At the heart of the story is Sophie, a feisty little girl who is snatched from her bed in an orphanage by a giant and taken off to his country. She has spotted him through the curtains. If seen by others, he would be put in a zoo, and so he must take her away.

But she is in luck – he is a Big Friendly Giant who catches dreams to blow onto children at night-time. Other children are not so lucky; in the BFG’s country, there are other giants who roam the world, snatching and eating them. And so, as Sophie and the BFG plot to prevent this, their friendship and trust grow.

In Tom Well’s adaptation of the book, the introduction of the character of Kimberley, Sophie’s roommate from the orphanage, continues the theme of friendship. The Queen has an expanded role, as does Tibbs, her Butler, and also Captains Smith and Frith from the military.

This gives scope for pot shots at the establishment, in a play to older members of the audience. The Queen is also able to dream. Holed up in Buckingham Palace and confined by overprotective officials, she discovers their power and realises that following our dreams gives meaning to our lives.

The puppetry in the production is remarkable. The BFG has both a large and a small puppet, whilst Sophie has a small puppet and also a tiny one. Bloodbottler, the largest of the giants, appears in puppet form as upper body and head, enormous and appalling, whilst other giants are represented by head and forearms alone. The Queen and her entourage all have miniature puppets.

Actors and puppets exchange places with one another to manage the difference in scale between the characters. Puppet voices are delivered by actors in character off-stage. The effect of the whole is fluid and dexterous.

Special effects and props are spectacular. Dreams fly across the auditorium, and vividly coloured nightmares pulsate in enormous jars. As the BFG races across London, its landmarks, made from papier-mache lanterns, float by.

Roald Dhal’s view of the world from the perspective of a child is handled beautifully. Sophie fully understands the BFG’s language, with its made-up words and odd grammar. She speaks to the Queen as an equal – why wouldn’t she, after all? And the humour of the second act, in particular, plays as much to children as to adults.

Performances were strong all round, not least in the cast’s ability to interact and interchange with puppets throughout. The BFG was played by John Leader and, on press night, Sophie was played by Ellemie Shivers and Kimberley by Maisy Lee. The Queen was played by Helena Lymbery and Tibbs was played by Sargon Yelda. Philip Laby was Captain Smith, and Luke Sumner was Captain Frith.

The BFG is a captivating production, remarkable in its spectacle and compelling in its ability to communicate to children and adults alike. It was directed by RSC Co-Artistic Director, Daniel Evans. Puppetry designer and director was Toby Olié. The lighting designer was Zoe Spurr and illusions were by Chris Fisher.

Co-produced by the RSC, Chichester Festival Theatre, the Roald Dahl Story Company, Singapore Repertory Theatre and Esplanade Theatres on the Bay, it’s on at the RSC until 7th February. For further information see rsc.org.uk