Royal Shakespeare Theatre Stratford-Upon-Avon – until 31st January 2026
Reviewed by Amarjeet Singh
4****
Roald Dahl’s beloved classic The BFG has been delighting readers since its publication in 1982, and now, thanks to Tom Wells and Jenny Worton’s vibrant new stage adaptation, the story leaps from page to stage with dazzling creativity. Directed by Daniel Evans, this production at the Royal Shakespeare Theatre is a feast of humour, heart, and theatrical ingenuity.
From the outset, the show captures Dahl’s signature blend of gruesome absurdity and tender warmth. The narrative, while condensed from the original book, retains its essence, a tale of giants, dreams, and the unlikely friendship between Sophie the orphan and the Big Friendly Giant. Wells and Worton sprinkle in fresh jokes, additional characters and clever twists, ensuring the adaptation feels both faithful and refreshingly original. Designer Vicki Mortimer’s minimalist set is anything but bare. Through ingenious lighting by Zoe Spurr and vivid costume work from Kinnetia Isidore, the stage transforms into a playground of imagination creating a world of whimsy and wonder. Toby Olié’s puppetry and Akhila Krishnan’s video projections elevate the production to another level. The seamless transitions between live actors and puppets create a sense of scale that is both magical and believable. Giants loom large without breaking the spell, dreams swish around the stage and illuminated model buildings flying by in a chase sequence evoke otherworldliness.
John Leader’s portrayal of the BFG is enchanting. Mostly eschewing Quentin Blake’s iconic illustrations, this BFG is younger, and brims with energy, bringing a curious mix of innocent charm and giant gentleness. Leader’s mastery of Dahl’s mangled language and his physicality make the character irresistibly endearing. Elsie Laslett as Sophie strikes the perfect balance of cheek and courage, while Charlotte Jones as Kimberley adds depth to the dynamic. Both young actors impress not only with their acting but also with their agility, as they perform physical acrobatics assisted by puppeteers, with remarkable grace. Helena Lymbery’s Queen is a delightful surprise, a monarch yearning for adventure rather than mere royal protocol, she has a remarkable transformation. Sargon Yelda’s uptight butler Tibbs provides a foil of comic rigidity, while the double act of Captain Smith, Philip Labey, and Captain Frith, Luke Sumner, lampoon military paranoia with gusto. Their scenes are laugh-out-loud funny, especially when Frith’s dialogue disappears behind his bristling moustache.
Beneath the fart jokes and fantastical giants beats a heartwarming story of friendship, bravery, and the power of dreams. A cacophony of whizzpopping wonder, delivering the kind of joyous chaos that Dahl fans crave, the production succeeds at balancing spectacle with sincerity. Daniel Evans has orchestrated a production that is as inventive as it is heartfelt. With its stunning puppetry, clever design, and pitch-perfect performances, The BFG is a splendiferous triumph of imagination, a theatrical treat for audiences of all ages.