Giant review: A powerful portrait that puts Roald Dahl’s uncomfortable views in the dock
As a lifelong reader and admirer of Roald Dahl’s works, I found myself both captivated and disturbed by the play “Giant” at the Royal Court Theatre. The portrayal of the author, played brilliantly by John Lithgow, was nothing short of mesmerizing, capturing the essence of Dahl’s character while shedding light on his darker side.
Giant (Royal Court Theatre, London)
Renowned children’s writer and World War II airman, Roald Dahl, has recently found himself under scrutiny in the court of public opinion, being criticized for racially insensitive language used in his past works.
The court being referred to is the prestigious Royal Court Theatre in Chelsea, which is hosting the appearance of Roald Dahl, portrayed by actor John Lithgow, who is renowned for his roles as Winston Churchill in The Crown and from the television show Third Rock From The Sun.
Mark Rosenblatt’s latest play delves into the consequences arising from anti-Semitic comments made by Roald Dahl in a 1983 book review titled God Cried, co-written with Tony Clifton and Catherine Leroy, which criticized the bombing of Lebanon the year prior.
The setting is a rickety garden extension in Dahl’s country home in Buckinghamshire.
He’s currently reviewing the proofs for his latest book titled “The Witches,” which is being scrutinized by his British and American publishers – coincidentally, they are both Jews. (Paraphrased)
Strife arises as his anxious publisher (Romola Garai), who generally admires him, tries to get an apology for his harmful comments in order to placate the American audience.
In addition to being reluctant, Dahl goes a step further and lashes out at her. However, what truly astonishes and captivates about Nicholas Hytner’s production isn’t that Dahl is revealed – this information is already public knowledge. Instead, it lies in the play’s audacious, inflammatory nature. It expresses thoughts that many individuals – Jews, Israelis, anti-Semites, and the general public – might harbor but are too fearful to voice openly. The play isn’t just about Dahl; it’s about us all. And, with the threat of a full-scale conflict in the Middle East escalating, its timing couldn’t be more ominous.
Last night, Lithgow’s fearlessly bold and unremorseful act left the audience in stunned, breath-holding stillness. Moreover, his likeness to Dahl is striking as well.
However, Rosenblatt’s play doesn’t shy away from revealing a different perspective of him. It portrays his biting humor that earned him both friends and foes, the way he justifies his harshness as straightforwardness, and his use of his well-known back pain as an excuse.
This situation serves as a warning for Dahl to face stern criticism – and his U.S. publisher expresses this disapproval fiercely, labeling him as a combative, uncooperative individual for placing an entire nation on trial due to the actions of a single administration.
However, the English publisher, Elliot Levey, advises her to disregard Dahl’s teasing, similar to how one might ignore playground taunts, or his aunt’s unattractive wallpaper. On the other hand, Rachel Stirling, who was Dahl’s fiancee, attempted to maintain harmony with her reserved English demeanor, worrying that Roald might jeopardize his potential knighthood.
After the break, the performance seems to lose momentum, yet it maintains an intense feeling that none of the characters are morally superior or inferior to us.
It’s crucial for everyone to address the pressing issue of anti-Semitism, which has become a persistent problem that requires immediate attention due to its severity.
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2024-09-27 06:26