Roald Dahl's Matilda the Musical JR - Newts and Toads Cast
Adelaide Youth Theatre
Season: 17th - 19th December
AYT delivered a blockbuster with Matilda Jr. Managing over
80 young performers is no small feat, but the experienced team led by Co‑Directors
Sarah Hamilton and Sophie Stokes accomplished it with ease, drawing confident,
expressive performances from their artists. Musical Director Serena Cann and
Choreographers Shenayde Patterson and Alessia Charman equipped the cast with
the technique, patience, and energy to tell Tim Minchin’s story
with clarity and spirit.
Patterson and Charman’s choreography gave the ensemble material
combining intricate movement with strong vocal delivery. Across both casts,
this dual demand displayed genuine enthusiasm and understanding of performance
craft.
The musical’s ensemble numbers, from the gleefully chaotic
“Miracle” to the triumphant “Revolting Children”, showcased precision and
heart, with “School Song” and its alphabet choreography proving a clever
highlight. Each cast delivered an energetic performance, and the production’s
unity spoke volumes of the company’s attention to detail.
The Newts
The show opened with a tribute to Zoe Foskett, who lost her
life last week to Cystic Fibrosis — a poignant gesture that set a heartfelt
tone. Maisie Lewis began the story as librarian Mrs Phelps, warmly supporting
Matilda as she told the story of the Acrobat and the Escapologist. Although these
sequences drew the eye toward the staging, Lewis maintained character focus and
delivered genuine expressive reactions.
In the title role, Charlotte Quach carried the show with
poise and maturity. Her portrayal captured the character’s tempered intensity,
joy, and defiance, each shift in emotion thoughtfully placed. Her performance
of “Quiet” was particularly moving, winning immediate appreciation from the
audience.
As Miss Honey, Alyssa Faranda balanced fragility and courage
effectively. Her interactions with Matilda felt sincere, and her clear,
sensitive vocals complemented the role beautifully. While the JR version omits
“My House,” it was easy to picture how greatly Faranda might have delivered it.
The Wormwoods were played with relish by Riley Mobbs and
Evie Dew, creating a sharply drawn portrait of dysfunction. Dew’s accent and
comedic instincts stood out as some of the production’s finest character work.
Mobbs embodied Mr Wormwood’s over‑the‑top bravado with strong physical comedy.
Patrick Moore made the most of his reduced role as Michael, using impeccable
timing and expression to turn smaller moments into comedic highlights, particularly
in a clever sight gag involving the television.
Ethan Joy dominated as the formidable Agatha Trunchbull,
stealing nearly every scene he entered. His command of physicality, alternately
imposing and delicately absurd, made him both menacing and hilarious. Each
choice felt deliberate, and his unpredictability kept the audience transfixed.
The directorial choice to position Trunchbull upstage during the Acrobat scenes
created an excellent visual parallel, reinforcing her relevance to Matilda’s
storytelling.
Emma Smith impressed as the Acrobat in both casts,
showcasing exceptional aerial hoop technique with grace and control. Her
sequences blended seamlessly with the broader narrative and offered a
refreshing visual counterpoint.
The featured schoolchildren — Emma Fisher (Lavender),
Nemanja Ilic (Bruce), Tessa Richards (Eric), Archer Footer (Nigel), Ivy Owen
(Amanda), Bethany Swift (Alice), Patrik Porter (Tommy), and Adele Binns
(Hortensia) — each delivered with confidence and energy. Their scenes brimmed
with spirit, and their musical numbers demonstrated impressive precision for
performers of their age.
The Toads Cast
The season’s closing performance featured the Toads cast.
Though viewing only the final 35 minutes, it remained a testament to the polish
and vigour of this young company.
April Sprules shone as Matilda, establishing her authority
on stage with striking confidence and vocal clarity. Her rendition of “Quiet”
was poised and emotionally raw. She earnt a spontaneous standing ovation during
the bows. Sprules balanced intellect and mischief perfectly, embodying both
Matilda’s fierce independence and her vulnerability.
As Miss Honey, Meri Wagland offered gentle strength and
warmth. Her chemistry with Sprules felt genuine and subtle, and her portion of
“When I Grow Up” beautifully revealed the character’s emotional core. Wagland’s
assistance during the chalkboard scene before “Revolting Children” deserves
special mention, executed efficiently and without detracting from the momentum.
Josh Curtis brought dry sarcasm and impeccable comedic
timing to Agatha Trunchbull. There’s something about this overtly grotesque
role that invites big theatricality, and Curtis leaned into it fearlessly. “The
Smell of Rebellion” was delivered with gusto, and the ensemble matched him
stride for stride, singing and dancing through demanding physical sequences
without dropping energy.
Jack Grosser’s Mr Wormwood provided delightful comic relief.
His exaggerated confidence and physical humour landed, and when a small onstage
hiccup occurred, he improvised effortlessly — earning extra laughs and staying
entirely in character. His outrageous costume sealed the effect with a stylish
comedic note.
Elaynah Magourilos, opening “Revolting Children” as Bruce
Bogtrotter, delivered one of the evening’s standout moments. Her commanding
vocals and vibrant stage presence filled the theatre, sparking audible cheers
and excitement from the audience — an ideal kick‑off to the show’s rousing
finale.
Beyond the cast, the staging reflected professionalism and
efficient teamwork. Lighting design directed the audience’s focus effectively,
though a few late cues appeared during the closing performance. These were
minor in an otherwise seamless presentation that supported the actors without
distraction.
Sound mixing achieved an excellent balance between vocals
and backing tracks, ensuring clarity throughout. A handful of slight microphone
delays were noticeable but quickly corrected — understandable given the large
number of cast members mic’d across both ensembles.
Stage Manager Summa Arrizza deserves credit for the smooth transitions between scenes, landing neatly within their musical underscoring, maintaining pacing and preventing any sense of lag.
AYT’s Matilda Jr. succeeds not only as a
youth production but as a spirited celebration of collaborative theatre. The
dual‑cast format gave a multitude of performers meaningful opportunities to
shine, while the cohesive artistic vision unified the show. The partnership
between Hamilton and Stokes fostered both discipline and joy onstage, and their
team’s professionalism created an environment where young artists could
genuinely thrive.
The show balanced spectacle with sincerity. Between the sharp direction, strong ensemble work, and inventive choreography, Matilda Jr. proved an impressive example of what can be achieved when thoughtful creative leadership meets youthful enthusiasm.
- Andrew Broadbent
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