For a show which prides itself in a love of language and learning, it’s ironic that the musical numbers of Tim Minchin are burdened by a wordiness which sap them of clarity and memorability. With only the verbal and physical gymnastics of The Smell of Rebellion coming close to a showstopper.

Nonetheless, there’s no denying its cross-generational appeal as Roald Dahl’s plucky bookworm (a terrific Scarlett Cecil as one of four rotating Matildas) overcomes the triple whammy of neglectful parents, school bullies and a monstrous headmistress in the shape of hunchbacked Miss Trunchbull (Elliot Harper channeling the love child of Frankie Howerd and Joan “The Freak” Ferguson) to right the wrongs against her fellow pupils and wallflower of a teacher Miss Honey (Carly Thoms).

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Bagging over 90 international awards since it premiered at the RSC’s home of Stratford-upon-Avon in 2010, including a Tony for playwright Dennis Kelly, the technical aspects of what is the first UK touring production are excellent. With Rob Howell’s playground set of rope ladders and swings framed within a library of multi-shaped Scrabble tiles transformed into a kaleidoscopic pop-up book by Hugh Vanstone’s exquisite lighting.

Though what impresses most (apart from the incredible talent of the fearless ensemble) is the slick choreography of Peter Darling whose marionette routines compliment the slapstick direction of Matthew Warchus to great effect. Particularly in the opening numbers which set the naughty but nice tone by painting Matilda’s parents (Rebecca Thornhill and Sebastien Torkia) as cockney chancers more interested in looks than books.

The jigsaw pieces of Matilda’s story-within-a-story, though, as told in cliffhanger installments to the lovable librarian Mrs Phelps (Michelle Chantelle Hopewell in fine Caribbean voice), take a while to slot into place, but when the corners click and the heart-shaped hole fills with love… In the words of the loquacious Lavender (Lily Van Veen): “I don’t want to tell you anymore because I don’t want to ruin it.”

Peter Callaghan
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