RSC’s 'The BFG' unfolds as a bold, enchanting spectacle

Rating: **** (4 stars)

I don’t claim to be an expert on children’s literature - a market populated with the success of such authors as Michael Morpurgo, David Walliams and Jacqueline Wilson - nor do I claim to have any real insight into the works of Roald Dahl.

But the current production of Big Friendly Giant at the RSC is an enchanting spectacle – a combination of puppetry, drama and the wizardry of stagecraft. Along with set design, the enhanced lighting and sound, the production adds another dimension to the story of the orphan, Sophie.

The BFG - production images Royal Shakespeare Company/(c) Marc Brenner

Unlike Matilda - a story that captivates the audience through the traditional literary devices - this adaptation by Tom Wells is an extraordinary and splendid dramatological effort of Jenny Worton (additional material and dramaturg), Toby Olié (puppetry designer and director), Zoe Spurr (lighting designer) et al. It brings to life the powerlessness children feel in an adult world.

The production defines an alienating setting that reduces children to minuscule entities and who are at the mercy of a harsh universe of unspeakable violence – where human beings can be eaten by cruel, cannibalistic giants. Huge limbs – grossly oversized – extend across the stage with comic results. Coupled with the overtly loud sound – amplifying the stage – one gets a sense of both excitement and horror, simultaneously.

The theatrical production by the RSC is an artistic and imaginative affair. It gets into the minds of the children whose vivid dreams really come true.

BFG production images, directed by Daniel Evans. Royal Shakespeare Theatre, taken in November 2025.Royal Shakespeare Company/(c) Marc Brenner

For instance, when Sophia is kidnapped from her bedroom in the orphanage by the BFG, they – quite literally – catch dreams.

From the outset, the audience is transported into a miniature world one minute and the next, into the world of giants brawling violently, spaying their front row audiences with their spittle.

The cast do an excellent job in bringing Dahl’s book to life by remaining relatively faithful to the original narrative and characters. I enjoyed the performances by Ellemie Shivers and Maisy Lee, who were delightful as Sophie and Kimberley, respectively.

John Leader does a fine job in providing a sympathetic BFG – torn between the expectations of his community of giants and his humanity. Helena Lymbery is exquisite as the Queen, gliding across the stage with grace and elegance. I also enjoyed the comic timing of Philip Lambey and Luke Sumner as Captain Smith and Captain Frith.

BFG production images, directed by Daniel Evans. Royal Shakespeare Theatre, taken in November 2025.Royal Shakespeare Company/(c) Marc Brenner

In effect, I have no real criticism of this adaptation nor the actual production, but perhaps the only minor reservation is that the volume of the sound was – again, perhaps – unnecessarily high. Toning down a notch or two might actually improve matters, because, in parts, my ears were pierced.

The BFG is on till February 7, 2026, at the Royal Shakespeare Theatre, Stratford-Upon-Avon