Matilda the Musical, Cambridge Theatre

Everyone is talking about Matilda the Musical… Tim Minchin and Dennis Kelly’s hit show has just been awarded the prestigious ‘Best Musical’ prize at the Evening Standard Theatre Awards 2011, and quite rightly so. Matilda has successfully transferred to the Cambridge Theatre after a sensational run at the Courtyard Theatre in Stratford-upon-Avon, and is delighting the London audience, young and old. I saw the show in its original home and the move to the West End has not altered its intimacy and magic, just added West End glitz.

The audience are buried beneath the tumbling books of Rob Howell’s awesome set, it is a far cry from the sultry black setting of Chicago, the previous show at the Cambridge. Roald Dahl’s 1988 novel tells the story of an extraordinary little girl, who against all odds overcomes the hatred of her uncaring, ignorant parents and nasty headmistress using her supernatural powers to help herself and her friends. Director Matthew Warchus' vision is original and inventive - there is a particularly beautiful sequence with children on swings in the second half, that made several audience members around me gasp. My little sister beside me looked up to the stage enviously, and the second we got home she looked up the audition specifications, even I left wanting to be in the Matilda gang, it all looks like so much fun!

The whole cast are fantastic, and work together beautifully presenting a well paced, polished performance. The children are most impressive, with unbelievable confidence and self assurance, they are mesmerising - acting, singing and dancing perfectly. There are four Matildas who alternate playing the exhausting title role, I saw little Kerry Ingram, who is a sensation. She has a quirky character that she brings to the role, certainly not your usual stage school kid - she is an individual girl with star quality. Her classmates are brilliant too, Zachary Harris as Bruce has a smashing, soulful voice, and Ruby Bridle as Lavender is hilarious and feisty. It wouldn’t be possible to write a review of this show and not mention Bertie Carvel who rules the roost, giving a hysterical portrayal of cruel headmistress Miss Trunchbull… his mannerisms and tone of voice made me giggle nonstop, though he could also be pretty terrifying.

Tim Minchin is a genius, and has succeeded in capturing the imagination of Roald Dahl in a show that will makes people both laugh and cry. The music has sharp wit paired with an affecting sensitivity, that is sure to result in a few tears, and the memorable tunes, like ‘When I Grow Up’ are sure to increase the popularity of this musical.

Matilda the Musical is a magical and moving production that will thrill the whole family, it is the only show you HAVE to see this Christmas.

MATILDA continues until 21 October 2012, book here.

Chicago and the Triple Threat

Chicago is the musical that has everything. The brilliant ‘triple-threat’ performers (singers, actors, dancers) storm the stage with such confidence that one trembles with excitement.

Currently showing at The Cambridge Theatre in the heart of Covent Garden the show oozes sassy style. The stage is dominated by the 14 piece band led by the very jolly Ian Townsend, who occasionally chirps up to introduce the acts. The interaction between musicians and actors throughout makes you feel a bit like you’re in Ronnie Scott’s jazz bar round the corner in Soho. Apart from the band and a few chairs the set is almost non- existent, which surprisingly works really well. Ensemble characters lurk on the edges of the stage for the majority of the show, becoming the musical’s set.

The dynamic between the show's two divas - Roxie Hart (a Marilyn Monroe esque Sarah Soetaert) and Velma Kelly (the sexy Vivien Carter) is brilliant to watch; they spark off each other to produce great theatre. For me it is the dancing that is most impressive. Chicago is an important piece when you consider the history of musical theatre, especially the choreography and the Bob Fosse phenomenon. With sharp, stylised movements, Fosse gave his dancers something to think about during their numbers.

As much as I love the show, I feel I should mention the shortcomings of the theatre it calls home. I found the Cambridge very uncomfortable and chilly. Despite sitting in the central stalls the seats were cramped and there was a persistent breeze that annoyingly distracted me. The nature of the musical lends itself to a smaller, more intimate venue, but because of its popularity, of course ends up in a large theatre. Perhaps it would be more suited to one of the more petite West End establishments like The Duchess.

Chicago is a timeless classic that everyone should see once. It is a true piece of musical theatre history.