Ihave to say something exciting-

–quiet, Maggots, when I’m writing!

…Something, I’m scarcely wont to do.

Even the finest shows don’t get it,

but I give when its due,

It is the odour of exception,

It’s the rare, six star review!

And you may bet for sure,

This review-er,

Finds nothing de rigeuer,

Giving such a great score willy nilly.

And so stop the cries of scorn,

A fuller review has been born,

To show six stars for ‘Tildy isn’t silly…

Attempting to come within even a country mile of mimicking the lyrical gymnastics, rhythmic playfulness and boundless whimsy of Tim Minchin’s music for Matilda only makes you appreciate its brilliance even more. It underpins just how much lightning-in-a-bottle genius he and the other creatives behind the show captured.

The RSC‘s Olivier-gobbling smash hit, Matilda the Musical returns to the Birmingham Hippodrome for a Summer engagement this week, and it has lost precisely none of its magic, charm and potency.

On the contrary, the fizzing, boundless imagination that continues to be on display in this gorgeous, spirited touring production not only honours the seminal Roald Dahl classic off which it is based, but in many ways surpasses it. And, in delightfully Dahl fashion, it is suitably nasty, unsanitised, mean and joyful all at once. These ‘revolting’, ‘naughty’ children have it rough, and the real villains (clue: most of the adults) are despicable, and even dangerous. It’s what Dahl always managed to capture in his writings (IRL red flags aside) – to care for your protagonist and their plight, there have to be stakes.

For the remarkably talented – possibly even gifted – bookish, sweet-natured but determined Matilda, the ‘stakes’ come in the form of truly horrible, neglectful and abusive parents and the tyrannical Olympian headmistress of her new school, Agatha Trunchbull (truly a musical theatre creation for the ages). Thankfully, amidst the hardships and abuse, she has friends in the form of an encouraging librarian (Esther Niles), her newfound school friends, and her kindly, supportive teacher, Miss Honey (Tessa Kadler).

“…in delightfully Dahl fashion, it is suitably nasty, unsanitised, mean and joyful all at once.”

Those familiar with the book (or even the transatlantic 1996 Danny DeVito film adaptation) will know the broad strokes of Matilda’s tale. But on stage, Dennis Kelly’s witty, heartfelt book gives it new places to go and things to say. Matilda’s library visits as she gradually recounts a new story about an Escapologist and Gymnast ties in to both her burgeoning abilities and another major character, all the while reflecting this little girl’s own desire to be seen, wanted and loved. The villainous Trunchbull’s backstory as a hammer-throwing medalist isn’t just exposition, it informs everything from her hilarious, intimidating, top-heavy character design through to her idiosyncratic musical numbers.

What’s perhaps most remarkable about Matilda the Musical is, for all of its flights of fancy and genuinely amazing set pieces (see: an early exquisite and dextrous number revolving around the alphabet, or any time the full classroom of kids are allowed to go full throttle), it’s also a genuinely excellent piece of musical theatre. Minchin’s music has wit, wordplay and character to spare, with the soundtrack stuffed with everything from the hilarious, up-tempo samba stylings of ‘Loud’ to the instantly hummable earworm of ‘When I Grow Up’ right through to thumping, anthematic triumph of ‘Revolting Children’. Even the more conventional musical theatre fare, such as the I Want of Miss Honey’s ‘My House’, is beautiful and searing.

Front and centre of leading the charge of all this revolting excellence are a core company of incredibly talented young performers. The central role of Matilda herself is shared across the tour by Madison Davis, Mollie Hutton, Olivia Ironmonger and Sanna Kurihara, with the latter putting on a beautiful, confident leading turn in the performance reviewed. The irrepressible Bruce Bogtrotter, meanwhile, is played by one of Oison-Luca Pegg, Carter-J Murphy, Brodie Robson and Takunda Khumalo. Pegg sung, danced and sassed up an absolute storm as Bruce for press night, giving some brilliant vocals and joyous character beats.

Of the grown-ups, Tessa Kadler is the perfect Miss Honey, embodying the gentle timidity, but unleashing one hell of a belt when needed. It’s a beautiful supporting turn, perfectly contrasted by the broader, comedic strokes of Rebecca Thornhill and Samuel Leon as Matilda’s odious, yet undeniably funny, parents.

And standing padded shoulders, pleated skirts and knee-high socks over them all is the indomitable presence of Richard Hurst’s looming, almost Frankenstein-esque Agatha Trunchbull. At once both terrifying and ridiculous, towering and snivelling, Hurst’s booming, idiosyncratic turn as the Headmistress from Hell is worth the admission alone. Like Matilda’s parents, this Trunchbull is truly awful, hurling children around by their pigtails (in one – of several – of the show’s extraordinary bits of visual trickery) and it pulls no punches in her cruelty and malice. And yet, as with all great villains, there’s no denying how utterly infectious and hilarious she is to watch.

“At once both terrifying and ridiculous, towering and snivelling, Hurst’s booming, idiosyncratic turn as the Headmistress from Hell is worth the admission alone.”

As mentioned, this touring production is a stunning piece of craftsmanship. Very little, if anything, from the decorated West End production, is dialled down here, and the show’s realisation of Peter Darling’s choreography seamlessly weaving in, out of, and even swinging from, Rob Howell’s gorgeous, rich staging, feels as authentic (and even occasionally shocking – are they really swinging that far?) as ever. This feels like rich, immediate and boundless theatre.

So what more do you little squits need to be told before you convince yourselves to go and catch Matilda the Musical? Don’t make this reviewer do a riff on more of Minchin’s music… it is too damned clever to try. I’ll end up in the chokey for sure.

But thematic flourishes aside, here is a gorgeous, funny, witty and endlessly charming tale about righting wrongs, being true to yourself and the virtues of even sometimes being a little bit naughty. It’s a deliciously individual musical, with performances, songs and characters for the ages and enough flights of imagination to keep even the biggest kids enthralled.

So hopscotch, scooter or swing your way along to the Hippodrome this month for what is, measure for measure, newt for newt, one of the greatest musicals of the 21st Century.

Either that, or spend the Summer in the Chokey.

The choice is yours, Maggots.