Exclusive First Look: The BFG at the Royal Shakespeare Company
EXCLUSIVE: The Royal Shakespeare Company in Britain proudly unveils the first glimpse of The BFG, the towering main character from its new theatrical adaptation of Roald Dahl’s beloved children’s novel.
Tonight marks the initial preview of The BFG at the Royal Shakespeare Theatre in Stratford-upon-Avon. Daniel Evans, who shares the role of artistic director with Tamara Harvey, is eager to showcase the innovative puppetry crafted by Toby Olié and his skilled team.
This immense production, adapted by Tom Wells with contributions from dramaturg Jenny Worton, ranks among the RSC’s most ambitious undertakings, comparable to past hits like Les Misérables and Matilda.
Visual Spectacle: A World of Giants
The theatrical experience heavily incorporates size as a key element of its storytelling. Audiences will see a range of puppets from towering figures standing at 16.4 feet to miniature 7.8-inch representations of Sophie, the story’s young orphan protagonist.
‘The BFG’ Revealed
On a mysterious moonlit night, Sophie finds herself whisked away by the BFG. Fortunately for her, this giant has a diet consisting of snozzcumbers and frobscottle, not children. Together with Sophie and the Queen, the BFG seeks to stop the other giants residing in Giant Country—like Fleshlumpeater and Bonecruncher—from devouring the world’s children.
During the initial stages of the show, Evans experimented with circus performers to portray the giants, attempting to capture their immense size by stacking acrobats on top of each other. However, this setup restricted their movement, conflicting with the novel’s depiction of the BFG’s swift, expansive movements across landscapes.
During this period, Evans discussed puppet possibilities with Olié, whose notable creations include works for the stage adaptations of Spirited Away by John Caird and Studio Ghibli, and Animal Farm by Rob Icke and Duncan Macmillan. Olié’s reputation as a master puppeteer was cemented with his significant contributions to the creation of the lifelike horse in War Horse at the National Theatre.
Evans reflects on the central theme of The BFG, which revolves around recognizing and harnessing one’s inherent power. He highlights the dynamic between Sophie and the BFG, noting how power shifts when the BFG encounters a giant even larger than himself, the Bloodbottler.
Transformative Puppetry and Theatrical Illusions
The creative team worked meticulously to visually represent these shifts in power and perspective, allowing the audience to empathetically connect with each character’s experiences. One innovative approach involves varying the physical representation of characters according to their narrative stature, enabling a literal and metaphorical shift in perspective for the audience.
The show uses size as a language. Olié explains the strategic use of scale, where characters are portrayed in several sizes to deepen the audience’s engagement with the narrative. From large puppets that dominate the stage to tiny, sensor-equipped miniatures, each version is crafted with meticulous attention to detail, ensuring visual continuity across different scales.
The narrative also delves into darker themes, capturing the quintessential elements of Roald Dahl’s storytelling—a blend of fear and fascination that holds a special appeal for children. The depiction of giants strikes a balance between mythical awe and the playful silliness characteristic of Dahl’s writing.
Sound design by Carolyn Downing plays a crucial role, particularly in scenes that blend humor with suspense, such as the giants’ uproarious brawls. Evans humorously shares the intricacies involved in creating realistic sound effects for the giants’ actions, which include the sounds of flatulence.
Set designer Vicki Mortimer collaborates closely with the entire production team to create environments that resonate with the themes of the play. Inspired by various artists, Olié and Mortimer aim to evoke a sense of both the familiar and the fantastical, weaving texture and color into the visual narrative that extends from the softness of textiles to the ruggedness of giant skins.
With an innovative score by newcomer composer Oleta Haffner, the production promises an auditory experience as rich and immersive as its visual spectacle. Haffner’s compositions are anticipated to significantly enhance the theatrical experience with their cinematic quality.
As The BFG prepares for its run in Stratford-upon-Avon and subsequent performances at other major venues, the production team looks forward to sharing this magical adaptation with audiences around the world, hoping to capture the hearts of those familiar with Dahl’s work and those new to his enchanting worlds.
The tale of The BFG continues to inspire awe and wonder, promising a theatrical experience that blends the boundaries of scale, sound, and story in captivating new ways.
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