We take a look at what is being said about Mark Rosenblatt’s new play, directed by Nicholas Hytner.
Broadway World: *** “A flawed play then, but one that at least tries to address thorny key issues of the day in politics and art. Will it, as the best theatre should, change minds or, if that is too much to ask, at least challenge mindsets? That question is subjective and in the eye of the beholder, but I doubt anyone seeing the play will turn on the radio the next morning to hear of more carnage in Gaza or Southern Lebanon and form a new view on its origins or its potential outcomes. Nor do I believe anyone will see Matilda, Charlie or James any differently, nor even the infamous Witches either.”
The Stage: *** “Timely new play interrogates the tarnished legacy of celebrated author Roald Dahl.”
WhatsOnStage: **** “It’s a play that doesn’t quite decide where it stands in that argument about whether you can loathe the man and admire the art – but thanks to Lithgow, it compels while it is making it.”
The Guardian: **** “It is sophisticated writing, speaking not only of Dahl but also to our own time, although the ground is inherently lopsided: the opposing arguments around Israeli and Palestinian freedom cannot be weighted equally when one – Dahl’s – is fuelled not only by a sense of righteous injustice but also bigotry.”
The Standard: ***** “Rosenblatt’s fearless script is one thing, but it’s made extraordinary by the performances. Lithgow dominates, certainly, but it’s really an ensemble piece. Romola Garai plays Jessie Stone, and though her character is a fiction, and a useful dramatic foil for Dahl, Garai brings her completely alive.
All That Dazzles: ***** “Some may long for a resolution that ties up all the loose ends and clearly states where it stands on the issues discussed, the choice to leave it as it is feels more representative of the state we find ourselves in and encourages the audience to have those conversations themselves. With performances every bit as stellar as the writing, there have been some amazing plays in London this year, but this masterpiece is a Giant among them.”
West End Best Friend: **** “The production of Giant and Lithgow’s performance were highly anticipated, and they certainly didn’t disappoint. Rosenblatt’s play is powerful and poignant and questions if you can ever separate the words from the writer.”
London Theatre.co.uk: *** “Beloved American actor John Lithgow is terrific in conveying Dahl’s charm and cruelty that are essentially two sides of the same coin; he still sees himself as a dashing World War II fighter pilot and needles all his guests in a kind of twisted parlour game.”
The Independent: “The controversial children’s author is shown to have a bizarre blend of kindness and borderline sadism in Mark Rosenblatt’s debut play, set in 1983 after the publication of ‘The Witches’ and a shocking antisemitic book review.”
The Reviews Hub: **** “The man was a giant, to be sure. To those he deemed worthy, he could even be big and friendly. In its timely dissection of antisemitic beliefs, Giant reminds us that Roald Dahl was also a monster to match the grotesques within his own literary works.”
Theatre Vibe: “This is a really interesting study of a flawed man which asks the question I often come back to, should we separate the work of an artist from his or her behaviour? Really worth seeing and hope for a transfer.”
Giant continues to play at the Royal Court Theatre until the 16th November.