Following a sell-out run at the Royal Court, the play everyone is talking about is transferring to the West End.
“I wanted to put you bang in the picture. Apprise you of the difficulties. Because, in case you hadn’t noticed, he’s a human f*cking boobytrap. And now, guess what, surprise surprise, boom!”
A world-famous children’s author under threat. A battle of wills in the wake of scandal. And one chance to make amends…
John Lithgow will reprise his role as Roald Dahl in the west end transfer of Mark Rosenblatt's critically acclaimed play.
Directed by Nicholas Hytner, The Royal Court's production of Giant will open at the West End's Harold Pinter Theatre in Spring 2025.
We may admire Stone’s flinty resolve (American actress Aya Cash taking over, capably, from Romola Garai), but she’s still inclined to separate the artist from his art in deference to her learning disabled son’s reading needs, her stance complicated further by Dahl’s compassion for the boy, and for her. And Lithgow’s multi-faceted portrait keeps our sympathies shifting to the unpalatable end: his insouciance and incorrigible wit beguiling, his humanitarian concern persuasive, his prejudice bound up with his self-sabotaging personality type. Rachael Stirling remains pitch-perfect as his warily, almost wearily supportive partner Felicity, with Tessa Bonham Jones and Richard Hope completing the cast as the astute house-help and bluntly sage handyman.
Yes it’s lots of people arguing in a drawing room and god knows the West End has had its fun with plays like those. But something sets it apart, which is Rosenblatt’s willingness to go there. ‘Are you Jewish?’ Dahl asks Stone barely a minute after they meet. From there it’s fireworks, it’s daggers drawn, Dahl a big complex beast either made bearlike by deep compassion for oppressed, injusticed people, or a big child who doesn’t know how to regulate his feelings, so instead throws antisemitic tantrums. And actually the familiarity of the old-fashioned form then butts up against its daring intent, like the play is waiting for the tension and conflict that ripples throughout the audience as some of the lines are spat out, the seizing of shock, the awkwardness, outrage and discomfort.
| 2012 | Off-Broadway |
Public Theater Production Off-Broadway |
| West End |
West End |
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| 2025 | West End |
West End |
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