It’s getting to where you feel uncomfortable attending a Broadway musical without a little girl in tow. Joining the current tween-friendly line-up of Wicked, Annie and Rodgers and Hammerstein’s Cinderella is the new British import Matilda the Musical, based on Roald Dahl’s 1988 novel about a little girl possessing the gifts of a preternatural intellect and, like a pint-sized Carrie, telekinesis.

Having garnered endless raves and heaps of awards across the Pond, it looks likely to reap similar success here, even though its very British sensibilities may prove off-putting to some.

Despite the plaudits, the show proves yet another example of dazzling stagecraft applied to thin material lacking emotional heft. Although brilliantly staged by Matthew Warchus (last season’s Ghost: The Musical is now officially forgiven) and wonderfully performed by its ensemble including four young girls alternating in the title role and the superb Bertie Carvel reprising his Olivier Award-winning turn, this Royal Shakespeare Company production ultimately feels hollow.

The thin storyline revolves around five-year-old Matilda, who dazzles her peers and teachers with her polysyllabic vocabulary and voracious reading habits which include Dickens, Austen and Dostoyevsky (in the original Russian, no less). Less favorably inclined are her loutish parents, the Wormwoods (Gabriel Ebert, Lesli Margherita), who have little use for her, and her brutal headmistress Miss Trunchbull (Carvel, playing the role in drag), who physically and emotionally abuses her charges.

="“font-family:">On Matilda’s side are a kindly librarian (Karen Aldridge) who keeps her supplied with books in exchange for stories, and a supportive teacher, Miss Honey (Lauren Ward), who attempts to shield her from Miss Trunchbull’s venom.

Its positive message of youthful empowerment delivered through Dahl’s deliciously dark sensibility, Matilda is refreshingly free of the treacle afflicting so many children’s themed shows. Dennis Kelly’s book translates it effectively to the stage, and the peppy score by Australian comedian Tim Minchin features many clever lyrics, at least when you can hear them through the thin young voices and British accents. The production is certainly visually dazzling, especially Rob Howell’s set featuring endless miles of books and an explosion of Scrabble-like alphabet tiles that extends far beyond the stage. Also impressive is the inventive choreography by Peter Darling that features the young kids (and several adults) dancing with an energetic, Spring Awakening-style abandon. Important contributions are made by Hugh Vanstone’s lighting design, which at one point features a dazzling laser show, and Paul Kieve’s illusions, including such effects as words magically appearing on a chalkboard.

The acting, too, is terrific. At the reviewed performance, young Oona Laurence displayed the polish and finesse of a veteran trouper as Matilda. Ebert and Margherita are deliciously sleazy as the Wormwoods, and Ward is wonderfully appealing as the kindly teacher. Carvel, aided by Howell’s impressive costuming, is riveting as the grotesque Trunchbull, instantly establishing the character as one of theater’s most memorable villains.

But for all skillful effort involved, the show is never truly involving. The schematic storyline lurches forward to its predictably happy conclusion, and the telekinesis element seems tacked-on. Matilda the Musical is never boring, and it’s certainly impressive while you’re watching it. But for anyone old enough to drink or vote, it’s likely to evaporate from your mind immediately upon leaving the theater.

Sam S. Shubert Theatre, 225 W. 44th St. 212-239-6200. www.Telecharge.com.