Jamielyn Mariano | Contributor
Featured illustration: Matilda the Musical provides children of all genders with a necessary feminist heroine to look up to. | Jasmine Wiradharma
Imagine a world with no children. That is the dream evil headmistress Miss Trunchbull, played by Dan Chameroy, desperately clings to in Matilda the Musical. Based on Roald Dahl’s novel, the musical follows a five year-old girl, and presents a reality where it is impossible to have a world without children.
The musical, which first dazzled audiences in the United Kingdom, has now captivated viewers young and old at Toronto’s Ed Mirvish Theatre.
Matilda Wormwood, played by Hannah Levinson, Jamie Maclean and Jenna Weir, is an imaginative and brilliant little girl who surrounds herself in storytelling. The stage itself, designed by set and costume designer Rob Howell, is framed by letters that resemble something out of a Scrabble board. Even before the performance begins, viewers are immersed in letters, words and stories, visually reminding audiences of Dahl’s great influence.
Still, Matilda the Musical manages to take it a step further. The show presents Matilda as a rebel: the not-so-quiet, sometimesnaughty kind. Being neglected and despised by her superficial parents and headmistress, Matilda’s naughtiness is not only entertaining, but delightfully satisfying too. It is her perseverance and outwitting character that shine, reminding audiences that we control the words of our story, despite what conflicts may arise.
Matilda the Musical explores the importance of children throughout the duration of the courtesy show, most notably in act one’s
musical number, “School Song.” Performed by the kids and the “older” kids, played by adults, the song cleverly uses the alphabet to create an instructive experience for young audiences, as well a pleasant reminder for older viewers to hear how thrilling words can be. Along with Matilda’s fellow classmates, it is the kids that teach the adults a lesson: never underestimate the power of a child.
It doesn’t take long for audiences to be enchanted by Levinson’s commanding performance. Matilda represents the underdog and the star, the compliant daughter and the revolutionary figure. Regardless of her size and age, Levinson exudes confidence, passion and wisdom with every line and lyric. Matilda is an intelligent, creative person, yet she is put down for these very traits by her parents because she is a girl. As a heroine, Matilda shows that it’s possible for females of all ages to overcome their abusive situations and come out on top. She does so without girlish charm or a male saviour, actively using her mind to shape the outcome of the play and its characters. Her telekinetic abilities and storytelling, in the context of the production, become a critique of the archetypal, passive heroine. Matilda consciously and actively shapes her reality as opposed to passively waiting for things to happen to her.
Matilda is the heroine that adults and children need, the girl whose hopefulness, resilience and kindness become the magic in our lives. Matilda the Musical runs through January 8 of next year at the Ed Mirvish Theatre in Toronto.
