The BFG Adapted Tom Wells from the story by Roald Dahl, RSC at RST. Runs: 1h 50m, one interval | until 07 February 2026 ⭐⭐⭐⭐⭐ Review by Roderick Dungate

Photo credit: Marc Brenner

The BFG  

Adapted Tom Wells from the story by Roald Dahl

RSC at RST

Runs: 1h 50m , one interval | until 07 February 2026

⭐⭐⭐⭐⭐ Review by Roderick Dungate

AD Performance Saturday 20 December @ 14.00

“(Un)Believably Phantastic”.

This RSC team has successfully pulled off an amazing trick; they have created a production of simple storytelling into which they incorporate astounding effects. These effect, as remarkable as they are, always serve the simple storytelling, enhancing this magical production, as it were, from the inside.

The BFG himself is a huge puppet, showing the giant from the waist upwards; he is operated by two puppeteers from below who could be seen as his legs. Sophie appears diminutive against his giant. However, through a brilliantly imaginative twist, sometimes we see the BFG as human sized and Sophie is a tiny puppet. So, we enter the story both via Sophie’s perspective and through the BFG’s. The puppet creative team is headed up by Toby Olie.

Dreams are important, they are hope: ‘Dreams is powerful’, says the BFG. Again, these are superbly realised; the dreams, the nightmares, their storage, their mixing.

Sophie is a true delight, the young actor shows skill and subtlety, particularly in bringing out Sophie’s precociously funny thoughts and responses. John Leader is a great BFG. He vocally sounds huge (how does he do that?) and his management of the BFG’s mangled English is both funny and touching. Leader never loses sight of the BFG’s all-important naivete.

Helen Lymbery’s Queen is a comedic gift to us, particularly when she takes control of a helicopter – the Queen does have a licence, I didn’t know that.

The whole is directed by Daniel Evans and designed by Vicki Mortimer (sets) and Kinnetia Isidore (costumes). We are only aware of their skills because they are transparent, their to sit behind and support the work they are bringing to life. Oleta Haffner’s substantial score is terrific.

A further aspect, much to be admired, are the lengthy moments when there is not text, when the focus is all on the action. Set against this are noisy, ferocious fights, and nightmares. These are beautifully describer by the AD team, GethynEdwards and Ellie Packer. Gethyn Edwards superbly and dramatically enters the spirit of the second act fight sequences.

The BFG is an important story; it is about difference, inclusion and that family can mean more than just relatives.

The RSC has a fine record of creating excellent family type shows, but there are three that are great. Matilda, the (fairly) recent Christmas Carol and this BFG. Truly great.

Cast

Captain Smith – Philip Labey

The BFG – John Leader

The Queen – Helena Lymbery

Bloodbottler – Richard Riddell

Captain Frith – Luke Sumner

Tibbs – Sargon Yelda

Sophie – Martha BaileyVine/Eslie Laslett/Ellemie Shivers

Kimberley – Maisy Lee/Charlotte Jones/Uma Patel

Creatives

Adaptor – Tom Wells

Director – Daniel Evans

Puppetry  Toby Olie

Sets – Vicki Mortimer

Costumes – Kinnetia Isidore

Lighting – Zoe Spurr

Composer – Oleta Haffner

Adio Describers - Gethyn Edwards/Ellie Packer