The Curious Incident of the Dog in the Night-Time (play)

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The Curious Incident of the Dog in the Night-Time
The Curious Incident of the Dog in the Night-Time (play).jpg
Written by Simon Stephens (play)
Mark Haddon (novel)
Characters
  • Christopher John Francis Boone (15-year-old maths-genius detective);
  • Ed Boone (father);
  • Judy Boone (mother);
  • Siobhan (school mentor);
  • Roger and Eileen Shears (neighbours);
  • Mrs. Alexander (neighbour);
  • Toby (Christopher's pet rat);
  • Wellington (Mrs Shears' dog)
Date premiered2 August 2012 (2012-08-02) [1]
Place premiered Royal National Theatre [1]
Original languageEnglish
Subject Autism spectrum, Family drama, Crime fiction
GenreDrama/Mystery
Setting Swindon and London

The Curious Incident of the Dog in the Night-Time is a play by Simon Stephens based on the novel of the same name by Mark Haddon. During its premiere run, the play tied the record for winning the most Olivier Awards (seven), including Best New Play at the 2013 ceremony (this record was surpassed by Harry Potter and the Cursed Child in 2017 with nine wins). The play is a National Theatre Production, in association with Frantic Assembly, who specialised in the movement direction. [2]

Contents

The play premiered on 2 August 2012 in the Cottesloe Theatre at the Royal National Theatre in London before transferring to the Apollo Theatre in the West End on 12 March 2013. It won seven Olivier Awards in 2013 (including Best New Play), at the time equaling the record with Matilda the Musical in 2012, before both were surpassed by Harry Potter and the Cursed Child in 2017 with nine awards. During a performance on 19 December 2013, the ceiling of the Apollo Theatre collapsed causing the production to close. It reopened on 9 July 2014 at the Gielgud Theatre. [3] The play closed at the Gielgud on 3 June 2017.

The Broadway production debuted at the Ethel Barrymore Theatre on 5 October 2014 and closed on 4 September 2016. It won the 2015 Drama Desk Award for Outstanding Play, 2015 Outer Critics Circle Award Outstanding New Broadway Play, the 2015 Drama League Award for Outstanding Production of a Broadway or Off-Broadway Play, and the 2015 Tony Award for Best Play.

Mickey Rowe was the first openly autistic actor to play Christopher Boone in the Curious Incident of the Dog in the Night-Time. [4] [5] He documented this experience in the book Fearlessly Different: An Autistic Actor's Journey to Broadway's Biggest Stage. [6]

The story concerns a mystery surrounding the death of a neighbour's dog that is investigated by young Christopher Boone, who is autistic, and his relationships with his parents and school mentor. The play reworked the source material by changing its voice and presenting the story as a play-within-a-play. The play has received a generally warm reception, with most critics impressed by its ability to convey the point of view of the young protagonist and the compassion of his school mentor. Critics also generally spoke highly of the visual effects employed during the show. [7]

Characters

Plot

The play involves a significant reworking of the source material. Rather than present the story in the first-person narrative as the original novel did, the play is presented as a reading of Boone's own writing, read aloud in segments by his teacher. [8] [9] The result is that the play is presented as a play-within-a-play. [10]

Set in Swindon and London, [11] the story concerns 15-year-old Christopher John Francis Boone, a mathematical genius with an autism spectrum disorder, although his condition is never specified in the play. [12] The titular curious incident is the mystery surrounding the death of Wellington, his neighbor Mrs. Shears' poodle, after Christopher finds the dog speared with a garden fork. [12]

While trying to discover who killed Wellington, he encounters resistance from many neighbours, but mostly from his widowed father, Ed. Christopher argues to himself that many rules are made to be broken, so he continues to search for an answer. During his investigation, Christopher happens across letters from his mother, Judy, dated after her alleged death. Ed admits that Judy is alive and living in London with their neighbor with whom she had an affair; he had fabricated the story about her passing away from a heart attack two years prior. He also admits that he killed Wellington in a fit of fury after an argument with Mrs. Shears.

Distraught and fearing for his life, Christopher heads to London to find and live with his mother, traveling by himself for the first time in his life. He finds the journey overstimulating and stressful, but eventually succeeds and is welcomed by his mother. His ambitions lead him back to Swindon, where he wants to sit an A Level mathematics exam. Christopher achieves the best possible result and gradually reconciles with his father.

In a short scene after the curtain call, Christopher reappears to brilliantly solve his "favourite question" from the mathematics exam.

Productions

CountryTheatreOpening DateClosing DateDetails
Flag of the United Kingdom.svg GBR Royal National Theatre, London2 August 201227 October 2012Premiere
Apollo Theatre, West End12 March 201319 December 2013 West End Premiere
Flag of Mexico.svg MEX Teatro de los Insurgentes, Mexico City24 October 20134 January 2015International Premiere
Flag of Israel.svg ISR Beit Lessin Theater, Tel Aviv2014
Flag of Hungary.svg HUNCentrál Theatre, Budapest8 March 2014Hungarian Premiere
Flag of Japan.svg JPNSetagaya Public Theater, Tokyo4 April 201420 April 2014Japanese Premiere [13] [14]
Flag of the United Kingdom.svg GBR Gielgud Theatre, West End9 July 20143 June 2017West End Re-Opening
Flag of the United States.svg USA Ethel Barrymore Theatre, Broadway5 October 20144 September 2016 Broadway Premiere
Flag of South Korea.svg KORKwanglim Art Center BBCH Hall, Seoul27 November 201531 January 2016Korean Premiere
Flag of Canada (Pantone).svg CAN Citadel Theatre, Edmonton, Alberta22 September 201612 November 2016Canadian Premiere
Flag of Belgium (civil).svg BEL Le Moderne Théâtre, Liège28 April 201713 May 2017Belgian Premiere
Flag of Australia (converted).svg AUSPlayhouse, Arts Centre, Melbourne 11 January 201825 February 2018Australian Premiere & Tour
Concert Hall, QPAC, Brisbane12 June 201824 June 2018Australian Tour
Canberra Theatre, Canberra27 June 20181 July 2018
Roslyn Packer Theatre, Sydney4 July 201828 July 2018
Adelaide Entertainment Centre Theatre, Adelaide31 July 20184 August 2018
His Majesty's Theatre, Perth8 August 201819 August 2018
Flag of Spain.svg SPATeatro Marquina, Madrid5 September 2018TBA
Flag of South Africa.svg ZATheatre on the Bay, Cape Town25 September 20183 November 2018South African Premiere & Tour
Pieter Toerien Montecasino Theatre and Studio7 November 20182 December 2018South African Tour
Flag of the United Kingdom.svg GBR Piccadilly Theatre, West End29 November 201827 April 2019West End revival

National Theatre

Adapted by Simon Stephens and directed by Marianne Elliott, [15] the show premièred at the Royal National Theatre's Cottesloe Theatre on 2 August 2012. [1] The performance there was played in the round. [16] The production starred Luke Treadaway as Christopher, Niamh Cusack as his inspirational teacher Siobhan, Nicola Walker as his mother Judy, Paul Ritter as his father Ed and Una Stubbs as Mrs. Alexander. [17] The production, which ran until late October 2012, was broadcast live to cinemas worldwide on Thursday 6 September 2012 through the National Theatre Live programme. [18]

West End

The show transferred to the West End's Apollo Theatre in March 2013. [19] Performances began on 1 March, with an official opening on 12 March. Seán Gleeson and Holly Aird joined the cast as Christopher's parents. [20]

On 19 December 2013, during a performance, part of the Apollo Theatre's roof collapsed, injuring nearly 80 people. [21] As a result, all further performances were cancelled [22] [23] and a new theatre was sought. [24] The Apollo's balcony required extensive repairs. [25] [26] In February 2014, the producers staged 8 free lunchtime performances for audiences from 14 secondary schools at the Stratford Old Town Hall. [16] The production finally re-opened at the nearby Gielgud Theatre, beginning previews on 24 June 2014, with its official opening night on 9 July. [27]

The West End production closed on 3 June 2017, after playing over 1,600 performances. [28]

The production returned to the West End at the Piccadilly Theatre from 29 November 2018 (with an official opening night on 11 December) for a limited run until 27 April 2019. [29]

Broadway

The play opened on Broadway at the Ethel Barrymore Theatre on 5 October 2014, after beginning previews on 10 September. [30] It is again produced by the Royal National Theatre [31] and directed by Elliott. [32] The original Broadway cast included Alex Sharp (in his first professional role ever) as Christopher, [33] Enid Graham as his mother Judy, Ian Barford as his father Ed, and Francesca Faridany as Siobhan. [34] The production is choreographed by Scott Graham and Steven Hoggett. [35]

The Broadway production closed on 4 September 2016 after 800 performances. [36] [37]

UK Tours

The first UK and Ireland tour of the production began in December 2014 at the Lowry Theatre in Salford before completing a 32-city tour across the UK and Ireland. [38]

A second UK and Ireland tour began in Salford in January 2017 and ran through to September 2017. [39] [40]

A third UK tour was set to begin in Salford in September 2020 and run until March 2021, with a seven-week run at the Troubadour Wembley Park Theatre in Wembley, London from November 2020 through to January 2021. [41] Due to the COVID-19 pandemic, it was delayed and began officially at the Troubador Wembley Park Theatre from 20 November 2021 to 9 January 2022 before touring until May 2022.

US tour

The first US national tour of the production began on 27 September 2016 at the Auditorium Theatre in Rochester, New York and closed in September 2017 at Segerstrom Center for the Arts, in Costa Mesa, California. [42]

International tour

The National Theatre opened its first international company in Amsterdam on 22 August 2017 with Joshua Jenkins (with Sam Newton and Kaffe Keating as alternatives at certain performances) as Christopher Boone, Julie Hale as Siobhan, Stuart Laing as Ed and Emma Beattie as Judy. Local producers then brought the production to Toronto, Melbourne, Hong Kong, Singapore, Beijing and Shanghai. Following the success of the Melbourne run, the same production began a national tour of Australia detailed below.

Australian tour

The Australian premiere of the play took place at the Playhouse, Arts Centre in Melbourne as part of the first international tour. [43] Following the success of the Melbourne season, the same production was announced to return to Australia on a national tour to the remaining major cities: Brisbane, Canberra, Sydney, Adelaide and Perth. The tour commenced on 12 June 2018 and will conclude on 19 August 2018. [44] This is the original London production, produced by the National Theatre in partnership with Lunchbox Productions.

Mexico

Before it opened on Broadway, it premiered in Mexico in 2013 with the name "El Curioso Incidente del Perro a Medianoche", thus becoming the first international production of the play. Luis Gerardo Méndez played the main character, alternating with Alfonso Dosal. The play ran in Mexico until 2015. [45] This was not the same production as the original UK production.

Seoul

The third international production of the play played at the Kwanglim Art Center in Seoul, South Korea. Preview shows with the first-ever all Korean cast began on 27 November 2015, and ran until 31 January 2016. [46] It is important to note this is not the same production as the original UK production.

South Africa

The South African premiere of the play took place in Cape Town, with a transfer to Johannesburg following the initial run. This was a new staging of the play by Paul Warwick-Griffin. The production team also included Gareth Hewitt Williams (lighting design), Tina Driedijk (scenic and costume design), and Charl-Johan Lingenfelder (original music and soundscapes). [47]

Historical casting

The following tables show the casts of the principal original productions:

CharacterRoyal National Theatre [17] First West End Production [48] Second West End Production [49] Broadway [50] Third West End Production [51] First UK National TourSeoul [52] First US National TourMadridSouth Africa [47]
201220132014201820152016-20172018
Christopher Luke Treadaway Graham Butler Alex Sharp
Taylor Trensch*
Joshua Jenkins
Sam Newton*
Joshua Jenkins
Chris Ashby*
Yoon Na Mu
Kim Ryeowook
Jeon Sung-woo
Adam Langdon
Benjamin Wheelwright*
Álex Villazán Kai Brummer
Siobhan Áa Niamh Cusack Sarah Woodward Francesca FaridanyJulie HaleGeraldine AlexanderBae Hae Seon
Kim Ji Hyun
Maria Elena RamirezLara GrubeLesoko Seabe
Ed Paul Ritter Seán Gleeson Nicolas Tennant Ian Barford Stuart LaingStuart LaingKim Young Ho
Shim Hyung Tak
Gene GilleteMarcial ÁlvarezAshley Dowds
Judy Nicola Walker Holly Aird Emily Joyce Enid GrahamEmma BeattieGina IsaacKim Rosa
Yang So Min
Felicity Jones LattaMabel del PozoJenny Stead
Mrs. Shears
Mrs. Gascoyne
Woman on Train
Shopkeeper
Voice One
Sophie Duval Victoria Willing Mercedes HerreroEliza Collings Clare Perkins Han Se RaCharlotte MaierAnabel MaurínKate Normington
Roger Shears
Duty Sergeant
Mr. Wise
Man behind Counter
Drunk One
Voice Two
Nick Sidi Daniel Casey Richard HollisLucas HareLucas HareKim Dong Hyun
Hwang Sung Hyun
John HemphillBoré BuikaDylan Edy
Mr. Thompson
Policeman 1
Drunk Two
Man with Socks
London Policeman
Voice Three
Matthew BarkerPaul StockerBen HornerCraig SteinEdward GraceShin Chang JooBrian Robert BurnsAlberto FríasClayton Evertson
Reverend Peters
Uncle Terry
Station Policeman
Station Guard
Voice Four
Howard WardTony TurnerDavid ManisSean McKenzieJohn McAndrewKim Jong ChulGeoffrey WadeEugenio VillotaNicholas Ellenbogen
No. 37
Lady in Street
Information
Punk Girl
Voice Five
Rhiannon Harper-RaffertyVivienne AcheampongJocelyn BiohGemma Knight JonesEmmanuella ColeJo Han NaFrancesca Choy-KeeEva EgidoGenna Galloway
Mrs. Alexander
Posh Woman
Voice Six
Una Stubbs Tilly Tremayne Gay Soper Helen CareyLynette ClarkRoberta KerrKang Jung ImAmelia WhiteCarmen MayordomoLiz Szymczak

* - denotes the actor performing at certain performances

Notable replacements at the Apollo included Rakie Ayola as Siobhan, Amanda Drew as Judy and Daniel Casey as Roger Shears. [53] On 13 September 2015 several members of the original Broadway cast performed their last show and were replaced on 15 September with a new cast. [54] [55] [56] For its debut, the Korean production double- or triple-cast almost all of the main characters' roles. [52] [57]

Original London Creative Team

The London production has retained the same creative team since 2012.

Original London Creative Team
RoleName
Director Mariane Elliot
Movement Steven Hogget and Scott Graham of Frantic Assembly
Set and Costume Design Bunny Christie
Lighting Design Paule Constable
Video Design Finn Ross
Sound DesignIan Dickenson
ComposerAdrian Sutton

Awards and nominations

The nominations for the 2013 Laurence Olivier Awards, which recognise excellence in professional productions staged in London, were announced on 26 March 2013. The production secured the most nominations with eight, including Best New Play, Best Director (Elliott), Best Actor (Treadaway), Best Actress in a Supporting Role, and other categories including Best Set Design, Best Lighting Design, Best Sound Design and Best Choreographer. [58] The production eventually won seven Olivier awards, [59] thereby equalling Matilda the Musical's record win total in 2012. [60] [61] The play was also acclaimed with the Best New Play on 17 February 2013 at the Whatsonstage Awards. [62]

The Play also earned 6 Tony Award nominations in 2015, winning 5, the most of any play that year.

West End production

YearAwardCategoryNomineeResult
2013 Laurence Olivier Awards [59] Best New Play Won
Best Director Marianne Elliott Won
Best Actor Luke Treadaway Won
Best Actress in a Supporting Role Nicola Walker Won
Best Sound Design Ian Dickinson and Adrian SuttonWon
Best Lighting Design Paule Constable Won
Best Set Design Bunny Christie and Finn Ross Won
Best Theatre Choreographer Scott Graham and Steven Hoggett Nominated

Broadway production

YearAwardCategoryNomineeResult
2015 Tony Award [63] Best Play Won
Best Direction of a Play Marianne Elliott Won
Best Actor in a Play Alex Sharp Won
Best Lighting Design of a Play Paule Constable Won
Best Scenic Design of a Play Bunny Christie and Finn Ross Won
Best Choreography Scott Graham and Steven Hoggett Nominated
Drama Desk Award [64] Outstanding Play Won
Outstanding Actor in a Play Alex Sharp Won
Outstanding Director of a Play Marianne Elliott Won
Outstanding Lighting Design Paule Constable Won
Outstanding Projection Design Finn Ross Won
Outstanding Sound Design in a Play Ian Dickinson for AutographWon
Drama League Award [65] Outstanding Production of a Broadway or Off-Broadway PlayWon
Distinguished Performance Award Alex Sharp Nominated
Outer Critics Circle Award [66] Outstanding New Broadway PlayWon
Outstanding Director of a Play Marianne Elliott Won
Outstanding Set Design Bunny Christie Won
Outstanding Lighting Design Paule Constable Won
Outstanding Actor in a Play Alex Sharp Won
Outstanding Featured Actress in a PlayFrancesca FaridanyNominated

Critical response

West End

Lyn Gardner of The Guardian wrote a rave review, commenting that "There are times when the show comes perilously close to sentimentality, but the clarity of Christopher's gaze is so unflinching that it often makes you uncomfortable, and the show is equally clear-eyed on the difficulties of parenting, messiness of life, and torment of a child who cannot bear to be touched. ... Leading a fine cast, Luke Treadaway is superb as Christopher, appealing and painful to watch, like the show itself." [15]

Susannah Clapp, of The Observer , wrote in 2013, "The Curious Incident of the Dog in the Night-Time was one of the most original shows and startling successes at the National last year. It's hard to recall the surprise of this... Yet it at first seemed unlikely that Mark Haddon's novel about a boy with a mathematical gift and 'behavioural problems' could possibly work in the theatre." [67] Paul Taylor of The Independent described the work as an "imaginative adaptation" and "brilliant production" saying that it was presented in a "fresh and arresting light" while balancing humor and tragedy. Taylor judged Treadaway's performance superlative citing, among other things, his rhythm, movements and delivery. [68] Matt Wolf of The New York Times added that the play's debut was well-timed in relation to the 2012 London Summer Olympics: "its triumphalist spirit tallies exactly with the mood of this summer's athletic aspirations". [12]

Ben Brantley, the chief theatre critic of The New York Times, wrote: "As directed by Marianne Elliott, working with an inspired set of designers, Christopher's maiden voyage into an alien metropolis becomes a virtuoso study in sensory overload. Those lights, noises, street signs, road maps, random words that spell themselves into being, and, oh yes, that moving staircase that materializes out of nowhere: it all keeps coming at you". Brantley went on to say that the "extraordinary accomplishment" of the play "is that it forces you to look at the world through Christopher's order-seeking eyes. In doing so you're likely to reconsider the dauntless battle your own mind is always waging against the onslaught of stimuli that is life. Scary, isn't it? Exhilarating too." [69]

Charles Spencer of The Daily Telegraph , on the other hand, thought that Siobhan's turning the book Christopher writes into a play "may sound cumbersome but it works superbly". Like others, Spencer praised Treadaway: "He is unbearably poignant in moments of distress when he kneels with his face on the ground and moans, but also movingly captures the character's courage, his brilliance at mathematics, and his startling perspectives on the world ... thanks to Treadaway's pained honesty and twitchy awkwardness, as well as his moments of exultant joy, Christopher Boone feels like both a hero and a friend, though the happy ending is rightly qualified." Spencer also praised Gleason and Cusack. [70]

Broadway

Richard Zoglin of Time described the play as "a demonstration of the power of theater to transport us to exotic places". [8] Steven Suskin, drama critic for The Huffington Post , said the play entertains, illuminates, and brings us to an exalted new place. [71] Adam Green of Vogue says the play is "a testament to the singular power of theater". [10] Brantley, in his review of the New York production, called the work "manipulative", writing that it "retunes the way you see and hear" by forcing you to embrace a heightened sensory perception along with the main protagonist. [72] Elysa Gardner of USA Today described the experience of viewing the play as a journey "inside Christopher's gifted, troubled mind using inventive visual and sonic effects". [73] She lauded Sharp's "movement, expressions and voice making the boy's terrors and his ferocious intelligence seem equally natural". [73]

Peter Marks of The Washington Post praised the visual graphics of the show as being better presented than the "textual and performance elements" noting that the working of Boone's brain upstaged the detective work of finding the killer. [74] Jennifer Farrar of the Associated Press thought the show a "charming, intricately choreographed and dynamic theatrical experience" and that Alex Sharp's presentation of Christopher exemplifies the life skill of overcoming personal challenge. [75] Deadline Hollywood's Jeremy Gerard felt that the production combines the obsessed math prodigy element of A Beautiful Mind with the mentoring compassion of Billy Elliot . [76] Joe Dziemianowicz of The Daily News found Sharp's performance "dazzling" and "physical and emotionally intense" and praised the design, lighting, music and video displays. [77]

Terry Teachout, drama critic for The Wall Street Journal dissented, describing the "fantastically elaborate video projections" pejoratively, saying that they are smothering. He felt the show was popular because of the trendy nature of Asperger's syndrome and that it was too reliant on trickery. [78] His Wall Street Journal colleague Stefanie Cohen thought the play suffered from difficulty in adapting the book to the stage. [9]

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