (and young daughter in tow) would
still have enjoyed the daylights out of it. Imaginative set pieces create a
dark “Brasil” feel, with nods to Tim Burton and Dr. Suess, and moments in the
school scene music recall Pink Floyd’s “The Wall.”
Though clearly older than five, O’Briant is consistently
winsome and forthright, driving the show in many stretches and a solid singer
in her solo numbers. As Matilda’s comically awful, un-doting mom and dad,
Cassie Sylva and Quinn Mattfield get big laughs and would deserve a spin-off
series of their own, if this were TV. Jones adds an earthy West Indian flavor
to her librarian, and Blood shows a nice arc as she goes from mousey and
“pathetic” to a firm-chinned advocate for the children. But it’s Abeles as the
loathsome school principal who steals the show with a searing, sneering
presence that’s both malevolent and hysterical.
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| Photo by Joan Marcus |
So was it perfect? Nearly. Some ensemble song lyrics were
hard to understand on opening night. And while the setting is ostensibly
England, only the adult actors affected British accents. A directorial choice
that didn’t harm anything, but it did raise an eyebrow. Pish-posh, as the Brits
might say – now I’m nitpicking.
May 1 ends this lovely run far too soon.
