The Curious Incident of the Dog in the Night Time

The Curious Incident of the Dog in the Night Time, which is based on the novel of the same name by Mark Haddon, is a critically acclaimed play by Simon Stephens. Directed by Roger Beaumont, this production does a splendid job at bringing the beloved story to life. 

The play follows the 15 year old Christopher (Rory Hobson) as he discovers his neighbour's dog has been stabbed and is dead, and he sets out to investigate this murder. However, Christopher's investigation leads to him learning a lot more than he bargained for about the people around him, his parents and most importantly himself. The curious incident kicks off the play, but as Christopher slowly discovers, there is always more than what first appears. 

The Curious Incident of the Dog in the Night Time is perhaps most well-known for its authentic voice about a firsthand neurodivergence experience as told by Christopher. Whilst Christopher's diagnosis is never named, his autism is clear throughout the play, making the play an undeniably important spotlight for lesser represented voices. Narrated by Christopher, audiences are given an insight into the daily struggles that help shed a light on the importance of awareness, inclusivity, patience and kindness.

Stephens' writing works on multiple levels, as it finds moments of light hearted humour in Christopher's confusions and blunt honesty, as well as the tensions of the developing storyline. Christopher's struggles to be able to use his full potential in a neurotypical and relentless world is a heart-breaking reminder of what thousands of people face everyday. The play has always been an important one, alongside its extensive runs on the West End and Broadway, it is often included in the school syllabus for students to dissect in detail. 

This production specifically opts to focus more on the text, eliminating other technical elements that may prove distracting such as music or large set pieces. Roger Beaumont and Leon Chambers are the set designers, opting for a dark tiled square as the main stage floor and a screen back wall. As often associated with the play, the floor tiles do lift to reveal stashed away secrets, but primarily just help to create a sense of intimacy. The screen (video design by Leon Chambers) is used well to visualise specific details that Christopher focuses on - for example the time or an interest in handwriting. Most notably the screen is used for a quick game of Tetris which delights the school group in the audience. Martin Walton's lighting design moves along with Christopher, often guiding him on his journey which also helps reiterate his own coping mechanisms. Emerson Bramwell's sound design is used sparingly, but provide additional detailing. 

The cast of 10 do a great job at bringing the many characters to life with a sense of clarity and emotional drive, many of them playing multiple roles with a wonderful distinction. Julice Liecier, Dan Wilson, Alison Griffin and James Rushbrooke take on a multitude of roles and perform them well - especially Griffin and Rushbrooke who play Mrs and Mr. Shears respectively as they convincingly portray the frustrations of both characters. Mary Davies as Mrs. Alexander makes a commendable impression in her limited role. 

Simon Higginson takes on a number of roles and makes each of them particularly memorable, showcasing his comedic skills. Claire Durrant takes on the role of narrator and Siobhan, Christopher's teacher; the only adult who actually understands him. Durrant's performance is gentle as she passionately roots for, advocates, and guides Christopher, and becomes a warm presence onstage. Andrew Miller as Ed, Christopher's dad, delivers a strong performance as he too struggles to carve out a safe space for Christopher as a single parent. Holly Gillanders is another strong performer as Judy, Christopher's mum as she finds herself exhausted and angry trying to fend off her own struggles whilst supporting Christopher. 

Hobson takes on the lead role of Christopher and delivers an incredible performance. Hobson understands Christopher keenly and is committed to portraying him with sensitivity and authenticity. Hobson perfectly captures Christopher's autistic tendencies, from his stimming to his disassociation, the nervous shakes, the difficulty to follow social cues, the avoidance of eye contact and the deliberate dialogue delivery; it's a fantastic portrayal. Whilst Hobson may not necessarily look like a 15 year old on stage, there is no doubt that he brings Christopher alive. 

The show, however, is not without its faults, minor as they are. The scene transitions particularly can feel a little jarring at times, with the lights only being dimmed slightly and the heavy patter of footsteps as the cast move around the small stage, especially for a short scene, never giving audiences the chance to settle into the scene before the shuffling restarts. Perhaps music could have been used to cover these moments, for they do tend to pull focus from the otherwise strong production. Some of the performances, whilst strong, don't quite provide as much emotional depth as one would have liked, especially with the more important characters, although this could also be chalked up to the limited stage time of the roles. However, on the whole, these issues go by mostly unnoticed. 

The Curious Incident of the Dog in the Night Time is always an important and fascinating piece of theatre and this production more than does the play justice.

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Robert Vass