Review: THE BFG, Royal Shakespeare Theatre
Photo credit: Marc Brenner
Roald Dahl has been a huge presence in the theatre world this year, pun very much intended. The play Giant, starring John Lithgow as a less than favourable interpretation of Dahl, proved a major success during its West End transfer to the Harold Pinter Theatre. Now the Royal Shakespeare Company steps forward with equal confidence, offering a production of Dahl’s The BFG that places its faith in puppetry, visual poetry and a renewed sense of wonder.
Building on the familiarity of a story cherished for generations, the company leans into the magic that only live performance can provide. This production marks Daniel Evans’ directorial debut for the RSC and he embraces the tale’s blend of mischief and menace with clarity and style, guiding the audience through a world in which scale shifts constantly and playfully before our eyes. From the human sized heart of Sophie to the majestic presence of the BFG, the staging celebrates the possibilities of theatre and demonstrates that Dahl’s storytelling, even with its sharper edges, continues to thrive when imagination is allowed to take centre stage.
The story itself follows Sophie, a young orphan who is taken from her bedroom in the middle of the night by a mysterious giant. Instead of belonging to the fearsome ranks of the child eaters of Giant Country, her captor is the Big Friendly Giant, a gentle soul who collects dreams and wishes to protect rather than harm. As Sophie becomes immersed in his world, she learns that the other giants pose a far greater threat and that countless children are in danger. Together they travel to London to seek help from the Queen, setting in motion an adventure filled with courage, ingenuity and the quiet resilience that grows from unexpected friendship. It is a tale that reminds us that even the smallest individual can influence events of remarkable scale.
Our BFG is youthful, sincere and irresistibly friendly. John Leader plays him with a striking combination of innocence and physicality, and from the moment he appears, the audience cannot help but fall for him. The decision to cast a younger performer in the role may have raised eyebrows at first, but it brings a fresh dynamic and an unexpected tenderness to the production. The age of the BFG becomes irrelevant, because it is his warmth and generosity that defines him. The entire cast is exceptional and the two young actresses deliver performances of remarkable depth and confidence. Even so, it is the puppeteers who deserve particular praise. In the programme they are credited with titles such as ‘giant left arm’, a humorous but accurate indication of the precision and effort involved. Their work is integral to bringing these extraordinary beings to life.
The transitions from performer to puppet are seamless and often breathtaking. One moment, John Leader is interacting with a miniature puppet Sophie and the next the towering BFG puppet looms above the young actress, last night played by Ellemie Shivers, creating a shift in scale that feels genuinely magical. Much of this enchantment is enhanced by Zoe Spurr’s lighting design. The dream catching sequence in particular is mesmerising, with shimmering lights that appear to dance through the air and weave in and out of the audience.
Vicki Mortimer’s set design is striking and has such purpose and pace. We begin with a small house showing Sophie’s bedroom in the orphanage, John Leader comes onto the stage and peers through the window and we then see a huge eye displayed against the backdrop of the stage. Small and intricate creative choices like this really allow the audience to immerse themselves for 1 hour and 48 minutes (including interval).
The RSC’s The BFG is, quite simply, captivating. The cast, the score, the lighting and the puppets come together to create a rich and imaginative world filled with heart. It transports you into the realm of giants and leaves you with a sense of joy and the comforting belief that kindness, however small, can make the world a better place.
***** Five stars
Reviewed by: Sophie Eaton