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

Adapted by Simon Stephens. Based on the book by Mark Haddon. Belvoir St Theatre. Aug 17 – Sep 22, 2024.

This new production of Simon Stephens’ international hit play, The Curious Incident of the Dog in the Night-Time, sees Belvoir doing what Belvoir does best. They have a knack for taking something big and complex and using every ounce of ingenuity to tell it on an inventively small scale. Stripped back of the theatrical wizardry of the acclaimed original London production, this version finds new ways to surprise and delight while keeping its focus on the family at its core.

Fifteen year old Christopher (Daniel R. Nixon) has found a corpse. Someone has killed Wellington, the dog belonging to Mrs Shears (Ariadne Sgouros) across the road. The neurodivergent Christopher is determined to find the killer in his community, despite his father (Brandon Mcclelland) ordering him to give it up. He may find out more than he bargains for.

There is a magic to Stephens’ construction of this play that transcends the page and the stage. Taking the novel’s first person narration and turning it into a play-within-a-play, Stephens gives us a way into Christopher’s unusual mind. It makes the story a fully theatrical experience, letting the actors slip into each new role with a minor adjustment of their costume, or break the fourth wall. 

Director Hannah Goodwin, with Designer Zoë Atkinson, have created a staging that visually excites in its simplicity. With only two chairs and a small table, the actors use chalk to delineate spaces and objects. The outline of the titular dog becomes the centrepiece of an ever evolving artwork involving rooms, stars, London’s Underground and more. Kelsey Lee’s lighting is vital in evoking the right tone and focus, as is Alyx Dennison’s sound and music. 

One key aspect of the staging that is new is the warning system. A split-flap display is built into the set, serving as a time-stamp and giving other information. Or, as demonstrated in a  pre-show introduction, serving as an advance warning of upcoming loud noises or flashing lights giving sensitive audience members a chance to protect their senses. It’s a lovely touch, worked into the fabric of the show, to make the experience more inviting for sensitive audiences.

Goodwin has cast neurodivergent actor Daniel R Nixon in the lead role to stunning and charming effect. While his presentation of Christopher isn’t vastly different from others I’ve seen from neurotypical actors in the past, there is an assumed verisimilitude that helps ease the audience into the performance. Around him are a spectacular ensemble made up of some familiar faces from Belvoir (upstairs and downstairs), STC and other shows.

Nicholas Brown, Tracy Mann, Brandon McClelland, Matilda Ridgway, Ariadne Sgouros, Roy Joseph and Brigid Zengeni all play multiple roles with a joyous wink in their eye. Zengeni and McClelland form the backbone, playing Christopher’s school counsellor and father respectively but it’s Sgouros (again, brilliant in both Shitty and Never Closer at Belvoir, and Midnight Murder at Hamlington Hall at Ensemble) and Mann (bringing that The Master & Margarita energy back to the Belvoir stage) who elevated the show for me.

Oh, and a shout out to Laura Farrell’s accent work with the cast – flawless!

I’ve always been a fan of this play in its more well known, big West End form but this Belvoir production shows how strong the writing really is. Without the tricks of a big high tech production to distract you, the audience can focus on the characters and the stage-craft. This is the kind of show we come to Belvoir for.