One extraordinary night, a young orphan named Sophie is snatched by a giant and taken far away to Giant Country.
There she learns that human-eating giants are guzzling 'norphans' the world over. But she soon discovers that her new friend, the BFG, is different – he's a dream-catching, snozzcumber-munching gentle soul who refuses to eat humans.
While other giants terrorise the world, the BFG ignites Sophie's imagination, and they devise a daring plan to save children everywhere. In the end, the smallest human bean and the gentlest giant prove that a dream can change the world.
The performers are impeccable under the direction of RSC co-head Daniel Evans. Yet with the BFG and baddie giant Bloodbottler divided between an actor, a puppet and four on-stage puppeteers, coherent characterisation can be lost; Paddington: The Musical more seamlessly combines acting, animatronics and voices projected from backstage. Showing the complexities of theatrical funding now, The BFG is a co-production with Chichester Festival and Singapore Repertory theatres. Audiences will have enough fun but, while intermittently showing the RSC’s artistic power, this sadly doesn’t feel like the giant hit its finances need.
This production of The BFG represents some of the finest work delivered by the RSC that I have ever witnessed. A true masterpiece of theatrical stagecraft, it weaves together a stunning blend of artistry. There’s the evocative score and ingenious puppetry to its lighting, set, costumes, illusions, and video projections. The seamless collaboration between the creative team, cast, and stage crew brings this timeless story to life with spectacular imagination and precision which will leave even the youngest of audience member in awe of what is unfolding on the verstalie space has this theatre has to offer.
| 2025 | West End |
West End |
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