Tag Archives: Tim Minchin

REVIEW: Royal Shakespeare Company’s Matilda The Musical – Edinburgh Playhouse

With its origins as the Royal Shakespeare Company’s 2010 festive show, nine years down the line, Dennis Kelly and Tim Minchin’s musical adaptation of Roald Dahl’s Matilda has been seen by over eight million people around the globe. Winning awards and smashing box office records wherever it goes (and deservedly so) the transformation of a much-adored but thematically and emotionally challenging children’s book was never going to be easy, taking its creators seven years to develop from page to stage – but boy was it worth it.

There are few other musicals, let alone one largely written for a child audience, that is a genuine emotional rollercoaster, laugh-out-loud funny and entirely entertaining from curtain up to curtain down for an audience of all ages. Never shying away from the darker corners of human nature, it re-iterates throughout that despite this one having one, not all stories have a happy ending. An unexpected and unwelcome addition to the grotesque Wormwood family, five-and-a-half-year-old prodigy with telekinetic powers Matilda (Scarlett Cecil), takes solace in books – from Austen and Brontë to Dickens and Dostoyevsky and finds a kindred spirit in her gentle and downtrodden new teacher Miss Honey. While she relishes starting school, the cruelty she seeks to escape at home is heaped upon her and her classmates ten-fold by their larger than life, ex-Olympic hammer throwing head mistress Miss Trunchbull (played to utter perfection and with great relish by Elliot Harper).

With a two-hour 40-minute running time, jam packed with dialogue, tricky lyrics and hugely inventive choreography and scene changes, Matilda’s success relies in no small part to a well-drilled cast, and you’d be hard-pressed to find a better quality one than this. Scarlett Cecil, one of four Matildas is an absolute star, it must be remembered that this is a child taking on this role, a child who rarely leaves the stage during the entire production, a child who is delivering complex dialogue and lyrics that those treble her age would find challenging. The entire child cast are exceptional (the adults are pretty spectacular too) not a foot or word is out of place and the energy and gusto with which they attack every scene adds a youthful realism.

Both Kelly’s words (perfectly adapted from Roald Dahl’s original book) and Tim Minchin’s music and lyrics are clever, clever, clever and prove that there’s no need to dumb down to provide entertainment with mass appeal. As perfect as it’s possible to be, Matilda remains an outstanding musical in the British theatrical canon.

Runs until 27 April 2019 | Image: Contributed

This review was originally written for THE REVIEWS HUB

NEWS: Tim Minchin Comes To Glasgow and Edinburgh in 2019 As Part Of New UK Tour

TIM MINCHIN, award-winning comedian, actor and composer, will return to the stage for his first UK tour dates since 2011.

The UK premiere of BACK will commence in October 2019 and includes performances in Oxford, Sheffield, Nottingham, Manchester, Plymouth, Cardiff, Portsmouth, London, Liverpool, Birmingham, Edinburgh, Glasgow, Newcastle, Brighton and Southend.

BACK is billed as Old Songs, New Songs, F*** You Songs, hinting at a set list of material from all corners of Minchin’s eclectic – and often iconoclastic – repertoire.

It will be the long-awaited follow up to his sold-out national arena tour of Tim Minchin and his Orchestra in 2010-2011.

Tickets will go on sale to the general public through Ticketmaster and venue box offices on Thursday 6 September at 10am GMT.

Fans will be given priority access to tickets via Ticketmaster Verified FanTM registration. Registration to become a Ticketmaster Verified FanTM will be open until 11:59pm, Sunday 2nd September. Successful fans will receive a unique code for Ticketmaster Verified FanTM pre-sale which will open at 10am Wednesday 5 September for 24 hours.

The music virtuoso also announced that profit from a number of top price seats will be donated to a UK charity – details of which will be announced through his website soon.

Minchin has been celebrated globally for writing the music and lyrics for Matilda the Musical, which has gone on to become one of the most acclaimed musicals of the last 20 years, winning a record seven Olivier Awards, 13 Helpmann Awards and five Tony Awards. It continues to run in the West End and has already played in over 50 cities worldwide. He also wrote music and lyrics for the musical adaption of Groundhog Day, which after an acclaimed limited run at The Old Vic in London in 2016, debuted on Broadway in April 2017 and won the Olivier Award for Best Musical in 2017.

Meanwhile, Minchin has ruffled feathers in Australia with his ARIA-nominated charity single, Come Home Cardinal Pell and the Marriage Equality parody, I Still Call Australia Homophobic. His UWA Graduation speech has been watched by tens of millions of people worldwide.

BACK will mark Minchin’s return to the stage, following several film and TV appearances which earned him a handful of acting accolades, including the Qantas Orry-Kelly Award at the 2017 Australians in Film Awards and a 2016 Logie Award for Most Outstanding Supporting Actor for The Secret River.

He most recently starred in the ABC 2018 comedy series Squinters and will appear as Friar Tuck in the upcoming Hollywood release Robin Hood in cinemas November 2018. In 2019 he will also star in UPRIGHT, a new eight-part drama series, which he will co-write with The Chaser’s Chris Taylor, actor-writers Leon Ford and Kate Mulvaney, and coproduce with Lingo Pictures for Foxtel and Sky UK.

REVIEW: Jesus Christ Superstar – The Arena Tour, SECC, Glasgow

The publicity surrounding this newly revitalised Jesus Christ Superstar has been plentiful and vocal. From the naysayers who have decried it before even seeing it, to those railing against the snobbery surrounding it, who welcome the extravaganza with open arms. For what it’s worth here are my thoughts.

The score of this musical is demanding on its performers and success of this piece almost always hinges on the abilities of the singers involved. Search for a Superstar winner Ben Forster may have manged to belt out a few numbers on his TV journey to the role of Jesus but here his limited vocal range is exposed – fine when he’s in range but seriously under-powered when he’s not. His acting skills are also woefully limited, swinging between pained and pouting and not much else. Melanie C is an anaemic Mary Magdalene – again vocally under-powered and is in possession of a rather ear-grating nasal whine. The stand out star turn and power-house performance of the night is given by Tim Minchin who conveys the anger and anguish of Judas beautifully, though his vocals sometimes suffer from the efforts of his acting. Chris Moyles as Herod, only on stage for 3 minutes, milks it for all it’s worth and equips himself with more aplomb than you would imagine. Sheer theatrical class though is displayed by Alexander Hanson as Pilate whose experience on stage shows his younger counterparts how it should be done. Beautiful acting and a fantastic voice.

Director Laurence Connor brings us a rather rawer and grittier setting for this production: referencing the London riots of last summer, Guantanamo Bay, the Occupy movement and reality TV, indeed, the re-staging is one of the highlights of the production. My only complaint would be the sheer vastness of both the stage and the cast, often rendering the detail and any ensemble performances invisible.

However there was a large and very vocal number of audience members at the SECC last night complaining that they had absolutely no view of the stage in their £65 seats.

The action takes place in the centre of a square set with enormous scaffolding (containing the musicians) rising either side to the ceiling. However, this rendered the action completely invisible for anyone who wasn’t dead-straight, centre-front of the stage. The enormous screen at the rear of the stage which may have helped some of the audience follow the action was also completely obliterated by the staging.

This has always been one of my favourite musicals, it is certainly the musical I’ve seen the most and I’ve seen it staged in many forms. The experience, though a thoroughly enjoyable one, left me with a feeling that something was missing, it was neither fish nor fowl – never fully embracing its theatrical origins and never fully submitting itself to the full rock concert experience. It was a new and not entirely successful hybrid. Fundamentally this is a piece of theatre and despite its pounding rock score the subtleties, emotion and often delicate power that sets it apart from the rest has been lost in this vast arena.

Enjoy the rock spectacle, marvel at the size of the cast, revel in seeing Tim Minchin give a glimpse of his genius but take it from me – this is a beautifully written piece and is best seen at its simplest, I hope that those who see this for the first time here, go and see it in a theatre if it ever tours again.