Play Review: “The Curious Incident of the Dog in the Night-Time”

Tony Nominations are still months away, but I will be extremely surprised if The Curious Incident of the Dog in the Night-Time is not cited a number of times on nomination morning. If even a small part of you is a theatre fan, this new play at the Barrymore Theatre is essential viewing this season.

An Olivier winning production from the National Theatre in London, Curious Incident is based on the novel by Mark Haddon. The play, adapted by Simon Stephens, follows the same story about a young boy on the autism spectrum. The production opens with this boy, Christopher (Alex Sharp), happening upon a ghastly scene: the neighbor’s beloved dog has been murdered. Impaled by a gardening fork to be exact.  Things get more troubled when his father (Ian Barford) informs the boy his mother has died suddenly. Despite insistence that he stay out of other people’s business, Christopher sets out to find the dog’s killer himself.

Christopher’s detective work unearths secrets from his parents and neighbors. The beauty of the story is how he is able to overcome any obstacle he faces with his frequent sensory overloads. Instead, he learns how to use his brilliant mind to not only solve the case, but deal with the harsher realities of the adult world.

In one of the most intriguing bits of stage presentation to hit Broadway in quite some time, the stage itself often represents that very brilliant mind. Scenic designer Bunny Christie has crafted a set consisting of four panels (three walls and a floor) each with a grid like design. The grid and walls constantly spring to life, mimicking the machinations of Christopher’s mind, with assistance by Paule Constable’s lighting design and Finn Ross’ brilliant video projection work. Sometimes, it’s a simple outline of houses as Christopher walks down his street. Other times he is surrounded by a cacophony of numbers or words as sights and sounds bombard him. Oftentimes the effect is at once both glorious and terrifying.

The innovation in the production has director Marianne Elliott and choreographers Scott Graham and Steven Hoggett to thank. This creative team hurls the actors across the stage in an intensely physical production. The staging hovers somewhere between an experimental movement piece and full blown dance. The choreography plays with slowed time, patterns, and using people as props to climb on (and at one point has Christopher literally climbing the walls). It’s all in aide of showcasing how Christopher sees the world.

Ms. Elliott directs each scene honestly and manages to find humor even in the darkest moments. Nothing feels forced here. It’s refreshing that in a production heavy with visual spectacle, the performances are so specific and honest.

Most of the ensemble members get chances to shine as several different colorful characters. Enid Graham does beautiful work as Christopher’s mother. She displays a deep well of emotion and can play brutal and angelic all at once. Ian Barford is tremendous as a father doing his best to care for a child whom he continually struggles to connect with. His balancing act of rage and tenderness towards Christopher provides some of the emotional high points of the story.

It is Alex Sharp who sells the whole thing. The recent Julliard graduate could not have asked for a better start to his career. His portrayal of someone on the spectrum never veers into caricature or imitation. He’s a math genius with a love of computers and space. He screams when anyone touches him. He rifles off lists of statistics and thoughts as we see his mind working one thousand miles per minute. Most importantly he grounds the spectacle in a brutally honest performance.

If there is one aspect where the script falters it is in the second act narrative device. Francesca Faridany portrays a special needs teacher to Christopher. While the talented actress is a welcome addition to the cast, serving as a waypoint between the audience and her student, the second act takes it to a more meta level when she announces they are all just performing in a play based on Christopher’s writing. The shift in tone is too abrupt and sort of unnecessary given the slew of other narrative devices to keep the audience at safe distance.

Minor gripes aside, The Curious Incident of the Dog in the Night-Time is an astounding achievement in storytelling. It’s a prime example of performance and stagecraft syncing up harmoniously for a gripping night at the theatre.

The Curious Incident of the Dog in the Night-Time
Ethel Barrymore Theatre
243 West 47^th Street, Manhattan
Written by: Simon Stevens, based on the novel by: Mark Haddon
Directed by: Marianne Elliott
Starring: Alex Sharp, Francesca Faridany, Ian Barford, Enid Graham, and Helen Carey.
Taylor Trensch plays Christopher on Wednesday evenings and Sunday matinees