The Curious Incident of the Dog in the Night-time

This was my first time seeing "The Curious Incident of the Dog in the Night-Time," but I was familiar with both the story and my lived experience of a family with neurodivergent members, especially autism, so I was really looking forward to King’s Lynn Players (KLP) version of this show. They did not disappoint.

KLP usually perform their smaller shows in St George’s Guildhall, but due to refurbishment, they transitioned to Springwood Sixth Form Studio Theatre. This intimate setting was very appropriate for the small cast and enabled the audience to really engage with the characters.

The set was simple: a raised black rostra spanning the full width of the stage at the back and ten black cubes, used creatively as various set pieces throughout. The four main characters wore everyday clothes, while the rest of the ensemble donned all black, selecting costume accents or props from baskets next to their respective black cubes. The lighting, with a slight haze throughout the studio theatre, was impressive, and Matt Austin really enhanced the emotions of the show. I particularly liked the moment when Christopher stood atop one of the boxes and all the lights managed to focus just on his head – not an easy task, but executed with precision.

The ensemble did a commendable job of portraying numerous characters throughout the performance. I was particularly impressed by the variety of accents that Carol Storey and Carla Pooley brought to their roles. It took me a while to adjust to the ensemble being present on stage throughout the show. Their stillness and shadowed presence did detract slightly from the poignancy of some scenes. However, I appreciated some of the physical theatre, especially when Christopher was flying in space, held aloft by the ensemble, as well as the short bursts of movement and repetitive dialogue that conveyed the chaos within Christopher’s mind as he navigated London. Conversely, I was not particularly fond of the ensemble forming parts of the household furniture like the microwave, dustbin, or toilet. When Christopher was searching the house for his storybook, I felt this detracted from the heightened emotions playing out in his mind.

Christopher’s father (Tom Slater Watson) was convincing as a forced role model striving to establish routine for his son, only to have his efforts thwarted repeatedly. The climax during which he smacked Christopher was very powerful and expertly choreographed. Estelle Hawkins delivered a strong performance as the school teacher Siobhan, with a calmness that naturally provided Christopher comfort. Christopher’s mother (Amanda Mason) gave a very emotionally charged performance, allowing the audience to truly empathise with the struggles of a mother trying to do what she felt was right for her son. The scene where she narrated letters she had sent to Christopher was particularly moving.

This brings me to Christopher, masterfully portrayed by Logan Petterson-Cooper. At 17 years old, Logan is a force to be reckoned with. His performance was nuanced and well-rounded: the occasional head jerks (without being overly stereotypical), the fidgeting with his hoodie string when anxious, and the slightly raised, deliberately articulated monotone dialogue all combined to give the audience a genuine sense of empathy for a neurodivergent teenager with a propensity for numbers, struggling to find his way in a confusing world, overwhelmed with sensory stimuli, in search of the truth about who killed the dog. I tip my hat to Logan; such a substantial script with numerous emotional levels, delivered with the ease of a master! Well done.

Thank you to whomever loaned the dog for the final scene. I know it’s a requirement of the script, but it never fails to elicit a positive reaction from the crowd!

Congratulations to Sarah Krill (director) and all those involved in this wonderful KLP production. You should all be really proud. I thoroughly enjoyed the show and look forward to seeing your next production – Titanic.

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