THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME - Theatre Review

Production Run: Tuesday 17 - Saturday 21 February 2015

Peformance Reviewed: Tuesday 17 February (Press Night)

The Curious Incident of the Dog in the Night-Time is seemingly at once both a marketing nightmare and dream. Those unfamiliar with Mark Haddon’s original novel, or the critically adored original National Theatre run mostly find themselves perplexed at what precisely the show is even about - it’s fair to presume a great deal of bums on seats (of which there were plenty at the reviewed performance) have been enticed in thanks to a very healthy dose of curiosity of their own; won over by the admittedly deserved cavalcade of superlatives that have been lain at the shows feet, and the general sentiment in the theatre-going world that this is one of those rare gems - a quintessential ‘must see’.

It’s a show that certainly wears its originality with pride - a more inventive, visually imaginative and creatively audacious show you are unlikely to see on stage this year, and certainly not on the touring circuit. At it’s core, it is a tale of a broken family and the aspirations and resolve of young Christopher Boone (Joshua Jenkins), a talented young aspiring mathematician (and astronaut!) with Asperger Syndrome, a form of autism. But it is the bold, dynamic way in which the show bandies between first and third person narrative, aided by Christopher’s teacher/carer/conscience Siobhan (Geraldine Alexander), effortlessly transitions through time and place, and evocatively represents the young man’s psyche and condition that makes Curious Incident so impactful.

Almost oxymoronically it is with both tremendous artistic simplicity yet technical intricacy that the show achieves this - creating a rich, kinetic and visceral theatre experience that for the most part moves with tremendous pace and visual invention. As Christopher’s journey to solve the titular mystery of who killed his neighbour’s dog develops, drawing in wider revelations about his own life and family in the process, the audience are repeatedly treating to a bombardment of audio-visual whimsy and delight, courtesy of Bunny Christie, Finn Ross and Paule Constable’s box of wonderment that is the Curious stage. And where some shows would allow their core tale and characters to become overshadowed by the effects and wizardry around them, everything here is born directly of Christopher himself. It is frequently stunning, yet never disingenuous.

If anything, it is the times when the show becomes more stripped back and parred down that threaten to feel a touch perfunctory and alien. The latter half of the second Act, in particular, understandably dials down the frenzy as character interaction, sequences of prolonged dialogue and plot developments take priority, but these, whilst winningly performed and emotionally pivotal, are such a change of pace and (for the most part) style that it isn’t difficult to find oneself longing for the post-modern bricolage of Act I, and the brilliant motion and creativity that the show and Christopher displayed when they weren't so bound by narrative trappings. 

Particularly commendable in this touring production is how effectively it has taken the show on the road with only a handful of compromises. This is a big, technically demanding production, and yet for the most part, the original show’s ambition and achievement have been faithfully recaptured. There are a small handful of absences - a key image moment from the London production of Christopher walking up a flight of stairs which protrude from the back wall is absent here, no doubt a victim to the whims of healthy and safety, and a nerve-wracking tube station sequence early on in Act II has had to be rethought and ever-so-slightly diluted — but none of Curious’ charisma, charm or originality have suffered as a consequence; this is still the same dazzling and unique experience as you will find in the West End.

Joshua Jenkins is wholly convincing as Christopher, crucially unearthing the character and person beneath the faultless asperger idiosyncrasies and idioms. Gina Isaac paints the shades and turmoils of Christopher’s mother Judy with heart and conviction, whilst Geraldine Alexander is an appropriately calming and gentle presence, met with plenty of buoyancy and boyish-‘ness’ in her moments of narration, as the kindly Siobhan. Like the production as a whole, the cast and company are a thoroughly convincing, spiritually faithful and consistently impressive successor to what has come before with the show.

Whilst this may not quite be the definitive way in which to experience this extraordinary show, it remains undoubtedly a bucket list production; a very easy recommendation and there is still a great deal more which the tour offers than it has had to omit. If you can check it out in London, there’ll be a few moments of visual fancy which you won’t find elsewhere, but otherwise the same delightfully original, surprisingly emotional and brilliantly inimitable story and exciting theatre-going experience awaits. Curiosity may have killed the cat, and seemingly a dog or two, but here, in the multi award-winning Curious Incident of the Dog in the Night-Time, you’ll find it rewarded with a wholly original slice of theatre and a modern classic in the making.

RATING - ★★★★

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME is running at the Wolverhampton Grand Theatre from Tuesday 17 to Saturday 21 February 2015.

CLICK HERE for more information on the show's run at the Grand and to book your own tickets!

Alternatively, telephone the theatre's Box Office direct on 01902 429212.

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Press tickets for this performance of Barnum were provided courtesy of the Wolverhampton Grand Theatre directly. The author gratefully acknowledges their generous invitation.