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.
Bringing all this to the stage requires skill and vision, of which director Daniel Evans and his team evidently possess limitless supplies. Visually, the show is a marvel, a world of colour and light that draws frequent gasps and often beggars belief. Key to it all is a brilliant and wholly convincing depiction of scale: the characters sometimes appear as humans and sometimes as puppets, miniature or gigantic, manipulated with almost uncanny lifelikeness. None of this feels gratuitous or gimmicky, but rather a reflection of the assured excellence that suffuses the production.
Wonderful, but at other points, it feels like the focus gets lost; as when we’re required to watch both the human and puppet versions of the other bruising giants slug it out, diminishing the menace of the vicious “Bloodbottler” in particular. Likewise, although there’s a beautiful sequence in which a feather-like luminous “dream” magically darts about the auditorium, only to be caught in BFG’s net, the preoccupation in the story, about how our dreams relate to our subconscious fears, feels under explored. Sophie, BFG and the Queen too (a redoubtable Helena Lymbery) are all struggling with loneliness, but a deep sense of inner-life is lacking.
| 2025 | West End |
West End |
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