the urious incident of the dog in the night- - wjec

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The Curious Incident of the Dog in the Night-

Drama | The Curious Incident of the Dog in the Night-time

Adapted by Simon Stephens from the novel by Mark Haddon

Introduction“Brilliant, deep and funny. Remarkable” The Times

Winner of Seven Olivier Awards and Five Tony Awards including ‘Best Play’, The Curious Incident of the Dog

in the Night-Time was adapted by two-time Olivier Award-winning playwright Simon Stephens and directed

by Olivier and Tony Award-winning director Marianne Elliott. The play brought Mark Haddon’s best-

selling novel of 2003 to life on stage. It was a National Theatre production, first performed at the Cottesloe

Theatre (now renamed the Dorfman Theatre) on August the 2nd 2012. In March 2013, it transferred to the

Apollo Theatre in London’s West End. The innovative stage design was by Bunny Christie, lighting by Paule

Constable, video design by Finn Ross and movement by Scott Graham and Steven Hoggett for Frantic

Assembly.

The production transferred to Broadway where

it opened at the Ethel Barrymore Theatre on 5th

October 2014. It went on to win the 2015 Drama

Desk Award for Outstanding Play, the 2015

Outer Critics Circle Award for Outstanding New

Broadway Play, the 2015 Drama League Award

for Outstanding Production of a Broadway or

Off-Broadway Play, and the 2015 Tony Award for

Best Play. Curious Incident ran in New York for 800 performances, closing on 4th September 2016.

The play has since been seen around the world in productions in South Korea, Hungary and Australia,

as well as a UK tour. A second UK and Ireland tour ran in 2017, finally returning home to the West End in

November 2018 at The Piccadilly Theatre for a five month run.

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SynopsisThe play opens with fifteen-year-old Christopher Boone standing over the dead body of a dog. It has been

impaled with a garden fork. The dog belongs to Mrs Shears, one of Christopher’s neighbours. He decides

to find out who has murdered Wellington, the dog. He records the facts he discovers in a book. This book

is read out during the play by his teacher and mentor, Siobhan.

While searching for the murderer of the dog, Christopher encounters his neighbours and other people

he considers “strangers”. He struggles to decipher their behaviour. This investigation throws a light on his

relationship with his father, Ed. He has been brought up by his father since his mother’s ‘death’. During

the course of the action, it is discovered that his mother isn’t dead and that she is living in London, and

that his father is the one who killed Wellington.

Christopher is distraught and confused by his findings and runs away to his mother’s house. This journey

from his home in Swindon to London is overwhelming for him, but he eventually finds his mother. Finally, he

returns home to take his A level Maths exam. This return to the safety and security of what he understands

is calming. He receives the highest mark possible. This, however, is not the end of the play. After the

“story” ends, Christopher steps forward to the audience and brilliantly solves his favourite mathematics

question from the exam. This confirms to the audience the ‘savant’ nature of Christopher’s personality.

Although his Asperger’s condition isn’t directly referred to in the play, it reveals itself gradually throughout

the action. The audience sees and experiences his different approach and reaction to situations. In this

way, the audience walks with him and sees the world in a different but equally curious way.

StructureThe initial structure of the play imitates a murder mystery, as Christopher tries to solve the murder of

Wellington. It then takes on the form of a personal journey or quest. The audience innocently joins him

in this. Christopher must overcome challenges on his journey from Swindon to London – some of which

appear very ordinary perhaps to the audience, but seen through his eyes, they engage in the difficulties

he has in processing the world. Wrapped around this narrative is the play within a play structure. This is

evident in the narration from Christopher’s book, mostly performed by his mentor, Siobhan, who engages

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in dialogue about the events with him. Other characters speak his words to move the action forward or to

allow the audience to stand back from the action. Christopher’s response to events is often very sensual

and overwhelming for him. The distancing effect of the play within a play structure enables the audience

to take a breath and process the emotions or action – something we see Christopher cannot do in his

experience of the world. It therefore has the effect of developing empathy and hopefully understanding

of his condition.

Scenes blend together, helping to maintain the pace of the action and imitate the thought processes

and energy of storytelling. The opening note states “scenes run into one another without interruption

regardless of alterations in space or time or chronology”. Scenes move from reality to visual landscapes of

the imagination, as if recreating the way the mind becomes distracted or attracted to other things as you

tell your tale. The position of these poetical and illusionary scenes contrasts harshly with the juxtaposition

of moments of blunt reality of everyday life. Christopher’s childish imagination reminds the audience of

simpler times when the world was not so frantic and stressful. This encourages them to escape into them

again.

The final scene, when Christopher steps forward to solve the Maths question, returns him to the safety

of what he knows and what is safe. The impact on the audience is to see exactly how he excels where the

majority of them do not, thus highlighting the strengths and weaknesses we all possess, and encourages

a response of acceptance. Christopher “appears rising through the centre trap. There is very cool, electro

music.” This theatrical entrance gives him the status he deserves for his talents and finally breaks the

fourth wall, making him a part of the audience’s world.

The Main CharactersThere are 39 speaking parts in the play, performed by 16 actors. The actors who portray 4 main characters

– Christopher, Ed, Judy and Siobhan – do not take on multiple roles but do work within the ensemble to

create other people on stage or to move props and costumes – “all actors remain on stage”. The play is told

from Christopher’s viewpoint, and he is onstage for the entire show. Many other characters only appear

briefly and have few lines.

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Christopher John Francis Boone

The teenage protagonist states his age with precision – ‘15 yrs.3months and two days’. Christopher appears

confident in his own perception of the world. He is stubborn and determined, but the world beyond is

frightening and confusing. This is evident when he talks with Siobhan, whom he trusts. Having Asperger’s

means that Christopher is very literal about things and finds the subtlety of English idioms hard to grasp.

He often does not respond emotionally or in a socially appropriate way to situations, such as when his

father, Ed, tells him his mother has died (which proves later to be a lie).

Ed Christopher, I’m sorry your mother’s died

She had a heart attack

It wasn’t expected

Christopher What kind of heart attack?

Ed I don’t know what kind of heart attack. Now isn’t the moment

Christopher to be asking questions like that.

Christopher It was probably an aneurysm. [P14/15]

Similarly he can not bear physical interaction. This is acted out clearly in the following scene:

Duty Sergeant tries to take the watch.

Christopher starts screaming

The Duty Sergeant stops, He moves away, He nods his head.

Christopher stops screaming. [P7]

When Roger enters his room ‘Christopher rolls himself into a ball to hide’. It is only when Judy and Roger

leave the room that ‘he eventually calms’ [P88]

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Christopher also relies heavily on routine and repeated action. When this is broken, he becomes panicked.

He uses the method of reminding himself to calm his nerves. He even plays through the voice in his head

to help him. For example:

Ed Train coming. Train stopped. Doors open. Train going. Silence.

Christopher Train coming. Train stopped. Doors open. Train going. Silence.

[P70]

The audience is invited into Christopher’s world and sees it from his point of view. We experience how the

environment can overwhelm him; we are shocked at times by his unpredictable responses to situations

we consider trivial. On his journey he learns how to apply his methods to help him through challenges,

and in doing so he teaches the audience to adapt their perceptions too.

Ed Boone

Christopher’s father and boiler engineer. Ed is under a lot of pressure to earn money to keep his family and

to deal with Christopher’s sometimes challenging behaviour. We witness his resentment of his situation

on page 80.

Ed I cooked his meals. I cleaned his clothes. I looked after him every weekend;

I looked after him when he was ill. I took him to the doctor. I worried myself

sickeverytimehewanderedoffsomewhereatnight.Iwenttoschoolevery

timehegotinafight.Andyou?What?

Throughout the play we see how Ed struggles to connect with Christopher, but he does keep trying even

though it does not come naturally to him. He is caring and patient. Ed had been affected greatly when

Judy left, even telling his son she was dead. He can lose his temper easily. To cope emotionally, he blocks

all contact and thought of her out of his head. This is what Christopher tries to do when overwhelmed.

Perhaps our reactions are not that different after all.

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Judy

Christopher’s mother. She left her son and husband and went to live with Mr Shears (Roger) in London.

On page 42 she explains in a letter Christopher finds how she couldn’t cope any longer.

Judy I’m not like your father. Your father is a much more patient person. He just

gets in with things and if things upset him he doesn’t let it show.

But that’s not the way I am and there’s nothing I can do about it.

This honest letter continues over 4 pages and vividly conveys how Judy struggled with having a challenging

son, but her love for him is evident. The audience perhaps begins to see life from her perspective and

that the choice to leave was for Christopher’s sake rather than entirely her own. She shares Christopher’s

imagination and wonders what life might be like for Christopher – perhaps he might have become an

astronaut. Christopher and Judy are reconciled by the end of the play. She moves into a bedsit to be near

to him; Christopher shares his time between her place and Ed’s house. “Mother doesn’t get back from work

till 5.30. So I have to go to Father’s house between 3.49 and 5.30 because I’m not allowed to be on my own.”

[P96]

Siobhan

Christopher’s mentor at school. She encourages Christopher to record his investigations in his book.

She is always a calming voice that Christopher hears, and she acts as a guide through his quest. She is

encouraging. He hears her voice helping him to work things out – “Underpass means tunnel Christopher”

[P59]. She is a narrator and connects with the audience by guiding their understanding. She gives them

an insight into his behaviour in a simple and unemotional manner. As a dramatic device, her presence on

stage throughout is important as she anchors down the more frenetic and overwhelming action of the

play. She is non-confrontational.

Mrs Gascoyne

The Headteacher at Christopher’s school. She represents the education system and perhaps throws light

in how its “one size fits all” approach to qualifications can restrict students. She wants to help Christopher

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achieve his goals but finds herself held back by the system. However, Christopher learns how to bend to

the education system and excels in his final exam.

Policeman One / London Transport Policeman / London Policeman

These characters represent the law and thus represent truth to Christopher. However, their behaviour

and way of talking confuses him and they don’t always appear fair from his perspective.

Punk Girl / Lady In Street

They represent the crowd: the mix of people of all ages. They emphasise that we are all different and

many of the audience live on the edge of society. Perhaps they too have their own identity and don’t

conform to expectations.

The Ensemble

The actors together form an ensemble. Their movement in the space orchestrates the rhythm and energy

of each scene. They can move locations quickly and efficiently. The multi-roling of different voices and

physicality creates the world as it quickly passes by Christopher and the audience. Equally their silent

but continued presence on the stage encourages reflection and perhaps at times judgement on the

action – much like a Greek chorus. In Frantic Assembly’s style of performance, the ensemble is the key to

interweaving movement and dance moves used to create visual and emotional landscapes. In this play,

the worlds of illusion and reality are expressed physically. Christopher creates the visual image of space

in his words, and in performance the ensemble creates a zero gravity experience, as they lift and move

Christopher through space [P8].

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Themes / issuesFamily

The familial relationships in the Boone family are at the centre of the play. How a parent approaches

parenting and how they balance their own challenges with those of raising a child can be seen in the way

Ed struggles to find the right way to communicate with Christopher and how Judy poignantly describes

her feelings of inadequacy – “I remember looking at the two of you and seeing you together and thinking how

you were different with him. Much calmer…And I think I realised you and your father were probably better off if

I wasn’t living in the house.” [P44]

Another consideration is the impact of the situation on Judy and Ed’s marriage and how they are finally

able to parent on their own terms in the best way they can. The challenges of living together as a family

are explored when Christopher moves to London and lives with Roger and Judy. This is not an ideal

situation and all the characters come to realise there isn’t an ideal way.

Honesty

Christopher’s open and non-dissembling approach to life throws into relief the deceit or dishonesty of

other characters. Whether it be the lies we tell others, e.g. Ed telling him his mother is dead, or the

realisation that we have to face the lies we tell ourselves evident in Judy’s realisation that her relationship

with Roger isn’t what she needs.

Resilience / challenge

All the main characters face challenges that invite them to re-evaluate their circumstances. The play

itself is a quest where Christopher challenges everyday life. He overcomes misunderstandings and his

fears to achieve his aim. He learns from this quest and becomes resilient and determined to achieve

his goal – his A level Maths. Judy and Ed overcome their failings and admit their responsibilities towards

Christopher, and they learn to move forward in a better way as a family. Whether it’s the general public

or the policeman, they too have to adapt their actions and learn to accommodate Christopher’s needs.

The whole play opens Christopher’s world, which might be misunderstood by the audience, but his quest

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is also that of the audience. They too learn to understand and accept his quirks and talents; they are

thoroughly impressed by his mathematical ability by the end of the play. The profound message that we,

as individuals, are both different but very much the same – all failing, succeeding or just getting by daily –

pervades the action of the play. The hope is that this acknowledgement leads to acceptance.

Communication

The form of the play is very familiar. The use of narration and personal experience draws the audience

in to the experiences of the character. However, each of the character’s voices are different, both in

their pattern of speech and what they say about who they are. Siobhan is able to question and guide

Christopher throughout and perhaps becomes the voice of the audience. She asks questions on our

behalf – “Did it make you sad to find this out?” [P31]. Christopher’s difficulty in being understood makes us

see that the language we use and its context are sometimes inadequate when trying to convey a message.

That is why the visual imagery and the use of the performance space, music, lighting and sound enhance

communication or say what words cannot. The language of the play breaks down [P65] and becomes

signs which mean nothing to Christopher and reflect the excessive bombardment of words in our lives.

Words surround us but mean little. With all these words surrounding them, the characters still struggle to

find the right words to say what they want to.

Original ProductionThe original production, in the Cottesloe

Theatre, was in the round and the performance

space was small. The positioning of the audience

around the action had various implications.

Firstly, the audience itself was raked and looked

down on the space, surrounding the action and

joining Christopher’s world. The implications

for set meant that for the audience to see all

the action, there could not be a large set, so

the design focus for location and atmosphere

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was mainly on lighting, costume and sound effects. The implication for the actors was that they were free

to move in the space; however, more stationary characters like Siobhan were conscious that they had

their backs to the audience.

Once the production transferred to the West End, the play was in a proscenium theatre, which gave wider

opportunities for the use of space, set and props, lighting and sound. The physical movements were reworked

for the space and to interact with the set. This bigger venue made the whole production more dynamic.

See: https://bbc.in/2UYrWXB

Design elements, creating atmosphere and “in the round” & Proscenium space are discussed.

Critical opinion about the West End production:

“As directed by Marianne Elliott, working with an inspired set of designers, Christopher’s

maiden voyage into an alien metropolis becomes a virtuoso study in sensory overload. Those

lights, noises, street signs, road maps, random words that spell themselves into being, and,

oh yes, that moving staircase that materializes out of nowhere: it all keeps coming at you.”

Ben Brantley NY Times

About the actor playing Christopher:

“He is unbearably poignant in moments

of distress when he kneels with his face on

the ground and moans, but also movingly

captures the character’s courage, his brilliance

at mathematics, and his startling perspectives

on the world ... thanks to Treadaway’s pained

honesty and twitchy awkwardness, as well

as his moments of exultant joy, Christopher

Boone feels like both a hero and a friend,

though the happy ending is rightly qualified.”

Charles Spencer The Daily Telegraph

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The play has toured all over the world and the proscenium Arch stage shape has made this versatile for

visiting theatres. A 90-minute school version has been written by Simon Stephens. It was adapted for 10

actors and restaged in the round.

Websites:

https://bbc.in/2UYrWXB

Images:

1. Christopher; Westword.com

2. Wellington; The Guardian

3. Christopher and Ed; hollywoodreporter.com

4. Siobhan and Christopher; original production Theatrecrafts.com

5. Original production; youtube.com

6. West end production; Londontheatredirect.com

7. Birmingham Hippodrome; Theatrecrafts.com

8. Cast of School tour in rehearsal; LondonTheatre1.com

9. Ensemble in Space scene; curiousonstage.com

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First steps into the text…It is important to read and explore the whole text. A 15-minute extract is chosen and issued to centres as

a pre-release material in the first week of March, in the year in which the assessment is due to take place.

It is important to see the context of this extract, e.g. the events that precede it and the state of mind the

characters are in at the time of the extract. In the examination, a part of that extract forms the focus of

the question. It will be reproduced for the candidates with an attached examination booklet for a written

response to the question. There are many forms this question might take, e.g. a cue sheet for lighting

and/or sound. All questions require candidates to refer to the influence of live theatre productions upon

their creative ideas.

Context

The knowledge of the genre, practitioners to apply, as well as social, economic and historical context will

apply to all answers to some degree in the examination. If learners relate them closely to the text, their

relevance is heightened.

The elements of directing and designing are the focus of Section C questions in the examination. These

can be covered simultaneously in the study and practical exploration of scenes from the play.

Below are some ideas related to key scenes in the play The Curious Incident of the Dog in the Night- time.

These are intended to inspire exploration and are in no way prescriptive. Detailed practical approaches

to the text can be found in the ‘Eduqas Drama and Theatre A Level Guide’.

Directing

For the purposes of the examination, directing refers to the work done with actors in terms of movement

and positioning in the space, in rehearsal and in performance.

• Performance style. This might refer to the original style of performance or one that learners

have applied to the text in their own experimentation with it. Frantic Assembly played a large

part in creating the performance style of the play. Scott Graham, artistic director and co-founder,

states his mission is:

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“…to develop a language that felt accessible and honest. I wanted to share a process that would take

people past their perceived limitations.”

Over the years, this has helped performers understand how their bodies tell stories and how

those bodies are capable of a strength and nuance they might not have recognised before.

The Frantic Method has helped Frantic Assembly become leaders in movement direction within

theatre. It is essentially direction through movement and promotes an acute physical awareness

that can be implemented in moments of stillness just as it can be in the physically spectacular.

https://bit.ly/39E3aS2

How Scott Graham worked on The Curious Incident of the dog in the Night Time

can be found in the National Theatre Education resource entitled “An Insight Into

Curious Movement” and the resource pack for download under Drama at the

below link. Videos of the original production are also available to be viewed here.

https://bit.ly/2yu3cih

• Movement and positioning in the performance space. As well as the placement of actors

in relation to one another, this might also cover where they enter and exit the stage and the

characters’ relationship with the audience. For example, on P63-64, learners might consider how

the stage directions for the various characters indicate where they come from and where they go

to as they exit the train.

• Interactions between characters through reaction and response in the space. The pacing and

rhythm of the scene might be considered in conveying this relationship, as well as the reaction to

the arrival of new characters and how they change the dynamic of a scene. For example, learners

might consider how the Duty Sergeant reacts to Christopher on P7 when he starts screaming ‘He

moves away. He nods his head. Christopher stops screaming.’

• Rehearsal techniques. These should refer closely to the technique used, its reason and intention,

and the success of its use in achieving the aim. For example, learners might employ the rehearsal

methods of Frantic Assembly to create the ensemble movement on P8 where Christopher says,

‘I could see the Milky way as we drove towards the town centre.’ Here he recreates a past event and

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uses visual imagery to help the audience visualise it. In the touring production, the ensemble

members raised Christopher above their heads and moved his body in the space as if he was

floating in space. Learners might describe how this sequence was created in rehearsal and for

what effect.

• Live theatre productions, seen as part of the course, will provide helpful examples of directing

skills at work, which can be referred to by learners in Section C. These observations also help

learners to make similar or different creative choices throughout their study of the text.

Design

The Design element covers set and props, hair and make-up, costume, lighting and sound. The questions

in the examination will clearly state which skill area(s) are required in the response.

• Production Style. Reference to the original production style and context will inform the learners’

ideas. In some cases, this will be a faithful rendition of the style, their own ideas or a different style

completely. In both cases, justification of this concept in terms of their wider knowledge of the play,

themes, relevance and intended impact upon a contemporary audience are required. In Section

C, the influence of live theatre must be referred to in justification of their ideas. For example,

learners might choose very naturalistic design ideas when the action takes place in a location, but

the production style becomes more abstract when the action is inside of Christopher’s head or

clearly through his eyes.

• Hair and Make-up. Ideas might include the use of colour and make-up and hair techniques to

convey the period, age and status of the character(s). The use of techniques in the creation of

protheses and elaborate hair pieces and wigs, body make up and light reacting colours might be

explored. Reasons for choices of ideas and connection to the given/chosen scene are essential. In

Section C, the influence of live theatre must be referred to in justification of their ideas.

• Costume. Reference to the original performance and other productions might provide a starting

point for costume ideas. This might be achieved by the choice of historical period, use of fabric

texture, colour, silhouette of the design and the intended use by the actor in the given extract. For

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example, learners might consider which colours Christopher likes and dislikes when designing his

costume and perhaps how he might use his clothes to hide from others by pulling his hoodie over

his head and tightening the draw string. In Section C, the influence of live theatre must be referred

to in justification of their ideas.

• Set and props. This refers to the study and discussion of various performance spaces and their

suitability for the text and how other productions have been designed for their chosen space.

The production style, location, mood and atmosphere of the given / chosen scene(s) might be

created through the use of levels, positioning of exits and entrances, the proximity of the set

to the audience, and whether set pieces are fixed or able to be moved automatically or by the

actors. Learners will consider the use of large props to dress the scene, and the colour, period and

significance of these in terms of the scene and in conveying a meaning to the audience. Learners

may choose to create the stage space as if it’s inside Christopher’s brain. Brain synapses may be

projected onto the back wall to represent his brain activity. They might flash faster as he becomes

more agitated. In Section C, the influence of live theatre must be referred to in justification of their

ideas.

• Lighting design. The techniques used by a lighting designer to convey location, mood, atmosphere

and meaning to an audience might include the use of colour, different types of lighting, positioning

of lights and their intensity, use of effects lights, and length of the lighting cue. The use of

technology through projection and animated visual effects are considered part of the creation of

this visual element. Learners might consider how lights could be used to express Christopher’s

sense of overstimulation as he arrives in London and travels through the underground. Strobe

lights or strong flashing colours could be used in time with the movement of the actors. In Section

C, the influence of live theatre must be referred to in justification of their ideas.

• Sound design. The techniques used by a sound designer to convey location, mood and atmosphere,

change in dynamics and rhythm of a scene, and their impact upon an audience might include the

use of different types of sound, placement of speakers, intensity, length of the cue and changes

between sound states, manipulation of sound through software, and the looping of sound in

performance. In Section C, the influence of live theatre must be referred to in justification of their

ideas.

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Acknowledgements

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