By Rikki Lee Travolta
One of the most exciting things for a theatrical audience is seeing something different. This can take the form of a new and different approach to a well-known classic title, or it could also mean the introduction of a new piece that approaches theatre in a new way.
On the surface, “The Curious Incident of the Dog in the Night-Time” may seem an odd story to try to adapt to the stage. After all, its lead character is an autistic teenager. But then again, you might not think an autistic narrator would make for a blockbuster novel – but the Mark Haden British mystery became an international bestseller with over 2.6 million copies sold to date.
A stage adaptation of the award-winning book premiered in London in 2012. The Broadway production opened in 2014, winning the Tony Award for Best Play. While the book is told in the first person by the central character of Christopher John Francis Boone, the play seriously reworks the material. In the stage version, the story is told as a reading by Christpher’s school teacher of his accounts of his detective work investigating the murder of a neighbor’s dog.
As one can imagine, “The Curious Incident of the Dog in the Night-Time” is a different kind of theatre piece. For bringing the highly heralded play to Chicago Northshore audiences, MadKap Productions and Skokie Theatre have entrusted their mounting to director Steve Scott.
If the name sounds familiar, it’s because Scott is a longtime part of the success of Goodman Theatre’s historic company. Scott served as producer for over 30 years. He is now an artistic associate and on the Board of Trustees. Clearly, Skokie has pulled out the big guns to make sure their production is of premium quality. And it shows.
In the story, 15-year-old Christopher lives with his father after having been told that his mother had died suddenly of a heart attack two years prior. At the start of the play, Christopher has discovered the body of his neighbor’s murdered dog.
Some autistic minds can be highly inquisitive, and also highly obsessive. Despite his father’s objections, Christopher sets out to solve the dog’s murder. His detective work uncovers far more than the cause of a house pet’s death; Christopher unearths shocking secrets of the neighborhood and of his family.
Adapted for the stage by Simon Stephens, the script is golden. The words, formatting, and scene structure create a template for masterful productions. In addition to winning the Tony Award for Best Play, it also won the Laurance Olivier Award, Drama Desk Award, Drama League Award, and Outer Critics Circle Award.
In adapting Haddon’s novel, Stephens has created characters that are of the utmost appeal to actors. They are challenging roles that provide the opportunity to explore many levels.
The weight of the show rests on the shoulders of the young man playing Christopher. Capturing the cadence, mannerisms, and gentle nature of someone with autism is not an easy task, but it is a challenge embraced without fear by Leo Spiegel. Remembering the mountainous amount of dialogue including complex mathematical equations is alone deserving of applause. Spiegel definitely shines.
Stepping in and out of the story to both narrate and interact with Christopher as his classroom instructor is Danielle Kerr as Siobhan. She has a cheery and welcoming disposition, like a story reader at the library or the way you remember your favorite teacher. Of all the actors in the play, Kerr provides one of the most authentic accents.
There are a handful of other principal characters, as well as a highly adept utility ensemble that fills numerous purposes. Three key players in the drama are Christopher’s father, his mother, and an elderly neighbor.
Michael Wollner’s first entrance as a father relieved to find his missing special needs son, is touching and poignant. He later explores a lot of the father’s angry emotions. He has a few monologues that stand out.
The actress playing Christopher’s mother has less stage time than the actor playing his father, so she must cram a lot of development into a shorter time span. However, she has to do so without making it seem forced. Olivia Winters understands this and delivers a solid performance.
Also of note is Michelle McKenzie-Voigt. She is engaging as the elderly neighbor who means well, but whose penchant for gossip can prove harmful. McKenzie-Voigt does an excellent job.
The ensemble are listed as “Voices” in the program. All of these actors fill their multiple roles very nicely. They are really valuable in moving the story forward and adding depth to different scenes. The players include Valerie Velho, Sean Michael Barrett, Chris Lysy, Reid O’Connell, Kelly Faherty, and McKenzie-Voigt.
AJ Carchi is the understudy for Christopher in the MadKap Productions drama. Understudying the other male roles is Caleb Swick. Understudying all female roles is Kimmy Higginbotham.
In addition to having a utility ensemble of actors to fill different purposes, the set design by Brian Wasserman is also utility in nature. Not a literal representation of any actual place, the set features an abstract image suggestive of the computers and video games Christopher is fond of. The concept works well.
You can practically add the theatre’s stage lighting as another character in the play. Under the guidance of lighting director Pat Henderson, colored lights and both informative and suggestive projections are used to adjust the emotional temperature of the scenes.
Costumes are by Jade Andrews with consultation by Patty Halajian. Properties by Elaina Miller, fight choreography by Michael Woods, and sound design by Brian Bedoya also fit the bill properly, adding to the experience. In positions often unrecognized but highly deserving, stage manager is Brenden Delcorio and dramaturge is Mackenzie Hahn.
MadKap Productions and Skokie Theatre consistently do solid work. Part of that is their mix of doing classics in a traditional fashion and doing creative and innovative takes on both new and legacy titles. They aren’t afraid to try new things – such as bringing this very unique storytelling approach to Chicago’s near North suburbs. The theater is easily accessible from the city and suburbs, and executive director Wendy Kaplan and managing director Wayne Mell greet patrons with warm smiles and the promise of top-quality entertainment.
“The Curious Incident of the Dog in the Night-Time” is a different kind of story, with a different kind of hero, and a different manner of storytelling. Skokie Theatre’s production is proof that different can be a very good thing. Heroes come in all sorts of packages.
There is both heartache and humor brought to life by talented actors under an impressive director in this production. It is an experience that promises to move you. You may even learn something in the process. Understanding those who are different is something everyone can benefit from.
The play runs Fridays, Saturdays, and Sundays through April 21. Friday and Saturday performances are at 7:30 PM, and Sunday matinees are at 2 PM. There is a special Wednesday, April 17 matinee at 1:30 PM.
The beautiful and cozy Skokie Theatre is located 7924 Lincoln Avenue in Skokie.
For tickets visit www.SkokieTheatre.org or call (847) 677-7761.
Photo credit: Brian Wasserman and Skokie Theatre
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