The Curious Incident of the Dog in the Night-Time. Based on the novel by Mark Haddon; adapted for the stage by Simon Stephens. Mockingbird Theatre Company, Canberra, at Belconnen Arts Centre, March 20 – April 5 2025.
Reviewed by Frank McKone
April 1
CAST:
Christopher (at certain performances) – Wajanoah Donohoe
Christopher (at certain performances) – Ethan Wiggin
Siobhan – Leah Peel Griffiths; Ed – Richard Manning; Judy – Claire White
Ensemble – Travis Beardsley, Callum Doherty, Peter Fock, Meg Hyam, Anthony Mayne, Tracy Noble
with a special appearance from Phineas Baldock
PRODUCTION TEAM:
Director/Designer – Chris Baldock; Assistant Director – Stephanie Evans
Stage Manager – Rhiley Winnett
Lighting Design – Rhiley Winnett and Chris Baldock
Projections Design – Matt Kizer; Projection Realisation & Operation – Rhiley Winnett
Music Composer – Matt Friedman; Costumes and Props – Chis Baldock and cast
Autism Lived Experience Consultants – Jacob Alfonso and Jennyfer Lawrence Taylor
Rehearsal Prompt – Liz St Clair Long
The calculation of the square of the hyptenuse of a right angled triangle is the image which informs this thoughtful presentation of The Curious Incident of The Dog in the Night-Time.
Though the drama of the life of Christopher John Francis Boone, accurately characterised by Wajanoah Donohoe, is not exactly exciting in a conventional theatrical way – since the central character has no empathetic capacity – we find ourselves watching the story play out at some ‘distance’ emotionally. Rather like Christopher himself, we seem to be objectively observing a documentary about adults as parents and neighbours, including their rearrangements of sexual relations, and how difficult life therefore is for a seriously autistic child, at the stage of achieving the highest score possible in Mathematics on his way from high school to university.
Intellectual determination to complete his knowledge of mysteries, from who killed the dog in next door’s garden to the explanation of Pythagoras’ theorem is the central feature of Christopher’s life.
So, physically, Baldock and the Design Team have us sitting in straight rows on three sides of a square, watching highly stylised acting-out of the story, in terms of choreography and costume design, surrounded by large rectangular projections of words, and even mathematics, and images of practical things like trains which illustrate the action in a Christopher-like way.
And then we discover the final ruse. We are watching in real time Siobhan and Christopher creating a play for us to understand what happened in the past, especially including how difficult Christopher’s built-in need to only always speak the truth had been for his parents, and the reasonable resolution of their lives which was achieved.
So the play within a play parallels what the theatre company is doing – artfully creating the words of a novel in living form. This extra level is emphasised in Baldock’s production by the abstract white costuming for the Ensemble, rather than having the characters dressed in normal street clothes.
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Wajanoah Donohue and ensemble in Curious Incident of the Dog in the Night-Time. Photo: Chris Baldock |
This play is not presented as ‘naturalism’, but in a form designed to illustrate the issue of how being autistic, despite one’s intelligence, is fraught with difficult situations and often unfair treatment – even when other people understand that you can’t not behave in the frustrating, for them, way you do.
Rather than presenting this now famous play with the razzamatazz of the Grand Tour by the National Theatre of Great Britain which I reviewed (on this blog) June 2018, Baldock brings the play down to size, and in doing so leaves me with a more simple focus on the issue as it is for so many people ‘on the spectrum’.
And Wajanoah’s explanation of the proof of the Pythagoras theorem – after the curtain call, as if he was Christopher but somehow out of role – was terrific.
Thank you, Mockingbird.
©Frank McKone, Canberra