A splendiferous invitation to dream big, in this magical adaptation of a beloved children’s classic with masterful puppetry and a giant heart full of hope.

What if a single dream could change the world, and all it took was one small, brave “human bean” to believe in it? That spirit lies at the heart of The BFG by Roald Dahl, now reimagined in a breathtaking stage production presented by the Royal Shakespeare Company (RSC) alongside Chichester Festival Theatre, Roald Dahl Story Company, Singapore Repertory Theatre (SRT), and Esplanade – Theatres on the Bay. Making its first international stop outside the UK, this production reflects a deliberate and growing ambition by SRT and the Esplanade to move beyond presentation into co-creation, partnering with leading international companies to develop works in Singapore that can travel the world. In that sense, The BFG feels like both a magical night at the theatre and a glimpse into Singapore’s emergence as a cultural launchpad for large-scale productions in the region.

Adapted by Tom Wells and directed by Daniel Evans, the story follows Sophie, an orphan who is whisked away in the dead of night by a giant. But this is no ordinary giant. The BFG (Big Friendly Giant), played with warmth and quiet humour by John Leader, is a gentle, dream-catching soul who refuses to eat humans, unlike the terrifying giants who roam the world devouring children. As Sophie discovers the truth about Giant Country, the pair form an unlikely friendship and devise a daring plan to stop the giants once and for all. It is a story about courage, about friendship, and above all, about the power of dreams.

From the very first image onstage, the production establishes its theatrical language with clarity and care. Vicki Mortimer’s set begins as a simple orphanage façade, until it opens up to reveal the children tucked into their beds. It’s a beautifully executed reveal that immediately signals the production’s commitment to transformation. At the centre are Sophie (Elsie Laslett) and Kimberly (Charlotte Jones), whose relationship is sketched with warmth and detail. Small moments, such as the sharing of a “magic penny,” playful gestures, and even a cheeky fist bump quietly build a believable emotional world before the spectacle takes over.

When the giant finally approaches, the atmosphere shifts. The tension builds, and when Sophie is lifted from her bed, the illusion, crafted with the combined efforts of puppetry director Toby Olié, illusionist Chris Fisher, and movement director Ira Mandela Siobhan, is executed with such precision that it feels seamless. Timing, choreography, and technical craft align so perfectly that the mechanics disappear, leaving only the magic.

What follows is one of the production’s most visually stunning sequences: the journey across the world and into the magical Giant Country. Akhila Krishnan’s video design works in tandem with Zoe Spurr’s lighting to expand the stage into a vast, dreamlike landscape, so the moment the BFG leaps into his world feels almost cinematic. Yet it still remains unmistakably theatrical, allowing for an immersion into imagination that is both grand and immediate.

Inside the giant’s lair, the tone shifts again. Sophie’s fear is palpable, especially when confronted with the larger, more menacing giants. Yet even here, the production balances tension with humour, where a certain snozzcumber sequence is delightfully grotesque, eliciting both laughter and disgust. The BFG’s playful, mangled language lands with charm, grounding the fantasy in something distinctly Dahl-esque.

The use of the thrust stage proves invaluable. The action constantly reaches outward, bringing the audience into the world rather than keeping it at a distance. Whether it’s towering puppets looming over us or the BFG gleefully spitting out a snozzcumber into a literal “splash zone” in the stalls, the experience feels immediate, tactile, and joyfully unpredictable.

What stands out most is the intelligence of the storytelling. The production uses puppets of varying scales, designed by Toby Olié alongside Daisy Beattie and Seb Mayer, alongside live actors to represent shifts in perspective. Giants tower, then shrink; Sophie transforms into a smaller puppet when needed, constantly playing with our point of view and perspective. It’s a fluid visual language that ensures clarity while constantly reinforcing the theme of scale and power.

Then comes the dream lab, arguably the emotional and visual heart of the show. Here, the stage becomes a playground of light, sound, and movement. Dreams float and shimmer through the space, brought to life through a seamless blend of projection, lighting, and illusion. As the BFG asks Sophie to close her eyes and trust, we are invited to do the same. We then bear witness to a breathtaking sequence: Sophie ‘flying’, reuniting with Kimberly, experiencing a sense of freedom that feels almost tangible. It’s theatre at its most magical where design and performance converge to create pure feeling, and activating our imagination to make the impossible into a reality.

But dreams are not always kind. The introduction of nightmares, especially the vivid red dream, adds a darker edge. This leads into the Queen’s storyline, played with regal poise and subtle humour by Helena Lymbery. Her introduction, complete with ceremony and chaperones, is rich with detail, while her captains provide well-timed comic relief. Beneath the humour lies a quiet truth: that even power can feel like a prison.

The plan to deliver a nightmare to the Queen becomes a turning point. What unfolds is a tour de force of stagecraft. Puppetry, lighting, projections, and the unseen precision of stagehands come together in a sequence that is as technically intricate as it is emotionally gripping. The nightmare itself, giants terrorising London, devouring soldiers, invading the Queen’s space, is vividly realised, striking a careful balance between fear and theatrical spectacle.

Back in the dream lab, the story finds its emotional centre again. The moment Sophie names the BFG is simple yet deeply affecting reminder that, amidst all the spectacle, it is human connection that gives the story its weight. By now, the stage is set for a full adventure, as the Queen, now fully engaged, embraces the chaos with surprising vitality, while Sophie’s reunion with Kimberly brings the story back to its emotional core. Small gestures like the Queen offering Sophie a coat and fastening a brooch carry quiet significance, later becoming pivotal in the story’s resolution.

The helicopter sequence is also a perfect example of theatrical imagination at work. With minimal set and clever physicality, with actors bouncing and lights flashing, the illusion of flight is created. It requires the audience’s participation, and in doing so, reinforces the show’s central idea: that belief is what makes magic possible.

When the giants reappear, the tone sharpens once more. A grotesque moment, where a bone is tossed into the audience, elicits both shock and laughter, while the careful scaling of puppets and performers ensures the storytelling remains clear. In the climactic moment, Sophie proves the show’s thesis: armed with nothing more than a brooch, she brings down a giant, demonstrating that size has little to do with strength.

The resolution is both satisfying and playfully irreverent. Moments of humour, such as a captain’s moustache mishap, give way to a joyful final sequence. The breakfast scene is filled with warmth and detail, the girls now dressed in period-inspired finery, before the introduction of the BFG’s “whizzpopping” delivers a gleefully silly finale. Oleta Haffner’s score, brought to life by the onstage musicians under Màth Roberts, underscores every beat, elevating even the most absurd moments into something musically delightful.

Ultimately, this production of The BFG is both faithful adaptation and a testament to what happens when world-class artists and institutions come together with shared ambition and imagination, where puppetry, illusion, design, music, and performance become storytellers in their own right, and where Singapore, through the continued collaboration between SRT and the Esplanade, is not merely a stop on the map, but an active co-creator and launchpad for work that can resonate far beyond its shores. It is timely a reminder that theatre is one of the few spaces where we gather to believe again, where we allow ourselves to see with childlike wonder, and where, through the journey of a small orphan and a gentle giant, we are asked to hold on to the idea that dreams matter, that friendship endures, and that even the smallest voice, guided by courage and imagination, can ripple outward and change the world. A true wondercrump triumph.

Photo Credit: AlvieAlive

The BFG plays from 22nd April to 9th May 2026 at the Esplanade Theatre. Tickets available here and here

Production Credits

Writer Roald Dahl Adapter Tom Wells Additional Material & Dramaturg Jenny Worton Director Daniel Evans Puppetry Designer & Director Toby Olié Cast Martha Bailey Vine, Elsie Laslett, Ellemie Shivers, Ailsa Dalling, Aki Nakagawa, Charlotte Jones, Maisy Lee, Uma Patel, John Leader, Ben Thompson, Shaun McCourt, Elisa de Grey, Onioluwa Taiwo, Helena Lymbery, Sargon Yelda, Richard Riddell, Fred Davis, Corey Mitchell, Parkey Abeyratne, Sonya Cullingford, Philip Labey, Luke Sumner, J.R. Ballantyne, Lottie Johnson Set Designer Vicki Mortimer Costume Designer Kinnetia Isidore Lighting Designer Zoe Spurr Video Designer Akhila Krishnan Illusions Chris Fisher Composer Oleta Haffner Sound Designer Carolyn Downing Choreographer & Movement Director Ira Mandela Siobhan Puppetry Co-Designers Daisy Beattie, Seb Mayer Music Supervisor, Additional Orchestrations & Arrangements Theo Jamieson Music Director Màth Roberts Musicians Màth Roberts, Connor Fogel, Sarah Crisp, Chris Beagles, Clare-Louise Appleby, Fiona Troon, Beth Higham-Edwards Casting Director Christopher Worrall CDG Children’s Casting Director Verity Naughton CDG Associate Director Louise Shephard Senior Associate Set Designer Matt Hellyer Sound System Designer Katie Haygarth Deputy Puppetry Director Steven Atkinson Deputy Lighting Designer Imogen Clark Deputy Illusionist Will Houstoun