GOOD GOD, THIS IS INCREDIBLE.
Worth the Ticket.
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| An all-round triumph. |
Mark Haddon’s immensely popular novel Curious Incident of the Dog in the Night-time has received the
perfect stage adaptation from Simon Stephens, and its West End success is
absolutely justified by the touring production, currently playing in the Lyric Theatre
at The Lowry until the 4th of February.
The performance is an emotional
rollercoaster; Stephens has excellently navigated the playful elements of
Haddon’s writing, whilst not shying away from the obviously challenging
storyline. Stephens himself believes the play is has succeeded because the
script is “faithful to Mark’s novel – and the novel is so brilliant”. Without
question, Christopher Boone is a beloved character within fictions cannon, and
Scott Reid tells his story with a beautiful honesty. After all Christopher
doesn’t know how to lie!
The technicality of the staging
is incredible; just to look at the set upon entry to the theatre sets the
perfect atmosphere. Featuring a cubed stage, lined with graph paper on every
side, the set is the perfect first-look for the show. It’s carefully considered
and a little bit alternative, just like the whole production.
With touring shows, one issue
that often occurs is with sound levels, for example actors not being heard or
music being too loud for comfort, but with Curious
Incident, there is a different issue for the cast to contend with – rowdy
school trips! The first instance of swearing, early into the production, causes
ripples of giggles from the circles of school kids, forcing actors to strain to
be heard. It’s a big disappointment, as the story isn’t barren of comedy, but
laughter often erupts and inappropriate times, at bad language or an
exceptionally acted fit from Scott Reid.
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| Scott Reid as Christopher Boone. |
Reid’s portrayal of Christopher is so
incredibly devoted that the laughter from above feels insulting,
but Reid does
not seem fazed, but rather interacts, with a puzzled expression to the
audience. The childish honesty of Reid’s performance is so beautifully moving
that by the second half, there was not a whisper from the theatre except for
scripted gaffs and the occasional sniffle of tears.
It’s impossible to praise Reid
enough for this show; he interacts with his fellow cast members in such an open
and sincere way that no heart stays shut to him. His onstage chemistry with Lucianne
McEvoy brings Siobhan and Christopher’s relationship to life, and makes a
profound statement about the importance of specialist teachers in society for
those such as Christopher.
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| Eliza Collings in a minor role alongside Reid. |
The comedic relief found in the inept headteacher
Mrs Gascoyne is an excellent role for Eliza Collings, but truthfully sad, as
there is no sugar-coating the effect a bad teacher can have on a child who’s
just a little different.
The production is physically
impressive too, a positive masterclass in incorporating physical theatre in
place of pages of prop lists. The ensemble is slick, moving as one body where
required and fading incredibly well into just being props. The whole cast is
exceptionally talented and brings to life this intelligently conceived show. It
must be said, whilst Christopher Boone is of course a mathematician first and
foremost, Scott Reid must either be very good at learning lines, or a pretty
good mathematician himself! For any theatre-goers who make the correct decision
to see this show before it closes, it would be rude to give away spoilers, but
it must be said – stay till the very end, as there’s one special, very
impressive treat left!