OREM — The SCERA Shell Outdoor Theatre delivered a spectacular opening night showing of Matilda The Musical on July 3rd. Based on the classic Roald Dahl novel, with book by Dennis Kelly and original songs by Tim Minchin, this musical tells the story of a young school girl who is rejected by her family for her “inferior” intellect. Matilda seeks comfort in her books and other encouraging adults, like her librarian and schoolteacher, as she battles with making friends, facing the wrath of her headmistress, and ultimately learning how to stand up for what’s right. Directed by Rex Kocherhans, with music direction by Emily Duncan and choreography by Suzie Balzer, this bright and beautiful production is sure to entertain audience members of all ages.
As a novice viewer of the production who had never read Roald Dahl’s book nor seen any film adaptations, I went into this production unsure of what to expect – but I did not leave disappointed. From the beginning to the end of the show, I was captured by the vision of scenic designer Michael Carrasco. Upon first glance, the set appears to be a simple black proscenium with layered sides, albeit smartly painted in letters and pages from novels. But cleverly embracing Matilda’s love for stories into the heart of the set, Carrasco’s pieces continually fold out like the pages of books to reveal various unexpected scenes throughout the show. Such effects transform each side of the stage into a living room and office, and turn the upstage space into a library, classroom, and even an escapologist and acrobat’s performance – all with the flip of a page and a little theatre magic.
These ingenious set pieces are complimented by Caleb Wallengren’s lighting design, whose effects only become more “loud” throughout the night. As a newcomer to the SCERA Shell outdoor experience, I commendhad to give props to Wallengren’s ability to use the minimal lighting visible onstage while the sun is still up. Yet as the night wears on, his gradual buildup of colorful effects slowly blends into a bright, bold final number that transports the audience into a world as bewitching as Matilda herself. Both of these designers rise to the occasion of the space’s unique features and give the audience a show worth watching.
Similarly, Kelsey Seaver’s costume design portrays the level of play required for these “revolting children” – adults included. The only thing scarier than Miss Trunchball is Mrs. Wormwood’s “a lot more” outfits! From the bright palettes of the Wormwood family to the massive undertaking of coordinating an ensemble of nearly 30 students, Seaver maintains an impressive focus to detail that makes each group of characters easy to follow, yet whimsically new each time a character enters the stage.
I would be remiss if I did not highlight the incredible choreography of Suzie Balzer. From the opening number, “Miracle,” I found myself complimenting this designer for filling an entire stage with a presence I’ve only experienced in professional Shakespeare productions. This captivating energy carries through every time the ensemble returns to the stage – or anytime Mrs. Wormwood and her partner salsa dance, (whoever taught Rudolpho to shake his tush with such intensity deserves a standing ovation from comedians everywhere.) Obviously, this exceptional sense of choreographic presence is not limited to large ensemble movements. I found myself expressing similar admiration in Miss Honey’s dynamic delivery of “Pathetic.” Additionally, the unique swing choreography for “When I Grow Up” left me tearing up. Balzer demonstrates impressive command of timing, energy, and space in this miraculous artistic triumph.
There is no denying that Hazel Bliss, who plays Matilda, is a rising star. This being my first Matilda the Musical experience, my astonishment for how many monologues Matilda has was surpassed only by how well Bliss kept up with the role! “This Little Girl” undoubtedly deserves every audience members’ standing ovation and I look forward to seeing her career continue to unfold.
Bliss’ talent, however, did not stop other actors from commandeering spotlight-stealing moments of their own. Evelynn Andrews’ perfectly deadpan delivery in the role of the Trunchbull is equally deserving of praise and kept me howling in my seat over and over again. Several supporting cast offered moments of genius as well, such as Lavender’s (played by Juniper Martin) impeccable timing during her Act II monologue, Michael’s (played by Sam Wilson) precise monosyllabic commentary, and of course the aforementioned rump-shaking moves of Rudolpho (played by Eli Bezzant). The entire ensemble also worked in a cohesive manner to highlight many comedic beats – the scene of Amanda (played by Lucy Lewellin) getting thrown by her pigtails was the definition of cast unity creating a hysterical beat of performance.
Although this performance was filled with many opportunities for honorable mentions, there were a few beats that fell short of the necessary comedic timing. The Act II opener felt somewhat unpolished as the delivery of many of the jokes left the audience wondering where the punchline was. I was also looking forward to seeing the Trunchbull being “hammered” into the ground when she was finally overthrown. Yet similar to the Act II opener, the much anticipated moment fell flat when the only direction given was for Andrews to run off the stage screaming, leaving the audience without a satisfying moment to bask in her downfall. As with many musicals, opening night jitters seemed to also interfere with a few key deliveries, such as in the scene, “My House.” However, I expect that with more practice and performances, these few wrinkles will be ironed out and culminate in a nearly flawless run of Matilda the Musical for the SCERA cast and crew.