Tag: Alexandra Faye Braithwaite

Roald Dahl‘s books and stories were a significant part of my life as a child and teenager growing up in the 1970s. Dahl’s widely publicised anti-Semitic remarks in the early 1980s shocked me at the time.

Giant is about Dahl and those remarks, set during an imagined afternoon at Dahl’s Great Missenden house in 1983.

I grabbed a couple of “first Saturday preview” seats for this one as soon as tickets became available for Royal Court members. I am glad that I did.

Mark Rosenblatt surely wrote most if not all of the play before the events of 7 October 2023 and for sure no-one knew that the Israeli Defence Forces would be bombing Beirut a couple of days before the first Royal Court preview. The play seemed extraordinarily topical, even though that topicality was inadvertent.

It is a very well-written play, depicting Dahl as a charismatic yet monstrous character. An extremely eloquent disruptor, who would use the power of his words and status to charm or bully as he saw fit. Everything I had read about Dahl suggest to me that the character was well researched and brilliantly depicted by John Lithgow, who is clearly a top draw stage actor.

Other real people from Dahl’s world were depicted: Felicity “Liccy” Crossland whom Dahl married soon after his public anti-Semitism row, and Tom Maschler, who was head of Jonathan Cape, Dahl’s publisher.

Into this mix, Rosenblatt throws a fictional character, Jessie Stone, who works for Dahl’s US publisher. Unlike Tom Maschler, who seems (or at least purports) to be able to manage Dahl’s wonky characteristics, the Stone character confronts Dahl directly with her concerns about his remarks, with predictably scary results.

There were some similarities between this play and the wonderful David Edgar play, Here In America, which we saw (also in preview) at The Orange Tree last week:

Although the moral dilemmas in the two plays are different in nature (do you grass on your old mates to protect your career? Do you apologise for things you said even if you did really mean them?), both plays are based around true characters and real events and both plays are structured around a visit to the home of the maligned protagonist.

Janie enjoyed both plays/productions but preferred Here In America to Giant, primarily because she found the moral dilemma more paradoxical. By the end of Giant, Janie was convinced that Roald Dahl was a ghastly character with scarily racist views.

I found the arguments suitably nuanced in both plays and enjoyed both for their excellent acting and production, as well as the quality of the writing/drama.

However, I did sense that Here In America diverged from the historical reality of its situation less than Giant.

In Giant, the conceit of the play suggests that Dahl might have made his most outrageously and blatantly anti-Semitic comments as a result of being cornered by his publishers and fiancée on a single afternoon. In reality, Dahl made many such comments in several interviews/conversations over an extended period of time. Dramatic licence, I accept, but it made Giant, for me, a little less convincing as a dramatic whole.

There are some terrific speeches and lines in the play. Janie and I are glad we bought the play text so we might refer back to some of those. Romola Garai was excellent as Jessie Stone; her speech at the end of the first half of the play was a coup de theatre.

Elliot Levey’s performance as Tom Maschler also stood out. Several of his lines, explaining how you can be an overtly English Jew without obsessing about Israel and while feeling more English than anything else, certainly resonated with me. As did his speech about not feeling the need to apologise for the actions of the Government of a country in which he held neither nationality nor residency. And as did Maschler’s speech about low-level anti-Semitic remarks and sneers being essentially harmless and part of the price for being a Jew in England at that time.

I was very much reminded, by this play, about my own strange experience, around the time the play was set, with an overt anti-Semite, Don Knipe, who, in his terms, obviously didn’t mean people like me and my family, whom he loved…he meant all the other Jews.

Indeed that experience is so strange, I realise, on reflection, that Don could easily have been a Roald Dahl short story character. Click the above link if you dare. But I digress.

There was a lot to think about in the play Giant and we’ll go on thinking about it for some time, no doubt.

The short Royal Court run (to 16 November 2024) is already all-but sold out, but surely this excellent play/production is lining up for transfers; both sides of the Atlantic, no doubt.