‘Matilda’ – Original Broadway Cast Recording

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When asked if I thought there would be a Broadway cast recording of Matilda, my response was “Don’t hold your breath.” Not that I didn’t want one; I believe all musicals deserve to be recorded. However, British imports – especially those retaining original West End cast members – rarely get recorded anymore. There was a time when this wasn’t the case, with shows as diverse as Irma La Douce, Oliver!, and Les Miserables getting a new recording on this side of the pond. However, during the last 25 years we’ve seen The Phantom of the Opera, Miss Saigon, Mamma Mia, Mary Poppins and Billy Elliot come to NY and not get a new recording. So it took me by pleasant surprise when it was announced that Broadway Records and Yellow Sound Label were going to record the Broadway cast.

The Broadway production of Matilda was met with great critical acclaim when it opened in April 2013, and as of this writing I have seen the show four times at the Shubert Theatre. It’s translated well, though quite a bit of the show’s innate Britishness has been softened for American audiences. For me, it’s just slightly less special here than it was in the West End. I’m glad that Bertie Carvel and Lauren Ward were able to repeat their brilliant performances in NY, but I found myself not quite as moved as I was at the Cambridge Theatre. The two West End Matildas I saw gave special performances, with one giving the greatest child performance I’ve ever seen. The original supporting players were also a bit more distinctive; more shades and less outrageous cartoon. I also feel that the revisions composer-lyricist Tim Minchin made to his lyrics, with the exception of those for “Bruce,” diminish his work (eg: “Charlotte Bronte – do not wantee” is a poor substitute for “Harry Potter? What a rotter!”). That said, I still think Matilda is one of the best and brightest musicals of the past few years.

Almost exactly two years after receiving the original Stratford cast recording (*not* London, for the record), I received the jazzed up original Broadway cast recording of Matilda, which was recorded just prior to the departure of Carvel and Ward, who’d been with the show since its world premiere. It’s interesting to compare and contrast their performances on each album, especially to hear how Carvel’s voice has grown more feminine and more distinctive. However, the Stratford recording remains essential if only for Carvel’s hidden track performing Trunchbull’s entire second act diatribe. Ward’s Miss Honey is a performance that feels more lived in, not unlike some of the performances on the 1959 London cast recording of My Fair Lady.

The Broadway cast album boasts punched up orchestrations and vocal arranging (some delicious new harmonies), as well as the first recordings of the new Overture (more of a Prelude, really), “The Chokey Chant,” and “Chalk Writing.” The three bonus tracks include the first three parts of Matilda’s story, though I think the album would be stronger if these underscored monologues were included in their appropriate place in the score, as they build to “I’m Here” in the second act. A deluxe edition containing a cut song performed by Chris Hoch, as well as a quartet version of “Naughty” featuring all four Tony-honored Matildas, is available on iTunes.

I can’t say the new Broadway album is better than the Stratford recording, because I think both are worth having. I just wish there had been an original London cast recording.

The 69th Annual Theatre World Award Winners Announced!

The 2013 Theatre World Award Winners for Outstanding Broadway or Off-Broadway Debut Performance during the 2012-2013 theatrical season have been announced! The ceremony will take place on Monday, June 3 at the Music Box Theatre, once again hosted by Peter Filichia.

Bertie Carvel, Matilda
Carrie Coon, Who’s Afraid of Virginia Woolf? 
Brandon J. Dirden, The Piano Lesson
Shalita Grant, Vanya and Sonia and Masha and Spike
Tom Hanks, Lucky Guy 
Valisia LeKae, Motown
Rob McClure, Chaplin 
Ruthie Ann Miles, Here Lies Love
Conrad Ricamora, Here Lies Love
Keala Settle, Hands on a Hardbody
Yvonne Strahovski, Golden Boy
Tom Sturridge, Orphans 

The 2013 Dorothy Loudon Award for Excellence in the Theater: Jonny Orsini, The Nance

The 2013 John Willis Award for Lifetime Achievement in the Theatre: Alan Alda

My Favorite Performances, 2012

Bertie Carvel – Matilda. Hearing Carvel’s performance on the original cast recording was my main impetus in making sure I got to London to see the show while he was still in the cast. As Agatha Trunchbull, the grotesque headmistress at war with Matilda Wormwood, Carvel creates one of the great comic villains in music theatre, a domineering physical presence whose second act anti-child number “The Smell of Rebellion” is a show-stopper. There are panto elements in the performance, but he plays Miss Trunchbull without winking or leering, showing shades of the insecure bully who resorts to all sorts of nasty business. I’m so thrilled NY will have a chance to see his performance in the upcoming Broadway transfer.

James Corden – One Man, Two Guvnors. The most brilliant comic creation I’ve seen since Mark Rylance took Broadway by storm with Boeing Boeing, Corden’s Francis Henshall – portly, silly, lovable – was a delight from start to finish. It’s rare that pure silliness can beget pure joy. Corden managed to do this through the mix of high and low (mostly low) brow humor in Richard Bean’s updating of A Servant of Two Masters. I saw the show a total of three times, including opening night and the utter free-for-all that was the closing night (hijinks, pranks, nudity, and all sorts of glorious hijinks in the spirit of the show) and I consistently laughed until my sides ached every time. Much of this is due to Corden’s brilliance. I do wish the play had continued after his scheduled departure, but fortunately it’s still running in London for those who want some breathless hilarity.

Linda Lavin – The Lyons. Lavin gave up supporting roles in Broadway transfers of Follies and Other Desert Cities to play this leading role off-Broadway, and with good reason. Rita Lyon is one of the most fascinating mothers in American drama since Violet Weston went nuts on her family. Lavin was able to turn a magazine page turn into a comic gold mine, and constantly surprised. Her exit speech was so brilliantly delivered that she received two back to back showstopping ovations.

Tracy Letts – Who’s Afraid of Virginia Woolf? Albee’s play is one of my favorites and I would gladly see any production of it anywhere. This Steppenwolf import is an intense, visceral experience that makes the battle for the upper-hand one of the games along the way. Intense work by a superb ensemble, but Letts comes out on top in this reimagined look at the fascinating George. He is terrifying, hilarious, charming, dangerous and unsettling making a role seem new. Everyone else in the ensemble is the better for this searing portrayal. A must-see performance.

Donna Murphy – Into the Woods. Critics were mixed on this production (and having seen it three times throughout its run, I think it was a mistake to let them in early), but Murphy’s portrayal of the Witch was one of the most galvanizing performances I have ever seen. Playing up the character’s pragmatism and relationship to Rapunzel, it was as though I understood a maternal need for the character that either I missed before, or just wasn’t present in other performances I have seen. Her “Last Midnight” was nothing short of legendary; one of then most terrifying and devastating showstoppers of the year.

Imelda Staunton – Sweeney Todd. I made it a point to catch this highly-acclaimed revival while in London, and I am so glad that I did. Michael Ball was Sweeney Todd, and while he was better than I expected, it was Imelda Staunton’s searing, gritty portrayal of the enterprising, conniving Mrs. Lovett that I left thinking about. Practically every facet of her performance is seared in my memory – from her reaction to Pirelli’s dead body, to the chilling look out front while James McConville finished singing “Not While I’m Around,” to the spectacular work she did in the show’s searing final scene. Apparently Ms. Staunton is uninterested in a Broadway transfer, and that is truly New York theatre’s loss.

Katie Thompson – Giant. There was much to admire in the Public Theater’s presentation of Michael John La Chiusa’s Giant, including the winning lead performances of Brian d’Arcy James and Kate Baldwin, but as Vashti Hake, the jilted cowgirl heiress turned tycoon’s wife, Katie Thompson took me completely by surprise. Ms. Thompson got two of the best songs in the show,”He Wanted a Girl” and “Midnight Blues” and delivered a featured performance so striking I want to see her star in her own musical.

Anthony Warlow – Annie. This Australian powerhouse made his Broadway debut as Daddy Warbucks the current revival, recreating a role he has played several times before. Much to my surprise, Mr. Warlow managed to steal this classic musical about that orphan from both of its leading ladies, with his gruff but sincere demeanor and a voice that is nothing short of spectacular. His rendition of “Something Was Missing” brought down the house, something I wouldn’t have thought previously. He is the heart and soul of this uneven, but entertaining production.

Eleanor Worthington-Cox – Matilda. In the past year I have seen an inordinate amount of child performances. In the past I haven’t taken too well to kids on stage – not unlike the stage manager in Gypsy – but for the most part I saw real children giving strong performances that weren’t overly precocious or cloying. And while I was in London, I so loved Matilda that I saw it twice. While the Matilda I covered was the exceptional Sophia Kiely, I think Eleanor Worthington-Cox gave the greatest child performance I have ever seen in my life. (With all respect to Ms. Kiely, who was superb). It felt like I was watching the perfect embodiment of Dahl’s character.

In a category all its own was the sublime reunion concert of Assassins, which brought back almost the entire 2004 cast at Studio 54. A sterling ensemble, it’s a shame they couldn’t have a revival of the revival as they are all still so extraordinary.

Also worth mentioning: Victoria Clark and Christopher Fitzgerald who both walked away with the Collegiate Chorale’s concert presentation of The Mikado. Clark entered like a virago, stopping the show before she even opened her mouth. She and Fitzgerald created pandemonium with their eleven o’clock performance of “There is Beauty in the Bellow of the Blast.”

“Matilda” – West End

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Ladies and gentlemen, Matilda the Musical is a hit. A big, beautiful smash hit. The sort of intelligent, literate musical comedy that makes you want to throw your hat in the air and cheer. This is the kind of show that comes around once in a generation, and will likely run into the next one. Simultaneously touching and subversive, Roald Dahl’s story of an unloved prodigy who learns to stand up to the bullies in her life has become a beautifully realized stage property. Matilda is, to quote from its opening number, a miracle.

A child of exceptional mental faculties, Matilda has taught herself to read and has an unlimited capacity for mathematics.  Her weekly reading list could fill a college syllabus, and her imagination is limitless. But her garish, vacuous parents think she’s a freak, and her head mistress, Agatha Trunchbull, would rather Matilda went to prison for life without parole. The young child must use the extraordinary gifts of her mind to fight the bullying adults, and in that conflict librettist Dennis Kelly and composer-lyricist Tim Minchin crafted a deliriously tuneful and clever musical with astonishing élan, though I do think there should be a musical button to end the first act. (For my thoughts on the score, here’s my post on the original cast album).

Matilda is far more sophisticated than those other musical theatre children who have come before her (Oliver and Annie come readily to mind), and much to my relief – and key to the show’s triumph – is that the role is written and directed to be played like a normal child, minus all trappings of the affected, cloying child actor. The charming, takes-no-guff Sophia Kiely played the role the night I attended. (Ms. Kiely rotates with three other actresses). The role is exceptionally large, with huge monologues, musical soliloquies and exhausting choreography. Ms. Kiely was utterly superb; I was in her corner from the moment she critiqued Romeo and Juliet for having a “touch of stupidity” in her establishing song “Naughty.”

Bertie Carvel is astonishing as Miss Trunchbull. Playing the enormous bully in panto tradition, Carvel finds so many surprising shades: we see not only her villainy but the insecurities, the craving for attention and her femininity. Almost every line and gesture is laugh inducing, with a distinctive speaking voice that only adds to the overwhelming impact of his performance. His second act number “The Smell of Rebellion,” is a physically grueling showstopper, built around a rigorous exercise regimen complete with a trampoline vault. Carvel executes the number without missing a single breath. It’s a marvel, and I hope Mr. Carvel will be brought over to delight Broadway audiences next year.

As for the rest of the adults, Paul Kaye is Matilda’s father, a dimwitted mean-spirit who espouses the pros of “Telly” during interval. Josie Walker decked out in a garish wig and pink fishnets plays Matilda’s narcissistic, dance-happy mother (and is joined by Gary Watson’s deliriously sleazy Rudolpho for a tribute to vapidity, “Loud”). Lauren Ward is warm and endearing as Miss Honey, the meek teacher who, thanks to Matilda, develops a spine and learns to stand up to the oppressive Trunchbull. Peter Howe was hilarious as Matilda’s dimwitted older brother, punctuating scenes with his inane comatose utterances. Melanie La Barrie adds humanity and humor as Mrs. Phelps, the kind librarian who encourages Matilda’s love of reading and story-telling.

Peter Darling’s choreography is inventive and engaging, from the cleverness of “School Song” to the swings of the irrepressibly nostalgic “When I Grow Up” to the Spring Awakening send-up of “Revolting Children.” Matthew Warchus, who was responsible for my beloved revival of The Norman Conquests several years back, is in peak form with a staging that will rank among his best work. Rob Howell’s set, made up of wooden blocks and offbeat, oversize scrabble tiles that spill into the house is a visual delight, a perfect arena for his off-the-wall costumes.

I was so taken with the musical, I bought a ticket for the Saturday night performance. The second viewing allowed me a closer look at the nuances in the staging and choreography, as well as the details of the set. It also gave me a chance to see an entirely different cast of children, with a witty and wise Eleanor Worthington-Cox as the title character. Comparisons would futile, as both young ladies were equally effective in their distinctive interpretations. Also, Paul Kaye was out and I saw understudy Peter Howe offer his own unique, effective portrayal of Mr. Wormwood. I’m quite impressed how the production celebrates performers’ individuality. No matter which cast you see, the show will be in excellent form.

“Matilda” – Original Cast Recording

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Every so often, I encounter a new score that captures my ear and imagination, and I find I myself listening to it ad infinitum. There’s something about the way the words and music hit me that I find that I compulsively want to hear the new work again and again. The last time this happened was six years ago on the release of The Light in the Piazza. There have been other scores in the years since that I have greatly admired, but none has bowled me over quite like the original cast album of MatildaI’ve had this original cast recording for a month now, featuring the show’s original Stratford players, and have been listening to it so often that all of its 17 tracks have entered my top 25 playlist on iTunes. To be frank, I haven’t been this excited/thrilled/over-the-moon about a new musical in years, and if my ear is any indicator, Matilda is going to have a long and healthy life on stage.

Matilda had its world premiere at the Royal Shakespeare Company last December, directed by Matthew Warchus, (the man responsible for the smashing revival of The Norman Conquests)Dennis Kelly has written the book with Australian comedian, singer, songwriter Tim Minchin providing both music and lyrics. The choreography is by Peter Darling. The new musical opened to rave reviews at the Courtyard Theatre, where it played a sold out limited engagement, with the Daily Telegraph declaring it the best musical since Billy Elliot. I’ll take it a step further: Matilda contains the best original British score I’ve heard in ages. Now Matilda is poised to take the West End by storm, with performances starting at the Cambridge Theatre on October 25.

The focus here is on Minchin’s music and lyrics, but I must make mention that Kelly has written a superb libretto from Roald Dahl’s classic children’s novel. Minchin is new to writing musicals, though he has a background in theatre, but he makes an auspicious debut with his first full musical score. What’s so wondrous about this adaptation is that Mr. Minchin not only serves the book, but captures Dahl’s tone, with its mix of dark humor and understated emotion. Unlike most shows with child protagonists (most of which admittedly tend to send me straight for the insulin), Matilda never becomes cloying or irritating.

Matilda Wormwood is extraordinary, though she doesn’t realize it. She’s 5 going on 50 and in that old soul you find a young girl with more brains, compassion and maturity than most of the adults around her. Her parents (hilariously sung by Paul Kaye and Josie Walker) are self-centered pigs who find her affinity for reading repulsive. She meets a kindred spirit, the lovely Miss Honey – the only adult to recognize Matilda’s prodigious aptitude. However, at the same time Matilda encounters her arch nemesis, the evil headmistress Miss Trunchbull, a formidable bully who terrorizes everyone in her path.

The score is tuneful and memorable with inspired lyrics: character-based, witty and often quite clever. The opening number, “Miracle,” perfectly establishes the tone and adds the brilliant touch of Mrs. Wormwood learning of her pregnancy in the ninth month. “The School Song” is ingeniously structured around the 26 letters of the alphabet. “Bruce” is a rally song for the students as the Trunchbull punishes the portly Bruce Bogtrotter by forcing him to eat an entire chocolate cake. (One of my favorite rhymes: “Bruce/You’ll never again be subject to abuse/for your immense caboose/She’ll call a truce, Bruce/With every swallow you are tightening the noose”).

The Stratford cast utilized three actresses as Matilda: Adrianna Bertola, Josie Griffiths, and Kerry Ingram, all superb. All three are present on the cast album (though if I hadn’t known, I would never have realized it). “Naughty” shows us that Matilda is not going to go down without a fight, brilliantly using literary allusions to make her point. Throughout the musical, Matilda visits with the librarian (Melanie La Barrie) and is able to improvise stories off the top of her head. Each story is a chapter in Miss Honey’s life, though she doesn’t realize it toward the end. Musically, it climaxes with the haunting “I’m Here”. Toward the end of the second act, Matilda sings the touching “Quiet,” a soliloquy cued by a harsh diatribe from Trunchbull, in which she describes her mental escape from the unpleasantness around her.

Matilda’s mother is now obsessed with dance competitions instead of bingo, performing “Loud,” an over the top samba in which Mrs. Wormwood instructs Miss Honey on why it’s better to choose looks over books. During the interval, Mr. Wormwood makes an appearance to apologize for Matilda’s promotion of literacy before launching into the delightful “(All I Know I Learned from) Telly,” with a hilarious diatribe against famed British authors. (“Ian McEwan? Ah, I feel like spewin'”). The antidote to the hilariously appalling parents is Miss Honey, who gets the score’s more plaintive ballads, warmly sung by Lauren Ward. Michael Rouse has double duty as the kind obstetrician in the opening number “Miracle,” and as Mrs. Wormwood’s dance coach/partner Rudolpho.

One of Matilda‘s greatest treasures is British actor Bertie Carvel (Leo Frank in the London Parade) as Agatha Trunchbull, an inspired performance combining pure evil with searing wit. Miss Trunchbull gets two major numbers: “The Hammer” and the stunning “The Smell of Rebellion” in the second act, with a raucous fantasia where she imagines a world without children. In a brilliant stroke, Trunchbull is not only the headmistress, but also the Phys Ed teacher. Though she has the two solos, her presence is felt throughout much of the album. Carvel’s creation is quite possibly the greatest thing to happen to musical theatre villains since Dorothy Loudon played Miss Hannigan in the original Annie. I only hope that when the show makes its inevitable trip to Broadway, he comes with it.

The original cast album is available for digital download on iTunes or as a hard copy from the RSC website. The album contains a 28 page booklet including the lyrics. Also, when you hear the album, don’t stop listening after the finale is finished. There’s a special surprise that must be heard to be believed as it one of the most hilarious things I have ever heard on a cast album.