The BFG

⭐️⭐️⭐️⭐️.5 “big smiles all round”

Walking into the theatre, you wonder: how will they conjure a giant before our eyes, and then make that giant look positively puny beside even bigger ones? The RSC’s new staging of The BFG answers with imagination, confidence, and a dash of theatrical wizardry.

In a production where the pressure inevitably falls on the visual spectacle, it’s a joy to discover a script that shines throughout. Rather than feeling flabby or twee Tom Wells's writing stays witty, and poignant. The adaptation strikes a rare balance: honouring Dahl’s mischievous spirit while giving emotional clarity to moments that could easily be drowned by the visual stagecraft. It’s a reminder that no number of effects can replace the power of well-chosen words and here, they absolutely hold their own.At the heart of the production is, of course, Sophie.

Her role is split between several actors for the run, but in our case Elsie Laslett brought the character to life with such confidence that you forget how young the performer is. She brings a fearless presence never overawed by the scale of the production or the actor beside her and anchors the story with warmth and clarity. This Sophie is no wilting flower in need of rescue, and is instead bold, punchy, and ready to take on the world.In turn, John Leader's BFG radiates heart and playfulness, a gentle giant in every sense.

His magnetic enthusiasm always carries much of the energy of the show with a magical twinkle in his eye.  A special nod must go to Philip Labey and Luke Sumner, as Captains Smith and Frith, whose comic timing is impeccable. They form a gleeful double act that brings bursts of laughter at exactly the right moments, lifting the energy without ever stealing focus.

Daniel Evans' direction has clearly been a guiding star to this piece. In a production so thoroughly packed with spectacle it would have been easy to let the moments of story and character take a back seat. However, Evans's surprisingly small ensemble work beautifully together to keep the moments that matter at the forefront at all times, and guide the audience through the story smoothly. Together with Oleta Haffner's music and Carolyn Downing's sound design, they ensure we're fully immersed in the world we want to see.And, of course, to the giants! The production’s puppetry, ably managed by Toby Olie, is undeniably slick and executed with remarkable skill; seamlessly scaling the world around us from small to supersized in a moment. The puppet Sophie is a particular triumph, perfectly mirroring the performer’s physicality and creating an uncanny continuity between puppet and actor.However, not all elements land with equal success.

The BFG puppetry, while impressive in scale, sometimes feels limited in expression. The face, in particular, lacks the dynamism of the human performer's, which can flatten moments that ought to brim with character. At times, you find yourself admiring the technical brilliance rather than absorbing the story it’s meant to serve. It’s a small but noticeable trade-off in a show that otherwise blends craft with narrative beautifully.Despite these minor distractions, there’s no denying the magic of the production. It’s a show with sparkle and genuine heart, playfulness and a celebration of imagination that never forgets to delight. I can’t imagine anyone leaving the theatre without a smile on their face, indeed I had one glued to mine the whole time.The RSC’s BFG is a theatrical banquet — bold, inventive, and brimming with wonder. It leaves you grinning like Sophie herself, and I suspect Dahl would have been right there grinning with you.