Tuesday 1 October 2024

Giant - Review

Royal Court Theatre, London



***


Written by Mark Rosenblatt
Directed by Nicholas Hytner

John Lithgow

Set in a bucolic summer’s afternoon in Buckinghamshire in 1983, amidst the drilling and banging of a country residence that’s being lovingly restored, Giant is a drama loosely based on facts, about the antisemitic views and writings of that hero of children’s literature, Roald Dahl.

Bearing a striking resemblance to how we recall Dahl from his appearances in the media, with perhaps a nod to JR Hartley too, John Lithgow makes his Royal Court debut as the author. His foils across the lunch table are real life publisher Tom Maschler (played by Elliot Levey) and the fictional Jessie Stone (Romola Garai), an agent from Dahl’s US publishing company. Dahl has recently published a book review, widely seen as antisemitic, and the two publishing professionals are there, over glasses of Chablis, to coax him into drafting an apology.

Mark Rosenblatt’s drama is tightly written. In what feels like a slightly overlong 2hrs 20mins, the pace never falters, with Rosenblatt’s dialogue proving well-structured and his characters, credible. Garai and Rachael Stirling, as Dahl’s Mitford-like fiancée Felicity Crosland are both outstanding. Levey plays a recognisably luke-warm diaspora Jew, not too bothered by Dahl’s pronouncements and more concerned with trying to smooth things over at all costs. Of the three supporting characters, his is perhaps the least compelling.

Lithgow’s work however is tremendous - and under the direction of Nicholas Hytner, turns in an Olivier-worthy performance.

But other than some smug references to Ian McEwan and the literary world of that time, ultimately what is the point of this play other than to provide a platform for Dahl’s rabid ravings? Giant drips with Dahl’s criticism of Israel (the 1982 Lebanon War was raging), with clear echoes of criticisms that have been levelled at the Jewish state in more recent times during the Gaza conflict. Unsurprisingly for the Royal Court there is little offered by way of challenge to Israel’s actions, although it ultimately has to prove some comfort that Dahl’s rants against Israel are coming from the same mind and mouth that throughout the play utter the vilest antisemitic slurs. There remains of course the sad but realistic possibility that much of that irony may have soared over the heads of many of the Royal Court’s audience.

That this is brilliantly crafted theatre is unquestionable. That it also provides a soapbox for countless tropes makes for an evening that is ultimately deeply unsatisfying.


Runs until 16th November
Photo credit: Manuel Harlan

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