BEWARE OF MISS TRUNCHBULL!
It’s not likely the audience will find any waltzing in this MATILDA onstage at the Thousand Oaks Civic Arts Plaza within the Fred Kavli Theatre. They will see a Tony-winning musical performed by a fine cast of players only until March 31. This 5 Star Theatricals production does indeed feature dancing (see photo below), but the primary attraction of this exuberant performance – let’s be honest – showcases an adorable, feisty, talented, mostly pre-teen singing and dancing class of schoolchildren. These kids break all the rules and the audience couldn’t be happier.
American audiences generally are not as familiar with the Roald Dahl output of children’s literature, upon which this MATILDA adaptation by Dennis Kelly is based, as are the Brits. His novels and short stories usually center on children with an adult villain treating the kids poorly. This leads to some – wait for it – NOVEL twists and turns that appeal to both the young ones and their handlers, too. This 1968 concoction, penned near the end of his literary career, is revered across the pond.
And now to this production, paying heed to the formulaic intentions of the author. Olivia Marcum (alternating with Lucy Bollier) plays the title role (“Matilda”) It’s a very tall order for a neophyte and Olivia (whom I saw) commands the stage with a depth far beyond her years. It may be the script itself, but only the telekinesis bits did not succeed very well.
Villain? ( or should this critic, instead, say) villainS? First, there are James Larsen (“Mr. Wormwood”) and his wife Janna Cardia (Mrs. Wormwood”), both specimens looking as if 
they crawled out of some Funhouse trapdoor. Both pooh-pooh their daughter’s love of books and scorn her intelligence. She finds herself alone and mistreated in her own home. Conversely, the sad sack older son Nick McKenna (“Michael Wormwood”) plops on the couch, watches the “telly” incessantly and ignores his sibling. And so the bright one is pitied and the intellectually-challenged one is celebrated. Nick does some smart acting, though, in capturing the hapless son.
Mr. Wormwood runs a sleazy auto sales business for which he is currently negotiating for an unethical, multi-car sale to some wealthy Russians. Mr. Larsen oozes the sleaze from every pore while castigating poor Matilda repeatedly. His opening to Act II proves to be priceless. SOLD! Meanwhile, Mrs. Wormwood can think of nothing else but her obsessive ballroom dancing and the stud slithering in and out of the furniture with her. John Paul Batista (“Rudolpho”), who also assists with the show’s choreography, complements the smarm of his partner with every twirl and dip. (Hopefully, he can make it through the run without ripping those skin tight duds.) Funny stuff. Ms. Cardia couldn’t be finer as the Mrs.; in short, she’s got the beat on empty-headed flightiness. In the midst of this madness, Matilda sometimes uses her intellect to assert her worth.
But it is at school that the audience meets the super villain. Nicholas Mongiardo-Cooper (“Miss Trunchbull”) sends shivers down the spine of her charges at Matilda’s school, ever eager to mete out punishment to the despised ones. The dreaded “chokey”, a cabinet lined with sharp protrusions, serves as the ultimate source of intimidation aimed at forcing the kids to toe the line or else. Mr. Mongiardo-Cooper harnesses that evil energy in a fine performance which surely won’t lead to any apples on her desk anytime soon.
Providing a distinct contrast to the scurrilous behavior of Miss Trunchbull are the sweetness of two other key characters. Katie DeShan (“Miss Honey”) corners the syrupy territory in the story, recognizing Matilda’s brilliance and special gifts. She gets to cower at the iron-fisted Trunchbull while sympathizing with the children at other moments. Nice balance in this performance…no sugary excess, thank goodness. To a lesser degree, Deanna Anthony (“Mrs. Phelps”) also is plenty sweet while simultaneously recognizing Matilda’s imaginative storytelling. Humorous and highly animated 
performance.
Returning to the core of the entertainment, those schoolchildren deserve most of the credit for the show’s success. Their acting, singing and movement are above reproach. No whippings here. Important to applaud the costume designer Noelle Raffy for the smart dressing of the youngsters (along with the rest of her admirable work) as well as the wardrobe supervision by Kimberly Foster. Folks, imagine the potential for backstage chaos without supreme efforts here.
Tim Minchin’s catchy tunes and lyrics are expertly handled by the musical direction of Jennifer Lin, encouraging excellent sounds on behalf of the principals, featured players and chorus as well. An 11-pc orchestra, also led by Ms. Lin, accompanies the onstage mayhem to perfection.
Heather Castillo, as choreographer, directs the razor-sharp movements of the ensemble. Slightly disappointed with some elements of the physical fitness routine, but otherwise right on the mark. In the ensemble, a shout out to the always charming and talented Carolyn Lupin, especially for her Russian Mafia bit (totally unexpected).
The stage managers, Talia Krispel assisted by Tawni Eccles and Julian Olive, deserve special recognition for “wrangling” all these young actors so successfully.
The creative team on this show creates a wonderful environment for the show to prosper. Congratulations to Stephen Gifford (Scenic Design), Jose Santiago (Lighting Design) and Jonathan Burke (Sound Design) for fulfilling the promise of the script. The entire enterprise benefits from the astute direction of Lewis Wilkenfeld, as he has done many times previously for Cabrillo Music Theatre offerings.
At the end of the day, it must be recognized that the show is top flight entertainment for this community. Do yourself a favor and corral your children (or your neighbor’s children) to join these performers in Thousand Oaks this coming weekend for MATILDA.
pc: Ed Krieger
