I caught The Curious Incident of the Dog in the Night-Time at the Bristol Hippodrome during its 2015 UK tour, and in short, I bloody loved it.
The book (written by Mark Haddon) is one of my favourites, and I was actually quite apprehensive about the stage adaptation. For those who haven’t read the book and know nothing about the story, Curious Incident follows fifteen year old Christopher Boone, who has an Asperger’s-esque condition, as he tries to uncover the mystery of his neighbours murdered dog, Wellington.
What it’s really about though, is Christopher’s relationship with his father, the secrets of his past and the confusion of everyday life for someone living with autism. The narrative is framed as a book that Christopher is writing for a school project and during his meetings with Siobhan, his school mentor, we uncover the larger story elements that all kick off with Wellington’s murder.
The reason I was apprehensive about the adaptation is due to the presentation of the book. We read from Christopher’s point of view, and within it he draws diagrams and maps and pictures to show his understanding of the world around him, or lack of when it comes to people and social situations. I was interested in seeing how this was adapted to the stage, but if I’m honest, thought that the play would miss the charm and originality of the book. Thankfully though, I was very wrong.
The book (written by Mark Haddon) is one of my favourites, and I was actually quite apprehensive about the stage adaptation. For those who haven’t read the book and know nothing about the story, Curious Incident follows fifteen year old Christopher Boone, who has an Asperger’s-esque condition, as he tries to uncover the mystery of his neighbours murdered dog, Wellington.
What it’s really about though, is Christopher’s relationship with his father, the secrets of his past and the confusion of everyday life for someone living with autism. The narrative is framed as a book that Christopher is writing for a school project and during his meetings with Siobhan, his school mentor, we uncover the larger story elements that all kick off with Wellington’s murder.
The reason I was apprehensive about the adaptation is due to the presentation of the book. We read from Christopher’s point of view, and within it he draws diagrams and maps and pictures to show his understanding of the world around him, or lack of when it comes to people and social situations. I was interested in seeing how this was adapted to the stage, but if I’m honest, thought that the play would miss the charm and originality of the book. Thankfully though, I was very wrong.
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| Diagrams from the book showing Christopher's confusion at emotions |
The stage version of Curious Incident is incredible, in no small part due to the amazing set and lighting/sound design utilised in the production. The set is designed like an open cube, with both side walls, the back wall and the floor all covered in grid lines and mentions of time and space.
What’s so magical though, is how this cube comes to life. Throughout the production various parts of the set open to reveal hidden doors, compartments and props and both the floor and walls also project words and images. These are accompanied by lights (both large beams that frame the set and by little LEDs housed along every cross-section of the grid pattern) which change and pulse for various scenes.
The effect is truly mesmerising, and during scenes in which Christopher talks of his dreams or struggles with the confusion of the world, the set itself becomes a character, reacting to and anticipating the movements of the actors – the technical crew of this production deserve a round of applause to say the least.
This technical element is also complemented by the use of models in the first act. As Christopher’s story develops he begins to build a model railway and the further his investigation takes him from home the more the railway village expands until the entire stage is covered in model houses, landmarks, tracks and people. It’s a lovely, simple and incredibly effective way of bringing an entire town to the stage, and watching Christopher methodically assemble the town together bit by bit against the backdrop of heavy, emotional scenes is engrossing.
Another aspect of the production that I found so spectacular is the actor’s movements around the stage and with each other. Not only do the cast navigate the sprawling model village and various other props with deft precision, but for large chunks of the play the entire main cast remain on stage and as Christopher explores the world they pick him up, flip him over, hold him in the air, press against him or send him up against the walls to walk along them. The choreography is excellent and so imaginative that it’s impossible not to smile watching these scenes take place.
It’s this imagination, which runs through every aspect of the production, that makes it such a joy to watch. From the cast to the models to the set itself, every element is perfectly designed to work together and successfully bring Curious Incident alive.
Most importantly though, the play takes the greatest message of the book and successfully brings it to the stage, the message that it’s okay to be different. Through watching the play you get an idea, even just a glimpse, of what the world can be like for someone with autism (or any disability/disorder/condition) and that is both the book and plays greatest asset.
Oh, and there’s an adorable puppy as well.
