Review: Giant (Harold Pinter Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

When Giant was announced to make its world premiere at London’s Royal Court Theatre last year, it immediately became my most anticipated show of the year. My high expectations for the show were more than met when it blew me away so much, it got an easy five stars in my original review and became one of my favourite shows of the year. I wasn’t alone in feeling that way, with the show recently winning three Olivier Awards. A West End transfer seemed inevitable, and sure enough, Giant is now enjoying a run at the Harold Pinter Theatre, but would it loom as large in its new home?

Set in 1983, Giant is set in Roald Dahl’s home on a day when his US and UK publishers have joined forces to meet with him, following the fallout after an antisemitic book review he had written. Attempting to get him to issue an apology and restore his damaged reputation, the play takes a look at the differing aspects of the author, painting a picture not just of the man but of society in a play that feels even more timely than when it was first seen last year.

Mark Rosenblatt’s writing imagines what might have happened in the aftermath of Roald Dahl’s book review, drawing on themes that were prevalent both in the 1980s and still are more than 40 years later, with antisemitism once again running rife. What is miraculous about Rosenblatt’s writing is in how balanced it is - rather than instantly painting Dahl as an exaggerated villain you may find in one of his own works of fiction, he allows not only Dahl, but the other characters sharing a stage with him to debate the nuances of the situation. The situation proves complicated and Rosenblatt’s ability to weave a balance between opposing views in a conversation that flows naturally, albeit uncomfortably (very much reflective of these real-life counterparts) is part of what makes Giant such a huge success.

Giant is full of riches, with Rosenblatt’s writing allowing flourishes of humour and an unflinching (again imagined) look into a figure whose literary works still dominate multiple mediums decades after his death, though whose views have not aged well and have caused history to look back on an often questionable attitude. Of course, with current events in the world, there is a new comparison to be made, and this is part of what makes Giant so uncomfortable with certain lines making me wince - this situation may be a work of fiction but the real-life events at the moment are very much happening,

There is also something to be said about separating the art from the artist - this is a theme that is not touched upon in great detail though would be explored a lot more in the further aftermath of Dahl’s explosive comments. However, it is touched upon when US publisher Jessica Stone is forced to explain why she still enjoys Dahl’s material despite his offensive comments. It is an argument I have had many a time and can lead to some interesting takes and a fierce debate - the parallels between this play and the real world continue with recent news of its lead actors casting in an upcoming revival of a franchise that many are distancing themselves from. While my thoughts on that situation are not for this review, this does not detract from the performance I witnessed on this stage.

The actor in question is the legendary John Lithgow, one of the world’s finest, giving a performance so astonishing, he rightly earned himself an Olivier Award for this very role. Not only that, I’d argue he won against some fierce competition in a particularly strong year. As deserved as that accolade was, his performance this time might just be even better than it was in its prior London run. Having had more time with the character and the role, Lithgow effortlessly embodies Roald Dahl from his posture, mannerisms, wordplay and overall personality.

The character has layers to him, and you start to notice trends as the play progresses, notably in his treatment of women. In Giant , Dahl has an ability to switch from a terrifying monster to a charming big kid at heart, delivering a throwaway, sweet line mere moments after his looming presence causes a real threat to a fellow character. Lithgow’s ability to switch at a moment's notice is inspiring to witness as is his ability to make you like a character at moments and feel utterly repulsed by them moments later. It isn’t the easiest of journeys as an audience member and one that some may find themselves upset by, but it is compelling at every turn - and a large part of that is down to what could be John Lithgow’s career-best performance.

Nicholas Hytner’s direction finds the balance between Rosenblatt’s writing and Lithgow’s performance - with the three men on board the project from the early days, there seems to be a real affinity with each other and that leaps off the stage in a three-way partnership that has led to theatrical perfection. With a design from Bob Crowley replicating Dahl’s home mid-renovation, the exposing and ugly nature of the interior amongst a facade that passers-by would be oblivious too is a genius metaphor for Dahl’s own nature. The meticulous nature to every detail of this play has led to something I struggle to fault. 

Though Lithgow is at the heart of the story, he is not the only actor on that stage, and certainly not the only one delivering a world-class performance, as was proven with one of his colleagues also winning an Olivier Award. That would be the remarkable Elliot Levey who takes on the role of Dahl’s UK publisher, Tom Maschler. Referred to by Dahl as a “house Jew”, Levey has to deal with a character who has to put up with Dahl’s remarks despite his own history. Levey too gives a balanced portrayal, seemingly unfazed through a large part of it but having several explosive outbursts that suggests there is much more than meets the eye. A transformation in character when Dahl leaves the room showcases how adept Levey is an actor. He may sit on the sidelines while others go toe-to-toe, but his performance is always consistent and confident.

Rachael Stirling attempts to be a peacekeeper as Dahl’s fiancée Felicity Crossland. Trying to find balance and stop tensions exploding, she manages to control more than her character's first appearance might suggest. Though she is underused, Tessa Bonham Jones delights with a comedic and scene-stealing turn as Hallie. New to this production is Aya Cash as Jessica Stone, following in the footsteps of someone else who received an Olivier nomination for her performance in that role (though hilariously lost out to herself for another role). Though she may have giant shoes to fill, Cash more than achieves this in a character as wonderfully acted as it has been written. Though Jessica Stone did not exist, she represents the difficulties and conflictions of the situation as she tries to make Dahl see sense and then see her own part in this. Her morals weigh heavily throughout and the fear she exhibits in one stomach-churning scene is when she is at her best as a performer. She may be facing a heavyweight in the acting world in these exposing and vulnerable scenes, but she more than matches his own genius in one of the most exhilarating sparring matches you will ever witness on a West End stage.

Though the writing in Giant has been created by Mark Rosenblatt, it does feature two excerpts of Dahl’s own words - first in the book review that leads to the events unfolding in this play, and in a particularly uncomfortable climactic scene seeing Dahl on the phone to a journalist. The inclusion of these verbatim words adds a chilling and sinister undertone to the play - a reminder that while the work here may be of fiction, its subject was not. This was a very real man - one whose creations led to treasured stories and experiences for children and adults alike, but whose hatred of certain people tainted its legacy for many of them. Again, an unfortunate parallel to today's society and a certain other author who must not be named.

Giant is complicated but so is life, and this play is one that will have you leave the theatre, debating what you have just seen and the real-life repercussions of it - something that is a testament to what theatre can do when it gets it as right as this. Though it can be sensitive at times, it doesn’t attempt to sugarcoat the atrocities of these comments and can prove fairly shocking at times. Rosenblatt’s writing, Hytner’s direction and a towering performance from John Lithgow showcases three men at the top of their crafts respectively, whose own work seems to be elevated when in partnership with each other. It may not be the most comfortable watch in the West End but it is an incredibly important one. Thought-provoking and balanced, we may have seen some exceptional plays in the West End in recent months, but it is safe to say this particular one stands on the shoulders of giants to encapsulate the very best.

Giant plays at the Harold Pinter Theatre until 2nd August. Tickets available here

Photos by Johan Persson