Giant is a play of firsts for the Royal Court. It is Artistic Director David Byrne’s first season, acclaimed Nicholas Hytner’s first time directing, John Lithgow’s debut stage performance and the world premiere of Mark Rosenblatt’s debut play. However, it is sadly not the first time the theatre has been used as a forum to discuss the complex subject of antisemitism.

It is the summer of 1983, a particularly challenging period for the beloved children’s author, Roald Dahl. While preparing for the publication of The Witches, he must navigate the fallout of an antisemitic book review he penned for the August issue of Literary Review. The book in question is Tony Clifton's God Cried which documented the siege of Beirut during the 1982 Lebanon War which, of course, has increased poignance and urgency given the current events happening in the Middle East. The play follows an emergency lunch hosted by Dahl’s fiancée Liccy for his British and American publishers, Tom Maschler and Jessie Stone, who aim to convince him to issue an apology. This is further complicated as both his publishers are Jewish. The events of the afternoon and the character of Jessie Stone are entirely imagined but Rosenblatt has taken care to include the exact words of Dahl’s book review and comments to the New Statesman.

Roald Dahl is considered to be one the greatest storytellers of the 20th Century so it seems right that an acting great such as John Lithgow should portray him on stage. It helps that Lithgow looks similar to Dahl; balding on top and standing at a towering 6’4 inches tall, but he also embodies his spirit, falsely tolerant before slowly revealing his monstrous nature. Dahl’s antisemitic views mean that this giant of children’s literature leaves a long but complicated shadow. Mark Rosenblatt has embraced this uncomfortable truth and explores the theory that the undertone of darkness is what made Dahl’s novels so successful.

Theatre is the perfect forum to tackle controversial topics but so often creatives shy away for fear of being cancelled. Rosenblatt shows no such fear and although he does not take a side, paired with the classy confidence of Nicholas Hytner’s direction, he confirms that these grey subject matters should be discussed. Just like Dahl’s work, the script is a keen study on society, darkly comedic and containing an underlying warm sentiment. There are poignant moments when Dahl remembers the death of his daughter, Olivia, twenty years prior. The dichotomy between being Israeli and culturally or religiously Jewish is central to the play’s events. The publishers also demonstrate the differing British and American attitudes to the topic. Elliot Levey’s Tom Maschler is initially reticent, preferring to focus on resolving the matter. Contrastingly Romola Garai’s uptight Jessie Stone struggles to stop her own beliefs clouding her judgement of events. The first act is a slow burn which culminates in Stone’s explosion, as she is unable to stay silent in response to Dahl’s abhorrent attitude.

Just like the turbulent subject matter, the action of Giant takes place against the backdrop of Dahl’s messy house renovation. The set designed by Bob Crowley is wonderfully detailed and includes real food, Salad Niçoise and ‘homemade’ sorbet, lovingly served by their New Zealander cook and housekeeper, Hallie. Lithgow’s stage presence is unmatched, and he perfectly captures the belligerence of Dahl. He is accompanied by a sensational cast who portray his varying relationships. Dahl’s fiancée Liccy, played by Rachael Stirling, is caught in the middle trying to navigate her love for Dahl with her anxiety at the situation. Garai and Levey, as the publishers, deliver wonderfully sensitive and nuanced performances which encapsulate the tension and complexities of the piece. Tessa Bonham Jones’s endearing Hallie provides a youthful and comedic element. Richard Hope’s cameo as gardener Wally Saunders shows a glimmer of Dahl’s warmness. However, at times, the characters of Wally and Hallie feel superfluous and self-serving to Rosenblatt’s desire to show a multitude of viewpoints, and we wish they had been given more material.

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.

**** Four stars

Reviewed by: Sophie Luck

Giant plays at the Royal Court Theatre until 16 November, with further info here.