Work for theatre Includes Debris; Osama the Hero; After the End; Love and Money; Taking Care of Baby; DNA; Orphans; The Gods Weep; The Ritual Slaughter of Gorge Mastromas; Girls and Boys; and Pinocchio. His plays have been performed worldwide and to date have been translated into nearly forty languages. For television he co-wrote and co-created Pulling and wrote and created Utopia, and for film he wrote the screenplay for Black Sea, directed by Kevin MacDonald. He also wrote the book for the Olivier and Tony winning Matilda The Musical. In 2010 DNA became a set text on the GCSE English Literature syllabus.
Tim is a musician, actor, comedian, writer, and director. He’s toured extensively in the US, UK, and Australia, performing solo, with bands, and with symphony orchestras. He’s released five DVDs, the most recent recorded with the Heritage Orchestra at the Royal Albert Hall. Screen acting credits include Robin Hood Origins (2018), Secret River (2015), and Californication (Season 6 - 2013). Stage acting credits include Rosencrantz and Guildenstern are Dead (Sydney Theatre Company) and Jesus Christ Superstar (UK/Australia tours). Tim has written extensively for theatre, and is the composer-lyricist of Matilda The Musical (with Dennis Kelly) and Groundhog Day the Musical (with Danny Rubin).
Roald Dahl (1916-1990) was the author of Charlie and the Chocolate Factory; Matilda; The BFG; and many more of the world’s best-loved children’s stories. He remains one of the world’s greatest storytellers and is celebrated annually by the world’s biggest author-based event, Roald Dahl Day – which is recognised across the globe on September 13th. His first children’s story, James and the Giant Peach, published in 1961 and was a huge hit. Every subsequent book became a best-seller. Today, his stories are available in 59 languages and, by a conservative estimate, he has sold more than 250 million books. Many of these stories have also been adapted for stage and screen, including the 1971 film classic Willy Wonka and the Chocolate Factory, Wes Anderson’s acclaimed Fantastic Mr Fox, and the Royal Shakespeare Company’s multi-award winning production of Matilda The Musical. roalddahl.com
Peter C. Brosius
Peter has directed the world premieres of Dr. Seuss’s The Sneetches the Musical; The Last Firefly; Seedfolks; Animal Dance; The Biggest Little House in the Forest; and others, all of which were commissioned and workshopped through CTC’s new play development efforts. Previously, he was the Artistic Director of the Honolulu Theatre for Youth and the Improvisational Theatre Project at the Mark Taper Forum.
Andrew’s previous productions at Children’s Theatre Company include Dr. Seuss’s How The Grinch Stole Christmas!; and The Abominables. Other recent works: Lord Gordon Gordon; Glensheen (History Theatre); Flower Drum Song (Theater Mu/Park Square Theatre); Pippin (University of Minnesota); and Newsies (replacement conductor, Chanhassen Dinner Theatres).
Linda Talcott Lee
Linda’s choreographic credits include: Dr. Seuss’s How The Grinch Stole Christmas!; Mulan JR; Cinderella (Children’s Theatre Company); and Beauty and the Beast (Ordway Center for the Performing Arts). She was awarded an Emmy for her choreographic work in The Comedy Hall of Fame with Jason Alexander and is a Broadway veteran.
Off-Broadway credits: Ride the Cyclone at MCC; Othello: The Remix at The Westside Theater. Regional credits include productions with: Chicago Shakespeare Theater, Steppenwolf Theatre, Court Theatre, Paramount Theatre, Drury Lane, and Marriott Theatre. International credits include productions with: Shakespeare’s Globe, Unicorn Theatre (London) The Market Theatre (South Africa), The Neuss (Germany), Gdansk Shakespeare Theater (Poland), DUCTAC Theater (Dubai), Brice Mason Center (New Zealand), and The Edinburgh Festival (Scotland). Milwaukee Repertory Theater, Asolo Repertory Theatre, Signature Theatre, Walnut Street Theatre, Children’s Theatre Company, Utah Shakespeare Festival. scottadamdavis.com
Helen Q. Huang
CTC: Madeline and the Gypsies; Seussical (set and costume); The Lost Boys of Sudan; Aladdin; and The Monkey King (Ivey Award, in exhibition: Prague Quadrennial exhibit Moscow, Russia 2015). Regional: Guthrie Theatre, Oregon Shakespeare Festival, Philadelphia Theatre Company, Disney Entertainment, Washington Ballet, Ford’s Theatre, Woolly Mammoth, Shakespeare Theatre Company, Arena Stage, Signature Theatre Company, Utah Shakespearean Festival, Milwaukee Repertory Theatre, Boston Lyric Opera. International: set and costume design at National Opera House of China and the Central Television of China. She is a professor of MFA Costume Design Program, University of Maryland-College Park.
Philip S. Rosenberg (Lighting Designer) Broadway credits include Pretty Woman The Musical; The Elephant Man; A Gentleman’s Guide to Love and Murder; and It’s Only a Play. For CTC: Diary of a Wimpy Kid the Musical and Peter Pan. He has worked Off Broadway and in regional theatre across the country.
Sten has designed sound on Broadway, London’s West End, Off-Broadway, and in numerous regional theatres. Select credits: The Wiz (Children’s Theatre Company/Penumbra Theatre); Diary of a Wimpy Kid the Musical (CTC); Tony®-nominated HAIR; The Merchant of Venice (Broadway); Audelco Award-winning The Total Bent (Public Theater); Much Ado About Nothing; The Comedy of Errors (The Old Globe); Into the Woods; and King Lear (Delacorte Theater).
Jorge Cousineau is a Philadelphia-based designer of sets, lights, sound, and projections. His work has been seen and heard internationally, regionally, and all over Philadelphia. CTC credits: Seedfolks and 20,000 Leagues Under the Sea. Jorge has received several regional awards, including a Lucille Lortel Award, several Barrymore Awards, and the Pew Fellowship in the Arts.
Lucinda Holshue is a core faculty member for the University of Minnesota/Guthrie Theater actor training program. She has coached dialect and voice for CTC, Guthrie Theater, Jungle Theater, Oregon Shakespeare Festival, and Park Square Theater. She is a kundalini yoga teacher and loves the voice work of Roy Hart Theater.
Jenny R. Friend
Jenny has been a member of the Children’s Theatre Company family as the Production Stage Manager since 2005, and she loves nothing better than being in rehearsal with the amazing, creative staff here. She thanks her daughter, Greta, for re-introducing her to the wonderful, subversive world of Roald Dahl - “So, please, oh please, we beg, we pray, go throw your TV set away, and in its place you can install, a lovely bookcase on the wall.”
Stacy McIntosh is in her 21st season at CTC. Some favorite credits include: Dr. Seuss’s The Lorax; The Abominables; Diary of a Wimpy Kid the Musical; The Jungle Book; A Christmas Story; Five Fingers of Funk!; Bud, Not Buddy; Lizzie Bright and the Buckminster Boy; Lilly’s Purple Plastic Purse; and A Year with Frog and Toad. She is a Minnesota Theatre Award recipient.
Associate Projection Designer
Projection Design credits include Dr. Seuss’s How The Grinch Stole Christmas!; The Wiz; Cinderella; The Wizard of Oz. Other CTC credits include lighting designs for The Best Summer Ever; Corduroy; and Animal Dance. Regional credits include Mary Poppins (Artistry, MN); Blues in the Night; Always Patsy Cline; Bombitty of Errors; and Route 66 (Milwaukee Repertory Theater).
Assistant Stage Manager
Jane is delighted to be back at Children’s Theatre Company! Previous CTC credits include Corduroy; The Snowy Day and other stories by Ezra Jack Keats; and The Jungle Book. Other stage management credits: Dr. Seuss’s Cat in the Hat (First Stage Children’s Theatre); and Watch on the Rhine (Guthrie Theater).
Elbi is CTC’s 2018-2019 Howard University Arts Administration Fellow. Production credits include: YouTube, The National Black Caucus of State Legislators, John Legend’s Get Lifted Production Company, Atlas Performing Arts Center, The Kennedy Center, and Savannah Theatre. In 2016, Elbi directed Eclipsed by Danai Gurai for the Multi-Cultural Alliance Theatre in Savannah, GA.
Coletrane T. Johnson
Coletrane T. Johnson is excited to return to CTC after interning on The Abominables and assistant directing I Come From Arizona. He has enjoyed onstage roles in Pippi Longstocking and Alice in Wonderland (Children’s Theatre Company). He directs musicals and plays at Highland Park Community Center Theatre. Upcoming: The Secret Garden and Pippi Longstocking.
A graduate of The Boston Conservatory, Katie graduated with a BFA in Musical Theatre in 2017. Directing credits include: Macbeth; Coriolanus; Peter Pan; 'night, Mother. She is the founder of Pale Blue Dot, an environmentally-conscious theatre company. As an actor, she has performed with Guthrie Theater, Minneapolis Musical Theatre, and Artistry. katiemaisehalloran.com
Katie has enjoyed roles in Dance Til You Drop (History Theatre/Collide Theatrical); Dracula; Le Petit Moulin (Collide Theatrical); Mary Poppins; and Thoroughly Modern Millie (Artistry). She has choreographed for dance studios, high schools, and community theatre, and is so excited to be back at CTC assisting Linda Talcott Lee.
Assistant Lighting Designer
Alex is a freelance lighting designer and photographer with an MFA in lighting design from the University of Minnesota. Recent productions include I Come From Arizona and How The Grinch Stole Christmas! (CTC); Roe (Mixed Blood Theatre Company); Speechless (Moving Company); Dear Lenny (Open Eye Figure Theatre); and Blithe Spirit (Guthrie Theater).
Assistant Sound Designer
Katharine Horowitz most recently assistant-designed sound for Dr. Seuss’s The Lorax and The Wiz. She has designed critically-acclaimed shows for the Guthrie Theater, Jungle Theater, History Theatre, Mixed Blood Theatre, Pillsbury House Theatre, Great River Shakespeare Festival, and many others. Katharine is a 2017 McKnight Theatre Artist Fellow at the Playwrights' Center.
Assistant Stage Manager
Jane is delighted to be back at Children’s Theatre Company! Previous CTC credits include Corduroy; The Snowy Day and other stories by Ezra Jack Keats; and The Jungle Book. Other stage management credits include Dr. Seuss’s Cat in the Hat (First Stage Children’s Theatre); Watch on the Rhine; Sunday in the Park with George (Guthrie Theater); Black Nativity (Black Arts MKE); and King Lear (American Players Theatre).
Stage Management Intern
Keara is thrilled be a part of her first production with Children's Theatre Company. Her recent productions include The Music Man; Sweet Charity; Clown Bar (The Duluth Playhouse); Dear Finder 2018; Charlotte's Web; Antigone; and The Complete Works of William Shakespeare (abridged) (University of Minnesota-Duluth).
Stage Management Intern
Matilda the Musical is Izzy’s third show at CTC and her first on the UnitedHealth Group Stage! Since graduating from the UMN, she has worked with companies such as Mixed Blood Theatre, Artistry, History Theatre, and Walking Shadow Theatre Company. She also enjoys creating new, devised work as part of Grand Island Theatre.
Projection Assistance by Circus Juventas
Circus Juventas, in addition to providing year-round circus training to youth ages 2-21, presents two major public productions each year in the spring and late summer. Our Spring Celebration Performances feature our beginning- and intermediate-level students in April and May, while our summer production features our advanced students in a Cirque-du-Soleil-style production in late July and August. Also during the summer, CJ offers a wide range of summer camp options, all of which create a safe space where students can have new adventures, experience traditional and contemporary circus arts and global inspirations, and receive encouragement in a non-competitive, nurturing environment. Another of CJ's exciting events is their annual gala, an evening that pairs our students’ amazing performances with a three-course meal, a silent auction and raffle, fun games, and more. Dedicated to making classes accessible to all, Circus Juventas boasts a robust scholarship program to those that demonstrate financial need. CJ also invests in their work-study leadership program, a unique opportunity where CJ students age 14+ leverage their circus training to develop the self-confidence, communications skills, and attention to detail needed to become peer leaders - all while earning tuition credit toward their classes. Always looking to expand their repertoire, Circus Juventas invites visiting artists throughout the year to run workshops for students of varying levels. Celebrating their 25th anniversary year April 2019-April 2020, stay tuned for the announcement of a wide range of exciting events and performances.
Caution: This is a complete synopsis of the play, so it is full of spoilers.
As a chorus of misbehaving children boast about being their parents' miracles, the ballroom dancing-obsessed Mrs. Wormwood gives birth to a baby girl called Matilda. The doctor thinks Matilda is the most beautiful child he has ever seen, but Mrs. Wormwood is only worried about a ballroom contest she has missed and Mr. Wormwood—a used-car salesman and television addict—dismisses the child as ugly ('Miracle'). He also believed the baby should have been a boy, and is seemingly unable and unwilling to accept her as a girl.
Five years later, intelligent and bright Matilda—an avid reader—lives unhappily with her parents and her older, uneducated brother Michael. The Wormwoods are oblivious to her ability and frequently mock and verbally abuse her for reading books. To teach her father a lesson, Matilda adds some of her mother's hydrogen peroxide to her father's hair oil, leaving Mr. Wormwood with bright green hair ('Naughty').
At the local library Matilda talks to Mrs. Phelps, who loves the stories Matilda tells. After a chance meeting with Miss Honey in the library, Matilda begins to tell a new story about a world-famous acrobat and escapologist couple who long to have a child but cannot. To distract themselves from their sadness they announce to the world's press that they will perform an exciting and dangerous new act. The next day is Matilda's first day at school. As the new students arrive at the dark, imposing structure, the older students warn them about how to survive phys ed (‘School Song’). Her teacher Miss Honey is impressed by Matilda's precociousness and intelligence, so she recommends that Matilda is moved to the top class with the older children, even though she is terrified of the headmistress. ('Pathetic'). However, the child-hating, disciplinarian Miss Trunchbull dismisses Miss Honey's suggestion and lectures her on the importance of following rules ('The Hammer').
At the Wormwoods’ house, Mr. Wormwood is frustrated about losing the sale of worn-out junk cars to a group of rich Russians who are upset about the mileage of the cars. After Matilda asks her father some pointed questions about lying, he destroys one of her library books to punish her. A devastated Matilda decides to punish her father by putting superglue around the rim of his hat. At school, Matilda learns of Miss Trunchbull's cruel punishments, including the Chokey; a tiny cupboard lined with sharp objects in which she locks disobedient children for hours ('Chokey Chant'). Matilda sees Miss Trunchbull spin a small girl around by her pigtails and throw her across the playing field. Meanwhile, Miss Honey decides to visit the Wormwoods to express her recommendation that Matilda be put in an advanced class. She meets Mrs. Wormwood and her dance partner, Rudolpho. It soon becomes apparent that Mrs. Wormwood does not care about her daughter's intelligence and she mocks Miss Honey's and Matilda's interest in books and intellect ('Loud'). Alone outside the Wormwoods’ house, Miss Honey is desperate to help Matilda but feels powerless to do so ('This Little Girl'). Matilda visits Mrs. Phelps and continues the tale of the acrobat and the escapologist. The acrobat's sister, a former world champion hammer-thrower who loved to scare the small children of the town, has arranged their performance. The escapologist announces that the performance has been cancelled because the acrobat is pregnant. The crowd is thrilled, but the acrobat's sister is furious at the prospect of refunding the crowd's money and produces a contract binding them to perform the act or go to jail.
At school, Bruce Bogtrotter, a boy in Matilda's class, has stolen a slice of Miss Trunchbull's personal chocolate cake. Miss Trunchbull first accuses Matilda of it, but then after Bruce Bogtrotter lets out an earth-shaking burp, it is discovered that Bruce is the culprit. Miss Trunchbull punishes Bruce by forcing him to eat the entire cake in front of the class, who bravely support him ('Bruce'). After Bruce has finished the cake, the class celebrates his success, but Miss Trunchbull drags Bruce away to the Chokey.
The second act begins with Mr. Wormwood and Michael performing a number that advises the audience against reading, in favor of watching television ('Telly'). Lavender, a girl in Matilda's class, tells the audience that she is going to put a newt in Miss Trunchbull's jug of water later on. The children gather and sing about their hopes for when they grow up ('When I Grow Up'). Matilda resolves to end Miss Trunchbull's cruelty.
She tells Mrs. Phelps more of the story of the acrobat and the escapologist. Bound by their contract, they perform their feat, which goes well until the last moment when the acrobat is fatally injured, living just long enough to give birth to a girl. The escapologist invites the acrobat's sister to move in with him to help look after his daughter. Unknown to the escapologist, the girl's aunt is secretly cruel to her, forcing her to perform menial tasks and abusing her verbally and physically.
Mr. Wormwood returns home from work pleased because he has sold his worn-out cars to the wealthy Russians, having used an automatic drill to wind back their speedometers. Matilda is annoyed at her father's deceit and scolds him, which angers him so he locks her in her bedroom. That night, Matilda continues the story of the acrobat and the escapologist. After years of cruelty, the aunt's rage has grown; one day she beats the child, locks her in the cellar and goes out. That evening, the escapologist returns home early and discovers the extent of the aunt's cruelty. As he comforts his daughter, he promises her he will always be there for her. Filled with rage, he runs out to find the aunt but is never seen again ('I'm Here').
The next day, Miss Trunchbull forces Miss Honey's class to undergo a grueling physical education lesson ('The Smell of Rebellion'). Miss Trunchbull discovers the newt in her jug; she accuses one of the boys, Eric, who has already riled her during the lesson. She starts to punish him. Matilda scolds Miss Trunchbull for being a bully. Miss Trunchbull verbally abuses Matilda, but Matilda discovers she can move objects with her mind ('Quiet'). She tips over the water jug and the newt lands on Miss Trunchbull, and climbs up her leg. After Miss Trunchbull leaves, Matilda demonstrates her powers to Miss Honey, who is surprised and invites Matilda to her house for tea. On the way, Matilda admits that her father is not proud of her and calls her names.
Miss Honey tells Matilda of her cruel and abusive aunt, who looked after her as a child after her parents died. When Miss Honey first became a teacher, her aunt produced a bill detailing everything Miss Honey consumed as a child, along with other expenses, and forced her to sign a contract binding her to pay it all back. Desperate to escape, Miss Honey found refuge in an old farm shed, which she moved into and lives in abject poverty. Despite this, Miss Honey finds beauty in her meager living conditions ('My House'). As Miss Honey tells her story, she produces a scarf, which Matilda recognizes from her story of the acrobat and the escapologist—which she realizes is the true story of Miss Honey's childhood, and that her wicked aunt is Miss Trunchbull.
Back at school, Miss Trunchbull forces the children to take a spelling test; anyone who misspells a word will be sent to Chokey. The children fail to misspell a single word, so Miss Trunchbull invents a word in order to be able to punish Lavender. As Lavender is about to be taken to Chokey, her classmates deliberately misspell simple words, telling her she cannot send them all to Chokey. However, Miss Trunchbull has built many more Chokeys. Matilda uses her powers to write on the blackboard and convinces Miss Trunchbull that it is the ghost of Miss Honey's father, demanding that she gives his daughter back her house or he will get her. Miss Trunchbull runs from the school screaming and the children celebrate their freedom ('Revolting Children').
At the library, Miss Honey and Mrs. Phelps relay the aftermath of the events. A few days after Miss Trunchbull ran away, Miss Honey's parents' will has been found; they left all their money and their house to her. Miss Trunchbull is never seen again and Miss Honey becomes the new headmistress of the school. Matilda cannot use her powers again and Miss Honey is sad that a child who has helped others this way is stuck in an unloving home. The Wormwoods arrive at the library in a panic, telling Matilda that she must leave with them because they are fleeing to Spain. The wealthy Russians Mr. Wormwood was dealing with are the Russian Mafia, who are unhappy about being sold broken cars. Miss Honey asks if Matilda can stay with her, but the mafia arrive before a decision can be made. Sergei, the head of the Mafia, is impressed and moved by Matilda's intellect and respect, and he agrees not to harm the Wormwoods, providing he never has to deal with Mr. Wormwood again ('This Little Girl Reprise'). Mr. Wormwood agrees to let Matilda live with Miss Honey. ('When I Grow Up Reprise')
Content Advisories (subject to change as the production goes into rehearsal):
Language: 4 out of 5 stars
Strong language such as “hell” is used. Mr. Wormwood is confused that Matilda is born without male genitalia and loudly expresses his disdain by using slang words for genitalia such as “thingy,” “whatjamacalit,” “Frank and beans,” and “doodah.” Mrs. Wormwood explains that her “undercarriage doesn’t feel quite normal” and that she has a “smarting front-bottom” after giving birth to Matilda.
Matilda and other kids experience insults and bullying language such as idiot, horrid little man, filthy little toad, stupid, nasty, stinking, slimy, suppurating spleen, spitball, stink worm, brat, wart, squib, shrimp, unhatched tadpole, thick headed twitbrain, fool, loony, horrible squeaky little goblin, nasty little creep, miserable collection of excuses for children, demon, villain, monster, maggots, worms, filthbog, snotnose, flabby, disgusting, revolting, vile repulsive malicious little sinner, and nit.
Themes and Situations: 3 out of 5 stars
Mrs. Wormwood gives birth to Matilda onstage behind a partition. Scenes of bullying. Trunchbull throws kids in the “chokey” for punishment. Mr. Wormwood consistently mis-genders Matilda by calling her “son,” “boy,” and “he.”
Violence & Scariness: 2 out of 5 stars
Trunchbull swings a girl by her hair. Matilda tells a story of a girl who is beaten and thrown in a cellar. The treatment of Matilda by her parents and Trunchbull could be categorized as abuse or bullying. Big kids scare the little kids on their first day of school. Trunchbull pulls Eric’s ears as a punishment and they stretch. The Russian mafia offer to hurt Matilda’s father as a gift to her. (She denies the offer.)
Sensory Advisories: 3 out of 5 stars
Matilda the Musical is a dark story including large musical numbers and dancing. The music will be loud. Actors come into the audience. One audience member is brought onstage after intermission. Trunchbull uses a whistle multiple times during physical education class and uses a bullhorn when the kids stand up to her.
Potentially Anxious Moments: 3 out of 5 stars
Matilda lists the negative things her parents have said about her which is starkly different than the positive things other kids are listing. Matilda tells a story of an acrobat who is forced to perform, gives birth to a daughter, and then dies. Miss Honey discloses that her father committed suicide but that she thinks he was actually murdered.