John Lithgow Unleashes the Dark Side of Roald Dahl in West End Sensation
Giant (Harold Pinter Theatre)
Verdict: Shock and awe
It’s common knowledge among readers of Roald Dahl’s cherished children’s book “The BFG” that not every giant is big and friendly. This towering, creatively boundless, incredibly accomplished author himself is a testament to this fact.
As I delve into the captivating, dynamic portrayal of Roald Dahl by Mark Rosenblatt, I find myself grappling with a complex character who defies simple categorization. On one hand, he’s an intricate, deeply flawed individual with childlike qualities, yet on the other, he’s a torrent of endless empathy and unapologetic animosity. A fascinating paradox indeed!
In an outstanding portrayal that has already earned accolades (and promises to gather more), John Lithgow dominates the production in the role of Dahl. At first, he is playful and mischievous, but gradually transforms into a truly terrifying character – a monstrous bully who is as grotesque as one of his own fictional creatures.
The play’s backdrop is authentic. In the year 1983, Dahl penned a strongly prejudiced book review criticizing the actions of Israeli troops in Beirut during 1982. Midway through the article, he comments: ‘In no other chapter of human history has a racial group changed so swiftly from being widely sympathized victims to brutal oppressors.’
The work ignited intense controversy, leading to death threats against its author and requiring police security during his stays abroad, as he resided in a countryside home with his fiancée, Liccy (portrayed by Rachael Stirling, both practical and posh, skillfully providing backrubs and ego boosts).
The scenario presents a created circumstance. Tom Maschler, a relaxed British publisher played by Elliot Levey (an adopted Brit with Jewish roots who values sales over politics), along with an emissary from his U.S. publishers, Jessie Stone ( portrayed by American actress Aya Cash, who is passionate and politically conscious yet diplomatic), arrive for lunch to request him to express remorse.
The performance raises several queries, such as the age-old debate on whether the moral nature of an artist influences our evaluation of their work.
The question was straightforward until the point when Dahl called a journalist to discuss his critique, and incidentally made the comment, “Even someone as notorious as Hitler didn’t randomly target them without cause.
During a span of two hours, Rosenblatt’s critique on Dahl transforms into a mirror image of the irreconcilable struggles tearing apart our contemporary world.
This play is hilarious, surprising, intellectually stimulating, potentially contentious, masterfully arranged, and brilliantly acted – everything a play ought to be. A must-see.
Giant runs at the Harold Pinter Theatre until August 2.
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2025-05-02 01:09