MATILDA THE MUSICAL – Review

Mayflower Theatre – Southampton until 17^th May 2026 then continuing tour

Review: Pat Hayward 30th April 2026

Who would think that a story about an unloved, precocious five year old who gets sent to a school run by a criminally insane headteacher, would be the material for a record-breaking stage musical. Well a writer called Dennis Kelly did and he convinced songwriter Tim Minchin to join him in adapting Roald Dahl’s book Matilda for the stage and not only that but together they took the concept to the Royal Shakespeare Company and somehow got them to agree to work with them on bringing the musical to the stage. And so, in November 2010 in time for Christmas it premiered in Stratford-Upon-Avon and ran for an agreed 12 weeks, with the expectation that it would occasionally pop up in the RSC’s repertory around holiday times. But no, it had caused such a buzz that a West End opening was scheduled for later in 2011 and that is when the stage phenomenon that is – “Roald Dahl’s Matilda the musical’ – was born and over the past 15 years it has gone on and taken over the world.

This week the RSC production returns to Mayflower Theatre where it is running until 17^th May. But this is no ordinary production, think BIG and then double it. Everything about this musical is large scale West End, Broadway style. Matthew Warchus’s direction gives it an incredible momentum with all the expected exuberance, wit and charm and the large cast deliver in aces.

The role of Matilda is fundamental and for any young actor to take on such a huge role must be daunting. Hardly off set and central to most scenes for almost two and a half hours, to say that one performer is key to the success or failure of a show is no understatement and for that performer to be a child – wow. Last night Madison Davis took on the role of Matilda, a role that she will share with Mollie Hutton, Olivia Ironmonger and Sanna Kurihara during the Southampton run and Madison was everything that you would expect Matilda to be – sheer perfection. However, much of the story unfolds in the school and the pupils are made up from the revolving cast of youngsters, who are blended with the older performers together making up the class. One of Matilda’s class is cake-gorging Bruce who last night was brilliantly played by Brodie Robson, a role that he shares with Oisin-Luca Pegg, Carter-J Murphy and Takunda Khumalo, and one that showed him as an incredibly talented performer.

Let’s not forget the grown-ups either, there are Matilda’s parents Mr. and Mrs. Wormwood, obnoxiously played by Rebecca Thornhill and Adam Stafford and there is Samuel Leon as her idiot brother Michael. Then at school we have the terrifying head mistress Miss Trunchbull scaringly portrayed by Richard Hurst and the class teacher and kindred spirit with Matilda, Miss Honey, wonderfully portrayed by Tessa Kadler who has just enough opportunity to show the world what a wonderful singing voice she has and it is no surprise that she has appeared in Les Miserables among many other major musicals. There is a huge cast and there are stand-out character performances by Ryan Lay as Rudolpho, the dancer; Esther Niles as Mrs. Phelps, the librarian; Jordan Ricketts as the doctor and Scotty Armstrong as Sergei.

Creating the environments where the story unfolds, home, class, chokey, library is no mean feat but the incredible sets created by Rob Howell allow the story to glide seamlessly from reassuring to threatening in a split second whilst the lighting designed by Hugh Vanstone adds to the atmosphere. Last night was the first performance at Mayflower Theatre so maybe this isn’t a fair comment but once again there was the odd problem with sound, the words were occasionally tricky to make out, something that seems to affect the adult performers more than the younger members of the cast. However, when it got to the big production numbers ‘When I Grow Up’ and ‘Revolting Children’ the concerns disappeared as the songs were delivered with just as much drive and energy as you could possibly wish for, supported by Andrew Corcoran leading the large pit orchestra. Special mention has to go to Peter Darling’s choreography which cleverly intertwines adult and child routines with perfect synchronisation.

All in all, this is one wonderful night in the theatre, no matter whether like Matilda, you’re five or like Miss Trunchball you’re living on borrowed time, you will love this show. If you’ve not booked, I urge you to do so whilst there are a few tickets remaining, it is on until 17^th May and believe me those tickets are worth every penny.