Giant at Harold Pinter Theatre Review

John Lithgow in Giant at the Harold Pinter Theatre. Photo by Johan Persson

Written by Philip for Theatre and Tonic

Disclaimer: Gifted tickets in exchange for an honest review.

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After winning 3 Olivier Awards for its run at the Royal Court, Giant transfers to the West End for a limited run. It may not be friendly, but it is most definitely a big, giant of a play. Mark Rosenblatt’s debut as director turned writer pulls no punches whatsoever. It is searingly current and takes the question of Israel, Palestine and the idea of being antisemitic by the horns. 

We join Roald Dahl (John Lithgow) and his new fiancée Felicity Crosland (Rachael Stirling) in 1983, in the midst of a house renovation and a media storm. While writing a book review, Dahl not only protests the military invasion of Lebanon by Israel but takes it one step further by seemingly blaming all Jews for not standing up and saying no. With the threat of the collapse of book sales, a summit is hastily arranged with representatives of both his UK and US publishers. Tom Maschler (Eliot Levey), Dahl’s British Publisher and his American counterpart, Jessie Stone (Aya Cash), are poles apart in their ideas of how to handle the situation. Both want an apology. Both also happen to be Jewish. Levey’s Maschler is far more removed and is keen to play tennis whenever he can. Dahl and Stone, however, trade blows over the course of two hours. A metaphoric tennis match between two adversaries. It is a blistering and at times uncomfortable watch. John Lithgow’s Roald Dahl effortlessly changes from a charming grandfather to a horrid antisemite and even a young, petulant child. He is riveting. He is outstanding in every respect. Aya Cash’s Jessie Stone however, is just as good. She is bold and brave. A powerhouse performance. 

Rosenblatt undoubtedly doesn’t shy away from asking big questions. It is raw and real and laced with humour. Nicholas Hytner’s expert direction just adds glorious layers to an already layered script. Revealing parts of Dahl’s personality that your average reader may not know about. Set in a time well before social media and the idea that someone can be ‘cancelled’ for their views. Can you separate a person from their work? Does it change opinion after the fact? Dahl’s monstrous comments are his own words. Quoted from his own interview and book review. It is important to note that the dinner party depicted is a work of fiction. However, at what point is art and its artist intrinsically linked? Maschler sees Dahl as his friend. He seems to compartmentalise his Jewishness, his friendship with Dahl, along with this side of his personality. Eliott Levey is just pure magic, winning his second Olivier Award for his performance in this play. Much more intent on placating the situation rather than fanning the flames. Rachael Stirling is also brilliant as Dahl’s new love, ‘Liccy’. She is warm and sensible. Each character has their own thoughts and feelings, but some are forthright than others. Every direction is meticulously planned. The audience shares in the awkwardness, the laughs and at times the absolute disgust and anger.

‘Giant’ is a masterclass in storytelling. There is not a wasted word or lost glance. Though harsh and brutal at times, it has moments of side-splitting humour scattered throughout and is a terrifically important watch. The performances are simply sublime. Most definitely a case of Giant by name, Giant by nature. 

at Harold Pinter Theatre until Saturday 2nd August 2025.

★★★★★