'Giant' Broadway review — John Lithgow, as Roald Dahl, lifts a scarily topical play
Read our review of Giant on Broadway, Mark Rosenblatt's three-time Olivier Award-winning play with Lithgow and others reprising their performances from London.
Summary
- Giant follows an imagined conversation between children's author Roald Dahl and his personal and professional inner circle as they debate how to respond to accusations of Dahl's antisemitism
- The show features a strong lead performance by John Lithgow as Dahl
- The show is recommended for fans of the show's stars like Lithgow and Aya Cash; fans of works that deal with complex sociopolitical issues and debates; and fans of Dahl's children's books who want to discover more about the author as adults
If being scarily topical was enough to make a play great, Giant — a new Broadway drama about famed British children’s author Roald Dahl and antisemitism, starring John Lithgow — would truly measure up. But it takes more and, as is, Mark Rosenblatt’s play falls a tad short. While admirably smart and ably directed by Nicholas Hytner, Giant shrinks from the nagging fact that it goes in circles rather than building in gripping dramatic fashion.
It’s a summer day in 1983 at the English countryside home of the novelist, whose latest witty, dark-tinged kids’ novel The Witches is nearing release. Drop cloths, beams, and ladders reveal a makeover is in progress at the residence Dahl shares with ex-mistress and current fiancée Felicity Crosland (Rachael Stirling, ever-emphatic). The author, similarly, needs a reputation renovation.
Dahl had just written a book review that pointedly decried Israel’s 1982 siege of West Beirut in Lebanon — and Jews in general, so he’s labeled antisemitic. His publisher and friend Tom Maschler (Elliot Levey, low-key) and a young American marketing executive Jessie Stone (Aya Cash, passionate and persuasive) arrive for lunch. They’re really there to convince Dahl to publicly comment to save face — and sales. Salad, sorbet, and suggestions for a mea culpa don’t go down easy.
Maschler and Stone are Jewish, and the former nudges Dahl to talk about the divisiveness of the issue and his “passionate support for Palestine.” Stone is initially deferential to a legendary writer she and her teenage son adore, but she eventually confronts Dahl, arguing that Israel and Jewishness are not the same and demanding an apology to all Jews — and to her.
In response, Dahl goes from imperious and grumpy to browbeating and monstrous. Stone, it’s worth noting, is totally fictional, a plot contrivance to get Dahl talking. Give a writer enough words and the truth will gush. In the end, Dahl exposes his raging antisemitic streak.
At that point, Giant turns stagey as characters restate talking points and everyone weighs in, including elderly handyman Wally (David Manis), who urges Dahl not to give in, and chipper young cook Hallie (Stella Everett), whose constant smile disappears at overhearing Dahl breezily cop to being antisemitic, saying, “Even a stinker like Hitler didn’t just pick on them for no reason.” (The play lifts this line and others from an actual interview.)
Through it all, two-time Tony Award winner Lithgow ascends in a calculated performance. He’s charming, chilling, snarling, and reprehensible until he finally, intentionally, digs himself a into a deeper hole in a phone interview. Reveling in his true self, Lithgow’s Dahl looks like a kid contentedly sucking an Everlasting Gobstopper.
While the play eerily echoes current world events, Dahl’s antisemitism isn’t exactly a giant reveal. But the show raises provocative questions: Can you separate a nation from a people? Can you separate an artist from their work? Rosenblatt sees the value of putting difficult conversations on the table.
Giant summary
Mark Rosenblatt’s debut play imagines a conversation between British author Roald Dahl, his agent, his fiancée, and an American sales executive after Dahl is accused of writing an antisemitic book review. Each has differing opinions on how and whether he should publicly respond, and the debate quickly turns heated.
Giant arrives on Broadway following a 2024 run in London, where it was nominated for five Olivier Awards and won three: Best New Play, Best Actor (Lithgow), and Best Actor in a Supporting Role (Levey). Cash and Stirling also reprise their roles from London.
What to expect at Giant
The play is set in motion by a what-if scenario that enables us to eavesdrop on the celebrated and controversial writer, and it compresses real and imagined events into a single day. The drama stands on its own, but a little advance familiarity with Dahl helps. Rosenblatt banks on audiences being on a first-name basis with the people in Dahl’s life — like his first wife, Oscar-winning actress Patricia Neal, here called simply “Patricia.” Two of his kids, Theo and Olivia, also come up in fleeting moments seemingly meant to humanize Dahl and offer a more detailed portrait.
What audiences are saying about Giant
Audience members shared a mix of perspectives on Giant on various theatre forums during early performances.
- “This is so razor sharp. An insightful look at what it means to be pro-Palestiine with (or without) simultaneously being anti-Semitic.” - Mezzanine user Agie Cummings
- “Incredibly relevant in today’s political climate. Making me want to learn more about Dahl and his complex life outside his beloved books.” - Mezzanine user Matthew Wong
- “John Lithgow is fantastic, as expected. Play itself is good. If it wasn’t for John, I'm not sure if I would have enjoyed it as much.” - Mezzanine user Christopher Chiusano
- “Felt like being stuck at Thanksgiving dinner with a grumpy old man that insists on talking about politics. I could see the actors getting recognized more than the play itself.” - Mezzanine user Sam Anderman
- “I always was feeling I was watching a play plus you have to know a bit about Roald Dahl (who ‘Patricia’ was for one... him nursing her back to health) …. Talkin’ Broadway user Dale
Who should see Giant
- Fans of John Lithgow, whose Broadway and Hollywood careers span over five decades, will appreciate his latest lead performance.
- Audiences who enjoy a play with complex issues at the core will be all ears for Giant's sociopolitical debates.
- Aya Cash has impressed off Broadway and on TV in The Boys, and she now makes her Broadway debut. Her fans won’t want to miss that milestone.
- Readers of Dahl’s children's books may appreciate, as adults, diving into the man behind classics like James and the Giant Peach, Charlie and the Chocolate Factory, and Matilda.
Learn more about Giant on Broadway
Despite some narrative issues, Giant is intelligent, features a fine star turn from John Lithgow, and is sure to spark post-show conversation.
Photo credit: Giant on Broadway. (Photos by Joan Marcus)
Frequently asked questions
Where is Giant playing?
Giant is playing at Music Box Theatre. The theatre is located at 239 West 45th Street (between Broadway and 8th Avenue), New York, 10036.
How do you book tickets for Giant?
Book tickets for Giant on New York Theatre Guide.
What's the age requirement for Giant?
The recommended age for Giant is Ages 12+. Children under 4 are not permitted in the theatre..
What is Giant about?
Giant is about children's book illustrator Roald Dahl during a fraught moment of his career that exploded in the press.
Who directed Giant?
Nicholas Hytner (Miss Saigon; The History Boys; One Man, Two Guvnors) directs this new Broadway play.
Who wrote Giant?
Olivier Award winner Mark Rosenblatt wrote this play.
Is Giant appropriate for kids?
The show is recommended for ages 14 and up.
Is Giant good?
Yes: the show won the Olivier Award for Best Play, and Lithgow also won for his leading performance. It also scored rave reviews in London.
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