Review: A visual feast with a mischievous streak and a seriously big heart – Matilda The Musical hits Milton Keynes this week until Saturday 14th November

We all know Roald Dahl’s Matilda: an unloved, extraordinarily intelligent child growing up in a family whose world revolves around deceit, self-interest and television. Bullied at home and at school by the formidable Miss Trunchbull, Matilda triumphs through her wit, courage and unwavering moral compass.

I loved this production’s distinctly British sensibility. It felt true to Dahl’s world, with its own identity rather than an attempt to replicate the much-loved film.

Visually, it was a feast for the eyes. Moving screens filled with books criss-crossed the stage, weaving together like an enormous jigsaw to create ever-changing backdrops and sets. Ingenious and imaginative, the staging gave the production real visual depth.

The live orchestra was another real pleasure. Regular readers will know how much I appreciate live music in the theatre, and here it brought both richness and subtlety to the score. There were moments of considerable musical power, beautifully balanced by more delicate passages that created atmosphere without overwhelming the action.

Tim Minchin’s writing is a particular strength. His lyrics are clever, unpredictable and wonderfully economical, with musical arrangements that occasionally brought Sondheim to mind. There is an intelligence to the writing that rewards attention, with unexpected turns of phrase and a sophistication that makes the show as engaging for adults as it is for children.

One criticism, however, was the sound balance. The opening was excellent, with every word clearly audible. Once the chorus and full musical accompaniment came in, though, a lot of the dialogue became difficult to catch. Given the quality of Minchin’s lyrics, this was frustrating: the words are too clever to be lost beneath the music.

Molly Hutton was a delight as Matilda - she brought beautiful diction, a lovely voice and tremendous stage presence. What impressed me most was her naturalness; there was none of the overacting I sometimes find distracting in young performers. Fearless and utterly assured, she commanded an audience of around 1,400 with remarkable ease.

Kobi Lau also stood out as Bruce, yet, for me, it was all the children as a collective that were the real revelation. There was a sense that any one of them could have stepped into a leading role and delivered something equally impressive. Their commitment, confidence and sheer ability were extraordinary.

The choreography was wonderful and was executed with remarkable precision; the vocal harmonies were beautifully balanced, and the children moved around the stage with a confidence that belied their years. Every detail appeared carefully considered, from the smallest gesture to the largest ensemble number. They were not simply filling the stage; they were driving the production forward.

I am not usually a fan of adults playing children, but here the approach worked well, allowing for more ambitious choreography while blending seamlessly with the younger cast. Credit to the director for making it so effective.

Tess Kadler brought warmth and restraint to Miss Honey, avoiding excessive sentimentality, while Adam Stafford and Rebecca Thornhill were great fun as the flamboyant Wormwoods.

Richard Hurst’s Miss Trunchbull was certainly terrifying, and the character was clearly a source of great delight for the audience. However, I felt there was room for more of the character’s particular brand of malevolent sparkle. Trunchbull is not simply a grotesque bully; she is a bully with an almost theatrical relish for power, someone whose cruelty is as flamboyant as it is frightening. The costume established the menace, and the grotesque silhouette was genuinely intimidating, but I wanted more energy and theatrical mischief in the performance.

Again, the costumes were wonderfully characterful for Mr Wormwood’s Teddy-boy swagger and Mrs Wormwood’s glamour-excess, which captured their personalities perfectly, while Trunchbull’s grotesque silhouette was genuinely intimidating.

There were some wonderfully executed illusions, particularly the astonishing sequence involving a girl being swung around by her pigtails and thrown into the air. These moments demonstrated the production’s considerable ingenuity.

Despite so much to admire, the show took a while to find its rhythm. At times, the pacing faltered, and I found myself disengaging during some of the longer sections. The ingredients were all there - talent, music, humour and visual invention - but the production lacked the sustained momentum and theatrical pizzazz I had anticipated.

There was much to celebrate, not least the exceptional young cast and the imaginative staging. Ultimately, though, I felt it fell just short of its considerable potential. A little more pace, tighter musical balance and a more compellingly wicked Trunchbull might have made all the difference.

This is one to see, though, and you can still get tickets via the Milton Keynes Theatre Box Office.