A remarkable stage adaptation of the beloved novel, The Curious
Incident of the Dog in the Night-Time is a visual feast of theatre,
with superb work from all the actors including Sherlock's Una
Stubbs.
Adapting a novel is a difficult task at the best of times when
it comes to television and film, but when it comes to theatre it's
probably all the more so. The National Theatre's current staging of
Mark Haddon's book - arguably already a modern classic - is frankly
an astonishing achievement, capturing the major events of the story
completely with minimal alteration. Adapted by Simon Stephens and
directed with eye catching style by Marianne Elliot - also the
director of the National Theatre's celebrated production of War
Horse - it is easily another production by the NT that deserves to
be talked about for years to come.
Taking place on a minimal, expanding set, the play begins with
the discovery of a dead dog, impaled through the chest with a
garden fork, by fifteen year old Christopher Boone. The dog's
owner, Mrs Shears, stands in shock at the sight bellowing in rage
and horror. What spins out from this stark beginning is part
mystery, part social commentary, and part stunning character study.
Despite the back cover of the book describing Christopher as being
autistic, a savant, or having Asperger Syndrome - depending where
in the world you purchase a copy - the exact nature of his
condition is never stated in the prose or on the stage. Instead, he
is high functioning, requires clear direct instruction rather than
metaphorical or slang answers in conversations, violently shuns
physical contact, and is obsessed with numbers and puzzles. The
fact that a neighbour's dog lies murdered on a front lawn is just
another problem to be solved to him, though his investigation will
lead him down unexpected paths that will turn his world upside
down.
As Christopher, Luke Treadaway is frankly astonishing. Relating
the complex thought patterns and behaviour of the character in
incredible fashion, he completely holds the audience's attention.
Despite being far older than Christopher, he is able to play a
fifteen year old with total aplomb, bringing both his worldview and
physicality fully to life. He quietly dominates the stage but plays
off the entire ensemble superbly, each multitasking between a major
part and multiple background characters. That cast includes Una
Stubbs of course, playing both Christopher's neighbour Mrs
Alexander and appearing throughout the duration in numerous
non-speaking roles. Her part is critical in the narrative, as she
inadvertently explodes Christopher's perceived family past through
simple, sweet and friendly human interaction. Una is a radiant
presence in the play, and slightly sportier than you may be
expecting when you see Mrs Alexander's trainers!
Paul Ritter and Nicola Walker bring great credibility to the
parts of Christopher's parents, displaying the strained
relationship they have with their son and each other with a sense
of genuine upheaval, but also a desperate love for the boy that
swings between near despair, explosive frustration, and the ache
for the physical affection that he shuns. Niamh Cusack has one of
the more intriguing roles in the play, portraying Christopher's
school teacher Siobhan as more of an omnipresent guardian angel
than in the book. Here she is expanded to a secondary narrator,
reading from the notebook Christopher has written on events and
thus almost becoming an additional form of his consciousness.
That the narrative hinges on a mystery cannot go unremarked
upon. It is genre bending and thought provoking, at times
challenging and others very funny, with numerous deliberate little
asides and moments that will draw the attention of fans of Sherlock
Holmes. Most famously, the descriptive title of the book and play
comes from an exchange between Sherlock Holmes and Inspector
Gregory during the events of the short story 'Silver Blaze', and
Christopher is stated to be a fan of the character. For the
purposes of time, much of the material from the book relating to
Holmes has been cut however.
The adaptation makes several minor changes for the stage, all of
them good ones. The novel itself can be read in different ways,
either humourous or disquieting. The play chooses to lean towards
the funnier side thankfully, with the later vignette-like sections
swinging completely into pure human drama as the situation becomes
clearer. Aside from the expansion of Siobhan's role from the book,
the play also adds an additional conceit with the idea the play we
are watching is dramatised from the events Christopher relates
within his notebook, taking the notion that the final printed novel
is the transcript of that notebook and increasing it to true
physical post modernism. It's slightly mind bending, but is only
one small layer within the play itself and only becomes readily
apparent on a couple of occasions when Christopher stops events and
contradicts the performances of the other actors, effectively
directing them to re-perform the moment as he 'remembers' it.
The staging of the play itself is extraordinary. Initially quite
stark and simple, the gigantic geometric flooring takes the
appearance of graph paper and is coated in blackboard paint,
allowing Luke Treadaway to draw across it with chalk. The set of
the Cottesloe quietly expands and drops, and with the addition of
expert lighting and sound design, as well as some dramatic sleight
of hand, gives an instant sense of space and location through
whip-crack scene transitions. Buildings and vehicles appear as
basic floor plans, illuminated in white light, while coruscating
Sherlock-like montages of exploding words are projected down onto
the stage floor, which in turn is embedded with LED lights on the
corners of the graph squares. The result is a visual riot, infused
with music and dance-like choreography from the cast that
cumulatively builds to a total expression of Christopher's mindset
and at times abject terror of the situations he finds himself
in.
One of the most popular novels of recent years, The Curious
Incident of the Dog in the Night-Time makes a frankly triumphant
transition to the stage. Expertly played and staged, it joins the
ranks of electrifying productions at the National Theatre. As an
interpretation of an existing text, it's possibly one of the best
direct adaptations we've seen, retaining everything that made the
book a classic while imbuing the material with a slightly new spin
that makes it feel completely fresh. Even if you've read the book,
there's definitely something in the play that will truly surprise
you, and it would be a crime for us to give anything else away.
However, we will say it's worth staying in your seat past the
curtain calls, as the play effectively brings the post-credits
sting of numerous films to thoroughly enjoyable life...
Ultimately, if we had to grade it, it would be an A Grade. As
that's the best result.
The utterly lovely Una Stubbs strikes a pose for us at the
National Theatre stage door.
The Curious Incident of the Dog in the Night-Time is playing at
the National Theatre's Cottesloe until October 27th
2012. Though officially sold out at present, further tickets are
occasionally released and it's possible to obtain Day Return
tickets if you visit the theatre on the day of performance. You can
find further information on the National Theatre website.
National Theatre Live will broadcast the play worldwide on
September 6 2012. Check their website for details on screenings in
your country.