Roald Dahl’s The BFG (Singapore 2026)
We is in Giant Country for the first preview show in Singapore and had the most phizz-whizzing time! 💫🎺👂
This stage adaptation of Roald Dahl’s The BFG is such a magical and whimsical show. Visually stunning, with some of the most incredible puppetry seen on stage.
A huge part of its success lies in Toby Olié’s beautiful puppet designs. The varying sizes cleverly show the scale between characters, and it’s amazing how the show relies less on big set pieces and more on puppetry, clever lighting, and the believability the actors bring to their roles.
John Leader’s BFG feels younger and more energetic than the usual portrayal, which brings him closer in age to Sophie, giving them more of a best-friends rather than child–grandparent dynamic. Martha Bailey Vine as Sophie is a curious and brave little smartypants you can’t help but root for.
I think my favourite has to be the Queen — Helena Lymbery is hilarious and I was laughing every time she appeared. Her butler Tibbs played by Sargon Yelda adds to the fun, while Philip Labey and Luke Sumner are such a chaotic and brilliant duo as Captain Smith and Captain Frith. Richard Riddell is fearsome and menacing as the villainous Bloodbottler. Uma Patel as Kimberley, Sophie’s best friend, brings such a wholesome energy and shares lovely chemistry with Sophie.
And lastly, the real MVPs are the puppeteers, who manoeuvre the giant puppets with such incredible skill and precision. I couldn’t imagine this show being even half of what it is without their immense talent and pitch-perfect execution.
A truly splendiferous show for Human Beans of all ages! Just beware there might be some whizzpopping involved. 💨✨
🗓️ 22 Apr – 9 May 2026
📍 Esplanade Theatre
Attending the Royal Shakespeare Company’s production of Roald Dahl’s The BFG is truly an enchanting experience for fans of all ages. Beyond the captivating puppetry and minimalistic set design, one aspect that stood out to me as a theater enthusiast was the innovative way the stage production used lighting and sound to immerse the audience in Giant Country. The cleverly designed puppets, especially those by Toby Olié, bring a tangible sense of scale and whimsy without overwhelming the stage, allowing viewers to focus on the characters’ emotional journey. The portrayal of the BFG by John Leader struck me as refreshingly youthful and energetic, which fostered a natural chemistry with Martha Bailey Vine’s Sophie. This casting choice enhances the narrative by emphasizing a friendship born out of curiosity and bravery rather than a typical mentor-child relationship, making it more relatable for younger audiences. Another highlight for me was the comedic performance of the Queen by Helena Lymbery, whose timing and wit added much-needed levity and warmth to the story. Paired with the amusing antics of her butler Tibbs and the chaotic duo of Captain Smith and Captain Frith, these characters inject a dynamic energy that balances the more menacing presence of the Bloodbottler. As someone who appreciates behind-the-scenes craftsmanship, I was particularly impressed by the skill of the puppeteers. Their precise movements and coordination breathe life into the massive puppets, transforming them into believable characters that interact seamlessly with the human actors. Their work is a testament to the show’s immense collaborative effort and artistic excellence. For anyone considering attending, be prepared for some classic Roald Dahl humor, including the infamous whizzpopping moments that will have you chuckling along. Overall, this production is a splendid choice for families, theater lovers, and anyone looking to experience a magical adaptation of a beloved literary classic in Singapore’s renowned Esplanade Theatre.
