The Curious Incident of the Dog in the Night-Time

Always a treat to see a production of a play, based on a 2006 novel that I know literally nothing about, and about which I have no preconceived ideas. Seeing as the stage adaptation was the winner of five Tony Awards and seven Olivier Awards, including Best Play for both - and that the novel was a runaway best seller upon its release, it would seem I’ve been living under a rock.

A little research later, I discovered the novel had either been banned or an attempt has been made to ban it in many US schools since its release...apparently due to ‘religious viewpoints (atheism) swearing, and negative portrayal of autism’.  Embarrassingly, the most recent item about this was from 2023. 

Now, having seen the play at least, I have two words for the wowsers across the pond - and the second word is “off”. Nothing 'inappropriate' to be seen here. In short, the story follows the tumultuous journey of a 15yo neurodivergent boy, as he navigates a succession of traumatic events; including the murder of the neighbours' dog. While the plot doesn’t sound all that intriguing, thanks to the brilliant writing, painstakingly plotted blocking and the complexity of all the characters, make it a compelling journey indeed. 

Although set in the UK, the so-called sweary dialogue holds zero shock value for Aussies. If anything, the proliferation of F-bombs just made the absolutely relentless dialogue much more punchy, authentic and emotionally valid. 

Cleverly, in keeping with the prototype productions, the set is minimal and modular - and the accompanying led lighting on the floor and the walls serve not only to set the scene literally, but also figuratively, while our vulnerable young protagonist deals with intermittent sensory overload. There is also plenty of humour to be had, thanks to the constant presence of a shadow ensemble. While it's very common for a support ensemble to take on multiple roles, in this instance, they take on multiple items of furniture and gadgets as well. 

Given all the technical aspects, so much could go wrong, but the Launceston theatre community has an impressive quota of local personnel with genuine, professional technical prowess in their midst. Full praise, therefore, to internationally acknowledged “video artist” Darryl Rogers for his stage design and visual creations. Sound designer Ian Chia also has an impressive resume - and it shows. Backed up by a competent team of stage assistants and technical operators, this complicated piece of theatre holds up incredibly well.    

With everything in place and so much going on, each member of the lead cast and ensemble really had to set their focus to laser!  Experienced Director Jeff Hockley’s appreciation for character analysis and nuance within the script becomes obvious - and is rewarded with consistent, committed performances across the board, from the engaging young lead protagonist, through to the human hat stands and wardrobes.

Speaking of the protagonist; Charismatic young Darcy Lynch takes on the massively wordy, highly physical and emotionally dynamic role of Christopher with deceptive ease and a natural sensitivity. Quite amazing, considering he has so much ‘business’ to do - from building a model train track, to melting down repeatedly...all while continually zigzagging around the small stage for the many scene changes. 

Add to that, the challenge of keeping track of a variety of vocal cues, coming from not just his scene partners, but also a narrator who pops in intermittently to share his inner dialogue...and it's all completely mind boggling. 

I'm exhausted just describing it. Props to the entire main cast who are all wonderful - but I can’t help but give a wee shout out to the very present and deftly nuanced performance of Caitlin McCarthy. 

Having lived in this lovely city for six months, my Launceston Community Theatre Bingo Card is nearing completion. I've said it before, the production values and performance levels of these community productions here are superb.

Rose Cooper