Roald Dahl is the author who, better than anyone else, combines horror and madness with an unwavering belief in the possibilities that every child prays within. The stupid people at Dahl’s are the adults, and sometimes they are so stupid that the children have to do all sorts of pranks to get rid of an existence that gives the impression of neglect and oppression. There is no doubt: Roald Dahl cheers for the child. “Matilda” is the story of the smart child born into a family where knowledge has no value. At the school, the dreaded headmistress Miss Trunchbull is wreaking havoc. Matilda is not a darling child, but a smart one. And with Roald Dahl, the child wins over the horrible adults – preferably with the help of magical abilities. This is how it is here too. Historia Dahl wrote in 1988 still stands, and has been both a film and a musical. And now at the Folketeateret in Oslo. THREE MATILDAS: Three shoe dancers alternate in the role of Matilda. Here Agnes Sulejewski Bjerck is on stage together with Haddy Njie, who plays Miss Phelps. TRE MATILDA: Henny Stålhand Arnø also plays the title role. TRE MATILDA: So does Othilie Loftesnes Gilbrant. Fascinating play on words The audience is greeted by an intriguing scenography. Layer upon layer of Scrabble tiles frame floor-to-ceiling bookshelves. This way you can sit and look for letters and form words – it’s a nice and smart solution. The production company Scenekvelder has done a solid job of finding children who sing well, dance well and are generally comfortable on stage. The main role as Matilda (when I saw the screening she was played by Agnes Sulejewski Bjerck) is simply impressive. With lively energy, a good voice and steely control over the choreography, she has the audience with her all the way. It is also nice to see talent finding its place on the Norwegian musical scene. As an example: Maren Ovidia as Miss Honey and Sigurd Vespestad Marthinussen who, among other things, is a doctor and circus artist are both good representatives of a stable ensemble. High show factor The choreography is exciting, and “Matilda” is full of surprises. Nicely choreographed numbers give a high show factor. The scene where they retrieve memories is playful and nice. WORD PLAY: The scenography in “Matilda” consists of layers upon layers of Scrabble tiles, which frame bookshelves from floor to ceiling. Photo: Scenekvelder Director Ewan Jones has a long career behind him as a choreographer. Enjoy the foresight. Jones seems to have more experience as a choreographer than as a director. Jones has consistently chosen to caricature all the bad adults. Quite ok in relation to the story, but on stage it is more exciting for the story with slightly more dynamic characters. Siren Jørgensen as Matilda’s mother and Fridtjof Såheim as her father are very skilled actors. Jones would have liked to let them drop the one-dimensionality and have the character come out more. The same applies to Robert Stoltenberg as Miss Trunchbull, who becomes less and less dangerous because the character changes little – here there could be more variety and dynamism in voice use, among other things. FATHER AND MOTHER: Established actors such as Siren Jørgensen plays Matilda’s mother and Fridtjof Såheim plays the father. Photo: Stage evenings Old-fashioned school Another thing Jones could also be challenged on is the everyday life of children and young people. Children in Norway do not sit at old-fashioned desks as they do in “Matilda”. They don’t wear school uniforms either, and many classrooms no longer have chalkboards. Perhaps this is an element that cannot be changed in the foresight. But from a child’s perspective, this is a foreign school day. At least in the public school in Norway. Admittedly, many children are used to school uniforms from, for example, the Harry Potter universe, so they may not be confused by the gray and strict school. But the foresight is not dated, because Matilda’s father is closer to the 60s in style, but refers to the Kardashians at the start of the second act. THE 1960s: Chalkboards, old desks and school uniforms bear witness to an old-fashioned school day. Here is Maren Ovidia, who plays Miss Honey. Photo: Scenekvelder The challenge among children and young people is the same now as when the book was written: Young people don’t read. But the enemy is no longer the TV, it is all the other screens. If one takes this into account in a foresight like this, one may distance oneself too much from Roald Dahl. So then there will be TV and chalkboards. Anyway: The fact that Matilda’s mother is running around with a shopping bag from the C&A store chain suggests that we are located in Great Britain rather than Norway. And then an old-fashioned school can also pass. But it would have been fun to see what a director like Norwegian Lars Jacobsen, who among other things directed “Sound of Music” and “Journey to the Christmas Star” at Folketeateret, could do with “Matilda”. Jacobsen has proven to be good at inventive direction and character building. That said: The show and the children are the big thing about Matilda. And show, speed and inventive revenge from the charming children’s shoe players, you get loads of it. news reviews Photo: Folketeateret Title: “Matilda” Original title: “Roald Dahl’s Matilda – The Musical” Cast: Robert Stoltenberg, Haddy Njie, Fridtjov Såheim, Siren Jørgensen, Maren Ovidia, Othilie Loftesnes Gilbrant, Henny Stålhand Arnø, Agnes Sulejewski Bjerck, Rein Oskar Evensen, Sigurd Marthinussen, etc. Executive producer: Karianne Jæger Musically responsible: Atle Halstensen Director: Ewan Jones Co-director: Frode Gjerløw Choreographer: Stephanie Bron Set designer: Petr Hlousek Prop designer: Vanda Maria Sturdza Mask designer: Tiiu Luht Lars Lunder: Lighting designer Costume designer: Sally Page Turner Sound designer: Ulf Erlend Haave Bandmaster : Bendik Eide Date: 10 September 2022–15. January 2023
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“Matilda” at Folketeateret – Reviews and recommendations
