Mark Rosenblatt's Giant is one of the peculiar and unfortunate instances of political art that seemingly aspires to say a great deal, yet in the process voices very little at all; despite the best efforts of a strong cast and a tremendous performance by Lithgow, the play meanders while never reaching a conclusion that makes its debate feel fruitful.
In many ways, one can commend Giant for its boldness and ferocity when approaching the issues of Anti-Semitism and Zionism. It hardly shies away from confrontation, nor painting Dahl in a damning light and yet, for all its audacity the play lacks perhaps the most vital part of political theatre: having something to say. The scandal and moral vagueness of Roald Dahl poses a fascinating framing device through which heavily topical discussions surrounding Israeli conflict can be held, and yet the piece never goes much further than using it merely as a framing device - where this could have been a discussion on the intersection of Dahl's influence, literature or character with issues surrounding Judaism becomes instead merely set up for generic discourse on the issue. What the play has to say may be interesting - the first time round at least - it's nothing new; for all its ferocity and tension, there's a complete lack of vitality.
The attraction here is John Lithgow, whose terrific performance lends a sense of importance and identity. With a remarkable array of screen and stage credits, the mere presence of Lithgow holds a great deal of gravitas; his Dahl at first seems almost magical to behold, bringing the much venerated British icon to life in a way that feels substantial and impactful. That being said, its equally Lithgow's unpicking of Dahl's nostalgia-blinded facade that proves the play's most interesting quality. Here we see both the gentle, passionate and caring side of the figure, while equally aware of his rude bluntness, calculated manipulation and biting anger, and its when exploring this contrast that the play is at its strongest.
The rest of the cast support Lithgow fantastically - it's clearly his show, yet their supporting performances elevate the piece and with life, humour and humanity. Elliot Levy as publisher Tom Maschler is charismatic as ever and a much needed antidote to the often heavy feeling burden of the play's discussions, and Tessa Bonham Jones as Hallie provides the unexpected comedic highs of the night as the bizarrely off-kilter maid of the house. While the piece certainly isn't a comedy as a whole - and at times the laughs feel as though they detract from the weight of its discussions - it for the most part toes the line of dark comedy excellently, providing light relief while not undercutting the poignancy of its content.
Hytner's direction is strong, and a welcome reminder of his skill for subtlety in the wake of his explosive high-spectacle hits at the Bridge Theatre. The piece feels naturalistic, using the unchanging yet detailed space by Bob Crowley to dynamic effect; while the action never strays far from simply stood around a singular dinner table, the energy of the conversations provide spectacle in a way that the set need not. We see Dahl's house in a state of transition - much like himself it's messy and ugly, clinging onto nostalgic remains and in need of repair.
Giant isn't a bad piece of theatre, but it's certainly lacking. When presented with a figure such as Roald Dahl with such a deal of cultural weight and significance, one would expect the playwright to perhaps delve into that more so - to use him merely as a springboard for generic political discussion that refuses to ever table a clear voice of its own on the issue feels like a woefully missed opportunity. That being said, if you're looking to see a fantastic actor give a stunning interpretation of a well-known figure, Giant certainly delivers.
Giant is running at the Royal Court Theatre until 16th November - for more information and tickets, you can follow the link here.
⭐️⭐️⭐️ (3*)
Gifted tickets in return for an honest review | photography by Manuel Harlan
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