“Giant,” the new play penned by Mark Rosenblatt that opened on Broadway refers to the well-known author of children’s books Roald Dahl. The word ‘Giant’ may pertain to Dahl standing six foot six inches in height, to his enormous status in the literary world, or to the giant who so often is sought after to be slain. In this case it happens to be all the above. The play is not the life story of the famous author, but about a confrontation, on one afternoon at his long-time family estate Gipsy House, which is under major renovation. Set among the disturbance and disarray, the unsettling and contentious conversation revolves around a book review Dahl wrote criticizing Isreal’s 1978 invasion of Lebanon, noting there was a similarity to Nazi Germany. There is a note from the playwright stating that some details and characters are drawn from Dahl’s own life, while others were invented. Dahl’s book review and final phone interview are quoted verbatim.

Present, are Dahl (John Lithgow), his British publisher Tom Maschler (Elliot Levey), his fiancée Felicity Crosland (Rachel Sterling), and a representative from his American publisher, Jessie Stone (Aya Cash). Stone is there to convince Dahl to make an apology for his remarks in the review because it is threatening book sales from protesting librarians and bookstore owners. Dahl reveals Stone is Jewish, she then defends her race accusing him of antisemitism, while he strongly emphasizes his belief in his statements. The battle begins but there will be no clear victory. It is an argument that is centuries old and in recent days has once again come to the forefront with the same nonexistent conclusions. Each may falsely claim victory, as Stone walks away with a signed copy of one of Dahl’s books for her disabled son, and Dahl gives a vindictive phone interview to a journalist that proves his antisemitism. Mr. Rosenblatt never puts forth a judgement and does not take sides but clearly states the case each side presents.

The purpose of this production is not to solve the problem or take sides, but to leave the audience open to conversation. The play can be said to continue for some time after the curtain call, provoking some interesting questions for discussion. Are people willing to dismiss antisemitism when it concerns the arts or artists they favor? Do humanitarian concerns translate into antisemitism? Are the people or the government responsible for war, especially in democratic countries where the people elect politicians? Should the slaughter and killing of innocent human beings ever be tolerated?

There should be no concern if it all seems too political and intellectual because the reason for attending this production is to witness the performance of a lifetime by the incredible John Lithgow. From the moment he rises from his desk, to argue over drawings for his new children’s novel, “The Witches,” the massive room created by designer Bob Crowley, shrinks, as he fills the space with a dynamic personality. He is larger than life, but is capable of the slightest movement, gesture, or expression to reveal his deeply felt emotions. He has developed the uncanny ability to communicate his thoughts to an audience as he intently listens to the person speaking to him. He commands the stage with a soft-spoken benevolent arrogance or raises his voice and punctuates his inflection, to proclaim his disapproval. He does not miss a beat, is always present, and devours his character’s motivation. This is why he is already considered a theatrical legend.

The script by Mr. Rosenblatt is not as creative as one would hope, and somewhat contrived to serve the purpose. Director Nicholas Hytner develops a clear path for each character’s emotions, but the staging is a bit awkward at times with characters (specifically Tom and Felicity) left roaming around the stage as they listen to extended arguments and monologues. Also, the intermittent entrances of the cook Hallie (Stella Everett), merely seems like a set up for the last scene. Regardless of these minor shortcomings “Giant” is a Broadway show not to be missed this season, due primarily to the “Giant” performance by the magnificent John Lithgow.