The Curious Incident of the Dog in the Night-Time

Fresh off their win for Best Technical Award 2024 at the NODA gala award for their set in the Golden Goose, I was intrigued to see how they would handle the set design for Haslingfield Little Theatre's production of "The Curious Incident of the Dog in the Night-Time."  The group opted for a black box set, a choice that was both sensible and refined. The back wall was adorned with thin white geometric shapes, and the stage had a central diamond-shaped platform with steps on each side. The platform served as various settings, such as a bedroom or a tube platform, and other areas requiring different levels.

The set's subtle uniqueness and effective usage throughout the play added a layer of sophistication. The cast remained on stage for most of the production but were not a distraction. In fact it was quite the opposite as their silent presence was occasionally broken by subtle reactions as events unfolded, adding depth to the main action.

As each character emerged, the cast prepared at the back rear clothes rails either side of the platform. This was reminiscent of a dressing room which was a clever detail as we eventually learned we were watching a reenactment of the main character’s story book.

The ensemble character portrayals were uniformly strong – a very solid ensemble. Well done to Cheryl Lowery, the Assistant Director, who was instrumental in working with the ensemble.

Siobhan, played by Janice Chambers, provided gentle narration, reading from Christopher's book throughout. Her soft voice and trusting nature offered comfort to Christopher, especially during his journey to London.

The father, portrayed by Joe McWilliams, highlighted the struggles of a single parent caring for Christopher, with some line drops that were well-covered and actually added to the character’s frustration.

Initially, we believe Christopher's mother, played by Laure Wylie, has passed away. Later, it is revealed she left due to the challenges of coping with Christopher and had tried to stay in touch through letters which has been withheld by the father. The sequence in which she read extracts from the letters was very emotional and was delivered with an impressive depth.

The ensemble effectively depicted various characters in Christopher's life, as well as the chaotic noise and sensations he experiences. I was pleased that the director maintained the scripts suggestion to to use pre-recorded voice overs for busy scenes like train and underground travel emphasised the overwhelming information Christopher faced, enhancing the portrayal of his inner turmoil.

Christopher, played by Phil Chapman, was the heart of this production. Despite being in his early 30s, Phil's portrayal of the 15-year-old boy was so convincing that it felt age-appropriate. His acting was nothing short of phenomenal, capturing the character's nuances—from hand mannerisms and cheek twitches to the inability to maintain eye contact and the shift from monotone slow speech to shrill shrieks when overwhelmed. This performance was profoundly moving and left this critic in tears, both from the story line but also from the sheer joy of watching one so talented.

This is a very avant-garde play within amateur theatre at present as it challenges the audience’s view of neurodiversity, a topic close to my heart. This is one of those plays that needs a strong vision and Peter Hains as director, delivered just that. Hats off to Peter and all those involved in this production. I thoroughly enjoyed this show.

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