Craig Mathers & Eliott Purcell in "Curious Incident of the Dog in the Nightime" (photo: Nile Hawver/Nile Scott Shots) |
As
its title suggests, the play The
Curious Incident of the Dog in the Night Time
promises to be an unusual experience. What piques our curiosity is
not just the strangeness of the title but the equally strange journey
it suggests. Based on the popular 2003 novel by Mark
Haddon, adapted by Simon Stephens, the play's West End premiere took
place in 2012. Subsequently brought to Broadway in 2014, it became
the longest running Broadway play in the past decade, winning five
Tony Awards including Best Play. It was no wonder that sound,
lighting and set design all won 2013 Olivier Awards in London, and
lighting and scenic design for the 2015 Tony Awards. These technical
aspects are crucial to the mathematically intricate light and sound
cues of the play. In the present production by SpeakEasy Stage
Company, the Scenic Design is by Christopher and Justin Swader, and
the Lighting Design is by Jeff Adelberg, with Sound Design by David
Remedios and Costume Design by Gail Astrid Buckley. Each deserves
special up-front mention given the sheer complexity of light and
sound cues, and visuals. But technical achievements aside, what most
distinguishes this theatrical treat is its amazingly involving
storytelling, translated and transformed from page to stage by
Stephens. But, as they say about restaurants with dazzling design,
you can't eat the décor.
What you can take in and digest is the
convoluted yet totally absorbing tale of a fifteen year old
(presumably with autism) who discovers the titular canine done in by
a pitchfork and proceeds on a quest to solve the murder in true
Holmes-ian fashion, appropriate since the title of the book and play
reference a quote by the great fictional detective himself from Conan
Doyle's short story Silver Blaze. But
this is not a mystery in the deductive sense. What matters in
the end is not the solution but the process of reasoning, primarily
by Christopher John Francis Boone (Eliott Purcell), and those with
whom he intersects along the way, from his teacher Siobhan (Jackie
Davis) to his father Ed (Craig Mathers) to a crucial discovery at the
termination of his quest, involving his mother Judy (Laura Latreille). The play also
conveys a sense of humor, as when Christopher remarks that “the
word 'metaphor' is a metaphor”, “acting is like lying”, or when
the obvious is stated by his father: “we're not exactly low
maintenance, are we?”. The amazing reality for anyone familiar
with the novel is how Stephens managed to adapt the source given its
multi-level form. It stands as a major theatrical accomplishment.
Laura Latreille & Eliott Purcell in "Curious Incident of the Dog in the Nightime" (photo: Nile Hawver/Nile Scott Shots) |
It should come as no surprise that
Purcell (from the SpeakEasy mounting of Hand to God) is
excellent in the central and crucial lead. He's fascinating to watch
in a very challenging role, always completely in character. It's a
star-making performance, and he nails it. The rest of the cast are
all superbly chosen, from Mather to Latreille to Davis,
well-supported by the small ensemble each enacting multiple roles:
Christine Power, Tim Hackney, Cheryl McMahon, Damon Singletary,
Alejandro Simoes and Gigi Watson. Under the precise direction by the
company's Producing Artistic Director Paul Daigneault, with essential
Movement Direction by Yo-El Cassell, this production may well be the
best this company has ever presented, and that's saying quite a bit.
By the end of the play you really believe you can answer Christopher when he asks: "Does that mean I can do
anything?". And attention must be paid to the critical work by Dialect
Coach Amelia Broome.
There is little one can describe that
wouldn't negatively affect the unanticipated but real joy of
discovery of the play's revelations, even for those familiar with the
source novel. Nothing one has heard about its visual and auditory
splendors could possibly prepare a theatergoer for the overall impact
of this work. It's most appreciated at a venue this size (the
National Tour was seen at a nearby theater with some three thousand
seats, a travesty). It cries out for a more intimate experience such
as this one. If you think you've already seen this piece, think
again. You owe it to yourself to see this up-close-and-personal
version. Ultimately this is a mathematically ingenious piece that
succeeds in presenting a multi-faceted, time-warping, mind-boggling,
ultimately satisfying resolution. You simply can't quantify the value
of leaving the theater with a huge smile on your face, especially in
these worrisome times for our country. The level of astonishment is,
well, immeasurable.
All for a piece that features the
versatility of math. Go figure. As Christopher himself would no
doubt put it: Q.E.D.
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