reviewed at the Cliffs Pavilion, Southend on 18 July
Mark Haddon’s book about a teenage boy with Asperger Syndrome has been adapted for the stage by Simon Stephens. The National Theatre production by Marianne Elliott is currently on the second leg of its UK tour. Elliott may be the director, but Bunny Christie’s graph-paper design concentrated on a cube, Paule Constable’s complex lighting plot and Finn Ross’ video certainly don’t take second billing.
It’s not a comfortable story. Christopher Boone (Scott Reid), caught in a neighbour’s garden with the pitchforked body of her dog, is a central character with whom at first we struggle to find any degree of empathy, just as his parents and those around him do. If you’ve ever had anything to do with a friend or family member with autism, you will find yourself in familiar territory.
Reid’s portrait of a brilliant, logical and gifted mathematical youth trapped in a world whose lack of sequential reasoning seems so incomprehensible to him is a searing one. Siobhan (Lucianne McEvoy), one of his teachers, comes closest to understanding his wavelength; McEvoy’s study of a woman who tries to comprehend – and to accept – is equally fine.
The other three main characters are Mrs Alexander (Debra Michaels), an elderly neighbour who doesn’t condemn Chris out-of-hand, his uncomprehending father Ed (David Michaels) and Judy (Emma Beattie), the mother he was told had died but in fact who left her husband for a lover, Roger Shears. There is also a large ensemble.
Movement is an important part of this hypnotic production. Scott Graham and Steven Hoggett use the players in angular, often formal, groupings which echo Chris’ inner turmoil. This is a staging where what we hear – spoken dialogue apart – chimes in with the movement; Adrian Sutton’s score and Ian Dickinson’s sound design provides this. It’s akin to the incidental music familiar from films and, increasingly, television drams and documentaries.
What matters in the end is that it’s Christopher’s story, seen largely through his eyes and filtered through his off-kilter mental processes. Stand ing ovations are becoming a bit of a curtain-call cliché these days. The one for Reid (and, by inference, for the whole staging concept) was thoroughly merited.
Five star rating.
The Curious Incident of the Dog in the Night-time runs at the Cliffs Pavilion, Southend until 22 July with matinées on 19 and 22 July.