The RSC Dreams Dahl Once More : A Review of The BFG

Roald Dahl is experiencing a rebirth in British theatre, albeit in widely different ways. I saw Mark Rosenblatt’s biographical drama Giant last summer. That was one of the most powerful plays of the last twenty years, a detailed expose of a complex, utterly fascinating writer. After watching John Lithgow’s Dahl hold the clashing traits of elder novelist, entitled bigot and grief-filled parent, you’d be hard-pressed to look at any story of Dahl’s again without this cultural silhouette shading your judgement. Though it’s not as if the work itself no raises problems.

A unique theatrical experience –where the original story’s author hangs heavy above the adaptation

Language and attitudes considered offensively dated have been highlighted as potential issues for reading Dahl’s work in recent years, with The BFG being no exception. I went to see The BFG, the Royal Shakespeare Company’s latest foray into the Dahl literary canon, with Rosenblatt’s play in the back of my mind. A unique theatrical experience –where the original story’s author hangs heavy above the adaptation. I have no doubt that many members of the press night audience were of the same opinion.

Front rows were suitably filled with kids and the energy from the get-go was ecstatic. The show’s main element of puppetry (skilfully conceived by mannequin designer and director Toby Olié) is the showstopper. The 12ft-high mechanical BFG, the expressive head of Bloodbottler and even the tiny puppets of the human characters bend size and scale well. The play’s focus is technical and pays off, with the mixture of puppets and actors weaving the production’s unique style together.

Tension always lies within a Dahl’s text, even when they’ve been sanitised

Playing with perspective does not limit Director and RSC co-head Daniel Evans’ vision, which is thoroughly dream-like. The BFG roams across light box London icons in the first scene, and from then on, the audience is captivated by the lucid language and atmosphere that only a Dahl story can create. Wells’ and Worton do fine work on the adaptation to stage, though nothing that tests the limits, as Matilda: The Musical did.

Tension always lies within a Dahl’s text, even when they’ve been sanitised. This play still displays a gruesome visual of the human eating giants biting puppet “childer” heads off. It’s that macabre poking of The Tales of the Unexpected lurking back into what is supposed to be children’s story. This co-production of theatre groups from Chichester and Singapore, act this push and pull between innocence and danger perfectly.

It’s a strong adaptation that proves exercises in adaptions matter

The BFG may not make it to the glorious heights of past adaptations. However, it’s a strong adaptation that proves exercises in adaptions matter, especially with complicated writers such as Roald Dahl. I’m glad to live in a time where I can see a wrenching tragedy of self-destruction and a hopeful, funny puppet play, connected by a single author. It’s that imagination that makes the attempt of adapting worthwhile.