The Curious Incident of the Dog in the Night Time | Bridewell Theatre

The Curious Incident of the Dog In The Night Time, originally a multi award winning novel by Mark Haddon and later adapted into the beloved play by Simon Stephens, has enjoyed many successful productions since its first iteration in 2012 (winning many awards and enjoying a five-year-long West End Run). This Sedos (Stock Exchange Dramatic and Operatic Society) production is but the latest new production of the play, and yet somehow manages to not only hold its own against larger productions, but finds its own authentic voice. 

Co-directed by Alice Bennett and Emma Bowker, this adaptation intentionally stays rooted in its inclusivity, ensuring that the play is as powerful as it can be. Performed by an amateur theatre company where anyone can audition to perform, Sedos has set out and succeeded in celebrating the message of the play. "Does that mean I can do anything?" rings true as performers and creatives, perhaps making their debuts or stepping into roles they couldn't have otherwise, have not only created a great production, but one that feels just as polished as larger productions. Known for its high standard, Sedos has perhaps outdone themselves with this production and is a company well worth watching out for. 

The play follows the 15-year-old Christopher discovering that his neighbors dog, Wellington, has been murdered. He sets on an investigation to find Wellington's murderer, much to the disapproval of his father, Ed. However, Christopher's investigation leads him to find a larger secret about his mother Judy, whom he previously believed to be dead. As Christopher's carefully constructed world comes crashing down, he must break free and discover the truth. And perhaps what he's capable of along the way. 

Haddon's novel and Stephens' adaptation is perhaps one of the most well known representations for Asperger's Syndrome (as stated on the original book's blurb, but has later also been acclaimed as a fascinating insight into Autistic behavior). The play is narrated either by the 15 year old Christopher or by his teacher Siobhan, reading from his novel written from experience during the investigation. The play showcases the sense of constant overwhelm that Christopher could experience at any given time and how this can trigger him. Whilst it will not be representative of everyone with these conditions, it's still an invaluable glimpse at what people can go through and how to best understand and meet someone on their level. 

This production manages to get this right, but not only relying on the text, but also in its excellent casting of Elspeth Reid (AuDHD) as Christopher and directed by Bennett (Autistic person with ADHD, Dyslexia and Dyspraxia) and Emma Bowker. Through the lived experiences of company members at the heart of this production, the show blossoms further. 

Reid is extraordinary as Christopher. Making her Sedos debut, Reid's performance is nothing short of career defining, as she ensures that every moment on stage is expressive and full of life. Reid's expressive performance is thorough, with distinctive mannerisms and an incredibly strong performance. Reid navigates the hefty dialogue with ease and finds nuances in the silence just through her reactions and emotional outburst. Reid also adds a new element of cheekiness to Christopher, reminding audiences of just how young and unpredictable teenagers can really be. 

Matt Tylianakis does a remarkable job as Ed, showing the duality of a loving and supportive father, to a man who becomes blinded by rage. Tylianakis' warmth as a father, who flattens as many obstacles in Christopher's path as possible is keenly felt, and yet it's his broken silence and substantial guilt in his silence towards the end of the play where he shines most. Sarah Berryman as Judy, Christopher's mother, displays an impressive talent for tackling the heavier emotional beats of the show, including a startlingly realistic sobbing and general weariness associated with years of guilt and tiredness. Elsa Gregori, as Christopher's teacher, brings a warmth to her portrayal as the caring and understanding Siobhan. 

Scarlett Pannell is hilarious as Mrs Gascoyne, Christopher's headmistress, alongside other characters, often having to pause for audience laughter and applause after a single line or even mere entrance. Jeryl Burgess as Mrs Alexandra, a kindly elder neighbor of Christopher, does a great job at the genuine kindness that belongs in an open community. Amy Hehir Curley is amusing as Punk Girl (amongst other roles), once again defying stereotypes and captures the general Londoner mindset with her performance during the tube sequence.

Livvy Perrett makes a mark as the sarcastic and sassy police officer. Richard Evans is yet another hilarious addition as the giddy Reverend Peters. John Sandy as Roger displays the range of his talent with a menacing Roger with the friendly and funny Sergeant. The ensemble cast each play a variety of roles and distinguish between these roles well, whilst all adding to the more light hearted moments in the play. 

The movement chorus (Giulio Beltramo, Taylor Davidson, Amber Frizzell, Grace Harrison-Baker, Isabel Kirschbaum and Estella Shi) move as one throughout the piece, often filling in the blank spaces on stage. The chorus comes together to create a language for Christopher that is visual and complex that still glides beautifully in the background, occasionally interacting with Christopher. Whilst one could argue there were perhaps too many lifts or feats of athleticism (which were all rather impressive to watch), it made such an unique impact to this production and the play began to feel almost empty when they were off stage. The movement cast also aided with the movement of simple props and furniture when necessary. 

Ellen Redgrave's set is reminiscent of previous adaptations, yet with its own sense of self, which is particularly impressive given the short one week run and smaller space. The backlit wall once again serves as a fully functioning screen that gives audiences a direct link to the inside of Christopher's brain as visual representation of the dialogue shown. This is both helpful to keep track, especially during his investigation, but also provides an additional element that helps the show feel very well put together. A hidden floorboard that allows Christopher to fully retreat underground is a happy surprise to witness. The floor is marked in black and white boxes, adding to how Christopher sees the world. 

Olly Levett uses lighting to help highlight important moments during a split scene, but is used most extensively during moments when Christopher's world expands from the few steps in front of him, as he takes in new sights and this is reflected in the hidden fairy lights that are glow from the ceiling. Ollie Jones has composed original music for the show which helps to elevate the emotional undertones of scenes without deterring from the dialogue; this is used more frequently in the second act and provides a tremendous backdrop to the movement chorus sequences.

Clare Harding's costumes for the movement chorus are particularly interesting with their white translucent jackets lined with a string of lights that flash on with various colours during their sequences. Reid is dressed in the same outfit throughout and the subtle touch of his NASA T-shirt and long sleeves add to the character. Other ensemble members are given costume changes as well, that really do help distinguish them beyond recognition. 

The Curious Incident of the Dog in the Night Time remains to be one of the most important plays in recent years. This production, where the show becomes so much more accessible both on and off stage to company and audiences alike, only reconfirms this.

Whilst this production has now finished its one week run, (having played at the Bridewell Theatre between 14th-18th July), it's well worth catching the impressive upcoming programme by Sedos.

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Liz Heinrichs