BWW Reviews: MATILDA at SHEA'S BUFFALO

CHILDLIKE MAGIC AMID DARKNESS OF ADULTHOOD

A magical blend of a Grimm fairy tale, like HANSEL AND GRETEL, a Dickensian novel like OLIVER TWIST, and a childhoodhood fable like Roald Dahl's CHARLIE AND THE CHOCOLATE FACTORY, makes up the fabric of the new musical MATILDA, (also based on the book by Roald Dahl), that is playing at Shea's Buffalo Theatre. The beginning of this season is heavy on children themed shows, after NEWSIES in September and ANNIE next month, but MATILDA is full of important themes and will play as well to a 40 year old as it would to a 12 year old. MATILDA won 4 Tony Awards in the 2013 Season and this First National Tour is high on production values, as well as talent.

The book by Dennis Kelly tells the story of a young child, who was unwanted by her parents from the outset and lives a lonely life consumed by reading books and telling stories. During her first year of school she is found to be somewhat of a savant, and her teacher Miss Honey attempts to nurture her talents, while ultimately unleashing some of her superhuman powers. Adults need to suspend disbelief when viewing MATILDA, where caricatures of adult stereotypes are blended with susceptible children. Matilda's life is molded by her adversities, but she triumphs using her life experiences and inborn sense of truth to become an expert storyteller. An import to Broadway from the England's Royal Shakespeare Company, MATILDA exists as a modern take on a classic tale, with current musical styles used instead of classic showtune formulas. American audiences don't always accept the darker side of fairy tales as well as their English counterparts, as evidenced in the stage version of MARY POPPINS, vs the squeaky clean Disney film.

At Wednesday evening's performance, the title role was played by Mia Sinclair Jenness. The requisite Bristish accent posed a bit of a challenge to this young actress, especially during her prolonged story telling scenes, but her singing and dancing had the audience captivated. Her scenes with librarian Mrs. Phelps, played by Ora Jones, were always a highlight. In the library Matilda escapes from the Dickensian characters of her bleak childhood and unfurls her creative mind. Ms. Jones was perfect as the sole member of Matilda's captive audience and lent a human quality to an evening full of ogres.

Matilda's parents, the Wormwoods, played by Quinn Mattfeld and Cassie Silva, were made up as over the top cartoon characters who had stepped out of an English Music Hall. The slimy duo were responsible for demeaning their daughter to such a low level ,that their nasty quips were often shocking to stomach. Mattfeld's opening of Act II with his ignoramus of a son in the musical number "Telly" lent some levity to his unlikable character. Meanwhile Ms. Silva was the ditzy mom who was fixated on her dancing competitions.

Bryce Ryness was perfection as the wicked school teacher Agatha Trunchball , being evil and funny at the same time. His exaggerated physical presence was that of a very tall women with ample bosom hysterically in contrast to his skinny long legs, which he used to full advantage in the Physical education number. Mr. Ryness' dead pan delivery and icy glares were enough to intimidate any child, or adult for that matter. He appeared to revel in this evilness and appropriately dominated the stage through intimidation.

Miss Trunchbull's nemesis was the kind school teacher Miss Honey, played by Jennifer Blood. Simply costumed in everyday clothes in stark contrast to the others around her, Ms. Blood has a lovely soprano singing voice that served to ground her as the mother figure amongst all the other evil characters in Matilda's life.

Stage director Matthew Warchus moves the evening along with quick set changes and helps to maintain a good contrast of good versus evil, all the time allowing for Matilda to fully develop a personality of a smart child who also has a bit of naughtiness in her. Choreography by Peter Darling was energetic, but often bordered on frenetic. Mr. Darling's creativity really shone in employing an imaginative bevy of childhood toys into his dances, including a slide, swings, scooters and gym equipment. The music by Tim Minchin was serviceable, but many of his lyrics, sung with British accents were lost by most in the audience. It was often best just to take in the frenzy of activity and dancing occuring, rather than attempt to delineate the often too wordy and unintelligible lyrics. The large children's ensemble sang and danced in robotic accuracy when needed, but then bloomed in their final number, "Revolting Children", double entendre intended!

Set and costume designs by Rob Howell , with the scenery made up of many moving parts, including thousands of colored blocks with letters on them, giving a glimpse onto the convoluted and complicated mind of Matilda. The sumptuous lighting design by Hugh Vanstone engaged a multitude of lighting tricks to highlight the magic of the evening, while creative projections added visual details to Matilda's story telling in the library scenes.

The First National Tour of MATILDA THE MUSICAL plays at Shea's Buffalo Theatre, November 3-8, 2015.

For tickets ($40-$85), call 1-800-745-3000, go to www.ticketmaster.com or Shea's Box Office. For information, call 847-0850 or go to www.sheas.org.

Performances are Tuesday through Thursday at 7:30 PM, Friday at 8:00 PM, Saturday at 2:00 PM and 8:00 PM, and Sunday at 2:00 pm and 7:00 PM.

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