Giant

 

 

A

To say that Mark Rosenblatt’s play about Roald Dahl is timely would be a gross understatement. In 1983 Dahl’s review of a photo book about the Israeli bombing of Lebanon crossed the line from moral indignation to anti-Semitism, holding all Jews responsible for Israel’s actions. If we added the word Gaza to Lebanon, this story might have been ripped from today’s headlines. The perplexing question of whether anti-Zionism is anti-Semitism is still debated today. This fact-based drama presents a version of what happened when Dahl’s publishers tried to get him to issue an apology so that sales of his upcoming book The Witches would not suffer. I usually try to avoid spoilers, but the events are mostly a matter of public record. We meet Dahl (John Lithgow) in a lively discussion of the book’s proofs with his British publisher Tom Maschler (Elliot Levey) while they await the arrival of Jessie Stone (Aya Cash), a mid-level sales executive from his American publisher. Felicity (Rachael Stirling), Dahl’s fiancée and former mistress for the last 11 years of his 30-year marriage to Patricia Neal, is preparing lunch. Our first sense that things might not be quite right is when Dahl asks Maschler what “your lot” think about something. When Jessie arrives, she tells Dahl that she is a great fan and asks him to sign a book for her son. The momentary good feelings evaporate when Dahl abruptly asks Stone whether she is a Jew. This sets off an ever-escalating argument over Jewish identity, what responsibility Jews worldwide bear for what Israel does, and what is simply a cover for deep-rooted British anti-Semitism. Felicity tries to play the role of peacemaker with little success. The author is to be credited for giving complexity its due, for not offering easy answers and for not presenting Dahl as a monster. Moments of charm and humor peek through from time to time and Lithgow brilliantly captures how Dahl’s mood can change in a split second. Except for Jessie Stone, the four leading characters are based on real people. Jessie turns out to be a worthy disputant who holds her own against Dahl. They share a brief moment of mutual compassion discussing their brain-injured sons. Dahl keeps trying to drag their young cook Hallie (Stella Everett) into the argument, but she wisely eludes his attempts. He shares a relaxed conversation with his gardener Wally (David Manis) that briefly lowers the temperature and humanizes him. After much “civilized” passive-aggressive back and forth, Dahl seemingly agrees to make an apology but as soon as he is alone he calls a reporter from the New Statesman and gives him an interview that digs him into an even deeper hole and removes any ambiguity about his true feelings. The author has incorporated the actual words of Dahl’s book review and his telephone interview into the text. The main reason to see the show is Lithgow, who creates a complex character about whom it is nigh impossible not to have mixed feelings. We bump against the age-old dispute of whether you can separate the art from the artist. The other actors are excellent, but he is first among equals. Bob Crowley’s set gives us a rather ugly, mustard-walled living room under construction, with plastic sheets covering much of the room including the entire back wall. Perhaps the intent is to show how exposed Dahl is or how big a transition he is going through with his fiancée. Nicholas Hytner’s direction is exemplary. The title might refer either to Dahl's great height (6 ft 6 in) or to his position as an author of children's literature. Although the play makes the incident sound career-destroying, Dahl went on to enjoy many awards and successes. I guarantee that this is a play that will give you lots to talk about afterwards. Running time: two hours 20 minutes.

THEATER TIP: If you go to a Broadway theater for a winter Tuesday performance, dress warmly. The theater has been unheated since the Sunday matinee and takes a while to warm up.