Correct me if I'm wrong or terribly misguided, but I noticed in the Playbill there's an adult female swing who covers both girls and boys children's roles (Lavender, Nigel, Amanda, Eric, Alice, Tommy).
How exactly does this work? I would have thought it would be out of place.
It's not terribly uncommon, either. I have a friend who's first national tour was covering the orphans in Annie. She celebrated her 21st birthday shortly after the tour started.
What's strange is that, instead of having the child swings learn all the tracks, it seems from that rather complicated list that they would put the adult woman on if the boy normally playing the role and his swing are both out, even if the other boy swing is completely free. I'm assuming they didn't want to overwhelm the swings, but I know I would be disappointed to see an adult playing the part of a little kid when there are so many kids in the cast. I know that was done in Annie, but I saw it more as a means to cut costs and prevent a child who doesn't often get to perform from having to travel the country.
To be honest, for this show, I feel the London method of having 3 rotating teams of kids works better. Though it probably won't be an economical way to tour the show in the future.
Saw the show last night....LOVED IT!!!! Bailey was on last night and she was spot on and I understood every word she said. Can't say enough about Bertie. And a special shout out to the boy who played Bruce......he stole the show!
Saw the matinee today. I can't say enough about it. Oona was on for Matilda and I have no complaints about her. Her singing was solid. One or 2 very minor word stumbles but I was super impressed with her and everything else on that stage. I didnt really have trouble understanding any dialogue. If this show doesn't win best set design and direction I will be shocked. Shout out for choreography too. All of the performances were spot on. Only raves from me. Get tickets while you can!
Merch was a bit sparse. They had a couple of different short sleeve t-shirts available. A few colors with the Matilda logo and a grey one that said something about hammer throw finals with a silhouette of Trunchbull. They had the Roald Dahl book for sale, along with the London cast recording, 2 different mugs, magnets and keychains. That was it. No souvenir program yet (I asked).
Long time lurker, but new member here. I'm trying to pick my seats for May; I'm leaning towards row C mezzanine on the left-center aisle, but I'm wondering how the view is from there. Does the balcony above obstruct any of the gorgeous set, and are facial expressions lost in the mezz? Any info would helpful, thanks!
^That seat should be great! I sat towards the back of the mezz, and a bit of the top of the set was obstructed, but from row C you should be able to see everything! Updated On: 3/24/13 at 05:24 PM
Saw the show a few nights ago. I was SO looking forward to this. What a HUGE disappointment! Yes the design team did a great job. But what a silly inconsequential show. I did not feel anything for the main character despite her abuse --the characters were just too cartoony. The humor was forced and very "slapsticky" --kids will love it. Not sure how adults will feel about it. There are some really quality songs (Quiet, When I Grow Up and Revolting Children) and the kids are very good. But the whole thing was like some bad British children' movie from the 70s (remember Michael Crawford in ALICE IN WONDERLAND?). I really wanted to like this but WOW what a major fail. It will be interesting to see what the critics have to say about this one. It wasn't really awful--but it wasn't really that good either. I would never pay to see it again, that's for sure.
Thanks Mikey for posting your take on Matilda. We went to the show last Friday night with such high hopes, and I was loathe to post my less than rave review till I saw yours.
As a complete newcomer to the score, the show is sophisticated and demanding but also really really assaultive for most of its running time. Shades of "Spring Awakenings" in score, choreography and even costumes, but Spring Awakenings performed by six-year-olds! Accents were thick, but mostly understandable. (Accents never scared us-- the West End production of Billy Elliott was one of the greatest nights of theater we've enjoyed in the last decade.)
The sets were an intricate and witty jumble of scrabble pieces, a neat conceit that grows exhausting to look at for 2 1/2 hours. Performances were dazzlingly over-the-top, especially the horrifically low-class parents, but that level of intensity just wears you down in song after song without variation. Thank god for the Act II opener, "When I Grow Up", a lovely lovely respite from the horror that touched on some true humanity after so much aggression. Mysteriously for a show about kids, the heart seemed missing from the show for so much of its running time that when they finally slowed down for some welcome sweeter moments in Act II, it was too little too late for us. We left the show exhausted, confused and unmoved. How had a show so raved about left us so out in the cold?