Review: THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME at Omaha Community Playhouse

Having eagerly awaited seeing the Omaha Community Playhouse production of the Tony Award winning play, THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME, I was disappointed to find that I was not moved. The story, the setting, the action all combined to create a chilly feeling that I couldn't shake.

British author, Mark Haddon, wrote the book about a 15 year old math genius, Christoper Boone, who has behavioral issues symptomatic of those with Asperger syndrome or autism spectrum disorder (ASD). Although Haddon denies intending to label his character, many of the manifestations of Christopher's behavior such as fixation on prime numbers, inability to suffer loud noises, or the abhorrence of human touch, are indicative of the syndrome. Haddon intended merely to focus on Christopher's unusual abilities along with his unpredictable reactions to situations.

Simon Stephens adapted the book for stage, keeping as closely as possible to the original. The action appears to be through the eyes of Christopher (12 year old Dominic Torres); therefore, chaos is heightened.

The play opens with a dramatic visual of a dog lying dead pierced with a garden fork. People gather around and the suspicion is that Christopher is the perpetrator. He denies the deed and as he "always tells the truth," he is let go with a caution after taking on the police officer. Christopher sets his mind on "detecting" the murderer and will not rest until he is found. Along the way, he detects some other unusual facts about his parents and finds out what he is capable of once he sets his mind to it.

Stephen Williams' set is industrial cool: all metal framework and glass panels with lights that flicker and shine with the change of scene or mood. There is a garage door that comes down, which is a very fine effect. There is a scene with an approaching train that is especially fascinating. Overall, however, the set is cold and unfriendly. The sound by John Gibilisco is video game-like throughout with an occasional touch of radio static or train noise that is just right. Between the set, lighting and sound, it feels like you could almost trigger a seizure.

And that's the point. The story is from Christopher's eyes. He sees things as more colored and more intense and more chaotic. So we are dragged along with him. It's not a comfortable place to be. People pop in and out, sometimes singularly and sometimes as part of an overwhelmingly noisy crowd.

The stability in Christopher's life comes from his repetition of prime numbers, his writing in his book, and his hold on Toby, his caged pet rat. Like Toby, Christopher finds security in known spaces with boundaries.

While the cast does a fine job, I didn't feel attachment to any of the characters. Mike Palmreuter as Christopher's dad, and Julie Fitzgerald Ryan as Siobhan felt the most real. Perhaps this was also intentional as a means to say that these are the persons most familiar to Christopher--less exaggerated and the least unreal.

I am impressed with Dominic's ability to memorize a full two hour's worth of script. That's no small feat, especially for a middle schooler who has homework and other commitments to occupy his time. While he never missed a cue, I am not convinced that his young age was an advantage in portraying the complex personality of Christopher. The original Christopher, Luke Treadaway, was 29 when he played the role in the West End production. Alex Ian Sharp was 25 years old when he took home a Tony for Outstanding Actor in a Play in the 2014 Broadway production. Both are British, eliminating the necessity for picking up an unfamiliar dialect. It was a bold move by Director Kimberly Faith Hickman and the OCP in casting such a young actor and I applaud them for taking chances.

Photo Credit: Christian Robertson