Matilda is based on the Roald Dahl novel of the same name, about a young girl who is mistreated by her parents and is sent to a school where the headmistress Miss Trunchbull abuses all the children there. “It was an opportunity to do new things with it.” He then adds, with excitement, “We were just able to go mental with it.” “We knew quite early on that we weren't just going to do the stage show,” says Kelly, who wrote the book for Matilda and the film’s screenplay.
WHEN I GROW UP SONG THEATER MOVIE
Though the creators admit that movie musicals are “inherently difficult to do,” in the words of the film's director Warchus (who oversaw Matilda on the West End and on Broadway), they also relished the challenge of reconceptualizing their musical anew. “I don't think I could have done what Matthew and Dennis did, which is to just really reimagine it and completely change the script-just fundamentally change it, and yet you come out feeling like you've seen the same story.” “Usually people find it hard to truly throw out what they need to throw out in order to make the jump ,” says Minchin. He speaks admiringly of his colleagues Kelly and Warchus-all three artists have the rare honor of being creators who got to oversee the film adaptation of their stage property. “Oh Christ, it's completely different,” says composer Minchin when talking about the differences between the stage show and the film adaptation, which is currently playing on Netflix. You've grown up together, in a way.When Matthew Warchus, Dennis Kelly, and Tim Minchin set out to adapt their Olivier- and Tony-winning Matilda the Musical into a film, they knew they would have to kill some of their babies. Now, here you are all these years later, watching an old Tom Cruise scamper across rooftops and train a new generation of fighter pilots. It connects you to those who vividly remember being in high school when they saw a young Tom Cruise in Risky Business during its original release. It can also feel like a personal evolution, where you can pinpoint each phase of your life and map it alongside that artist's oeuvre. (Don't even get me started on the under-30-somethings who try to argue Chris Brown is anywhere close to being on the same level as Usher.) It can lead to dumb intergenerational tiffs. I think it creates a unique bond that's harder to break, for better or worse you may find it difficult to accept and/or reconcile their faults. Instead, it's about how every generation has its stars who hit it big just as that generation is coming of age and honing its tastes in art and who never seem too far from that cohort's consciousness even as they age.
I had no clue that decades later, I would pay a pretty penny to watch her put on one of the biggest tours in my lifetime.Įvery generation has its stars who hit it big just as that generation is coming of age and honing its tastes in art and who never seem too far from that cohort's consciousness even as they age. Back then, I had no idea that that same lead singer with a unique name would become such a dominant force in every era of my life: my teens (the "Crazy in Love" era) college (the "Single Ladies" era) my 20s ( 4, Beyoncé, Lemonade), and now, my 30s.
But before that, it had been even longer between my IRL sightings: 17 years(!), when Destiny's Child (pre-Michelle Williams) opened for TLC during the FanMail tour.
This will be my third time seeing Queen Bey live I last saw her when she was touring for Lemonade in 2016. Like many people who routinely suffer FOMO, I've drained a ridiculous portion of my bank account to secure tickets for Beyoncé's Renaissance tour, which officially kicked off last week in Sweden. Above, Beyoncé performs in Los Angeles in July 2009. When stars hit it big just as a generation comes of age, it can create a unique and lifelong bond with their fans.
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