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In 2009, the Royal Shakespeare Company announced its intent to stage a musical adaptation of the story Matilda, engaging Dennis Kelly as playwright, Tim Minchin as the composer and lyricist, Matthew Warchus as director, Chris Nightingale as orchestrator and music supervision, Rob Howell as set designer and Paul Kieve as illusionist and special effects creator. [8]
The soundtrack list to Matilda the Musical was released by Sony Masterworks and Netflix Music on 4 November 2022. [8] The album featured much of the songs featured in the stage musical as well as a new closing number written for the film, that kept undisclosed (later titled "Still Holding My Hand").
In the plot, Matilda Wormwood (Weir), neglected and mistreated by her parents (Graham and Riseborough), develops psychokinetic abilities to deal with the injustices of life, as well as Miss Trunchbull (Thompson), the ruthless and cruel headmistress of Crunchem Hall School. An adaptation of the stage musical was first announced in November 2013 ...
Miss Honey is MATILDA's teacher, and Miss Trunchbull is the principal at MATILDA's school. These characters also feature in MATILDA the Musical (2010) and the movie MATILDA the Musical (2022).
"Matilda: The Musical" will be presented at 7:30 p.m. Friday and Saturday, and 2:30 p.m. Sunday, in the auditorium of Ridgewood High School, 602 Johnson St. Tickets are $10 and available online.
All versions of Matilda—the 1988 novel, the 1996 film directed by Danny DeVito, the West End/Broadway stage film, and the 2022 Netflix movie musical—differ from each other in key ways.
"When I Grow Up" was the first song that Tim Minchin wrote for Matilda, attempting to find a tone for the entire musical, drawing inspiration from his child. [1] He also drew inspiration from a childhood memory in which the adults on his grandfather's farm would fiddle with the padlock to a gate, whereas Minchin went out of his way to hurdle the gate, promising to himself to never open the ...
The School Library Journal wrote "You can’t help but love songs with double meanings like the oh-so appropriately named 'Revolting Children'". [3] The New York Times deemed it a "rousing final number" [2] and "an anthem of liberation", suggesting "which Mr. Darling has choreographed with a wink at Bill T. Jones’s work on “Spring Awakening”". [4]
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