Among the most popular children’s stories since its 1988 publication, Roald Dahl’s novel “Matilda” was adapted into a stage musical by Dennis Kelly and Tim Minchin. It launched to great acclaim in 2010 and enjoyed long runs in London, New York and elsewhere, garnering many awards.

For several years, the play has been available to regional theater companies. Marin theatergoers are lucky that Novato Theater Company landed the rights. Helmed by Novato Theater Company director and choreographer and one-woman whirling dervish Marilyn Izdebski, the spectacular show is enjoying an unfortunately brief run through June 8.

So well done and so engrossing that it could play to packed houses all summer long, “Matilda” centers on a hyper-intelligent little girl, unappreciated by doltish parents who send her off to a strict-regimen school run by a comically cruel headmistress named Miss Trunchbull (Jane Harrington).

The eponymous lead character, Matilda, is a hyper-bright 5-year-old who loves books, reading, science, math and every variety of imaginative intellectual pursuit — the exact opposite of her proudly ignorant parents, Mr. and Mrs. Wormwood (Pat Barr and Melody Payne, respectively), and her nearly mute older brother. Also blessed with telekinesis, Matilda can move objects with her mind, an ability that proves useful late in the story.

Matilda the character is double-cast (Piper Lebeau and Piera Tamer), as are several children in the story. With a daunting line load and unbelievable confidence, Tamer was absolutely astounding on opening night May 16. Neither she nor any of her castmates bobbled a line nor missed a cue on Michael Walraven’s imposing set, festooned with gigantic toy building blocks that serve not only as decor but as student seating and other props (Cindy Morris, prop designer). A superb offstage band led by Judy Wiesen propels the whole high-energy affair.

Matilda and her classmates endure their mean-as-hell headmistress, Trunchbull, who expresses her pervasive dislike of children by sending them to “the Chokey” — a small-scale torture chamber — for minor infractions. Harrington shines as the harridan, taking her character way over the top in every scene. Her dance routine as “a former world champion hammer thrower” is delicious, one that enjoys a reprise as she tosses one pigtailed urchin out the window. Do not fear — no real kids are injured.

North Bay theater veteran Barr clearly relishes his role as Matilda’s father, a clown-suited used-car salesman, as does Payne as her ditzy sexpot mom, whose only interest seems to be ballroom dancing with a flamboyant partner named Rudolpho (Andrew Herold). On opening night, Kylie Cohen was superb as Matilda’s friend and comrade-in-arms Lavender, a role alternating with Kiera Kissling. Repeatedly mistreated classmate Bruce is heartrendingly portrayed by Ella Brill and Lyra Wiesen.

The other students — too many to name, alas — all expertly performed. A hallmark of great acting is that even when they’re merely in the background, good actors are still engaged and reacting to what’s happening onstage. All the kids under Trunchbull’s rule react to her every edict and miscarriage of justice. Their commitment to the tale is among the show’s many sources of satisfaction.

A secondary plot involves “the Acrobat and the Escapologist,” a story that Matilda invents as she suffers mistreatment at school and at home. Kevin Allen and Dana Cherry are excellent, performing on a high platform at the rear of the stage.

No abused child survives without adult champions. Matilda has two — librarian Mrs. Phelps (Samantha Maas-Baldwin) and teacher Miss Honey (Anna Vorperian), who makes Matilda’s welfare her personal quest. The two bring palpable empathy to their characters and for Matilda.

Even with Izdebski’s challenging choreography, the more than 30 performers negotiate the compact stage at Novato Theater Company without stumbling over each other. “Revolting Children,” the second act’s rousing song-and-dance number, should incite righteous indignation among the entire audience. As a bit of dramatic dessert, polymath Matilda even trots out some pidgin Russian with a gaggle of mobsters late in the show, a language she claims to have taught herself so she could read classic novels in the original.

The show’s main plot and two subplots converge brilliantly as the tale ends, leaving no loose ends.

“Matilda the Musical” is a fantastically satisfying and uplifting production. Many performances are already sold out — dash to Novato Theater Company’s website for tickets to those remaining.

Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact him at barry.m.willis@gmail.com.