There is something rather curious about The Curious Incident Of The Dog in the Night-Time. Not the murder of Wellington, the unfortunate canine of the title but the fact that a theatrical phenomenon which once dazzled audiences with its technical wizardry has returned in a considerably more modest guise.
This new touring production, directed by Ned Bennett, is less a faithful recreation than a complete reimagining of the National Theatre and West End smash hit. The most immediately noticeable difference is that Christopher has become Chris, a teenage girl played by neurodivergent actor Alex Keenan. It’s an interesting change that gives the familiar story a slightly different perspective, although the underlying narrative remains largely unchanged.
Based on Mark Haddon’s bestselling novel and adapted by Simon Stephens, the story follows Chris, who finds herself investigating the nasty death of the dog who was killed with a garden fork. Her amateur detective work soon uncovers considerably more than canine cruelty, sending her on a journey which challenges her understanding of family, the world and her own extraordinary capabilities.
Gone, however, is the extraordinary technological playground of the original production. That ingenious illuminated grid, combined with spectacular projections, movement and lighting, transformed the stage into the inside of Christopher’s mind and made the production one of the most innovative theatrical experiences of recent years. Now, Eleanor Bull’s design offers a predominantly pink environment, with movable blocks and projections providing the backdrop. It’s imaginative enough but occasionally feels like the theatrical equivalent of trading a Rolls-Royce for a reasonably reliable hatchback. Jennifer Jackson’s athletic and balletic movement direction and Hayley Egan’s video design along with the excellent sound design from Giles Thomas help compensate, although the overall visual impact sometimes seems a little muted and it all feels a little budget conscious.
At the centre of the play is Alex Keenan, whose performance as Chris is undoubtedly the production’s greatest asset. She captures the character’s intellectual brilliance, emotional vulnerability and occasionally bewildering literal-mindedness with remarkable conviction. The casting of a neurodivergent performer is particularly welcome, providing an authenticity which goes beyond mere theatrical representation.
Ned Bennett’s direction has some clever touches, particularly the transformation of ordinary objects and movements into representations of Chris’s sensory experiences. A skipping rope becomes an obstacle course, while a cascade of yellow balls creates a wonderfully chaotic impression of London overwhelming her senses. Yet despite these imaginative moments, the production occasionally loses momentum, particularly in the second act, when some sequences seem unnecessarily prolonged and a little ponderous.
The main draw for some of the audience are two familiar faces from television, Joe McFadden and Charlie Brooks who play Chris’s estranged parents – they’re so important that their faces are on the cover of the programme, rather than Chris’s. Both are perfectly competent, although McFadden does tend to shout most of his lines and their performances pale alongside Keenan’s remarkably energetic central portrayal. Bridgette Amofah is quietly effective as Siobhan, Chris’s teacher and confidante, who also serves as narrator, guiding us
Ultimately, this is an interesting revival of a play which has become a modern classic and judging by the number of school children in the audience, a staple of their school’s exam curriculum. Keenan’s performance is compelling, the story remains moving and the production has enough imaginative flourishes to keep it engaging. However, having seen the original, I couldn’t help feeling that something of its theatrical magic has gone missing. It’s curious, certainly, but not quite the must see theatrical incident it once was.
Three Stars
Reviewed by Alan Fitter.
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