The Curious Incident Of The Dog In The Night-Time Review: well-acted revival with a disconnect in design
06 October 2026 | 19:30 | Milton Keynes Theatre (UK Tour)
⭐⭐⭐ | PR - Invite
With the novel originally written by Mark Haddon, and adapted for the stage by Simon Stephens, The Curious Incident Of The Dog In The Night-Time first debuted at the National Theatre in 2012, which went on to become a well-loved, seven-time Olivier Award winning play. And tonight, a new non-replica production (directed by Ned Bennett) opens at the Milton Keynes Theatre for one week, as part of its latest UK Tour.
15 year-old Christopher Boone has a brilliant mind, as we follow an autistic boy's journey in finding truths about his family, the world, and the secrets that have been hidden from him - not just what happened to Mrs. Shears' pitchfork-impaled dog. This evening's press performance was also a relaxed night, intended to be a more accessible theatre environment for autistic patrons, or for those with sensory sensitivities.
What makes this production unique is that the role of Christopher Boone has been gender-swapped, to be a girl named Chris. Alex Keenan's physical technique is exceptional in her presentation of the character, particularly relevant as social attitudes to women's autism, which is treated as something secondary. Society places expectations on them, where their struggles and behavioural differences are masked as less recognisable than men's, thus encouraging audience discourse on the matter.
The relationship between Chris and her parents is essential, as Charlie Brooks (Judy Boone) and Joe McFadden (Ed Boone) lead with strong, heartfelt performances. Notably as they work with their daughter to express her feelings, holding out their right hand and touching fingers to emotionally ground themselves with Chris, despite not liking her hands being touched.
Narrator and teacher Siobhan (Bridgette Amofah) is a welcome contrast to this, as she provides a safe space for Chris which is strictly professional. Chris asks if she can live with Siobhan, to which she states 'I am not your mother, that is very, very important', where Chris must then build on her own independence.
Where Bennett's production falls short is in its stage composition, with its messaging somewhere between literal and metaphorical. Eleanor Bull's design is completely stripped back, as the ensemble use foam blocks to build set pieces like a bed and stairs, but also using a realist sofa wheeled in on a platform. This is the only recognisable piece of furniture onstage, which audiences may expect to hold significance, though in fact has no deeper meaning in the context of the play.
The movement work (choreographed by Jennifer Jackson) is reminiscent of Frantic Assembly's style, as the ensemble unite brilliantly to convey the sense of one whole mind, using their bodies to aid Chris in expressing her internal thoughts and feelings. This is paired effectively with Laura Deward's lighting designs, that make a minimalist stage look beautiful with vibrant colour work. Creating a sense of awe for audiences, its visual relationship with Simon Stephen's written adventure is refreshing to see.
Hayley Egan's video designs return us to this literal, straight-forward imagery: a leaf stuck to the bottom of Chris' shoe, or the objects she has in her pockets when she goes to the train station. Later, a large map and rain projected over the entirety of the stage. There is a disconnect as we later move into symbolism, memorably the scene where Chris finds important letters in her dad's closet. These letters first fall on mini parachutes, before dropping from the ceiling all at once. These moments of abstraction seem to better compliment the show, as they allow audience's an insight into Chris' non-lateral way of thinking, where realism can restrict this.
A powerful example of the above is during Chris' train station departure. A giant net is lowered between the audience and the stage, as yellow balls begin to bounce all over the performance space. An actor then pushes her with an oversized ball labelled 'Caution Wet Floor'. Everything is thrown into this scene as a reminder of how overwhelming these experiences are to Chris, and how none of this makes sense.
It may not be as clever as succinct as Marianne Elliott's 2012 National Theatre production, with a sometimes incoherence in design. However, for a play and novel studied by students across the UK, Melting Pot & Birmingham Rep's new adaptation of The Curious Incident Of The Dog In The Night-Time offers a fresh perspective to Chris' imagination, and assesses imprecise social assumptions on autistic female youth.
Touring the UK through to May 2027: https://curiousonstage.co.uk/
Playing at the Milton Keynes Theatre until Saturday 10th October 2026:
