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The Curious Incident of the Dog in the Nighttime - Milton Keynes Theatre

Published by: Louise Winter on 6th Sep 2017 | View all blogs by Louise Winter

Reviewed by Louise Winter 4th September 2017

poster Dog

The Curious Incident phenomenon has been ongoing since the publication of Mark Haddon’s novel in 2003. Although it quickly became an international bestseller it wasn’t staged until 2012. Since then it has become an established fixture in theatre-land.

A most unusual book turned into a most unusual play; Simon Stephens’ adaptation is faithful to and respectful of Haddon’s story and Marianne Elliot has brought it to life with her challenging and stimulating direction. The treatment of the book by these creatives must be a primary element in the success of the play; Stephens has been true to Haddon’s novel and Elliot has created a visually innovative and utterly absorbing 3D world from her imaginings of Christopher’s experience of the world.

Dog Scott Reid

photo by BrinkhoffMögenburg

When Stephens was asked during the construction of the play in 2012 if he was nervous that he was in part responsible for taking such a loved book to the stage, he responded that he comforted himself with the knowledge that nobody could love the book more than he, Elliot and all the performers involved did.  This love is tangible on stage, not just in the adaptation of the story line, direction, production and staging but in the performances of all the actors. This cast portrays a great compassion, integrity and drive in bringing the story and the ‘messy’ side of some of the characters to life and the depiction of Christopher’s perception and management of the world around him, and in turn that worlds’ perception and management of him, is extremely well crafted, neither trivialising nor stereotyping.

CI Dog

photo by BrinkhoffMögenburg

Christopher, played with absolute passion and integrity by the utterly brilliant Scott Reid, is a fifteen year old with a collection of eccentricities which combine to create a set of complicated behavioural quirks. These make negotiating everyday life challenging for him and his family. Finding people very difficult to deal with, Christopher doesn’t venture out of his street unaccompanied but when he discovers his neighbour’s dog Wellington has been murdered, he turns detective in order to unearth the killer. A complex adventure/whodunit/family drama unfolds as the key players experience a journey of discovery. None experiences so much as Christopher who is, I suggest, a fitting hero for the 21st century. His travels outside of his comfort zone are gripping and realistically alarming accompanied as they are by an onslaught of ear-assaulting sounds, flashing lights and visuals which shake the auditorium. It’s this use of technology throughout the play that gives the play its uniqueness in creating an all absorbing, fresh experience.  

All is confined within a stage-filling, imposing 3 sided ‘box’, the walls of which serve as huge screens upon which images, text, video, and the mathematical equations that Christopher turns to in times of stress, are projected. Drawers and doors open to reveal props – the combined elements of Christopher’s slowly growing train set is a revelation at the close of the first half – and mobile entrances and exits for characters. The physical dynamism created by Movement Directors, Scott Graham and Steven Hoggett, is wonderfully creative, particularly so into the travel scenes.

This is a stunning production - challenging, exciting, uplifting, funny and heartwarming. It was packed at MK on Monday night and received a rapturous response. 48 hours later I am still excited and happy as a result of experiencing it!

Do get tickets – it’s on a longer than usual run in MK until Saturday 16th September

Box office 0844 871 7652

Groups Hotline 01908 547609

Access Booking 0844 872 7677

 

Online booking:  www.atgtickets.com/miltonkeynes

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