Giant

A snapshot slice of the complexed, wily, arrogant game playing - yet passionate Dahl! The script was superb, and yet set in 1983, the same political troubles addressed in this play are ironically pertinent today; and so were Raoul Dahls then. This is so interesting and Lithgow handled this tricky political ‘hot potatoe’ with skill and clarity. Lithgow is a delight to watch as he is particularly great at projecting largess colourful character's. He’s gifted with such subtlety when required. Complimented by excellent fellow cast members it’s a shame this was the last night! I got Lithgows autograph I adore his works that much Nobody, no actor today could top this portrayal of a Machiavellian, cunning - yet adorable Mr Dahl x 🙏

An Absolute Masterpiece I’m still reeling. Yesterday I sat in the Harold Pinter Theatre watching Giant, and I can’t stop thinking about it. As someone who grew up devouring Roald Dahl’s books—who learned to love reading through Matilda and The Witches—this play has fundamentally changed how I see one of my childhood heroes. And somehow, that’s exactly what makes it so brilliant. The Harold Pinter Theatre feels like the ideal home for this production. There’s something fitting about staging a play about moral complexity and uncomfortable truths in a venue named after one of Britain’s most uncompromising playwrights. The intimate 796-seat theatre creates an almost suffocating closeness to the action—you can see every micro-expression cross John Lithgow’s face, every moment of internal struggle. Bob Crowley’s set design is pure genius: Dahl’s home mid-renovation, with exposed beams and scaffolding, mirrors perfectly how the man himself is being stripped down and rebuilt before our eyes. The crumbling walls aren’t just décor—they’re a metaphor for reputation, legacy, and the facade we all maintain. The Acting: Simply Extraordinary John Lithgow doesn’t just play Roald Dahl; he becomes him so completely that it’s genuinely unsettling. Within minutes, I forgot I was watching the man from 3rd Rock from the Sun. Lithgow captures that grandfatherly warmth we associate with Dahl, then slowly peels it away to reveal something far more complex and disturbing underneath. When he delivers that horrific line about Hitler not picking on Jews “for no reason”—an actual Dahl quote—the theatre went dead silent. You could feel the collective intake of breath. It’s a career-defining performance that rightfully earned him the Olivier Award. Elliot Levey as Tom Maschler, Dahl’s British Jewish publisher, provides the perfect foil. His controlled fury and quiet dignity make every moment he’s on stage electric. The way he maintains his composure while his client spouts antisemitic bile is both heartbreaking and masterful. Aya Cash, making her West End debut as American publisher Jessie Stone, is absolutely fearless. She goes toe-to-toe with Lithgow’s Dahl in scenes that crackle with tension. Her confrontation with Dahl about Jewish identity is one of the most powerful theatrical moments I’ve ever witnessed. Rachael Stirling brings nuance to what could have been a thankless role as Dahl’s fiancée Felicity. She captures the impossible position of loving someone whose views you find abhorrent, and Richard Hope as handyman Wally provides moments of much-needed levity without ever undermining the play’s serious intent. The Topic: Painfully Relevant This isn’t just a historical curiosity about a 1983 scandal. Mark Rosenblatt has written something that feels urgently contemporary. In our current climate, where antisemitic incidents are rising and public figures regularly face consequences for their statements, Giant asks uncomfortable questions about accountability, artistic legacy, and the difference between criticism and prejudice. The play doesn’t offer easy answers, and that’s what makes it so powerful. It doesn’t try to rehabilitate Dahl or excuse his views, but it also doesn’t simply demonize him. Instead, it asks us to grapple with the complexity of loving someone’s art while abhorring their personal beliefs. As someone whose childhood was shaped by Dahl’s imagination, this hit me particularly hard. Why This Play Matters Giant is the kind of theatre that reminds you why live performance is irreplaceable. Nicholas Hytner’s direction is crystalline—every pause, every gesture, every moment of silence serves the story. The production finds dark humor in the horror without ever minimizing the real harm of Dahl’s words. This is a play that trusts its audience to think, to feel uncomfortable, to leave the theatre with more questions than answers. In a world of easy moral certainties, Giant demands we sit with ambiguity and wrestle with it. The Bottom Line Giant is essential viewing—not just for theatre lovers, but for anyone who cares about how we reckon with problematic art and artists. It’s a play that will stay with you long after the curtain falls, forcing you to examine your own capacity for separating art from artist. The production runs until August 2nd, and every performance is apparently selling out. Book now, but be warned: this isn’t comfortable entertainment. It’s vital, urgent, devastating theatre that tackles one of the most important cultural conversations of our time. John Lithgow has given the performance of his career, Mark Rosenblatt has announced himself as a major new theatrical voice, and Nicholas Hytner has directed with his usual brilliance. Together, they’ve created something truly special—a play that doesn’t just entertain but fundamentally challenges how we think about legacy, accountability, and the stories we tell ourselves about our heroes. This is what theatre should be: brave, uncompromising, and utterly unforgettable. 5/5 stars - Go see it. Just be prepared to feel everything

Brilliant script, good acting

Great to see in the West End a well acted, superbly wrought, thoughtful drama about matters that touch as all.

Giant is a show of the moment. It illustrates human flaw and contradictions. Dahl is both generous and creative and cruel and bigoted and is so blind to these paradoxes that he digs a greater hole for himself rather than trying to put things right. It illustrates how fixations can lead to ignorance and prejudice rather than curiosity about the other. And given the current geo politial situation is a commentary on the now. It is powerful, shocking and a must see.

A very well acted performance of all actors. The subject of the play was a first and so interesting. Very well written. A lot to think about and to discuss

Fabulous night at the theater

John Lithgow can do anything. He was especially brilliant at Dahl.

It is an interesting play - well written. I could hear all the female actors but we were struggling to hear the two lead males from the back of the dress circle. We therefore missed a lot of the ‘throwaway’ remarks, especially in the first half. Otherwise, a very good performance.

A very clever and relevant play. Excellent script and performances especially John Lithgow and Rachel Stirling.

Giant is a wonderful play, brilliantly acted and presented, and highly topical in late 2024. The script is superb and the cast were brilliant, led by a magnificent performance from John Lithgow. Thank you to all involved for a truly memorable experience.

Wordy, fast-moving dialogue covering a range of topics, some of which are particularly relevant under current circumstances. Many viewers may not agree with the main character’s views, but the other characters get their chance to put opposing views. Considering we saw it on only its second night, the production was fast & smooth.