The Curious Incident of the Dog in the Night-time

The Curious Incident of the Dog in the Night-time is a curious play: very modern, fresh, and totally unique. There is simply nothing else like it. It has only just been released for amateur theatre groups and is an incredibly challenging play for any group: it requires incredible acting, perfect timing, and choreographed movements that are made to look random. It’s a brave group that take this on. Thankfully, Henfield Theatre Company are up for challenges – not only are they brave, ground breaking, and forward thinking but they have the skill, technique and ability to excel at this show.

This is set in the round, as was the original production at the National Theatre, with ten black blocks, equally spaced, in a circle, surrounding the playing space. Of the ten strong cast, nine of them sit on these, and when they are part of the action: by mostly multi-rolling, they move into the centre and then move back to a block, often a different block from where they started. This movement is smooth and utterly gorgeous to watch: there is no hesitation, they know exactly where they are going. Each black block is painted with two prime numbers in red, which is a key part of the play. Each member of the cast is in black, except for the main character Christopher, who wears a red hoodie for most of the show. Again the theme of black and red goes throughout the show: red being Christopher’s favourite colour and black being a blank canvas. Often, when a cast member steps forward to play a role with Christopher, they have one article of clothing which identifies that character: we know Mrs Alexander has an apron, we know Mrs Gascoyne has a patterned scarf around her neck. The actors are so good that you know who they are playing anyway, but this helps to identify them even before they speak or interact. These pieces of costume are inside the boxes, so you then realise each cube holds specific items that the cast use when needed. This includes items used to create ambience as well, such as rain makers and torches, which are used to super effect held on people’s faces or pointed to the ceiling to be stars and the night sky. The cast move the cubes to become everything in the show: they become two sides of a platform in a tube station in a heart stopping moment where Christopher jumps on the tracks to save his pet; they also become the seats on the train.

The lighting is superb. The pools of red for effect in the middle of the floor when needed, the blue wash of the night-time, the green of the park. The angled lights from the sides of the room provide a wash over the playing area as well as subtly back lighting the actors which is so visually pleasing. The sound is supplemented by the actors themselves which is incredibly effective: where it’s needed it is provided, such as the train noises and the platform announcements. The actors using their hands on the boxes as percussion in once scene worked incredibly well, giving the audience the noise of an argument. It’s literally a production where every tech aspects works brilliantly.

The story itself is told from the point of view of Christopher who is autistic, and is the most compelling and compassionate insight into autism that you are likely to find on the stage. The play is written with such depth and understanding, as is the book. As the audience, you are taken into Christopher’s world: a world where he is incapable of lying, where he likes stories but he views metaphors: saying something is another thing, as lying, as is acting, even though there are references to this being a play within a play which is fascinating. We are on his journey with him, investigating the curious incident, and following how that leads to another revelation which starts unravelling everything in his world. We experience his sensory overloads with him, shown visually by the other cast members reacting physically in such ways as holding their heads, in absolute perfect timing. It’s stunningly achieved.

Karen Blunden’s direction, supported by Helen Fyles who is also in the cast, is quite simply faultless. She has brought this beautiful story to life with sensitivity and understanding, using the strength of each cast member to maximum effect. It’s just so joyous to see such perfect movement choreography, where cast become stairs, doors, sinks: anything required. You also never see the thinking behind the movement: it’s fluid and seems natural, even though it must have been choreographed within an inch of its life.

The cast are super strong. Each deserves praise and accolade. Particular mention has to go to Emily Norman as Christopher’s teacher, who has such a supportive and compassionate presence: it makes you hope all teachers in special schools are like this. Also to Rebel Atkinson who has the unenviable role of Christopher’s father, playing him with understanding and empathy rather than the easy option of just a ‘hard man’, giving him many more layers and enabling the audience to sympathise with him. Sarah Jenner-Jones plays Christopher’s mother, among other roles, totally believably as the woman who wasn’t emotionally ready for what her son presented her with, giving us a fully rounded portrayal of her character even in a short time. All the other ensemble actors are on point with making each of their roles very different, vocally and physically.

But this play really belongs to Ven Malyon, in his utterly incredible portrayal of Christopher. This play pivots on this role, and lives or dies by how well it is played. Ven is so superb, amazing, and fantastic – there are not enough words in the language to praise him. His physicalisation of the character, his complete and total embodiment of who Christopher is that bring the audience into his world in a way that makes total sense, is breath-taking. His almost constant hand movements, speech pattern, avoiding eye contact – all could have veered into caricature which would have been so very easy for an actor, were specific, detailed, and totally natural. This actor understands autism, and especially how it affects Christopher: he walks in his shoes, he understands him completely. This isn’t a portrayal – Ven totally becomes Christopher, in a flawless performance worthy of the professional stage.

This is more than a professional level production by an amateur theatre group, this is an extraordinary and fantastic five star worthy professional level production. This is an example of next level community theatre. The most massive congratulations should go to absolutely every person involved in this exceptional, beautiful and magical show.

 

 

Susanne Crosby

© NODA CIO. All rights reserved.