Interview with John Leader and Helena Lymbery, The BFG
Conducted by Emmie for Theatre and Tonic
John Leader and Helena Lymbery in rehearsal for The BFG. Photo by Marc Brenner
Everyone remembers the first time they heard the tale of The BFG, Roald Dahl’s timeless story of a young girl who meets a Big Friendly Giant and ventures with him to Giant Country. Now, this beloved classic comes to life on stage in a brand-new magical adaptation by Tom Wells. Directed by RSC Co-Artistic Director Daniel Evans, The BFG makes its premiere at the Stratford-upon-Avon venue before a run in Chichester planned for March 2026. Ahead of its run—and to inspire audiences to take a chance on this new production over the festive period and beyond—we sat down with the show’s actual Big Friendly Giant, John Leader, and Helena Lymbery, who plays The Queen, to find out more about its leap from the book to the stage.
The BFG, for many, is a story they remember so well. Are there any books that were particularly important to you as a child?
Helena Lymbery: I was a big reader. I missed out on Roald Dahl, but I enjoyed lots of books about time travel, like Tom’s Midnight Garden and The Driftway. I also enjoyed historical ones like Devil-in-the-Fog. They’re all stories centred around children in the past or have been pulled back into the past from the present. Those are things that really stuck with me; those stories were about finding something out about yourself through connecting to something in the past, whether that’s through a person, a story, or a historical event. But also, Treasure Island was a big one for me as well!
John Leader: I don’t have a specific memory of a favourite book. But I remember the joy of listening to The BFG being read to me by my sister. She’s three years older than me, and so before I went to bed each night, she would read to me, and The BFG was one of them. I remember that one vividly.
You are playing the roles of BFG and the Queen in the RSC world premiere production of The BFG. Where and how do you begin with developing both of your iconic and recognisable characters?
John Leader: I have been lucky to have played a lot of characters that are quite well known, or people that have a preconceived idea around them. Whenever I get a script, I make a point to read it as though it’s a completely new piece of writing. It sounds quite basic, but it avoids feeling any pressure to do a version that people expect or that I think people expect.
Helena Lymbery: Because Queen Elizabeth II is so embedded in all our consciousness, I’ve only known her as the Queen growing up. I’ve never been really interested in the Royal Family, but even so, she is so deeply a part of the national consciousness that I think probably there was never any question for me that it wasn't going to be an influence. And even though we are absolutely not doing an impersonation of her, it is an iteration of her; it is impossible to separate, even if I really tried hard to take myself away from it. There’s also a lot of stuff around service and duty that was key with her. She showed dedication to something larger than herself which represented something innate in the national character.
Helena, how do you perceive the Queen’s purpose in this story and what sides are you delving into with this character?
Helena Lymbery: I wouldn’t say she’s entirely serious, not the way I play it anyway. I think the Queen is a moral compass; she’s parental to the BFG and to Sophie and Kimberly (a new character we’ve added to our play). She’s also a lonely monarch who doesn’t really know herself or the world. The Queen has been kind of kept behind the doors of Buckingham Palace, so her journey in the show, for everyone in the story, is about learning something really big about themselves through connecting with other beings.
John, you have the added pressure of also learning the BFG’s unique way of speaking - how have you got to grips with it? Do you have a favourite ‘gobblefunk’ in the show?
John Leader: The joy that I found with it, like when I learnt Shakespeare, is finding how the way the BFG speaks feels very much just like speaking as myself. It has been a big challenge but a big joy too. My favourite words are ‘bunk-doodling’ and ‘snozzcumber’.
You have the responsibility of bringing such a cherished story to life on stage. Why is a story like The BFG fundamental to audiences of all ages?
John Leader: At its core, The BFG is about the power of imagination and how we need it at all ages. It also looks at the real power of friendship and kindness. We can definitely do with a bit more kindness around, and I think the world, no matter how big or small you are, everyone’s voice can make a big change happen. Those three things sit importantly within The BFG and in what we can give to an audience with this show.
Helena Lymbery: Also, we look at dreams. With the BFG’s dream laboratory, something is interesting about how, in an accessible way, we can understand what dreams can do to us. They can bring into more consciousness, something that is worrying or is difficult that you can’t face in the daytime. And that’s interesting for all of us. John talks about the power to change. This show looks at the potential for personal growth and personal change, and how opening up to other people that perhaps we don’t understand or we don’t immediately feel a kinship with. If not that, the way everything comes together in this show, with the lighting, puppets, and projections, will cohere in a really exciting and theatrical way. I can’t think of anyone who wouldn’t respond to it in some way.
One of the other important characters is Sophie. What is your favourite moment with her in the show?
John Leader: Definitely for me throughout the whole play, I go on such a journey with the Sophies. I get the joy from when she is first snatched to their end, so it’s the friendship our characters build as opposed to a moment. That arc is an absolute joy. Also, seeing the young performers we’ve got tackling this show makes me want to step up my game every day. They’re amazing. They’re professionalism and adaptability blow my mind.
You are working with these fantastic puppets and magic stage effects to bring this story to life. What can people expect from them?
Helena Lymbery: It’s an amazing theatrical event. It’s a very beautiful show, it’s frightening but also very silly! Also, the craft you’ll see from the RSC, not many companies left in this country have got that kind of facility to have this royal excellence that they do.
The BFG takes Sophie to Giant Country and also to see The Queen. If the BFG could take you anywhere, whose window ledge would you perch on?
John Leader: This one’s easy because I have to work away a lot. So if the BFG could pick me up and take me really quickly, I’d go back to my own house and to my daughter’s windowsill. I’d get a very warm welcome, and I’d be very happy to be back and spend time with her.
Helena Lymbery: I would go to Queen Elizabeth’s window sill. I’d love to have a gander in the palace and get some tips for doing the show!
What dreams do you have for people who are coming to see the BFG? What do you want them to take away from experiencing this production?
John Leader: I think the power of imagination is a joy for all. I just want people to come and bring all the people they love, come and have this shared experience, enjoy it together, and go and talk about it afterwards.
Helena Lymbery: It's a really visceral show that gets to you. It’s a really human show, about love, connection, and being brave enough to try and be in that space with this profound. There’s lots of whiz popping (everyone loves a bit of whiz popping!)
The BFG plays at the Royal Shakespeare Theatre in Stratford-upon-Avon until 7 Feb 2026 before playing at the Chichester Festival Theatre from 9 March - 11 April 2026.
