In a recent theatrical adaptation, the Royal Shakespeare Company’s production of The BFG brings Roald Dahl’s beloved tale to life, even as it grapples with a complex puppetry dynamic, reports BritPanorama.
This adaptation features a blend of puppetry and live performance, primarily showcasing the character of the Big Friendly Giant (BFG), who is portrayed by a combination of puppeteers and the actor John Leader. The innovative relationship between the human and puppet performers aims to create a nuanced scale, though it may risk emotional engagement with the audience.
The production, under the direction of Daniel Evans and with puppetry designed by Toby Olié, utilizes a cast of four puppeteers to manipulate the giant’s head and shoulders. However, the mechanism of having two central performers unable to share the stage simultaneously presents challenges. Such staging might impede a deeper emotional connection, highlighted by scenes at Buckingham Palace that resonate strongly thanks to Helena Lymbery’s portrayal of a bemused Queen.
Oleta Haffner’s musical score adds a lively touch to the experience, yet the adaptation by Tom Wells occasionally feels convoluted, making it a challenge for family audiences to follow. Some plot points appear bewildering, yet the enduring charm of Dahl’s storytelling ensures audience appeal.
To 7 February (rsc.org.uk) and then at Chichester Festival Theatre, 9 March-11 April (cft.org.uk)
