The Curious Incident of the Dog in the Night-Time has opened Repertory Theatre of St Louis’ 51st season. What a fascinating show it is, showing the work that must have gone into it for much of the summer. Based on the bestselling novel of the same name, it tells the story of a teenaged boy who is not specifically described as being on the autism spectrum but obviously is. He lives in the English city of Swindon, a notoriously humdrum place, with his father and goes to goes to a special school.
Narelle Sissons’ set, seemingly the school, is one of those that appear at first glance to be quite simple. That impression won’t last long. Not only does furniture get moved around, the walls themselves become a drawing board and a version of one of those Advent calendars where doors open and drawers come out to reveal things. The set is, in many ways, a part of the cast.
Speaking of the cast – of whom more in a moment, of course – the movement of the cast is complex enough to use an associate choreographer, Michael Baxter. To call it blocking is to understate things. It must have been like working with a small marching band spelling out Chinese characters on a tennis court.
And then there’s David Bullard’s sound, which becomes an increasing part of the story, not just setting the mood but adding layers to the experience of the boy, whose name is Christopher Boone.
At the start of the play, Christopher has discovered his neighbor’s dog, impaled by a four-pronged pitchfork called a sprong, in the neighbor’s garden. She accuses him of the act and calls the local constable. This doesn’t go well, as Christopher can’t tolerate being touched, a problem that clearly outweighs his insistence that he only tells the truth. (And he does, frequently causing more problems.) Christopher liked the dog, and, Sherlock Holmes fan that he is, insists that he will investigate and find out whodunit. Not as simple as it sounds, even allowing for Christopher’s limitations and gifts.
Christopher is played by Nick LaMedica. It’s exquisite work on his part, tiny details carefully thought out, the big stuff seemingly happening as naturally as breathing. Kathleen Wise gives Siobhan, a teacher at the school who acts as a semi-narrator, a crisp approach that feels very right with the unemotional Christopher. Jimmy Kiefer’s father really doesn’t seem to understand Christopher at all, but is clearly determined to do his best anyway, trying to keep things calm until he gets stressed out.
Everyone but La Medica (but including Baxter) also works as part of the ensemble whose movement is so remarkable. Some of them play as many as six different people. The various accents work really well, most very crisply enunciated, lines that produce gasps or laughs seamlessly flying out with fine timing.
The sound, the movement of the ensemble and the set all sometimes give us insight into just how overwhelmed Christopher’s mind is with the outside world’s stimuli. The first production of the play, from Great Britain’s National Theatre, which went to New York had more technical dazzle, I understand, to mark that idea. What the Rep has given us is outstanding. Its take on it allows the characters and indeed the humanity of it all to be emphasized more. This is not a big, show-y show. But it’s a remarkable one, and a memorable one.
The Curious Incident of the Dog in the Night-Time
through October 1
Repertory Theatre of St. Louis
314-968-4925
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