John Lithgow’s portrayal of Roald Dahl in Giant, now open on Broadway, isn’t just a performance; it’s a reckoning. The play, a transfer from London’s West End, arrives at a particularly fraught moment, as the legacy of Dahl is being actively dismantled and re-examined for its deeply problematic antisemitism and other prejudices. This isn’t a revival – it’s a cultural intervention, and the critical response reflects that tension.
- The production directly confronts Dahl’s antisemitism, a topic that has recently resurfaced with the alterations made to his books in 2023.
- Lithgow and Elliot Levey are reprising their Olivier Award-winning performances, signaling a confidence in the material’s impact.
- Reviews are decidedly mixed, with praise for Lithgow’s performance often tempered by concerns about the play’s handling of sensitive subject matter.
The timing is, frankly, impeccable. After the controversy surrounding edits to Dahl’s books to remove offensive language, a play tackling his bigotry head-on was inevitable. The producers, including Brian and Dayna Lee, Stephanie Kramer, Nicole Kramer, Josh Fiedler, Robyn Goodman, and Royal Court Theatre, clearly understood the narrative they were stepping into. This isn’t about celebrating a beloved children’s author; it’s about interrogating a complex and troubling figure. The fact that the London production garnered three Olivier Awards, including wins for Lithgow and Levey, suggests an appetite for this kind of uncomfortable conversation.
The critical reception is…divided, to say the least. Several reviews, including those from the New York Post and The Jerusalem Post, explicitly highlight the play’s focus on Dahl’s antisemitism. The New York Post calls Lithgow “superb,” but the framing is undeniably about Dahl’s “revolting anti-semitism.” Forward and The Jerusalem Post similarly center their coverage on this aspect. Other outlets, like Variety and Vulture, acknowledge the play’s ambition but express reservations about its execution. This isn’t a case of universally glowing reviews; it’s a play that’s deliberately provoking a reaction, and critics are responding accordingly.
The PR strategy here is fascinating. By leaning *into* the controversy, rather than attempting to sidestep it, the producers are positioning Giant as a vital piece of cultural commentary. It’s a risky move – alienating some fans of Dahl’s work is almost guaranteed – but it also generates significant buzz. The linked article detailing Lithgow and Rosenblatt’s exploration of the Israel-Palestine conflict through Dahl’s lens further underscores this commitment to confronting difficult truths. This isn’t a feel-good theatrical escape; it’s a challenge to audiences to grapple with the dark side of a literary icon.
Whether Giant will have legs on Broadway remains to be seen. Its success will likely depend on its ability to attract audiences interested in more than just a star vehicle for John Lithgow. However, even a limited run will have cemented its place in the ongoing conversation about artistic responsibility and the legacy of problematic figures. Lithgow, already a respected stage and screen actor, further solidifies his reputation as an artist willing to tackle challenging material. His next move will be keenly watched, particularly given the weight of this production.
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