Review: THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME gives us a glimpse of ASD, at Allen Contemporary Theatre

 

The Curious Incident of the Dog in the Night-Time

Based on the novel by Mark Haddon, adapted by Simon Stephens

Directed by: Chris Berthelot

Reviewed by: Sara Jones

One of the most beautiful aspects of theater is how it can open windows to other worlds. You may find yourself swept away to some exotic location or you may discover yourself viewing the world from the eyes of a 15-year-old boy with autism, the way you can during The Curious Incident of the Dog in the Night-Time at Allen Contemporary Theatre.

The theater house opens, and as patrons find their seats, their view on the stage is of a utilitarian-style set, made up of gray boxes – simple and plain – and a shaggy stuffed dog that has been impaled by a garden fork, sitting center stage. At lights up, we find Christopher (impressively portrayed by the young Eddie Thompson) discovering the dead dog and the first words of the play uttered are by Mrs. Shears (aka Voice 1 and other roles, played by Katherine Weber) – “HOLY FUCK.”

Christopher is a 15-year-old boy who lives in Swindon, UK – far west of London – who is very good at mathematics but struggles to navigate through a world that is too loud, too touchy, too demanding. Playing as a pseudo narrator for the story is Christopher’s teacher, Siobhan (Shea McMillan), who reads the journal/book/play (as it grows and changes) aloud as written by Christopher, and often encourages him, guiding him as much as she can.

Ed – Christopher’s father, portrayed by Jarrett Self – struggles as a single father to parent a son he doesn’t quite understand. He tells his son that his mother died rather than tell him the truth (which I won’t divulge here!). But Christopher likes “detecting” and becomes quite adept at it over the course of the story, discovering truths he might wish he hadn’t. And Megan Tormey as Judy may just break your heart.

As the play progresses and scenes change, the gray boxes are moved, opened, rearranged to make up benches, counters, doorways. And when furniture is required that can’t be remedied with a box, one of the six Voices steps in. Sometimes portraying coat racks and shelves, the Voices also utilize their bodies to set the mood – whether it’s reverberating a sound that Christopher can’t escape or mimicking his movements to exaggerate the visuals, they are as much a part of the scenery as they are the characters they represent. (Voices played by Katherine Weber, Troy Murray, Ian Grygotis, Logan Gaconnier, Sara Parisa, and Kathleen Vaught.) Their movements together are powerful and palpable.

Director Chris Berthelot also took on the set and sound design. His simple yet ever changing set is perfect in its blandness – it allows you to focus on every sound and movement, every visual. In addition, the back wall is used as a projection screen. Alex Magee’s projection designs tell the audience where they are and what Christopher’s thinking at times – they added enough to complement what is happening on stage and not detract from it. Costumes, designed by Karen Askew, did the same – they were simple and purposeful. Lights designed by Greg and Melinda Cotton were integral to taking us into Christopher’s world – sharp reds, some strobe, spotlights, all creating the sensory experiences.

The Curious Incident of the Dog in the Night-Time is bold and thought-provoking; one that sticks with you, long after the proverbial curtain closes. Like many shows, I could say “you’ll laugh, you’ll cry!” But you’ll also feel uncomfortable. You’ll feel hurt and confused.

And you’ll feel hope.

Catch The Curious Incident of the Dog in the Night-Time at Allen Contemporary Theatre while you can! This show runs for two more weekends – closing April 2^nd. Tickets available at allencontemporarytheatre.net

Audience Rating: PG-13, for language and simulated violence

Accessible Seating: Available

Hearing Devices: Unavailable

Production Sound Level: Average volume

Noises or Visuals to Prepare For: Show opens with a dead dog (stuffed animal, of course!) on stage, subtle strobe lights used, simulated violence (use of red lights)

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Sara Jones