Roald Dahl’s Matilda the Musical

Review of the Netflix Film Adaptation

First making its debut on London’s West End in 2011, followed by a Broadway premiere in 2013, I would argue that Matilda the Musical was one of last decade’s most defining new productions. Featuring a stellar book by Dennis Kelly, and linguistically clever music by Australian comedic musician Tim Minchin, it was one of those musicals you could see again, again and again, always finding something new to appreciate in terms of narrative, music or stagecraft. For almost as long as the production was holding its extended inaugural seasons, there was word of a movie adaptation of the musical, rumours that granted, many have received over the years. But now in 2022, this hope turned to fruition, with Netflix due to deliver a Christmas Day release of Matilda the Musical on their platform at no extra charge. But why wait until Christmas Day, when you can pass judgment on the production now, through a series of cinema screenings across the nation? Did Matilda the Musical’s film adaptation live up to high expectations, or is it something best to keep to the confines of a stage? Read on to find out!

Unlike other recent streaming platform releases of popular musicals such as Hamilton the Musical on Disney+ or Come From Away on Apple TV+ which are recordings of the stage production, Matilda the Musical adapts the musical into a fully-fledged film, increasing the scope and scale of world-building. While the stage musical featured many iconic moments, I feel that so much of the stagecraft would have been lost in a recording, so this was the way to go. In place of the stage, the story is told in a world very much like that of ‘Netflix’s A Series of Unfortunate Events’ from 2017. While viewers are treated to a few picturesque once or twice-off environments, these are contrasted against the dank halls and grounds of Crunchem Hall School which while depicted as being labyrinthian (At least in some scenes), its prison-like environment provides a continual claustrophobic feeling – which I love. 

The core structure of Roald Dahl’s iconic 1988 children’s novel is present, as are many new narrative elements introduced in the musical. But the transition from stage to screen, while maintaining most songs and plot points, does make a few trimmings and alterations here and there. On the cutting room floor was the omission of Michael Wormwood and his associated song ‘Telly’, which from a pacing perspective was a smart choice. Furthermore, while some scenes, especially in the introduction were simplified, others in turn were extended and took full advantage of its transition to film. Having seen the musical so many times, I feel the changes were mostly wise choices. Expansions to the Physical Education scene particularly were particularly welcome and proved to be an unexpected highlight. My only gripe was the character Hortensia, who receives much more prominence in the film than in past films or productions. I feel her role was untapped gold, only appearing in two songs, and could have better reflected a slowly growing revolt as events unfold.

Casting for this film was spot on, even if in some cases it does subvert expectations set by previous works. As her debut film, Alisha Weir was perfect as the titular character of Matilda, with a solemn demeanour that houses a clear nature of cheekiness. I will admit my concern about how Emma Thompson would come across as the overpowering and threatening figure of Miss Trunchbull, especially since I am pretty sure Pam Ferris’ version in 1996 holds a permanent position in my nightmares. I was pleasantly surprised by just how daunting, and, dare I say, enjoyable the character was from start to finish. While meant to be the epitome of evil, there was a certain degree of campiness in her role, making her easily my favourite portrayal of the character so far. The other principal cast members do their respective characters justice as well, being a little more rounded and deeper than their previous film and novel counterparts. Lashana Lynch – a perfect choice for Miss Honey, Stephen Graham and Andrea Riseborough – excellent choices as Mr and Mrs Wormwood. Sindhu Vee – pure delight as the eccentric Mrs Phelps. But the greatest accolades must go to the child performers, countless in number, who pull off next-level choreography and harmonies.

In keeping to a 2-hour runtime, Matilda the Musical’s film adaptation had to cut a number of songs from the musical, none of which were really missed, while some songs were rewritten or rather reprised to complement the film environment – with ‘School Song’ and ‘The Smell of Rebellion’ in particular gaining more prominence. The music and lyrics by Tim Minchin were the easy highlights of the musical, and that is still the case with the film adaptation. Unfortunately, those hoping to enjoy new songs from Minchin will find that there is only one new lyrical song, the ending theme, which was lovely and up to Minchin’s high standards – but doesn’t reflect the peaks delivered by the likes of ‘Bruce’ and ‘Revolting Children’.

With its darker tones and more complicated plot, the Netflix adaptation of Matilda the Musical will probably not replace the 1996 film featuring Mara Wilson, Danny DeVito, Pam Ferris and Embeth Davidtz as the go-to family-friendly film. And that is fine. I don’t see 5-year-old me necessarily sitting through Matilda the Musical without getting restless or downright scared. Matilda the Musical’s film adaptation is a delightful take on an all-ages-friendly and highly memorable musical that is worth a watch come its Christmas Day launch. In fact, there may be some revolting from family members if you don’t watch it. Overall, this is an exemplar of how to best adapt musicals to film.

4.5
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