MATILDA: 30TH ANNIVERSARY – FILM WITH LIVE ORCHESTRA
Music composed and conducted by David Newman
Narrated live on stage by Danny DeVito
Performed by the Royal Philharmonic Concert Orchestra
Pre-show talk hosted by Tim Burden
October 30, 2026
Royal Albert Hall
London, England
PART 1: A NO-BRAINER
As you can probably tell from this website, I don’t often go to concerts that feature live-to-film performances of the film’s music.
The main reason is that the visuals and dialogue tend to draw my attention away from the talented musicians that are performing the music on stage. In many cases, I actually forget that they are even there, which practically negates the need for me to go to these concerts as I can get a similar experience from the comfort of my own home.
It therefore takes something very special to get me to fork out my hard-earned cash to see one of these events.
Well, I’m pleased to say that something very special came along in the form of the 30th anniversary screening and live music performance of MATILDA, the 1996 Danny DeVito film based on the famous children’s book by Roald Dahl.
Not only did this concert feature its original composer, David Newman, conducting the orchestra, but it also featured live narration on stage by the film’s star and director, Danny DeVito.
Given these very special guests, it would have been a crime NOT to go to this concert!
PART 2: THE CONCERT
Friday, October 30 saw the Royal Philharmonic Concert Orchestra perform David Newman’s score to MATILDA live to film at London’s Royal Albert Hall, an iconic concert venue that is host to scores (pun intended!) of live-to-film concerts, general film music concerts, and much, much more.
The concert proper was preceded with a 15-minute onstage talk with Newman and DeVito that was hosted by prolific event host, voice over artist, and film music specialist, Tim Burden.
Capping off the whole experience was a surprise appearance by members of the original cast including Mara Wilson (Matilda), Pam Ferris (Ms. Trunchbull), Kiami Davael (Lavender), Kira Spencer Hesser (Hortensia) and Jacqueline Steiger (Amanda Thripp).
PART 3: A PRE-SHOW TALK WITH THE STARS
The pre-show talk was a fun and lighthearted affair that had DeVito stealing the show with his funny quips and opening sing along of the iconic 20th Century Fox Fanfare, which was in fact composed by David’s father, Alfred Newman.
Quite a few things we’re talked about which I’ll list from memory below:
On their past work
- DeVito and Newman have now worked together for almost 40 years!
- DeVito originally chose Newman to score his films based on his work on CRITTERS and how he could effectively write contrasting music
On the music of DeVito’s films
- Newman stated that DeVito’s films are perfect for music – the images and camera angles give him great opportunities to comment with his music.
- The segue from the logos to “Main Title” of THE WAR OF THE ROSES was in B flat major – something DeVito jokingly said he knew long before Newman mentioned it!
On MATILDA
- The live-to-film performance would feature tweaks to the score, with additions here and there.
- The score and film feature a lot of juxtaposition which Newman mentioned can be tricky to score.
On live-to-film concerts
- Newman’s father’s generation would have thought these live-to-film concerts were “unthinkable.”
- He wishes his father were alive today to see how popular they’ve become.
The pre-show talk concluded with the surprise appearance of members of the original cast.
Needless to say, the audience went crazy when they graced the stage!
PART 4: THEMES, GLORIOUS THEMES!
Instead of starting with my usual report on the night’s performance in sequential order, I thought I might do things a bit differently and first highlight Newman’s musical themes for MATILDA.
Newman’s score is essentially made up of six major themes that are used throughout in various guises. All of these are instantly memorable, and were written at a time when scores were more prominent in the audio mix and given space to breathe. Oh how I miss those days!
Matilda Theme #1
- We first hear this positive and upbeat melody in the opening, albeit in a stripped down arrangement as Matilda has yet to become the person she is destined to be. This theme underscores the moments we see Matilda showing her positive and indomitable spirit.
Matilda Theme #2
- This reflective theme accompanies scenes where Matilda is talking about what she likes and wants to do. The theme later builds and soars, melting my heart every time.
The FBI theme
- This is the sleazy and comical theme for the two bumbling FBI agents played by Paul Reubens and Tracey Walter. It was originally performed by Hammond organ on the original recording, and was reproduced for the concert on keyboard.
Ms. Honey’s Theme
- This is a beautiful and tender theme that could only be described as sounding “wholesome,” just like the character in the film. I used to have a huge crush on the character’s actress, Embeth Davidtz, and only wish she had showed up to the concert as a special guest…
Trunchbull’s Theme
- What a killer theme! Villaneous without being too scary, and over the top without seeming too unbelievable – it is nothing but contrasts expertly composed by Newman.
With that brief description out of the way, let me now describe how those themes were used throughout the concert in sequential order. I’ll focus on the highlights and anything else I noticed or remembered. I’ll also reference the corresponding tracks on the original soundtrack (OST) album released by Varese Sarabande, which unfortunately is now long out of print.
PART 5: THE FIRST HALF
The film opens with feelings of hope and innocence as that “indomitable spirit” theme (Matilda Theme #1, “Newborn” on the OST) appears in broad strokes as Matilda is born and DeVito’s unmistakeable voice provides the film’s narration.
As Matilda’s parents drive home from the hospital (“Home from the Hospital” on the OST), a piece full of dodgy swagger is performed by Hammond organ and electric guitar, perfectly capturing the zany character and lifestyle of Harry Wormwood and his wife.
When “Matilda writes her name” (from the OST) and is forced to the start taking care of herself, her theme (“Matilda Theme #1 ) finally makes it first full and glorious statement. This was followed by the Rusted Root’s song, “Send Me On My Way” in its original recording.
When Matilda heads to the library for the first time (“To the Library and Beyond” on the OST), we again hear that unforgettable theme capturing her unwavering spirit. As the scene progresses and she realizes the possibilities of what she can do and who she can be, that secondary Matilda theme appears (Matilda Theme #2 ), swelling with unrestrained emotion.
The FBI then make their appearance to investigate the shady dealings of Harry Wormwood and his car shop business. Accompanied by Hammond organ and non-performing orchestra members doing finger snaps, I cannot help but groove along to the music (“The FBI” on the OST).
Matilda later has her very first day at school, and this is where we are introduced to the comically villainous Ms. Trunchbull.
Madcap music accompanies Ms. Trunchbull as she picks up Amanda Thripp by her pigtails and throws her across the school (“Hammer Throw” on the OST). As she lands safely in an outside flower garden, a gloriously heroic theme appears.
After being introduced to the lovely Ms. Honey and her sweet musical theme (“Ms. Honey” on the OST), we then transition to a scene where Matilda explains how much she likes to read. This scene features my favourite statement of her secondary theme (the later part of “Multiplication” on the OST), revealing to the audience that Matilda is becoming more and more the person she wants to be.
After learning of how intelligent Matilda is, Ms. Honey goes to Ms. Trunchbull’s office to explain how Matilda needs to be in a more advanced class. As Ms. Trunchbull rebuts her appeal, fun and villainous music fills the air (“Trunchbull’s Office” on the OST) – while being ridiculously over the top, it’s perfect for the character and scene.
One of the film’s most enjoyable scenes comes next with the Bruce Bogtrotter cake eating scene (“Let Him Eat Cake” and “Bruce Eats It All” on the OST). Featuring an extended musical set piece, it is thrilling, full of villainous vibes, and in the end, gloriously rousing as Bogtrotter completes the impossible challenge set by Ms. Trunchbull. I actually hope the audience will get more into it and chant “Bruce! Bruce! Bruce!” in unison to egg on our hero, but alas it is not to be.
After the madcap scene where Ms. Trunchbull drinks water from a glass with a newt inside (“The Newt Dance” on the OST), the first half comes to a close as Ms. Honey invites Matilda to her home for a chat.
The screen then turns black as Newman takes us through another statement of Matilda’s primary and secondary themes. As a sucker for French horn, I am delirious when the theme is performed by that instrument, leading to one final majestic sweep of the secondary theme to bring the first half to a satisfying end.
PART 6: THE SECOND HALF
Before the film resumes, Newman takes the orchestra through a quick medley of Matilda’s themes. There is a hint of Ms. Trunchbull’s theme before it returns to Matilda’s spirited main theme.
The film then resumes with Ms. Honey taking Matilda through the woods and telling her about her sad and difficult upbringing.
One of the night’s best set pieces comes next with scenes and music from “Trunchbull’s House” and “A Narrow Escape” from the OST. This is music for the scene where our heroines are seen creeping around Trunchbull’s home and are interrupted as Ms. Trunchbull comes home and goes on a rampage around the house looking for the intruders.
Frantic suspense music dominates as brass and cymbal crashes take turns to create a deliciously villainous march. Ridiculously over the top, it’s impossible to take seriously – but also impossible not to love!
Adding to the unease during this scene are twirly tubes being swung overhead by one of the percussionists – certainly not something you see often at concerts these days!
After Ms. Honey and Matilda safely escape the house, we return to the Wormwood household and the FBI going through their garage in search of evidence. That “FBI theme” returns in an extra sleazy swing-like arrangement complete with finger snaps (“FBI in the Garage” on the OST), perfectly capturing the vibe of the two bumbling FBI agents.
It is now time for THE set piece for the night, “The Haunting” from the OST, which underscores the scene where Matilda is going back to Ms. Trunchbull’s house to take back Ms. Honey’s precious childhood doll. This scene is largely dialogue free, allowing the music and visuals to carry the whole sequence.
Manic music dominates and pushes this scene along as a short and mischievous theme for Matilda makes its appearance. As the sequence progresses and the tension jumps a few notches, the scene builds into a tremendous climax. Ending with perfect timing, I need a moment to breathe – I’m sure the orchestra and Newman do too!
Thunderous percussion strikes later mark Ms. Trunchbull’s bloody-thirsty fit of rage and revenge as she comes looking for Matilda at school. As the music builds and becomes more frantic, Matilda unleashes her powers while comical action music accompanies Ms. Trunchbull’s eventual retreat from the school grounds forever (“End of the Trunchbull” on the OST). When she finally leaves the school grounds, a heroic theme is performed and the narrator returns over soaring and triumphant music – good has finally triumphed over evil.
The film then concludes with the Wormwood family fleeing to Guam, but not before Matilda begs her parents to allow her to be adopted by Ms. Honey. As they sign the adoption papers (“Adoption” on the OST), that secondary Matilda theme plays, sounding more uplifting and beautiful than ever.
Rusted Root’s “Send Me On My Way” then closes the film as the end credits roll and the original cast return to the stage for one last round of applause.
I don’t fully remember the ends credits from the actual film, but this live performance features lovely performances of Matilda’s primary and secondary themes, and a rousing climax featuring the mischievous action music from the film.
And that ended a night with MATILDA on her 30th anniversary!
PART 7: A TIMELESS CLASSIC
My opinion of this film and its score jumped leaps and bounds after the live performance of the score to film.
It really is a timeless classic bolstered by fun performances, witty dialogue, and a film score that is chock full of memorable themes for its heroes and villains.
I for one hope that the score and film are more widely recognized and that it can be celebrated by future generations for many years to come.
PART 8: MEETING THE STARS
Through a mutual friend I was extremely fortune to be able to meet the stars before and after the show.
David Newman, who I have long-admired yet never met in person or seen conduct live, was incredibly humble, honest and generous with his time. He kindly made time for a photo before and after the concert, and he also signed my concert program. Very cool!
And what can be said about Danny DeVito? The stories are true – he is ridiculously warm, funny and kind. When I arrived at the post-concert party, he could be seen happily posing for photos with the children in attendance.
Luckily, I was able to catch him on his way out of the party. After a few words, he kindly posed for a selfie – again, my blurry selfie collection continues!
PART 9: OVER TO YOU
Did you go to this concert too? How did you like it?
And what did you think of my review? Feel free to comment below or reach out to me directly in the “Contact Me” section.