Review of ‘Giant’: “The last tale of the unexpected”

John Lithgow lands on the London scene to portray Roald Dahl in Mark Rosenblatt’s latest play, dealing with the author’s conflicting views about the Isreal conflict ahead of the publication of his newest book. Guillermo Nazara shares his views on the show, to let us know if this fictionalized look into the writer’s most controversial side ends up being a revolting recipe.

It’s funny how fate orchestrates the ways things happen. A week before I delved back into the Royal Court to see the new, all-summer-long-anticipated Mark Rosenblatt play, my social media feed was already flooding with reactions from people that had attended one of the previews. There seemed to be consensus. I have a rule when it comes to reviewing theatre, though, and that’s that I try to know as little as possible about the piece prior to the performance – if there’s anything that experience has taught me, is that those who do synopsis for a living (if there is such a thing…) are not too dexterous at creating fair expectations…

The night before the show, I decided to embark on a nostalgia trip and revisit one of my favourite childhood films. Admit it or not, there’s always a sense of bittersweetness behind those longing reunions. As much as I could still feel the excitement that drove my younger self into complete obsession with that story, those rose-tinted glassed had acquired a darker, blemished hue in my adult version, as I started to realize things I just hadn’t up until now… Could it be that those mischievous, greedy, Nosferatu-looking magical creatures were, in fact, a revelation of the authors’ racially biased convictions?

History repeats itself at an uncontrollable rate. Rosenblatt masterfully triggers that thought through both the surface and depths of his most recent (and almost, impeccable) work. Giant, a fictionalized recount of events surrounding literary legend Roald Dahl, takes a look on the past to reflect our present and imminent future, through the writer’s controversial views on the Israeli-Palestinian conflict after the infamous West Beirut siege. Impressively gripping and tremendously stimulating, the piece delivers an intriguing (and much accurate) depiction of the complexities of humanity – and the duality that fundamentally constitutes our moral compasses.

Following the outrage caused in the Jewish community by Dahl’s scathing opinions, Rosenblatt’s words exude a great deal of subtlety when presenting its themes. There’s no right or wrong as such. There are, instead, things that we do thinking pro or against one of them – and, on too many occasions, we refuse to accept we may be actually advocating for the opposite. Penned with compelling flow and a refined structure, the play lays its strengths on both sentiment and rationality, endowing the dialogue and characters’ journeys with stirring pathos, while also weaving a philosophical thread that grants profundity, gravitas and, ultimately, memorability to the entire account.

Under Nicholas Hytner’s veteran vision, Rosenblatt’s powerful writing is adequately matched (and sometimes, enhanced) by the cast’s affectionate renditions. All of them handled with competent rapport and commitment, the first mention goes to Romola Garai in the role of book agent Jessie Stone, delivering a heartfelt and quite devoted portrayal that brings out the clashing turmoil and fragility of her personage, and which despite the debatable intensity of some excerpts, feels anyhow strikingly honest.

On the other hand, Elliot Levey makes an outstanding appearance as publisher Tom Maschler, providing his part with a discreet, humourous charm that however does not deprive him from the solemnity of his path. Nonetheless, the highest praise goes, undoubtedly, to John Lithgow as protagonist Roald Dahl, oozing superb presence and magnetism which, combined with his effortless naturalness, results in one of the most electrifying performances the London scene has witnessed in the last few months.

A tale of a teller, where fantasy evaporates to reveal the horrors and wonders that form the man behind his prose, Giant creates its own myth by dropping part of its hero’s lore, and changing it into a more intricate look into the genius mind that, just as any other of his or any kind, can’t be deprived of every flaw. Triggering, challenging and incredibly exhilarating, Mark Rosenblatt’s brilliant text (added to Lithgow and the rest of the company’s matching renditions) bring on an astute, perceptive and unapologetic observation which, in any case, still gives the viewer enough tools and space to assert their own conclusion. It’s a raw representation of the roughness of humankind. And such crudeness corroborates its refinement.

All pictures credit to Manuel Harlan.

Giant plays at London’s Royal Court Theatre until 16 November. Tickets are available on the following link.

By Guillermo Nazara