Review Roundup: MATILDA THE MUSICAL at La Mirada - Read the Reviews!

LA MIRADA THEATRE FOR THE PERFORMING ARTS & McCoy Rigby Entertainment presents the second show of their 2019-2020 season, Roald Dahl's MATILDA, THE MUSICAL, book by Dennis Kelly, music and lyrics by Tim Minchin, musical direction by Jennifer Lin, choreography by Kate Dunn and directed by Michael Matthews.

Tickets range from $20 - $89 (prices subject to change) and can be purchased at La Mirada Theatre's website, www.lamiradatheatre.com or by calling the La Mirada Theatre Box Office at (562) 944-9801 or (714) 994-6310. Group discounts are available. $15 Student Tickets are available.

Let's see what the critics are saying...

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Dany Margolies, Whittier Daily News: First and best, La Mirada's production boasts eight tiny performers who bring Matilda's classmates to musical-theater life. Dunn's choreography doesn't pander to their age, so they're called upon to dance all out in complex, non-repetitive moves in patterns that don't allow for error. And they make none, each young performer moving precisely, energetically, and in full embodiment of their characters, meanwhile staying in character.

Steven Stanley, StageSceneLA: Stephen Gifford's inventive original set design frames the action with mountain-high shelves of books, books, and more books, then adds classroom/playground paraphernalia and Kevin Williams' myriad props to the mix. Maine State Music Theatre designer Travis M. Grant's costumes make their La Mirada debut here, and they are Broadway fabulous each and every one, with additional design snaps shared by hair-wig-and-makeup artist Katie McCoy and lighting designer Steven Young making all of the above look even more breathtaking.

Chris Daniels, The Show Report: The chorus of children - triple-threats all in singing, dancing and acting - make you feel the future of musicals is in expert hands. As for the nine child performers, who are supplemented at times with adults portraying children, they occupy most convincingly that anxious state of siege we call childhood. This is evident even in their dancing, which ranges from a torturous phys-ed sequence that ties a knot in your stomach to a double-meaning anthem of liberation, "Revolting Children," which Kate Dunn has geniusly choreographed with a wink to Bill T. Jones's work (in my opinion) on "Spring Awakening." The production's invaluable stage manager is Marcedes L. Clanton, with assistance by Katherine Barrett, and the daunting musical director is Jennifer Lin.

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