John Lithgow is superb as Roald Dahl in Broadway…

A pair of phrases are nowhere to be discovered in the title of the new Broadway play “Giant,” about kids’s writer Roald Dahl — particularly “friendly” and “peach.”

Theater review

GIANT

2 hours and quarter-hour, with one intermission. At the Music Box Theatre.

By the bitter end, it’s clear why. Because this Dahl, viciously performed by the superb John Lithgow, is no peach. A peach pit, more like.

Mark Rosenblatt’s meaty debate-drama, which opened Monday evening at the Music Box Theatre, exhibits a a lot uglier aspect of the intelligent thoughts behind “Matilda,” “Charlie and the Chocolate Factory,” “The BFG [Big Friendly Giant]” and “James and the Giant Peach”: that he was a raging, self-described anti-Semite.

Directed by Nick Hytner, “Giant” fictionalizes, sometimes joltingly, the damaging second in the Nineteen Eighties when the literary titan, whose books are touchstones of childhoods the world over, threw his bigotry out into the open and confronted the implications.

Staunch Dahl bets he’s too gigantic to fail.

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His petrified employers and future spouse Felicity (Rachael Stirling) aren’t so sure.

The real event that rocked Roald was a controversial 1983 e book review he wrote of “God Cried,” a work harshly essential of Israel’s 1982 invasion of Lebanon.

John Lithgow performs writer Roald Dahl in “Giant” on Broadway. Joan Marcus

In his write-up, Dahl called all Jews “a race of people” who’d “switched so rapidly from victims to barbarous murderers.”

He conflated the federal government of Israel with the global Jewish population and in contrast the Middle Eastern nation to Nazi Germany.

Dahl then deplorably doubled down in a follow-up interview with the New Statesman.

“There’s always a reason why ‘anti-anything’ crops up anywhere,” he said. “Even a stinker like Hitler didn’t just pick on them for no reason.”

Audience members new to this stunning data can’t help but assume: This is the same man who dreamt up Matilda Wormwood and the chocolate river?!

In a phrase: Yes.

Jessie (Aya Cash), a consultant for Dahl’s writer, comes to England to do injury control. Joan Marcus

Coming in scorching, Rosenblatt imagines a contentious emergency go to from a consultant of Dahl’s New York writer, the made-up Jessie Stone (Aya Cash), to his under-construction English nation home to handle the backlash, which has led a number of US booksellers to threaten not to carry Dahl’s forthcoming “The Witches.”

She needs an apology, full stop. However, the 66-year-old writer is unmovable.

Refereeing the bout is his UK writer Tom Maschler (Elliot Levey), who considers himself more English than Jewish. He’s chummy with Roald and believes his author’s contributions to youngsters’ studying are too important to jeopardize. Many in all probability would still agree.

Beyond the actor taking part in the creator of “The BFG,” it’s Levey who’s the MVP. Anybody who’s ever tried to convey down the temperature of a room while ignoring their own boiling fury within will vividly see themselves in Tom.

And Tom has a really unenviable job as peacemaker right here.

The play’s arguments both for and against Israel are ripped from the headlines. Joan Marcus

“Giant” makes use of the past to speak about Israel today, and the spats are expectedly heated and palpably uncomfortable. But newsiness wasn’t Rosenblatt’s intent. He completed his remaining draft two months before the Hamas assaults of October 7, 2023.

Whatever the date, the arguments are all but ripped from the headlines.

“Israel invaded Lebanon in self-defense,” Jessie maintains. “What would your government do if militants constitutionally committed to wiping Britain off the map started firing rockets into Kent from the French coast?”

Says Dahl of Israel’s founding: “They laid claim, they maneuvered and they took… Because you see what you need to see: a sanctuary — not another’s home.”

As the confrontational play rumbles on, Dahl’s commonplace speaking factors queasily devolve.

He turns into an object lesson in how anti-Israel rhetoric can casually slide into full-throated, unapologetic racism.

As the play goes on, Dahl’s feedback get uglier and uglier. Joan Marcus

And, frankly, “Giant” depicts how simply the public will shrug at that. Dahl’s confidence about his legacy was confirmed appropriate, after all. The 1990 “Witches” movie, “Matilda the Musical” on Broadway, Steven Spielberg’s “BFG” and Timothée Chalamet and Johnny Depp’s Willy Wonka films all got here along after his grotesque feedback. 

Most people know nothing about any of this, which is why Rosenblatt’s play from London has been a scorching subject.

His first act is tight, centered and thrilling. When we return from intermission, though, the bickering continues and the story feels caught in place. Characters change, I suppose. Felicity, Tom and New Zealand maid Hallie (Stella Everett) go from tolerating him to tolerating him less. A messy afternoon turns messier. Yet “Giant” comes to its inevitable conclusions half an hour or more before the bows.

The appeal, therefore, lies not so a lot in the end vacation spot as watching an actor of this caliber inhabit a determine so complicated and thorny.

Lithgow bears a putting resemblance to his character. Joan Marcus

How to make an often merciless man who casually spews repugnant remarks watchable? Call Lithgow!

First off, the towering 80-year-old Tony winner bears a putting resemblance to the person, proper out the box. But it’s Lithgow’s skill to be quiet and candy and seconds later booming and scary that makes us squirm in our seats over our own emotions toward the author. At occasions, we actually do like him.  

The actor’s well-rounded, seismic Roald can be on the defensive, weaponizing his over-6-foot body, huge mind and big mood. All giant, certainly. And instantly he’ll snap into a kindhearted previous man — the nurturing papa who Dahl readers dream is behind the prose. A camouflage, maybe.

It’s that softie who calmly asks the play’s most chilling query.

“Can you no longer read my books to dear Archie?,” he says to Jessie of her son. “If it’s in me, then it’s surely in the books too.”

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