REVIEW: Matilda at Sunderland Empire

Matilda

Sunderland Empire

Until Saturday 28 February 2026 and touring

Roald Dahl’s magical tale of an unassuming little girl who quietly fixes what’s wrong with her world through the power of her brain, plus a little bit of magic, comes up fresh and sparkling in this imaginative, rumbustious, and ultimately glorious musical retelling.

Dahl’s beloved children’s tale has consistently been named amongst the best children’s books of all time, notably by the BBC and Time magazine. The filmed version by Danny DeVito in 1996 achieved critical success and has endured in popularity, though it only reaped limited commercial rewards.

Adapting it into a stage musical led the RSC to take an original approach, as befits the material. Starting with a book by noted playwright Dennis Kelly, they then recruited Australian comedian, Tim Minchin to write the songs. This was a shrewd choice, swiftly acknowledged by those who were familiar with Minchin’s unique brand of comedy songwriting, filled with the same kind of mischievous exuberance that characterises Dahl’s books. 

The team, led by Award-winning director Matthew Warchus introduced some new ingredients to give more scope for musical numbers, notably making Matilda’s mother a competitive ballroom dancer with a preposterous pseudo-Italian partner and developed a musical that won seven Olivier Awards and five Tony Awards. The question that often attends such a legendary success is, ‘Does it live up to the hype?’ Based on this production, for this reviewer, the answer is a resounding ‘yes!’

The show starts with a deliberately jarring and abrasive number, showing parents doting on their very average offspring, making them out to be prodigies, while a disenchanted Children’s entertainer laments the glorification of mediocrity. We then meet Matilda, a truly exceptional child, whose ghastly, self-absorbed parents treat her as if she were entirely useless. Her only refuge is the library, where the warm-hearted librarian recognises her gifts and listens intently to the wonderful stories Matilda creates.  

Matilda is sent to the forbidding Crunchem Hall school, ruled over by the monolithic and wantonly vicious Miss Trunchbull, one of the most terrifying villains in children’s literature. Matilda’s form teacher, the timid but kindly Miss Honey, sets out to help Matilda but is defeated by Trunchbull. That is, until Matilda uses her intelligence, ingenuity and a little supernatural power to redress the balance. Suffice to say, it all comes right in the end, though not before some impressive pyrotechnics, baffling stage wizardry and nicely judged moments of genuine emotion amongst the many laughs.

Minchin’s score serves the story superbly, as does Kelly’s unselfconsciously intelligent script, nicely capturing Dahl’s idiom. The thought-provoking, impressive set by Rob Howell and Hugh Vanstone’s spectacular lighting design make a marvellous backdrop for this disciplined and hugely talented cast. Their vocal finesse in delivering some very challenging lyrics and their faultless execution of Peter Darling’s delightful and often surprising choreography led the audience, or this reviewer at least, to moments of open-mouthed awe.

In the title role at this performance was Sanna Kurihara and her portrayal was sharp, intelligent, engaging and beautifully sung. The role is shared with three other performers, Madison Davis, Mollie Hutton and Olivia Ironmonger. Given the tightness and professionalism of this touring company, I have no doubt the others are equally impressive. This is not just a nominal leading role; Matilda is rarely offstage and she carries significant responsibility on her tiny shoulders throughout. 

Richard Hurst’s Trunchbull is a tour de force. His swagger and barely suppressed rage would be the stuff of nightmares if not for the delicious hint of self-mockery he exhibits throughout, as if saying to the audience, ‘I’m terrible, aren’t I?

This same quality pervades the richly comic performances of the parents. Adam Stafford’s Mr Wormwood is a particular delight, relishing his despicable dirty dealings, fully convinced of the rightness of his mindless prejudices. Rebecca Thornhill shakes a mean leg as the joyously brash mother, more than ably supported by Ryan Lay as the strutting, preening and alarmingly flexible Rudolpho. 

Tessa Kadler brings a sweet vulnerability and a touching nobility to Miss Honey, delivering some of the most poignant musical moments in her clear, liquid soprano. Esther Niles brings warmth and charm to the kindly librarian, Mrs Phelps.

The adult ensemble mixes effectively with the disciplined and talented junior ensemble, adding an extra touch of fun, along with their impressive technical skills. There are several standout musical numbers, but School Song is a particular gem, both of writing and staging.

This is a funny, warm, exciting and thoroughly satisfying evening’s entertainment for all the family. If you have seen the, admittedly very good, film of the musical, you may think you have seen the show. You have not. The stage show makes the very most of the unique possibilities of live entertainment and its assured theatricality is both delightful and memorable. From the queues outside the theatre, you would have thought Taylor Swift was playing a free gig, so I doubt you can get tickets. If you can, however, you will be richly rewarded.

Review: Jonathan Cash

Photos: Manuel Harlan

Tickets:

Available from ATG Tickets LINK