Podcast Summary: The BFG (Royal Shakespeare Theatre, RSC, Stratford-Upon-Avon) - ★★★ REVIEW

Podcast: MickeyJoTheatre
Host: MickeyJoTheatre (Mickey Jo)
Episode Date: December 11, 2025

Main Theme & Purpose

Mickey Jo delivers a detailed review of the new Royal Shakespeare Company (RSC) stage adaptation of Roald Dahl’s The BFG at Stratford-Upon-Avon. He dissects the show’s creative direction, performances, puppetry, and adaptation choices, with thoughtful context about Dahl adaptations, and offers candid observations for both family audiences and theatregoers familiar with the RSC’s pedigree.

Key Discussion Points & Insights

1. Context: Roald Dahl on Stage & Ethical Adaptation

Timestamp: 01:19 – 04:18

• Mickey Jo opens by discussing the RSC’s legacy with Dahl’s works, especially following the huge success of Matilda the Musical.
• Raises the question of ethical adaptation, noting:

  “It's a little bit different to a J.K. Rowling conversation because Roald Dahl is no longer alive and so there's a real death of the author factor at play...” (02:47)

• Touches on public debate surrounding the adaptation of Dahl’s material posthumously, with the “death of the author” concept shaping how modern audiences interact with the work as separate from Dahl's views.

2. Plot & Adaptation: The BFG as a Play with Music

Timestamp: 04:18 – 10:50

• Describes the plot: orphan Sophie’s abduction by the gentle BFG, their fight against child-munching giants, and enlisting the Queen's help with a dreamed warning.

  “It's a story of three very unusual friends... coming together and finding each other's companionship.” (06:51)

• Notes the show’s structure: slightly condensed, running under two hours with interval, and more slight in narrative scope than Matilda or Charlie and the Chocolate Factory.
• Praises the show’s interval placement for suspense; finds Act II “probably more rewarding than the first.” (09:14)
• Suggests a few moments "could sing" with music, particularly during the dream creation sequence, comparing it to cinematic moments:

  “Perhaps a song about the creation of dreams... it so felt like a moment that really wanted to sing.” (09:55)

• Feels the script and dialogue sometimes left the story feeling “a little bit soft spoken” and occasionally thin, especially outside magical moments.

Notable Quotes

• On the wit and charm of Dahl’s writing:

  “...the line eating human beings is not right at all. It is very, very left or in response to the line don't be worried little girl. Sophie replying, I'm not worried, medium sized man.” (11:30)

3. Production & Creative Elements

Timestamp: 12:59 – 20:48

Puppetry & Scale

• Praises innovative use of puppetry by Toby Olier, using multiple scales (full-size puppet, actor, and miniature versions) to convey the giants’ world.
• Explains the layered approach:

  “There are three levels of scale... which absolutely has its pros and cons, with the biggest pro being the ability to shift our perspective within the narrative.” (14:46)

• Notes the emotional connection to the BFG is somewhat inhibited by the lack of interaction between the actor and giant puppet:

  “A little bit of the issue I had... there being very few moments in which we see any kind of a connection between John and the larger puppet...” (15:52)

• Highlights a successful, memorable moment:

  “...this trogglehomper nightmare experienced by the Queen with all of these other giants arriving, that worked really well. There was a lot of payoff with that.” (16:35)

• Admits:

  “The first arrival merited a little bit more of a theatrical reveal. It was maybe slightly underpowered...” (16:16)

Set, Lighting, & Effects

• Vicky Mortimer's set and Kenesha Isadore's costumes commended for visual flair, particularly in the finale.
• Engaging cityscape movement and illuminated dream effects—Mickey Jo wanted more of these magical elements:

  “I wanted it to be a real wow moment. And I just don't know that we really had that, that same sense of magic and wonder and impact.” (19:15)

• Live music praised as “characterful and full of charm.”
• Sound, lighting, and illusion specialists all highlighted for contributing charm, but overall Mickey Jo found the show could have "a little more whimsical” energy.

4. Company & Performance Highlights

Timestamp: 21:21 – 28:55

Child Actors

• Ellamy Shivers ("Sophie"):

  “A really fantastic young performer... got an awful lot of laughs with this dialogue and this sort of Matilda esque wisdom beyond her years.” “She had one of the most winning moments of the entire evening when she said, I'm not scared. This isn't my first kidnapping.” (22:41)

• Maisie Lee ("Kimberly"): Another strong child performance, adding charm and conviction.

The Queen

• Helena Limbery as the Queen:

  “There was this real joy in the characterization... who comes into her own and who utterly takes charge of a frenzied situation in the second act...” (23:59)

• The show climaxes with a musical breakfast scene “involving the audience,” complete with a “symphony of different fart sounds... conducted by the Queen.” (24:58)

  “I think that concept more than anything else... is going to give you a sense of whether you would enjoy this production or not.” (25:10)

Supporting Players & Puppeteers

• Commends both the comic army captains who try to protect the Queen:

  “They are great comedy value though, particularly this running joke about one of them having such a plentiful mustache that he is basically impossible to understand.” (25:42)

• Meticulous credit is paid to the large team of puppeteers, without whom the show’s magic wouldn’t work.

The BFG (John Leader)

• Mickey Jo singles out John Leader’s “youthful, childlike energy” as the BFG:

  “John's BFG is much younger... has this sense of naivety which I thought was quite wonderful.” (27:05) “His deliveries of all of the nonsense speech and these grammatically incorrect sentences that really wins you over. He is utterly endearing in this role.” (27:15)

• Notes missed connection moments between John and the BFG puppet, suggesting more interaction could have strengthened the emotional bond.

Notable Quotes & Memorable Moments

• On RSC’s legacy:

  “...from the company that gave us Matilda the Musical, I have to say I was expecting something at least a little bit more magical.” (02:03)

• On adaptation scale:

  “A giant story that, in addition to being big and friendly, is broadly fine.” (01:22)

• On childhood wisdom in Dahl:

  “...you still got this really clear sense of the value of childhood wisdom, especially against stubborn and foolish short sighted grown ups...” (11:44)

• On inspiring young audiences:

  “...exactly the kind of theater that will inspire, I think, the next generation of theatre makers. Kids will remember going to see a magical production like the BFG.” (28:34)

Timestamps for Major Segments

• Context & Opening Thoughts: 01:19–04:18
• Plot & Adaptation: 04:18–10:50
• Production & Creative Elements: 12:59–20:48
• Performances & Company: 21:21–28:55

Conclusion

Mickey Jo finds RSC’s The BFG a visually inventive, family-friendly stage play with endearing performances and moments of charm, especially via its inventive puppetry. Some narrative thinness and missed opportunities for theatrical magic prevent it from reaching the heights of Matilda or other standout Dahl adaptations, but it remains a solid festive offering for children and those new to theatre.

Final thought:

“While not necessarily the most impactful Roald Dahl stage adaptation that we have ever seen, [it is] exactly the kind of theater that will inspire, I think, the next generation of theatre makers.” (28:34)

Host encourages listeners to share opinions, especially if they've seen the show, and to keep an eye out for more reviews during the packed festive season.