AGE RECOMMENDATION - Matilda The Musical is recommended for a general audience. As an advisory to adults who might bring young people, the show is suitable for ages 6 and up. All persons entering the theatre, regardless of age, must have a ticket. Babes-in-arms are not admitted to the auditorium. All children must be old enough to occupy their own seats.
Matilda The Musical Child Policy
Suitable for ages 6 and over.
Book Matilda Tickets
Adapted from the incomparable children's novel by Roald Dahl, Matilda The Musical is the multi-award winning musical from the Royal Shakespeare Company that continues to delight audiences in the West End. Since opening at the Cambridge Theatre in November 2011, the hit show has gone on to win over 50 major international awards, including 12 for Best Musical. Featuring a smart and witty original score by Tim Minchin, alongside an exciting book by Dennis Kelly, the musical adaptation is one of the most successful British musicals of modern times, and entertains audiences both old and young.
Matilda The Musical tells the story of an extraordinary little girl who, armed with a vivid imagination and a sharp mind, dares to take a stand and change her own destiny. After opening at the RSC's home in Stratford upon Avon, the musical transferred to the West End where it was greeted with a set of excellent reviews, with critics praising not only the charm of the score and book, but also the ingenious staging by director Matthew Warchus and choreographer Peter Darling.
The show went on to win seven Olivier Awards in 2012, marking the biggest overall win of any London musical. As well as winning the award for Best New Musical, the four young actresses who originated and shared the title role took home the collective award for Best Actress in a Musical. The show later transferred to Broadway, where it won five Tony Awards, and has since entertained audiences in Australia and across the United States.
Featuring exceptional scenic design, fantastic choreography and staging and an incredible cast of young performers, Matilda the Musical will inspire audiences of all ages. The timeless story of a small girl's determination to challenge those above her for the greater good, combined with Roald Dahl's signature wit and naughtiness, makes this an unforgettable West End musical.
Matilda The Musical Synopsis
Matilda Wormwood is born special. Reading books at the library by age five, she has an accelerated thirst for knowledge. Unappreciated by her vacuous parents, who show more interest in looks than books, Matilda’s astonishing wit, intelligence and psychokinetic powers are only noticed when she starts school at the renowned Crunchem Hall. Her new teacher, Miss Honey, sees the unique qualities in Matilda and the two quickly bond over their similar dysfunctional family lives.
But things don’t go well for Matilda when she gets on the wrong side of her school’s horrendous headmistress, Miss Agatha Trunchbull, whose methods of punishment are truly outrageous. Matilda must learn to deal with these rotten circumstances, and using her powers to stage a little revolution against the perpetrators, Matilda learns that sometimes you have to be “a little bit naughty” to overcome the tyranny in the ultimate ‘David and Goliath’ story.
Facts & Figures
The hit musical originally opened at the RSC Stratford Upon Avon home in 2010, before transferring to the Cambridge Theatre in London's West End.
The production was nominated in all 10 categories for which it was eligible at the 2012 Olivier Awards, and all four of the girls playing the role of 'Matilda' shared the award for Best Actress in a Musical.
Matilda the Musical is one of the most successful British musicals to transfer to New York, where the Broadway production recouped its $16 million investment after just 18 months.
Who Is It Suitable For
Matilda the Musical is a show that will appeal to both adults and children alike. As one of the most successful British musicals of recent times, it is a show that should appear firmly on anyone's list of top musicals. Children and young people will enjoy seeing familiar characters on stage, as well as watching a story that they can easily relate to. The fun humour and catchy original score of Matilda The Musical are an excellent way to introduce younger audiences to musical theatre, and audiences of all ages will be captivated by the highly visual production.
Matilda The Musical Child Policy
Suitable for ages 6 and over.
Sun, 20 October 2019
By:Roald Dahl. Book by Dennis Kelly Producer:Royal Shakespeare Company ( RSC ) with Andre Ptaszynski as Executive Producer. Director:Matthew Warchus Songs by:Music and lyrics by Tim Minchin Lighting:Hugh Vanstone Sound:Simon Baker Design:Rob Howell Choreography:Peter Darling
Cast list: Lilian Hardy, Emma Moore, Éva-Marie Saffrey and Abbie Vena share the role of Matilda. The cast includes Gina Beck, David Shannon, Tom Edden and Marianne Benedict, Richard Astbury, Oliver Brooks, Collette Coleman, Maria Graciano, Elliot Harper, Daniel Hope, Daniel Ioannou, Kate Kenrick, Katie Lee, Fergal McGoff, Tom Muggeridge, Matthew Rowland, Matthew Serafini, Biancha Szynal, Laura Tyrer and Sharlene Whyte. The cast of young performers in three teams include Nicholas Antoniou-Tibbitts, Max Brophy, Mylo Burton-Mays, Olivia Calladine-Smith, Kira Caple, Elena Cervesi, Jessica Chalmers, Hari Coles, Archie Durrant, Charlotte Fallart, Regan Garcia, Ptolemy Gidney, Aiyana Goodfellow, Miles Harcombe, Sebastian Harry, Michael Hawkins, Sam Jennings, Angelina Li, Tilda Marriage Massey, Craig Noakes, Tia Palamathanan, Ben Robinson, Tori Louise Ryan, Kacy O’Sullivan and Scarlett Wennink. Other info: Musical supervision and orchestration by Christopher Nightingale. Special effects and illusions are by Paul Kieve.
Matilda Critics & Reviews
Critics rating: ***** Review by: Peter Brown
We are rapidly drifting into that peculiarly English time of year when even the sanest of actors and production companies seem to take leave of their senses. Men dress up as women, women dress up as men and well-worn jokes that never ought to have seen the light of day in the first place are resurrected with abandon.
Yes, panto season is with us once again. But 'Matilda The Musical', even though it is being aired during this silliest of seasons, isn't really a panto, even if it has some hallmarks of that genre.
Based on Roald Dahl's novel 'Matilda' (first published in 1988 and turned into a film directed by Danny DeVito in 1996) the musical was commissioned by the Royal Shakespeare Company and has book by Dennis Kelly and music and lyrics by Tim Minchin. It is the story of an unwanted daughter who turns out to be something of a prodigy. Mr Wormwood is a dodgy second-hand car salesman who rather foolishly sells clapped-out bangers to the Russian Mafia. Mrs Wormwood has a penchant for Latin American dancing and dresses in garish costumes. The Wormwoods dislike their daughter Matilda intensely. They do not understand her interest in books and encourage her to be like her older brother and fall comatose in front of the 'telly'. And Mr Wormwood even goes so far as to refer to Matilda as 'boy' even though she repeatedly corrects him. When Matilda heads off to school she surprises her teacher Miss Honey with her mathematical skills and intelligence. But she falls foul of the child-hating headmistress, the former hammer-thrower Miss Trunchbull. A small army of children tackle the numerous roles, with multiple child actors rotating the parts at different performances - a nightmare I would think for the production staff, having to rehearse so many actors. But a quick glance through the biogs in the programme tells you that many of the small actors in this cast have more experience than a lot of actors get in a lifetime. They've done it all from The Sound of Music through Peter Pan and Oliver!, covering Macbeth along the way. And this wealth of talent and experience shines through all the performances, including those actors making their professional débuts. There's terrific support from the bigger actors too. In particular, Bertie Carvel makes the most of the plumb role of Miss Trunchbull making her a controlled, but incredibly sadistic head who delights in putting children into the 'chokey' cupboard. Melanie La Barrie is a wonderfully mumsy, story-loving librarian, and Paul Kaye is equally well-cast as the pushy, second-hand car dealer.
On the occasion I saw the show, Cleo Demetriou took the lead as Matilda. Ms Demetriou is an enormously talented young actor with a charming singing voice to match. She combines in the role intelligent confidence with a certain intellectual aloofness, but finally shows she is just a child who needs a cuddle now and then too.
One mum sitting near to me declared the show 'brilliant' and her offspring sat wide-eyed and transfixed throughout as if ET had just landed in person on the stage. In fact, all the children in the audience seemed totally mesmerised even though some of them were barely of school age. Not only that, but many seemed surprisingly clued-in to some of the more adult jokes which are sensibly injected at various points to keep the adults as happy as the smaller members of the audience. However, if my ears served me correctly, there were a couple of lewd comments from Mrs Wormwood which seemed unnecessarily gratuitous given the audience composition.
The second half does not quite match up to the first in terms of the humour and tends towards the sentimental even if the final message about there not always being happy endings has much to commend it. So, I would not go quite as far as my neighbour in describing it as 'brilliant', but Matilda the Musical is nevertheless hugely enjoyable and cracking Christmas fun.
Matilda Tickets are now on sale.
"It is the best new British musical since Billy Elliot." Charles Spencer for The Telegraph
"It's an evening of unadulterated bliss." Lyn Gardner for The Guardian
"A beasty baddie and stonking songs" Quentin Letts for The Daily Mail
The Cambridge Theatre opened in 1930, one of five theatres to open in London that year (including the nearby Prince Edward and Phoenix theatres). Designed by Wimperis, Simpson and Guthrie, the theatre occupies a triangular site on Seven Dials near Covent Garden and has interior designs by Serge Chermayeff and Anthony Gibbons Grinling, who sculpted the friezes still seen today. It is one of the most attractive interiors in the West End, having undergone restoration in 1987 after a series of internal changes.
A good sized house, the Cambridge Theatre suits musicals very well, though many plays have played the venue and it was opened with a production of Masquerade, a revue type show by André Charlot which starred Beatrice Lillie.
The original décor, ornate gold and silver finishes inspired by German theatres, was painted over in red in 1950 and the lighting was augmented with candelabras and chandeliers. These changes were implemented by new owners Tom Arnold and Prince Littler. Another conversion of the theatre in 1984 saw the house become London’s first theatre for magic called ‘The Magic Castle of Seven Dials’. The scheme was a disaster and closed after a year of performances. The theatre was then bought by Stoll Moss Theatres Ltd in 1986 and under the supervision of Carl Toms was restored to its original décor.
Listed as a Grade II building in 1999, the building became part of the Really Useful Group Ltd portfolio of theatres and has remained such since. Andrew Lloyd Webber premiered his latest musical here in 2000 (The Beautiful Game), and the house has gone from strength to strength with its productions of musicals ever since, with the controversial Jerry Springer – The Opera in 2003, the transfer of Chicago from the Adelphi Theatre in 2006 and the still running Matilda from November 2011.
The auditorium has three levels – Stalls, Royal Circle and Grand Circle.
The Stalls is not affected by the overhang from the Royal Circle, but the rake is rather shallow which may cause some issues with sightlines.
The Royal Circle is set rather far back, and with a shallow rake in the seats the audience seated here may feel detached from the action. The overhang of the Grand Circle is obvious from Row G onwards.
The Grand Circle is steeply raked which offers good sightlines but does feel far from the stage.
Facilities At Cambridge Theatre
Seat plan: Cambridge Theatre Seat Plan Facilities: Air conditioned Bar Disabled toilets Infrared hearing loop Toilets Wheelchair accessible
Access description: No steps to the foyer through 2 sets of double swing doors. Box Office counter on right. Staircases between levels have 2 handrails. 4 steps down from the main foyer to the Stalls, 31 up to the back of the Royal Circle (2 steps between rows). 64 steps up to the Upper Circle. Theatre open 45min
Sound Amplification: Sennheiser system.
Guide Dogs: Guide dogs are allowed inside the auditorium, and staff are happy to dog-sit for 3 dogs per performance in the manager’s office.
Disabled Access: Level access to Stalls. 2 spaces for wheelchair users down a slight slope at N1 and N34, with companions to sit ion N30 or N2. Transfer seats for up to 4 wheelchair users and 2 scooter users. The wheelchairs and scooters can be stored and will be retrieved by an usher.
Toilets: Women’s and men’s at the back of the Stalls. At the Royal Circle, the men’s is level from the bar and the women’s is up 3 steps.
Disabled Toilets: Adapted toilet in Stalls corridor
Nearest tube: Leicester Square Tube lines: Piccadilly, Northern Location: West End Railway station: Charing Cross Bus numbers: (Shaftesbury Avenue) 14, 19, 38; (Tottenham Court Road) 24, 29, 176 Night bus numbers: (Shaftesbury Avenue) 14, N5, N19, N20, N38; (Tottenham Court Road) 24, 176, N29, M41, N279 Car park: Chinatown (6mins) Within congestion zone?: Yes Directions from tube: (5mins) Take Cranbourn Street away from Leicester Square until St Martin’s Lane, where you head left 100 metres to a small roundabout where the theatre can be seen.