New York -- John Lithgow took the Broadway stage Tuesday night in a commanding performance as the controversial children's author Roald Dahl in the world premiere of Giant, a new play by Mark Rosenblatt that delves into the author's infamous antisemitic remarks from 1983. The production, directed by Nicholas Hytner, opened at the Music Box Theatre to strong early reviews, with critics praising Lithgow's nuanced portrayal of a man grappling with prejudice and personal demons. Running 2 hours and 20 minutes including intermission, the play is set entirely in the chaotic living room of Dahl's Buckinghamshire home during a renovation, a design choice by Bob Crowley that mirrors the turmoil in the author's life.
Based on real events, Giant centers on the backlash Dahl faced after publishing a scathing review of Tony Clifton's book God Cried, in which he accused the United States of being "utterly dominated by the great Jewish financial institutions" and questioned whether Israel, in the wake of its 1982 invasion of Lebanon, needed to be "brought to her knees before she learns how to behave in this world," drawing parallels to Nazi Germany. According to the play's depiction, this sparked international outrage, with newspapers condemning Dahl and booksellers threatening boycotts, prompting scrutiny of potential antisemitic undertones in his beloved works like Charlie and the Chocolate Factory and The Witches.
Lithgow, an Olivier Award winner for the role from its London run, embodies Dahl as a towering figure -- both literally and figuratively -- who starts the evening in curmudgeon mode, grumbling over galleys for The Witches. As the story unfolds, his character unleashes a torrent of bigotry that spares no one, according to Deadline Hollywood critic Patrick Healy. "The ferocity of John Lithgow’s explosive performance as Roald Dahl... seems to show itself right from the start," Healy wrote, noting how Lithgow hints at the "vitriol and monstrousness to come." The actor's physicality is highlighted, with his height becoming apparent only when he stands, contorting to reflect Dahl's real-life infirmities from old age and past injuries.
The play's ensemble cast holds its own against Lithgow's dominance. Aya Cash plays Jessie Stone, a young New York publishing executive sent to manage the crisis by convincing Dahl to apologize in a press interview. Rachael Stirling portrays Felicity "Liccy" Crosland, Dahl's fiancée of 11 years, who along with British publisher Tom Maschler (Elliott Levey) tries to placate the author amid death threats that necessitate police protection at their estate. Stella Everett appears as Hallie, the house servant, and David Manis rounds out the key roles.
In one tense scene, Dahl meets Stone and immediately probes her heritage, asking, "Stone? Was that Stein once?" He then launches into attacks on the "tiny weeny progressives" of the New Israel Fund and accuses her of being part of a "tiny crazy gang of peace-loving bleeding-heart hippies." Stone, initially starstruck by her childhood idol, pushes back as the confrontation escalates into what Healy described as "Who’s Afraid Of Virginia Woolf? nastiness." At a pivotal moment, she retorts, "You’re a belligerent, nasty child. And these threats and cruelties… a child’s. It’s the gift of your work, but the curse of your life." Cash's performance, Healy noted, conveys a "spine that just might be made of steel," especially as Stone navigates her role as a Jewish mother to a child with special needs.
The production also touches on Dahl's personal tragedies, including his abandonment of actress wife Patricia Neal after her brain aneurysms derailed her career, a car accident injuring their infant son, and the measles death of their seven-year-old daughter. In the play, Dahl callously refers to Neal as a "vegetable," underscoring his lack of kindness. These references add layers to the character, showing moments of vulnerability, such as when he comforts Stone over a shared family sadness or shows affection for his fiancée and long-time gardener.
Rosenblatt's script examines themes of prejudice, censorship, and what today might be termed political correctness or cancel culture, without veering too schematic, according to Healy. "Rosenblatt presents the issues with expert modulation," he wrote, crediting Hytner for allowing arguments to flow naturally from the characters. The playwright draws on Dahl's concession in the play about his original depiction of the Oompa-Loompas as African pygmies -- a detail later changed in film adaptations -- and the publisher's concerns that witches in The Witches echo antisemitic stereotypes.
Levey's Maschler embodies divided loyalties as a Jewish publisher prioritizing book sales while navigating the controversy. Stirling's Crosland is portrayed not just as an enabler but as someone with deeper motivations, refusing to be a pushover. Everett's Hallie provides a buoyant counterpoint, staying out of debates but reacting subtly as the truth emerges, reminiscent of Anthony Hopkins in The Remains of the Day.
Context for Giant stems from Dahl's complex legacy. Born in 1916 in Wales to Norwegian parents, he became one of the 20th century's most popular children's authors, selling over 250 million books worldwide. Yet his adult writings and public statements often revealed prejudices; in 1983, at age 66, the review in the Literary Review ignited a firestorm. The Anti-Defamation League and others criticized him, and while Dahl later expressed regret, saying in a 1990 interview, "There is a trait in the Jewish character that does provoke animosity," he never fully recanted, according to historical accounts.
The play arrives amid renewed interest in Dahl's life following recent edits to his books by publisher Puffin to remove language deemed offensive, such as descriptions of characters' appearances tied to stereotypes. In 2023, sensitivity readers altered passages in titles like Charlie and the Chocolate Factory, sparking debates over censorship. Giant thus feels timely, exploring how personal biases infiltrate creative work and the consequences of public reckoning.
Early reception positions Giant as a contender in the 2026 Tony Awards race, with Lithgow and Daniel Radcliffe from Every Brilliant Thing eyed for a lead actor showdown. Hytner, known for directing The History Boys and Timon of Athens, brings his signature clarity to the production. Crowley's sets and costumes -- from Dahl's rumpled attire to Crosland's silk blouses and sneakers -- enhance the realism.
Tickets for the limited run are selling briskly, with performances scheduled through the end of the year at the 1,000-seat Music Box Theatre on West 45th Street. Producers Robert Fox, who passed away recently at 73, and others from a stage dynasty backed the transfer from London's Royal Court Theatre, where it debuted in 2021 to acclaim.
As Broadway rebounds post-pandemic, Giant stands out for its unflinching look at a literary icon's flaws. While some may view it as a takedown of Dahl, the play humanizes him as a "doomed, rage-filled and terrified man," per Healy, without excusing his hatreds. Lithgow's tour de force ensures audiences leave provoked and reflective.
Looking ahead, the production could spark discussions on separating art from artist, especially with Dahl's enduring popularity through films like the upcoming Wonka starring Timothée Chalamet. Whether Giant prompts reevaluations of Dahl's canon or reinforces his genius amid controversy remains to be seen, but its Broadway debut marks a bold theatrical statement on accountability in the arts.
For now, theatergoers can witness Lithgow at his peak, transforming a giant of literature into a figure both captivating and cautionary. As Stone tells Dahl in the play, he is a "broken boy in giant’s clothing," a line that encapsulates the evening's emotional core.